Good BriefsGreater Clients

James Gilbey (with a little help from Leo Burnett and David Ogilvy even though they’re dead)

The Greatest Brief Ever Written...

'We want you to write a piece of music that encapsulates the entire human history of achievement as all the future ambitions of humanity.........Oh by the way it has to last three and a quarter seconds'

- Bill Gates brief to Brian Eno

The Brief

DOWrite informally. For some reason people think they have to sound like a lawyer to communicate what they want.

DOBe enthused and excited about the project. If you’re not, they won’t be.

“Our viewers expect us to lead and Discovery has more permission than most to be innovative, exciting and bold – to take chances creatively. We want a voice that is distinct and clear from our competitors. When people watch us, they know this can only be Discovery.”

DON’TWrite for your boss. Write it for your creative team. Inspire - it’s not just to inform

DOCut to the chase and be very clear.

My ideal brief:Background - How you got hereBrand Values and Target AudienceWhat You WantWhat You Don’t WantDeliverables, Timings, Guide Budget (V IMPORTANT)SummaryAppendix - All that other ratings data etc yawn etc

DOBe honest. If you’ve screwed up, don’t like something, think what has gone before is rubbish - then say so in the brief.

DON’TUse hollow pathetic words that give no direction.

“Exciting”“New”“Creative”

DOTell them how you want them to pitch and when. One of the best pitches I ever saw was on the back of a napkin.

DOEncourage them to be radical and un-conservative. It’s easier to pull them back than push them out. This is especially true with Discovery where people have a pre-conceived idea.

DON’TCut and paste. Make sure every single word in that brief furthers they’re understanding of what you want them to achieve.

DON’TAsk them to be Harry Potter. Agencies and producers can be great creatives but they can’t create miracles. Don’t ask for the impossible or too many things at once.

DOPhone them / see them after sending it out. Answer all their questions make it clear beyond reasonable doubt what it is you want.

BETTER - DO IT IN PERSON

The Client

'I have come to believe that great advertising has less and less to do with great creatives, but more to do with great clients.'

- Leo Burnett

DON’TChange the brief without damn good, and I mean damn good, reasons. This is possibly one of the worst things you can do. Make sure you know what you want before you brief them and then stick to it.

DOBe crystal clear in your comments and feedback.

Again, avoid hollow phrases such as:“It needs to be more creative” (HOW?)“It needs to be more engaging” (WHAT ISN’T?)

Break it down - what isn’t working for you and why?

DORemember that a “first cut” of anything is never entirely right. Work with them until it is.

DOLearn how to ‘read’ an offline if you’re working in on air. Primarily - the audio isn’t final and there won’t be graphics. Look at the pace and timings and the structure.

DOManage your internal politics and feedback with ONE VOICE. If John in marketing doesn’t like it and you do, you need to manage John before feeding back. Don’t confuse your agency.

'Check your parks and check your cities - you’ll never see a statue of a committee'

- David Ogilvy

DOLearn what your freelancers, staff and agencies are good at and less good at. Not everyone can do everything so hire the right person for the right job.

DOAt the end of the project - thank people properly (or give constructive feedback) and make sure they get paid on time. Don’t get a reputation for being a bad payer.

Thank YouJames Gilbey

Creative Director - EMEA