EVERYONE'S A CRITIC ... OR WRITER ... OR DESIGNER ...

Thank you, film critic A.O. Scott of The New York Times, for your elegant introduction to the art of criticism.

So, as is our habit, we’ll riff on your title, and apply it to our everyday business activities.

Straight out:  Regardless of our position as communicators, brand gurus, designers, marketers, and the like, and regardless of our industry tenure, criticism does rankle when coming from clients (who are not necessarily writers or …).  Scott does point out that judging work is an indispensable activity, and often a democratic and conversational one.  Yet sometimes the criticism is delivered a bit too sharply and gets under our creative skins.

On the other hand, our clients pay for our best work – and criticism, pundits say, must be calculated into the compensation.  Much like the system of performance management in companies, we’re suggesting that when drafts and storyboards are reviewed, the reviewers remember that criticism is based on a social relationship.  Herewith our ‘asks’ for our critics.  Ideally, your rendered judgments need to be:

• Timely
• Brief and succinct
• Relevant and to the point
• Clear, specific, and precise
• Well researched
• Sincere and positively intended and
• Articulate, persuasive, and actionable.

Which means, from our point of view, that you assess work fairly and accurately, with no blame.  For sure, we can fix anything – and will.  It makes it a lot easier when the judge is constructive:  no finger pointing, no negativism, and no personal attacks.  Tell us exactly what your vision is.  We’re happy to march to that aspiration.

OF SAGACITY -- AND LEADERSHIP WORDS

Bookstores overflow with ‘how to be a leader’ tomes, often with conflicting advice.

Never a month passes when the likes of Harvard Business Review or Fortune magazine doesn’t opine on the best ways to manage a merger or what to do during the first 90 days as an executive.

And then the consultancies go forward to conquer … (how could we forget?).

Yet there’s one recently published, probably overlooked modest collection of memos, penned by one of the original Mad Men, that we heartily promote browsing.  And remembering.

It’s Keith Reinhard’s Any Wednesday, one pagers written almost weekly to his colleagues at DDB Worldwide (now part of Omnicom Group) for some 23 years, covering not just advertising topics, but also musings around careers, communications, and the truth. 

Like this:  “Our management priorities should be … people, product, profit … in that order.”

Or acquiring new skills:  “… because the marketplace of the future will be one where advertising alone is not the answer to every client’s problem.”

And delivered with humor:  “The greatest human drive is not food, water or shelter.  It’s the obsession to edit another person’s copy.”

It’s not often (okay, almost never) that we recommend a read.  But it’s one that will net you a true ROI, in Reinhard’s words:  Relevance.  Originality.  And Impact.

PITCHING (and we ain't talking baseball)

What does it take to win new business these days?

As outsiders (sorta) to the process now – though we participated in the thick of agency and consulting presentations for years – we wonder:  Has it gotten any better?  Any smarter?  Any more rewarding?

Talk to a new biz person about what it takes today and they’ll say:  Relationships.  Knowing the industry – and the client.  Smart differentiation.

Hmmm:  That’s the same old, same old.  With social media and big data and ROI top of mind, are the pitches any different?

We asked a few clients, since we’re impartial observers.  It’s “no difference” in no uncertain terms. 

“It’s all about them, not us.”

“The descriptions are interminable.”

“It’s words, words, words and no dreams.”

There’s more, but we’ll stop.  What’s missing, IOHO, is an emphasis on talent – and fit.  How will the agency or consultancy pick the right talent to fuel the business?  [Note we didn’t say ‘staff’ or make any promises.  We’ve all been in the room when profiles are submitted – and those individuals have one foot outta the agency.]  What’s the management philosophy for working together:  building teams, ensuring straight talk and appropriate accountabilities, driving results as a concerted whole?  Is there a process for ironing out issues and conflicts and challenges?

One rather savvy pro suggested, a few weeks ago, that HR could add a lot to the chase.  We’d second that and say:  So can communications and design.

WHAT'S GOOD FOR THE GOOSE ...

It’s always puzzled us why there’s so little fertilization among our communications disciplines.

Take the creative brief, for instance. 

A staple of advertising agencies, somehow the brief seems to have skipped corporate, public relations agency, and consulting worlds.  Outside vendors that take on, for instance, an annual report or the re-do of a Web site may, indeed, pull together some sort of framework that guides the project.  It’s considered a necessary (okay, even mandatory) road map, the architecture that not only keeps the messages aligned but the people as well.

When it comes to those internal professionals managing a major deliverable, we haven’t seen that kind of detail.   For sure, key messaging will almost definitely be established.  But the straightforward language and the thinking behind a brief isn’t always developed.  Such as:  Brutal honesty about what stakeholders believe and feel.  Visual and verbal statements that truly define the brand without ambiguity.  And identifying what’s important, what’s not and the metrics involved. 

Sure, there are templates to follow.  Lots of questions to be answered, from the whats (the project), and whys (reasons for being) to the whens, wheres, and hows. 

On the other hand, it’s not a deck or a massive tome.  In our heads, a creative brief needs to be true to its definition:  something that inspires (creative) and something that’s short (brief). 

What’s been your experience, dear readers?