Tag Archives: Dingo’s breakfast

Meanwhile, while you’re busy writing ads…

hurricane-carter-1999-03-gRemember the 1999 movie, The Hurricane? It’s the story of Rubin ‘Hurricane’ Carter, a champion boxer wrongly convicted for a triple homicide (Bob Dylan also drew attention to the story)

In the movie, there’s a scene where a teenage boy, Lesra, is told ‘sometimes we don’t pick the books we read, they pick us’.
I think there’s a truth to that. Sometimes, ‘our antenna’ on a subject is raised and we seem to be more receptive of stories on a certain topic or issue.

And that brings me to two different pieces of communication that found their way into my day.
The first was a story about R/GA:

R/GA And Techstars Launch A New Accelerator For Startups Devoted To Connected Devices

Then, a couple of hours later, this video from Cannes:

I’ll let you make the connection.

DUSTIN LANE
Brand Strategy | Advertising Concepts | Copywriting

Visit risinggiants.co or dustinlanecreative.com

How many ideas to present?

ideasbook-t1-460x460Most agencies usually take the approach of presenting three different ideas in response to a client’s brief. Actually, in many cases we’re contractually obligated to do just that.
The approach of presenting three ideas has both positive and negative points. First, some positives:

  • By presenting three ideas, you’re making sure you explore a range of solutions in order to find the right one for the job. Even though we try and explore as many ideas as possible, the fact that we have to put three different ones on the table can provide extra incentive. And we all know, that for every idea presented, there are usually numerous ones that didn’t make the cut for one reason or another.
  • Having three ideas also gives you a nice way of showing the client the journey of where your thinking took you – and they like to be taken on that journey. In fact, there are many theories around the ‘rule of three‘.
  • Inherently, people love having a choice. If you provide only one solution to a client, they can feel like they’re painted into a corner.
  • Having three ideas can also allow you to convince the client to do something a little more daring or unexpected. By presenting a third ‘they’ll never buy that’ option, you’re broadening the client’s horizons. Sure, they probably won’t be as daring to buy that third option, but it will help them perceive the next one below it as ‘less risky’.

And now some negatives:

  • Sometimes you come to a great idea, but rather than spending all the time on it making it as brilliant as it can be, you end up wasting time on other ideas that will only serve as cannon fodder in a client presentation.
  • You consistently waste two thirds of your work. Ultimately, you want all three ideas to be the absolute best they can be because you never know which one the client will choose. But the two ideas not chosen rarely see the light of day ever again. Even if the exact same brief arrives on your desk the next year, the client rarely accepts an idea they’ve previously seen (even if they really liked it the first time they saw it). In their mind, they often perceive them as old or unoriginal (even though they’re the only person who has seen them).
  • I know of pitches lost because the client has been given too much choice. They’ve been presented with a myriad of ideas (to help illustrate  the capabilities and breadth of thinking that the agency offers). However, it has backfired when the client perceives it as indecision and a lack of conviction for a single idea.

So, how many do you present?

DUSTIN LANE
Brand Strategy | Advertising Concepts | Copywriting

Visit risinggiants.co or dustinlanecreative.com

Image: courtesy of Poketo, where you can buy these books (but the ideas aren’t included)

Art Directors and Copywriters. What’s the difference?

I Love Copy ChangesAt every agency I’ve ever worked, there has been the ‘client walk around’. It’s where existing clients or potential clients are taken on a tour of the agency. There’s always a fairly similar response after you hear the ‘tour guide’ announce, ‘…and this is the creative department.’
It’s at this moment, you can look up to see a group of visitors eagerly looking on, as if anticipating some sort of magical and secret activity to give birth to ideas. Sometimes at these client orientation days, you’re invited to give a small talk and some Q&A about what your job is and how it contributes to delivering the product/service the client is ultimately paying for.
Usually, this means talking about the team structure and, traditionally, how art directors look after the pictures and how copywriters look after the words.

As we all know, the line between the roles is a little more blurred these days. Sometimes it’s removed altogether. So are there other differences between art directors and copywriters? Some people might say there are common traits that can be attributed to each title (keeping in mind there are always exceptions when making sweeping generalisations).

Of course, there’s the old joke:
Q: How many art directors does it take to change a light bulb?
A: I don’t know. What do you think?
Q: How many copywriters does it take to change a lightbulb?
A: I’m not changing a fucking thing!

If you’ve ever spent any time working with art directors and copywriters, you understand this joke. There’s a truth in the art director being more open to other opinions and less committed to making a decision by themselves. It also highlights that copywriters can sometimes be a little precious about changes to their copy.

My old art director and I used to discuss why this was so. We arrived at a few theories.
An art director’s career path is often via the studio where their job involves making lots of changes under other people’s direction. They’re used to having people sit on their shoulder, telling them to move stuff 2 pixels to the left and to adjust the cyan and opacity.
Also, the art director actually gets to make the changes to their work. Most clients can’t use InDesign or Photoshop (although this won’t be the case in the future) so their changes come back as suggestions or requests to be carried out by the art director.
On the other hand, everyone knows how to type. In Australia, english is a mandatory subject until you graduate from high school. This means clients have the option of typing straight over the top of the copywriter’s work, or firing up their preferred tool of choice – Track changes. So, often, clients don’t ask copywriters to change their work, they simply do it for them.
And sometimes clients have no real reason for making the changes they make – they simply think it’s part of their job description. For example, I can remember a radio recording once, where we had the radio ad just the way we wanted it (except final sound mix) when the client arrived for a listen and approval. The talent was still in the studio booth. Within a few moments, the client was making changes – ‘Can we just punch this word out a bit more?’, ‘Can we just say that word louder?’. I asked them, in a nice way, if we were making changes to fix something or if we were  making changes for the sake of making changes. They realised what they were doing, stopped and said, ‘Sorry, you’re right. I just started doing that automatically’.
And that’s the point I’m making. The creative team has thought about it and have a reason for doing it the way they’ve done it, so if the client is going to change it, they should have a reason too.
If the client doesn’t have one, it tends to make copywriters just a little  more bitter and twisted.

At one of my old agencies the question was asked why more creative directors come from a copywriter background rather than an art direction background (although that may not be the case these days – it seems pretty even). The reason someone gave was that copywriters spend years structuring an argument on selling a particular point of view via their copy, so this helps them in the role of CD. I’m not sure how accurate that is.
Another former boss thought that, generally speaking, art directors made better CDs because of their temperament.

What about you? Do you think there are any defining traits between art directors and copywriters?

DUSTIN LANE
Brand Strategy | Advertising Concepts | Copywriting

Visit risinggiants.co or dustinlanecreative.com

Are you fixing a problem or fixing a solution?

fixing_myself-1280x1024Many years ago, I was sitting in a university  theatre awaiting my first marketing lecture. In walked the lecturer and, for the next 40 minutes or so, he spoke to us about the fundamentals of marketing and the marketing mix.
One thing he spent a liberal amount of time on was the manufacturer model versus the consumer model.
He explained how the former was all about people making products firstly, and then selling them to consumers secondly (i.e. Henry Ford’s “Any customer can have a car painted any color that he wants, so long as it is black”). On the other hand, the consumer model was all about listening to what the consumer wanted or spotting a need for something, and then creating a solution accordingly.
The lecturer than explained that the Henry Ford approach was old and that the new way was the consumer model.
Well, some days I’ve sat at my desk and felt like I’m still waiting for those words to ring true.
I say this because I’m firmly of the belief that we should be spending our time coming up with solutions to help propel businesses and organisations forward. Yet in reality, a huge amount of time and effort is spent  making someone else’s ‘solution’ actually work.
I’ve lost count of the times I’ve looked at a brief and thought ‘Someone, somewhere, has decided that the requested solution answers a business problem. But how?’
Take the brief for an online banner ad. How many times have you actually clicked on one? I recently read that, statistically, you have more chance of surviving a plane crash. So why do we persist with trying to make them work? Sure, for some particular products or relevant placements, they do. But for the most part, they don’t. Aren’t we better off focusing our efforts elsewhere?
I’m not singling out online banners. The problem exists whether it’s traditional TV, press, outdoor, whatever. Put simply, sometimes ‘the solution’ isn’t a solution at all – it just becomes another part of the problem (i.e. how do I solve the real business problem using the ill-fitting solution that has been pre-determined?)
Sometimes this problem comes about by a mixed agenda within the client organisation. For example, I’ve seen the ‘product people’ do a side deal or partnership arrangement with another organisation and then throw a hospital pass to their marketing team with a ‘make this work’.
Over the years, I’ve even been asked to provide a post-rationalisation of why the solution they’re briefing me on to fulfill is the way to go.

Imagine how much better the solutions could be if you focused all  your time and effort finding the right one, rather than trying to make the wrong one work. That’s where the best work always comes from.

Maybe next time you take a brief that’s requesting a pre-determined solution, you could ask this:
‘Before I touch it, can you tell me why this TV/outdoor/print/banner ad/sponsorship/promotion/web page/app etc will be the right solution?’

DUSTIN LANE
Brand Strategy | Advertising Concepts | Copywriting

Visit risinggiants.co or dustinlanecreative.com

8 things ad agencies should do better

elephantA lot of talking happens around the subject of what the ad agency of tomorrow will look like and how it will operate. Changing business models, revenue structures and processes can seem like a big job, and it is. However, there are lots of relatively simple things a traditional ad agency can do right now to help improve the way they function:

1. Never under-estimate traffic
Good traffic people are the unsung heroes of the agency world. They are the true heart of an agency. Traffic is the junction where the creativity of an agency and the commercial  realities of running a  business meet. A good traffic person understands the creative process, and how hard it is to be confronted with a blank piece of paper or computer screen and turn it into a business solution. They realise the work required. They know if a job has been scoped correctly. They know the value of where time should be spent, and where it can be saved. They know the strengths and weaknesses of the teams and resources at their disposal. They’re a shoulder to cry on. They’re an ear for a whinge. They’re a guiding voice. They’re an island of reality in a sea of bullshit.
On the other hand, bad traffic people see their role as simply looking at a spreadsheet of jobs going through the agency and then blindly applying resource to them. Some agencies have even removed the role of traffic, simply adding it to a junior account handler’s duties.
Honestly, I reckon if you get traffic wrong, then you’re pushing it uphill from the start.

2. Be more personable
This is an issue also faced on a societal level. As we grow from a smaller, village way of living to larger communities, we become more impersonal. We start to lack empathy.
You see it in agencies too. When it happens, colleagues and fellow workers simply become faces in the hall. We no longer see them as team mates who have your  back and you have theirs. Sometimes, we  don’t even see them as people – people with feelings and families and other stuff going on in their lives.
In a former career, an older colleague once told me, ‘Your staff are your #1 customer’. Treat them accordingly.

3. Keep people informed
This pretty much follows on from the point above.
There is nothing worse than when you find out something about your agency in the trade press. It’s a bit like a stranger giving you news about your own family. A good agency believes in transparency. You’re never going to create a strong team if staff feel as though they’re not really part of it.

4. Manage the hierarchy
I’m not suggesting that ad agencies become communes. I’m a firm believer in fewer committees. Without hierarchy, things can easily turn to anarchy and an agency starts to look like William Golding’s Lord of the Flies.
However, you should avoid creating an ‘us and them’ culture. You don’t want to end up with an organisation consisting of the ‘haves’ and the ‘have nots’.

5. Know where the runs are coming from
It might seem obvious, but I’ve seen plenty of agencies that seem to have no idea which parts of their agency are successful. It’s usually a problem that relates back to point #2, above.
You should know which clients are doing what. Know which staff are doing what. Know the hours they are really working. Know which accounts are paying their way, and which ones aren’t.
Reward and resource accordingly.

6. Ask your freelancers
When you’ve had a senior freelancer in your agency for longer than 2 or 3 weeks, exit interview them. Freelancers are in the unique position of seeing ‘behind the curtain’ of lots of different agencies, allowing them a broader view. They know what works well and what doesn’t. They’ll give you a totally unbiased opinion of your agency, and their experiences in it.

7. Don’t be a slave to process
Never blindly follow process. Always remember that it’s there to facilitate and aid the end product rather than dictate it. I’ve seen agencies reduce the timeline on projects by up to 30% simply to accommodate their process. When this happens you have to ask, ‘Are we really focused on the end goal?’

8. Rethink awards
Awards have their place. When used well, they can give recognition to an agency, install pride, and attract new business and  talent.
However, when used badly they become a self-serving indulgence.
I’d invite agencies to challenge this. Is there a better way to use those considerable award show budgets? Could you redirect those funds into other avenues? Perhaps re-invent it as your ‘R&D budget’ to be used on building the agency’s own products. You have considerable resource at your disposal. Instead of paying your people to write case studies and craft entry boards, you could pay people to create films and art. Or build apps and business ideas you can white-label and then share the rewards with staff.

DUSTIN LANE
Brand Strategy | Advertising Concepts | Copywriting

Visit risinggiants.co or dustinlanecreative.com

Photo: artwork by Banksy

John Cleese on Creativity

If you have 36 spare minutes, this is a good way to spend them…

Advertising – there’s no magic formula

Here’s the trailer for a great documentary I first saw at The Sydney Film Festival  back in 2009.
http://www.youtube.com/watch?v=hLfvmiB4edI

I’ve posted it here because I’d like to talk about the opening lines delivered by the gravelly-voiced Hal Riney:

“The frightening and most difficult thing about being what somebody calls ‘a creative person’ is that you have absolutely no idea where any of your thoughts come from really. And, especially, you don’t have any idea about where they’re going to come from tomorrow.”

But hey, hang on a minute! That’s not what most agencies would have you believe. Just look at any agency credentials document, presentation, or  website. They nearly always put up some sort of diagram or chart and proclaim it to be their ‘magic formula’ for producing great ideas.

Well, as a person who has spent plenty of years in the creative department tasked with coming up with those ideas, I can say that there is no magic formula.

A few years ago at Cannes, John Hegarty broached  the subject while on stage. He said that he understood there were a lot of marketers in the audience who were desperately seeking a formula for creating great advertising. He then told them there wasn’t one.

So why do so many agencies pretend there is?
Well, I reckon there are a few reasons. First, many clients have an easier time buying an idea if there’s the perception of science behind it, rather than art. That’s because science is predictable – two plus two will always equal four.

Second, the process and operations of an agency may help facilitate an environment for ideas but if you’ve ever been an art director or copywriter, you’ll know that the real process actually happens inside a person’s head. And if agencies were to admit that, they would be putting the equity of their business in the hands (or in this case, heads) of individuals. Instead, their ‘magic formula’ is something they can own regardless of staff turnover. Sure, some agencies do have a certain style of work. But that’s usually influenced by the Creative Director (again, an individual).

Whichever way you look at it, pretending there’s a 100% fool-proof recipe for creating successful advertising is a bit like measuring poetry.

DUSTIN LANE
Brand Strategy | Advertising Concepts | Copywriting

Visit risinggiants.co or dustinlanecreative.com

What does the Superbowl teach advertisers?

Superbowl

Well, Superbowl XLVII has come and gone.
The Superbowl is commonly referred to as ‘the greatest show on earth’, and by now there has probably been plenty of chatter about the game and the ads that screened. I haven’t yet had the time to view any of the ads, so I can’t really comment on whether the best of this year’s crop starred clydesdales, babies, monkeys, or attractive girls in revealing singlets.

But what I do find interesting about the Superbowl every year is that it is two advertising ideologies working side by side.

On one hand, we have the interruption model in all its glory – where advertisers pay around $4 million to interrupt the sports game for 30 seconds (source: forbes.com). Indeed, with an audience of over 110 million people, spanning multiple generations, and 40% of them female, the Superbowl is still one of the few places where marketers can overcome today’s diverse media fragmentation.

Then on the other hand, you have the content model where people actually tune in to see the ads. Yes, the ads are as much of the entertainment as the actual game. In this case, the ads aren’t piggybacking on the entertainment; they are the entertainment!

So the obvious question is, ‘why don’t more marketers always make their ads to a Superbowl standard so people will want to see them?’
Well, let’s put it this way: you can either pay lots of money to interrupt ‘the greatest show on earth’, or you can invest the money more directly into your brand and turn it into ‘the greatest show on earth’ (or at least the greatest show in its category).

For many, the latter option is viewed as a lot of hard work, carries a higher level of risk, and takes more time to build (i.e. sometimes longer than a Marketing Director plans on staying in the job).
However, the successful brands of the future will look to become ‘the event’ rather than solely piggybacking on someone else’s. As the Superbowl illustrates, if you make good ads, people will engage with them.

DUSTIN LANE
Brand Strategy | Advertising Concepts | Copywriting

Visit risinggiants.co or dustinlanecreative.com

Image: baltimoresun.com

Nobody buys loglines anymore

In Hollywood jargon, a logline is a one or two sentence summary of a film or television program. In other words, it’s the elevator pitch of an idea.
For example, you might recognise the movies represented by these loglines:

After a series of grisly shark attacks, a sheriff struggles to protect his small beach community against the bloodthirsty monster, in spite of the greedy chamber of commerce.

When a Roman general is betrayed and his family murdered by an insane and corrupt prince, he comes to Rome as a gladiator to seek revenge.

A psychologist struggles to cure a troubled boy who is haunted by a bizarre affliction – he sees dead people.

Screenwriters put a lot of time and effort into crafting their loglines, because they know it either opens the door to a Hollywood studio or it doesn’t. But the thing is, that’s all the logline does – opens the door. The writer still has to back it up with a synopsis and full script (which usually goes through several rounds of drafts).post it notes

Now, ideas are extremely important. Indeed, they are the origin of any action, but by themselves they’re almost worthless. It’s only when lots of hard work is applied in bringing them to life that they become truly valuable.

Many advertising creatives are indoctrinated into an ‘idea is everything’ way of thinking. But outside the agency creative department, it’s a very different story. Most high-value ideas only realise their worth once they’re up and running. The online clothing company across the hall from my office that recently sold for $70 million is a great example. Their idea wasn’t sold on ‘a logline’; it was sold as a functioning machine.

Nick Law of R/GA tells the story of how he presented to some investors in Silicon Valley. In ‘advertising-style’, Nick and his team had beautiful-looking concept boards and a strong idea. However, their audience soon dismissed them when they hadn’t actually built the product yet.

So while ideas are important, it’s worth remembering that they’re only part of the battle. Getting one up and running is where the money lies. That’s even reflected in how ad agencies predominantly make their money (i.e. head hours and studio time, rather than concept fees and licensed I.P.).

P.S. And if you didn’t recognise the movie logline examples, they’re Jaws, Gladiator  and The Sixth Sense.

DUSTIN LANE
Brand Strategy | Advertising Concepts | Copywriting

Visit risinggiants.co or dustinlanecreative.com

Image source: Josh Evnin, http://josh.ev9.org/weblog/archives/category/free-design-idea