“I don‘t know what I think until I read what I have written.”
I noticed this propensity for the complicated when I started teaching college composition and literature. My students, for reasons not clear to me, wrote paragraph-length sentences to express their ideas. Perhaps they wanted to impress me.
They seemed to fear short sentences. Their lengthy sentences most often ended up in the ditch, having arrived there for lack of control and clarity.
David Ogilvy reminded us, “Tell the truth, but make the truth fascinating.” Jeep, in its latest television spot promoting an upcoming electric version of the
I read with amusement a debate that creatives’ “intuition” and their “gut instinct” are more important than data in the creative process. This is a
An Old School idea that remains timeless: How to come up with an idea. It’s as relevant to creative brief writers as it is to any creative person.
Turn the creative brief into a letter from your customer to the brand. The results are startling.
Think about it: What do you mean when you say “The creative brief is a collaborative document”? What do you mean by “collaborate”? How
In my travels around the country for the Association of National Advertisers teaching creative brief writing, marketers share their headaches about the document and the process. Near the top of the list: “I have trouble getting what I want so I end up just telling my ad agency/in-house design department to give me what I want.”
If you want the best work possible from you creative partners, learn to speak their language. That language is on display in a well-written creative brief. Produce a creative brief even half as well done as the best creative briefs that agencies write, and I promise you’ll inspire your creative partners to respond in kind.
