How do we make sure we do great creative?

Why is itimportant to sell creative work well?

We want toconsistently under promise and over deliver. The point when we are selling our creative work is the point when wedeliver. The client’s expectations will be set and we are there to ensure thatthe work we have done is explained fully. Most clients really enjoy the processof being sold creative work. It should be exciting and stimulating.

When we getto the point of presenting the creative work there will have been a significantinvestment behind it.

·        planning/ research

·        brainstorming

·        briefwriting

·        previousrelationship

·        salestime / account management time

·        creativetime

·        artworktime

Bypresenting the work professionally you are working as a team player – poorrepresentation of creative work undermines you, your colleagues in the designteam and the agency.

If creativework is sold in poorly we will create problems such as:

Clientdissatisfaction

If theclient doesn’t understand the work they will feel we have failed. Theold adage that you are only as good as your last piece of creative still holds.

Multipleamends

We shouldaim to get it right first time as multiple amends lead to an inferior endproduct, lost revenue and disappointment all round.

Mergingof ideas

If a clientdoesn’t buy one idea they may try to merge it with other ideas. This leads tofrustration all round and an inferior product.

Timewasted

So muchvaluable time can be wasted ‘wallying’ around trying to get creative rightafter the original presentation.

Familiaritybreeds contempt

When weknow a client really well we can lapse into not presenting the work thoroughlyand this can lead to problems.  We shouldmaintain our very high standards when presenting work.

Setting the scene / preparation

It isimportant to think about the process before going to sell creative.

You need toask yourself:

·        Isthe creative work the best it can be? (You need time to allow this question tobe asked and acted on if needed)

·        DoI really understand the brief and do I fully appreciate why the creative is asit is?

·        Whoam I presenting to – triangle, squiggle, circle, square – how could I set thescene – upbeat, serious, process, ROi.

·        HaveI prepared ie. do I have:

o  Examplesof competitor material

o  Examplesof their previous work

o  Anymood boards that helped us get to the solution

o  Examplesof media their work will appear in

o  Creativeexquisitively presented, mounted up, mocked up – in folders, with logos?

o  Exampleof the creative in context ie. mounted up in a magazine

o  Acopy of the brief

o  Thecreative checklist

o  Ahierarchy of messages

o  Artworkcarrier

·        Itis vital that you have set the client’s expectations prior to the meeting sothey are aware of what they are going to see ie. if they are expecting fullcolour mac visuals and we turn up with b/w scamps they will be disappointed andwe will be embarrassed.

·        Discusswith the client in advance what they will see (discuss this with Chris first):

o  Oneor many ideas

o  Scamps/ process or finished mac visuals

o  Photographythat is used as example or actual etc

·        Thinkabout the room you will be presenting in – make sure there will be enough spaceto spread the work out so the client can appreciate the work fully

·        Ensurethat the creative work is placed in the correct order. It is unprofessional tobe fumbling around under the desk or in an art book for the correct piece ofwork.

·        Makesure you can carry everything. It looks poor to stumble into a meeting roomwith huge bags and unwieldy boards – bring help if you need it.

·        Arrive15 minutes early in reception to gather your thoughts and get in the rightstate of mind.

Presenting the work

·        Handleour work with care. This may sound odd but how you physically handle the worksays a lot about how valuable you think the work is. Handle it with care it isvery valuable.

·        Packthe work up professionally. Each piece should be mounted up or mocked up andhave our logo on it. The work should be transported in a neat art bag.

·        Thinkabout how you are feeling – as how you feel will affect how you act.

o  Ifyou are feeling up beat and positive about the work your client will too

o  Ifyou believe in it and are excited about it your client will too

o  Ownit

·        Keepthe work covered until you present it

·        Workthrough the process

·        Thisprocess has been tried and tested over the years and it works

·        Theclient wants you to sell the work to them

·        Theyneed to understand it, believe it – want it

·        Youshould aim to make them feel – ‘wow’ that’s great!

·        Don’ttease people with the work, keep it hidden until you want to present it – thenpresent it – no peak-a-boo – it just annoys people

·        Statethe clear objective of the meeting

·        Tellthe client how long you need / ask them how long they have

·        Howdo we handle the situation when we have two different routes?

PresentingCreative Checklist

Client:

Jobdescription:

Job No:

1.         Refer to what the client had originallyand it’s negatives and positive

2.         Confirmation of proposition. Refer tothe briefing. Cover the key elements. Target audience / key proposition / offer/ hierarchy of message / brand essence

3.         Describe our process. Absorption,explosion and consolidation processes used. Show mood boards, competitormaterial and relevant research

4.         The main theme / concept (what it is,why it’s right for the product and target market)

5.         Extended creative rationale – how doesthe concept roll out

6.         The structure – AIDA

7.         Creative elements

            a)         Thebrand

            b)        Imagery/ style of imagery (photography or illustration and style)

            c)         Colourways(mono, 2 col, 4 col, specials etc)

                        Why does it appeal totarget market / relevance to product

d)  Typography(headline, fonts, style, size, weight, emphasis, position on layout, sub heads,body copy, call to action)

e)   Sequenceof messages (the logic of the reveal – the left to right, top to bottom eyeflow)

f)    Tricks/ techniques employed

8.         What criticism could we get – from theFD, from the Marketing Director to the Sales Director

9.         Desired result from piece of creativeand why we feel the solution will achieve it.

10.       Summary and reinforcement of key pointsagain

4.         Close

This is aselling process. You must close. Refer back to the brief and affirm thatwe have done our job ie.

• You asked us to do ‘x’
• We have done ‘x’ in this way and that way
• Do you agree
• Yes! Great – now the next stage is ….

It isimportant to get buy in at this stage and is a copy out to say … “we’ll leaveit with you to get back to us”

We need toask them to either confirm they are happy with it (and we can contact reportthis) or ask them to be clear with any constructive feedback.

Handling client feedback

If youbelieved in the work absolutely and fully understood it when you presented itthen handling feedback should be easy. Consider the client’s comments and askyourself:

a)           Arethey right? ie. could be there is a factual error or it may be something aboutthe market we don’t know?

b)          Willtheir feedback affect the response rate? ie. is the comment fundamentally goingto improve the work?

c)           Istheir comment going to be appreciated by the target audience?

Commentssuch as – “I don’t like the blue” must be nipped in the bud and countered ie.we have designed this for x target audience and we know that blue worked tothis target audience before. You are not the target audience and it isimportant to remain objective and focus on the customers / prospects. Perhapsrefer to the brief – where did it not say ‘please do not use blue’ and refer toa mood board and explain.

Feedbackmust go back to Chris and the account director.

Ask forevery objection to be stated in facts not feelings.

Try amatrix if it gets sticky.

How should you and your clients evaluate creative work?

·        Look successful

·        Dress sharp

·        Be friendly

·        Carry heavy

·        Circulate

·        Be versatile

·        Have balance

·        Learn

·        Be a good communicator

·        Set goals

·        Enjoy what you do

·        Be knowledgeable

·        Stay current with technology

·        Be great on the phone

·        Be observant

·        Listen

·        Be a master asker

·        Take notes

·        Know when to shut up

·        Have a sense of urgency

·        Have fun

·        Have empathy

·        Stay focused

·        Be resilient

·        Keep moving

·        Relax

·        Persevere

·        Take responsibility

·        Celebrate it all!

·        Serve

The Big Four

1. Review against the objective. Go back to the brief. Has it has been met? What are you trying to achieve? Strong enquiry or weak? Store visit? Attendance at an event? Sale or free trial? This determines length of copy, number of pieces and the approach.
2. Zero in on the big things - not the trivia. Never mind whether you like the grammar, punctuation, or photography. Decide whether the idea is right - then turn to how it was carried out. A big idea is absolutely relevant - but surprising.
3. Is it right for the product or service? Reject jokes about serious subjects, cheap treatments for expensive products. Beware of clever openings. They must be appropriate and neither confuse your prospect nor overpower your message.
4. Does your competitive advantage emerge fast? Don't examine the work. Scan it quickly, carelessly - as y
5. our prospect will. Does something catch your attention? Your benefit or combination of benefits must be better than alternatives - not necessarily to all - but to a significant proportion of your prospects.

What's your first impression?

1. Review each main element carefully. Envelope; headline/picture combination; order form or coupon; captions; opening of letter or ad; PS. Are they all working hard? Is there some news or benefit whenever the eye alights? Watch for human faces: they increase attention.
2. Is the message utterly clear? Check for good verbal and visual communication. Do words and pictures demonstrate the benefit? Do they clarify the message? Some visuals conflict, mislead or add nothing. If there's a good idea and offer these details make an enormous difference.
3. Is the main offer the best you can make - and seen quickly? Is it strong enough to overcome disinterest and the fear of commitment? If you were the prospect, would you want to (a) read (b) act?
4. Check for all the essential elements of persuasion. AIDCA should all be there. Pretty quickly you must get into a series of statements the reader can easily agree with.

Gaining and keeping attention

1. If you can say it's new, do so. After benefit/offer, news is the most potent appeal. If it's new, or new to them, or even new from you, say so.
2. Is it precise - or vague? Is the promise or claim quantified? Exactly how much do they get or save, and how quickly? In numbers and cash - preferably not percentages.
3. Does the heading or envelope tell them: “there's more to come”? Don't use all your ammunition before the battle. Make them read on.
4. Why are you writing? Why should they be interested? Have you something new, different or better for them? If they've bought from you, or you've written to them before, or it's a year since the first purchase, or they're an important customer, say so. This increases response.
5. Does it “track” logically - or stray? Copy openings must deliver the promise in the heading or on the envelope. Then everything must follow, step by step. Is one strong idea carried through? Extraneous thoughts - even good ones - will confuse.

Building a persuasive argument

1. Are you talking to the reader - or yourself? Beware of boasts unless you can prove them. They don't care how wonderful you think you are. Is it really that good? Words like ‘exciting’ are a warning sign. Don't use ‘we’ instead of ‘I’. The best writing is me to you.
2. Is it trying to satisfy everybody? Don't waste money and persuasion on those unlikely to respond. Go hell for leather for the best prospects. You can't be all things to all men.
3. Beware jargon and showy or pompous language. Anything written to please you is unlikely to please your reader. Jargon only works with special groups that appreciate it. Good copy is usually conversational, just as you would explain something to a friend.
4. Is it convincing? And complete? Is every sensible reason for responding given - and every reason for not doing so demolished? Is there proof? Testimonials? Media comment? Technical data, if it is that kind of product. A sample, if appropriate.
5. Does it give a “test drive”? The best messages make you feel almost as if you're there, experiencing what is on offer. They convey an emotional sensation which is far more persuasive than logic.

Going for action

1. Benefit and offer reminder. Unless it is very brief copy, before you ask for action remind people what they get, how little is being asked - and how easy it is. It often pays to restate the offer in the PS.
2. Is it really fighting for a reply? Say what they lose if they don't reply quickly - and gain if they do. Do the work for them. Big, easy-to-fill-in response device must restate the deal. No needless forms or writing, especially the signature. Stickers, ticks, YES/NO better. Emphasise easy payment, telephone ordering, etc.
3. The big question. You are not the prospect. Set aside your prejudices. Put yourself in their shoes. If you were that person would you reply? Show it to someone who knows nothing about the job - who might be such a prospect. Do they understand everything clearly? Do they think it's worth it?

What encourages better work?

Planning your creative treatment

Hereis a list of points to refer to as you work towards a good creative treatment.

1Your safest opening (though not necessarily your best) is your prime benefitand offer
On the envelope of a mailing. At the beginning of your letter. At the start ofyour brochure. At the commencement of your commercial. On the phone, too, onceyou have told the prospect who you are and what you are talking about, thebenefit and offer are normally the first things you talk about. (Assuming yourprospect has agreed to listen to you.)

2Tricky, clever openings rarely work
Remember, the average ad is seen for perhaps two seconds, and each piece in amailing package may be picked up and scanned briefly before the prospectdecides to read or not. An instantinstantlycomprehensible, is most likely to work.statement,

Thus,one of the most effective headlines ever written in the insurance business is:'Cash if you die. Cash if you don't'. Nothing clever about that, but itcertainly got to the point.

Butdon't forget that teasers - as long as they are relevant - often work well onenvelopes. As do broken messages, like the first half of a recipe, to which youcan only find the conclusion by opening the envelope.

3Seek a dramatic central idea; preferably one that works in words and pictures
'Unless your campaign contains a big idea, it will pass like a ship in thenight,' said David Ogilvy. I have already quoted one such idea in the pointabove. Another was produced for a Xerox mailing which incorporated a stopwatchto dramatise the speed with which the product would be delivered

Ifyou can have an idea which is both visual and written, perfect! And if thatword-picture combination demonstrates - as the stopwatch did - evenbetter (see point 5). Finding a strong idea is vital. That's why you shouldn'tjust settle for the first one you come across. If you only examine one idea,it's a little like buying one lottery ticket, when for very little more youcould get ten - and multiply your chances. Seek plenty of alternatives. Workhard!

4Is it the right length?
When asked how long copy should be, one of my former Indian colleagues said:'How much string do you need to wrap a parcel?'

Thelength should fit the objective. A complete sale takes more persuasion than anenquiry. An enquiry about something important, where big money could beinvolved or a difficult decision has to be made, calls for more copy than wherethe matter is trivial. Obviously it's easier to sell something cheap than tosell something expensive, just as it's easier to sell a new product with no competitionthan an old product with lots of competition. However, a new product mayrequire a lot of explanation if it is unfamiliar, whilst a well known productwill require little.

Onething to remember is the impact of the brand name. If it is famous, you willrequire less persuasive copy than if it is unheard of.

Becauseone maxim is that long copy always outpulls short, bad writers often write fartoo much. All you have to do is give every sensible reason why yourprospects would want to act and overcome every reasonable objection toacting. Never use a single word more than required. In particular watch out forunnecessary adjectives - commonly words like 'exciting', 'fantastic', and thelike.

5Can you give a test drive?
When preparing your work, remember what I said earlier: what would a salesmando? A salesman would try to demonstrate the product. Good communications do thesame thing, either in words or in pictures or both. Sometimes a direct mailpack can literally demonstrate the product. Nothing convinces more thanan involving demonstration.

6If your name is well known, feature it strongly
As I have pointed out to you, this could double your response. But make sure itis well known. Most people can only remember about three brands in a product category,until they are prompted. Even then they can usually only remember about seven.For this reason, if your company is not well known, you will often find it paysto lead your letters with your benefit and offer (your 'headline') and put yourletterhead at the base of the page.

7In mailings, give great thought to the envelope
Remember the shape, the texture, the colour can all influence response. Whenwondering whether you should have a message on the envelope, remember that normallythe answer is 'yes'. The editor of 'Who's Mailing What' in the US analysed the100 most successful mailings in that country. Over 70 per cent had envelopemessages. And don't forget that texture, colour, shape and brand names can allbe envelope 'messages'.

Remember,the offer, or a hint of it, should usually go on the envelope, together with anindication that people must reply quickly.

Don'tforget that envelopes have fronts and backs and insides. If there's a windowenvelope, there's a space behind that. That should be used also.

Somemailers use the entire inside of the envelope to put testimonials on. I havealso seen it used as an additional order form.

8The letter is the key element in direct mail, the most personal part of thecommunication
The letter comments, amplifies, makes more human, 'sells' the facts in theother material.

Peopleexpect to receive a letter. They like getting letters. If you can't afford acostly mailing, then leave out the brochure not the letter. (On one occasion anAmerican insurance company left a beautiful horoscope brochure out of abirthday mailing to customers by accident. Sales jumped 25 per cent.)

Youcan get the best of both worlds by illustrating your letter - but make sureit's still in the letter 'convention' by using a typewritten script.

9How many pieces should there be in a mailing?
The principle here is similar to that governing length of copy. The more youhave to say or can say, then very often the more pieces you can usefully putin. The common analogy is that the letter is the salesman, whilst the brochureis like the store. This is not exactly true, but the brochure is probably goingto put over the same arguments as the letter with illustrations and in aslightly different tone - it's just less personal.

Itmay be that you find the need for other pieces. Suppose you have a lot oftestimonials or press comments: these could go on a further piece of material.Suppose you have decided to have a sweepstake; that may be featured in afurther piece. I have already mentioned the lift letter which reminds peoplethat the offer is so good they shouldn't turn it down.

Theseletters used to cause some amusement when first introduced. They always said onthe outside: 'Only open this if you are thinking of saying no to this offer.'Inside the copy would begin: 'Frankly, I am amazed ...' whereupon the writerwould express his astonishment that anyone should turn down such a greatopportunity.

Ifyou want to see how an elaborate mailing should be put together, look at onesent out by Reader's Digest or by Time-Life.

Overlysophisticated marketing people are cynical about such mailings. But from insideexperience I know that every element has been tested and retested year afteryear.

Theyare probably not selling the same sort of product as you, but if you examinethem carefully you will pick up a great deal about what to do and what not todo. One thing you should note particularly when looking at Reader's Digestmaterial is how careful they are to tell - very often at the beginningof a letter - how easy it is to respond and exactly how to do so.

Youwill also notice that they lay overwhelming emphasis on the offer.Having done their best to create a good product, and having a fine reputation,they know as long as they illustrate and describe the product appealingly, thecritical factor is the offer.

Glossary of Appropriate Language /Professional Terms

Weare professionals and should use the professional terms for work whenpresenting to clients.  Know how todescribe print process, typography, photography, special effects etc

Printingmethods

Litho(sheet fed)      Most common printingprocess for short/medium printing runs

Litho(web)    Suitable for very long runs

Gravure          As above, often used for magazines /catalogues

Screenprinting                    Binders /carrier bags / t-shirts / packaging

Letterpress   Printed from relief blocks

Flexography  Similar to letterpress / extensively used forpackaging

Halftones

Fullcolour     (CMYK)

Monochrome           (SINGLE COLOUR)

Dustone         (BLACK AND ONE COLOUR)

Hexechrome (CMYK and TWO additional colours)

                        Used when absolutecolour fidelity is required ie. textiles / fabrics

Printfinishing

Varnishing     (printed coating)

Laminating    (gloss and matt) plastic film coating

Blindembossing

Diecutting

Foilblocking (gold / silver / metallics)

Bindingmethods

Saddlestitch (stapled)

Perfectbinding        (glued sections)

Spiral  (wire / plastic)

Commonfolds

Gatefold

Rollfold

Zfold

Typography

Typestyles

Weights

Setting