Creative briefs.

The bane of my fucking life.

I hate them. HATE THEM!

But – and it’s a very important but – you have to do them because they not only provide the framework and inspiration for creative teams to start creating their magic, but they become a piece of historical reference on the brand that ensures people won’t post rationalise the execution and miss out all the little bits that made all the difference.

That said, the debate of what should and shouldn’t go in a brief still rages and I find that sad because at the end of the day:

+ You should never be a slave to the briefing format, the briefing format should always be a slave to you.

+ Different people like different levels of information so a ‘one size fits all’ mentality, is totally and utterly ridiculous.

+ A short brief shouldn’t be an excuse for ignoring the real issues that need to be addressed & conveyed.

+ A long brief shouldn’t be an excuse for not being clear, concise and interesting.

+ Regardless of what you are being asked to do, a brief should always be interesting, informative & inspiring.

Because of this, we have a few different briefing ‘formats’ here.

Some are designed for more junior guys to ensure they’ve done all the critical thinking necessary … some are designed for clients to ensure they give us what they need, rather than what they want … but all cover 6 critical questions.

1. WHAT IS THE GOAL

What is the end objective? I don’t mean the execution but the business result.

In short, if they say, “We want some TVC’s”, ask why and don’t stop till you get some real reasons with some real quantifiable goals.

2. WHAT IS THE BARRIER

What are the key issue/s that are stopping this from happening right now.

It might be people’s attitude and behaviour … it might be a competitors product or distribution.

Maybe it’s an issue with our brand or communication or even a product quality or lack of innovation story.

Whatever it is, find the fundamental issue and write it down.

3. WHO DO WE NEED TO TALK TO, TO CHANGE THIS?

Who do we need to engage in conversation? Who do we need to inspire, inform, push?

Don’t just write a bunch of stats or bland statements, explain how they think, live, worry, behave.

Let people feel the person not just read a bunch of cold, clinical bullet points.

4. WHY WILL THEY CARE

This is where blunt honesty is needed.

You can’t write this from the perspective of what the brand wants them to think, it has to come from the audiences mindset. If you’ve done your homework for the previous question, you’ll know the answer to this … and if you’ve done your homework well, you’ll know the answer is not going to be some marketing hype/bollocks, but something that satisfies a real need in their life – be it emotional, physical or mental.

5. SO WHAT’S OUR STRATEGY?

Detail the macro approach you are taking to achieve this brief. It should be short, precise and full of creative mischief.

ie: Deposition the key competitors as ‘old success’ by making XXX the badge for ‘new, entrepreneurial achievers’ … or something.

6. WHAT’S THE KEY POINT OF VIEW

Based on the goal, the barrier, the audience and the strategy – what is the brands point of view on the issue they need to address.

It should be something that is obviously based on truth but also full of tension and pragmatism.

ie: “You can’t change tomorrow if you don’t act today” … or some other z-grade sounding Yoda impression.

Don’t rush it. Take your time to really craft it because apart from needing to be relevant to the task in hand, it also serves as the creative ‘jump off point’ and if you’re going to help your colleagues do something that is powerful and interesting with it, you’ve got to ensure they really feel the tension and energy of what they can play with or play off.

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You might ask why things like ‘tone of voice’ are not mentioned.

Well sometimes they are … sometimes they’re not … it depends on a number of factors, however at W+K, we place great importance on ‘brand voice’ so a few abstract words like ‘fun, upbeat & lively’ are not really going to cut it.

I should point out that how you brief your colleagues is another incredibly important part of the creative process.

If you give them a piece of paper and tell them to “read this”, you’re almost doomed before it’s even had a chance to begin.

While the brief should be inspiring on it’s own merits, it’s always good to think of ways to let your colleagues really understand what you are trying to get across.

That might mean you present it in a different location or environment to the office … that might mean you put them in situations where they can really feel what you’re trying to convey … that might mean you get interesting – yet relevant – people in to chat to them before you go through your hard work, but whatever you do, it’s always worth putting in that extra little bit of effort because it will genuinely pay dividends to the work that comes out the other side and that is ultimately what you’re going to be judged on.

At the end of the day it’s worth remembering there is no such thing as a perfect creative brief because ultimately, it’s about what you put on it – or how you present it – rather than what it looks like … however what I can say is that from my experience, as long as you have a culturally provocative point of view running all the way through it [obviously based on truth rather than 'marketing truth'] then you stand a much greater chance of creating something that affects culture rather than just adds to the blunt, advertising noise.

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By Robert Campbell, W+K's Asia Regional Head of Planning. Reposted with permission. Read his blog "The Musings of an Opinionated Sod"

Among the thousands who made the mecca to SXSW this year, so too did the grad students from Boulder Digital Works. Here's how they felt when they returned.

SXSW has turned into a marketing shit show — full of distractions and gimmicks to get you to use, try, or buy a product enough so they can claim to be the “breakout success” of SX. Well, I didn’t see any of those this time around. To me the emerging phenomenon is a cultural one — our steady shift into the Sharing Economy, a place where access trumps ownership.

I had the fortune of a front row seat in a panel titled “The AirBnB of Everything: The Growth of P2P Markets,” which went quickly from introductions to a full break down of how to build a P2P marketplace. That’s because the always-energetic ‘Start Up’ crowd had packed the room and we were eager to get a hold of any and all insight into what makes P2P markets click. This market is poised for success because it empowers the consumer, merges seamlessly with your online social presence, and helps build community. It’s not changing what you consume, it’s changing how you consume, and that’s pretty powerful.

-Erik Dreyer, @erikatlarge

What I took away from my sophomore SXSW:
1. Three free pairs of sunglasses
2. Respect for two rooted brands stealing spotlights (i.e. American Express + Nike)
3. Pleasant reminders that industry idols are occasionally humble humans
4. Newfound fondness for David Carr
5. General panel disenchantment
6. Tempered FOMO

What it demanded in return:
1. My non-free sunglasses
2. My American Express

-Steve Dolan, @stvdln

Every choir enjoys a good preaching to, and for this digital advocate, Robbie Whiting’s session ‘We Made This, and It’s Not an Ad’ was a forceful affirmation of the need for a smarter, geekier approach to advertising.

Whiting’s presentation showcased exciting examples of what occurs at the crossroads of advertising and product development – when ad agencies become production houses. Perhaps most enlightening, however, was not the work from some of the most progressive agencies around, but rather, the enthusiastic responses and interesting questions from audience members not previously in the “choir.”

-James Quon, @jumboinc

SXSW was an incredible experience: the panels and speakers were interesting and inspiring, the mixers and parties were jovial and exciting, and the food was delicious and addicting.

The city of Austin, TX was awesome, especially once the weather cleared up, and those Texans showed me great hospitality, kindness, and warmth. THANK YOU!

-Kit Hennessey, @kithennessey

In Austin, I was spit out of an airplane expecting the unexpected. As I tumbled down the rabbit hole, soaking wet at the beginning (it rained a lot), I was bombarded with introductions to the "new" trends, all suffixed with "ify" and "ly."

If I wasn't witnessing Kobiachi break the world record in eating grilled cheese, I was stumbling into conversations with some of my favorite people in the industry, or admiring the homeless who were swimming in the flood of free food and clothes. My SXSW takeaway was learning more about the numerous players in the tech game, despite their poor presentation skills.

-Benton Rochester, @im_Benton

There have been few times in my life where I have been surrounded with consistently excellent content provided by equally excellent speakers. However, there have been even fewer times in my life that I have been defeated by bars. SXSW provided me with those opportunities not just a few times, but everyday, and unfortunately for my liver, every night.

At SXSW Interactive there were too many open discussions, too many open bars, and too many networking opportunities. But hey, those are my favorite kind of problems.

Regarding next year’s SXSW, I must quote a greater man and simply say, "I'll be back."

-Kevin Zengel, @kevinzengel

With everyone vying for attention, your idea has to be truly unique, original and practical for it to stand a chance. No matter who you are or how loud you speak, only the great ideas stand a chance once SXSW is over.

-Dan Nelson, @danimalnelson

As a first timer this year at SXSW I am 110% positive I’ll be back next year. Never before have I been to a place where so many people were eager and open to talking about who they are and what kind of work they’re doing. I didn’t attend a single panel, but instead, traveled around the city going to coffee shops, lunches, and parties interacting and making connections.

Some of the individuals I had the opportunity of meeting work at Modus Operandi, B-Reel, TAXI, Bitorrent, Short List, W+K, and AKQA. Having the advantage of personally knowing the people you’re sending your resume to when your looking for a career can go a long way.

-Matt O'Donnell, @odog

I arrived in Austin, Texas not knowing what to expect. Having spoken to many SXSW veterans I was prepared for a week of mingling, drinking, and panels, and that's exactly what I got. Overall, the experience was like non-other. I met with people in all strata of the digital world and ate and drank like a king.

I would describe the event as a congruence of people interested in many of the same things, looking to the future of media, and out to have a good time. 2012 will definitely not be my last visit to SXSW.

-Lee Riley, @leerileydesigns

As a result of my love for all things involving both digital and physical realms, I absolutely loved the Frog kickoff party. They were using Arduino and Flash to connect two Lightcycles to screens for each player and a larger screen for the audience to view. While that was my favorite event, they also had life-size robot boxing powered by Xbox Kinect.

Being an avid gamer and never having the opportunity to enjoy any sort of conference or convention, ScreenBurn was a lot of fun for me. I was able to check out around 10 video games - give or take - that have not yet been released. I was also able to demo a $7,000 PC gaming setup with 3 monitors covering my entire peripheral. I even picked up some killer art.

-Micheal Ladt, @MichaelLadt

The sound bite from my six-day stay came as I nestled into my seat in the middle row on my flight home. I glanced out the window, then to the woman’s computer perched on the tray table beside me. On the screen was a quote: Stop trying to create the next Twitter and start becoming the first you.

As a SXSW first-timer, I was wowed by the incredible amount of brainpower camping out around Austin. New apps like Highlight, Vibop 2.0, and Maaii mean smart peeps somewhere are putting their heads together to build useful platforms.

The icing on the cake, though, was the Jane McGonigals, whose creation SuperBetter uses science and gamification to help folks heal from a variety of psychological and physiological ailments. Or, the Al Gores and Sean Parkers, encouraging crowds to employ technology to “OccupyDemocracy.” Or, the Amber Cases, working to ensure technology becomes invisible and serves humanity (and not the other way around).

Ultimately, smart people don’t just make apps. They make a difference.

-Dave Laskarzewski, @70percentcool

Baratunde Thurston, Director of Digital for The Onion, hilariously discussed the role of technology and satire in transforming the world around us. Programs like The Daily Show and The Colbert Report – though they appear playful on the surface – effectively use comedy to cut directly to the emotional core of very non-comedic issues. And it’s not just in the U.S. that people are using satire to address political and social issues. Thanks to the growing accessibility of technology around the globe, independent political satire programs in highly censored countries such as China, Nigeria and Venezuela have become increasingly popular online. In the end, Thurston said, “change is constant.” So, when government institutions and corporations fail to lead sensibly, it’s these “sacred clowns” that remain.

-Nathan Igdaloff, @igdaloff

Despite Pinterest taking the award for "Breakout Digital Trend," it kept a relatively low profile at this year's SXSWi. No Pinterest flash mob. No Pinterest shot girls. No free grilled cheese sandwiches with the Pinterest logo emblazoned upon the bread. The one widely publicized Pinterest event — an interview with co-founder and CEO Ben Silbermann — was actually a late edition to the jam-packed schedule of speakers and events.

Since our startup is chomping at the bit for Pinterest to release their much-awaited API, you can bet I was first in line. Not literally — I barely got a seat. Of all the talks I sat (sometimes slept) through, this one was by far the most attended. And I knew I was sitting amongst eager ears — entrepreneurs like myself waiting to capitalize on this new social phenomenon.

-Lindsey Jones, @lindseyejones

A perfect example of the random wonderfulness that is SXSW occurred on an overcast afternoon in the GroupMe tent across from the convention center. By downloading the GroupMe app in person or showing that you had it downloaded on your phone, one was allowed access to free grilled cheese and beer until supplies ran out. Fantastic.

The afternoon took a turn for the incredible when we were informed that Takeru Kobayashi, an international competitive eating champion, would be attempting a grilled cheese challenge no less than 5 feet from where we were standing. Moments later we stood cheering in disbelief as 13 grilled cheese sandwiches disappeared in 60 seconds and a new world record was set. Photos and videos from the event could not be shared fast enough via text, Twitter, Instagram, Facebook and whatever else we could think of.

Was the event inspirational? Possibly for some. Life-changing? No. Adrenaline-pumping? Surely. Memorable? Absolutely.

-Michael Lanning, @mrlanning

I wonder if I've missed the boat on SXSW. Don't get me wrong, it’s a blast, but the parasites of tech are starting to swarm. This alcohol-fueled party felt more like a swag fest than progressive endeavor.

The panels were interesting, but I couldn't help but feel I'd gain more by checking my Google Reader, so I could actually have a chance to reflect on perspectives rather than being immediately distracted by free gear.

-Davis Godbout, @dmgodbout

Originally published by The Denver Egotist

It’s 10 PM. You’re at home on the couch, staring at a brief that’s as inspiring as a sack of dirt clods. You sigh and stare down the white bull that is your blank Word doc. Grasping for a shard of illumination, you pull out Crispin’s retrospective tome, ‘Hoopla’. It reads like a compendium of new millennium advertising. Each page sparkles like a semi-precious gem.

A garter-clad chicken-man subserviently awaits your every whim (minus dick stuff). A dwarfish British motorcar challenges your preconceptions with iconoclastic urgency and hipster idealism. A mute king sidles up beside you with the gift of flame broil and vague threat.

This is the stuff, you think. This is the kind of irreverent, post-post-modern advertising that transcends the usual Carl’s Jr.-y dreck. Why regurgitate pop culture when you can create it?

Suddenly, you’re inspired. You’re in the zone. You’re conceiving new worlds: A Tourettic fan boat captain. A country-clutter cutter. A webisode called “Ginger Beard House.”

Next level stuff.

Just then the TV seizures and chirps with cheap synths and fluorescent flashing, snapping you out of your revelry. It’s a spot for Old Navy – a Crispin campaign you’re vaguely aware of, but now regard with laser pen precision. A Kim Kardashian clone vapidly sings about her “Super C-U-T-E” jeans while prancing from one choreographed scene to another, instantly darkening your mood.

Is there a wink to it? Is it meant to be ironic? No. It’s simply the worst of pop culture distilled down to 30 seconds of bubbly saccharine sludge. Ever a glutton for punishment, you turn to Youtube to dredge up some more Old Navy bile. Bad move.

This time a group of gal pals are at bowling alley singing “Only in My Jeans” to the tune of Debbie Gibson’s “Only In My Dreams.” Your eyes twitch.

In the next one, another group of girls sing “I’m Wearing a New Blouse” to the tune of Tiffany’s “I Think We’re Alone Now.” Your serotonin ebbs.

Next, Bootsy Collins churns out boots in a Funnovations factory, because – as the people of Crispin are fully aware – puns are the pinnacle of comedy.

And, finally, with the onset of “Don’t Jiggle It When You Wiggle It,” you close your laptop in soul-crushing defeat.

Contemptuous and a little dumber, you wonder what machinations are responsible for such an abomination? Surely, there must be an explanation. So you hit the bottle and devise a few theories.

Theory 1: Metal Machine Music

In 1975, Lou Reed released “Metal Machine Music,” arguably the most unlistenable album since the advent of the phonograph. Devoid of melody and rhythm, it’s comprised entirely of over-modulated guitar feedback – like an autistic Yngwie Malmsteen playing a chainsaw. The justification for the album remains a mystery, but you speculate that it was as a calculated backlash to the sycophantic reverence that was thrust upon the Velvet Underground during the 60s. Such rarified air can contaminate. Whether it’s delusions of grandeur or self-sabotaging hubris, Lou’s story was not unlike Crispin’s – that of a meteoric rise and tragic fall (an arc favored by films featuring blow and/or Marky Mark dong).

Theory 2: The Mentos Method

Mentos ads were an ugly anomaly. The weirdly foreign, hobo-cheap ads featured an absurd array of life-altering candy consumption that made us collectively shudder. But like depression-era circus pinheads, a freakish spectacle attracts a crowd. Consider Rick Astley’s ghastly resurgence, or those two girls and that cup, or Carrot Top’s physique (which, incidentally, can be attributed to his Napoleon Complex that was brought on by his roundly ridiculed androgynous-prop-comedy-ginger-clowning).

But you digress.

You have a hard time believing that Crispin has succumbed to the Chinese model of churning out cheap plastic crap, but the Schadenfreude side of you kind of hopes so.

Theory 3: Bogusky’s Exodus

With a creative vision not seen since Lee Clow (and bangs that could shame Kevin Sorbo), Alex Bogusky wasn’t just Crispin’s creative leader, he was the Adonis of Hawking Wares. The Swayze of karate-guy bouncers (and/or ghost pottery).

And, lo, like Icarus (another ego-drunk demigod), Alex flew too close to the sun. In a desperate effort to rediscover his life’s purpose, he abandoned his agency and retreated to a cabin in the woods, like a handsome Thoreau or a tenor Bon Iver.

Resigned to grumpy old men status, Sam Crispin and Chuck Porter fell victim to stereotype. Their fleeting attention spans were focused more on the Floridian shuffleboard/smorgasbord circuit than irreverent computer-y advertising. Sadly, their heir apparent, Andrew Keller, dropped the baton in favor of his crimper. And thus the soul of the Crispin machine was vanquished. Not even Ted McGinley could save this sinking ship.

Whatever the reason for the agency’s creative demise (or hiccup), one thing is clear: If ‘Hoopla’ is the Gospel According to Crispin, then the latest chapter is the ‘Book of Mormon’ – a preposterous sequel in which Jesus Bootsy appears in America to pander to ignorant savages tweens.

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Chris Elzinga is a freelance copywriter in San Francisco. He is also the founding father of Prudism and Gimpressionism.

Originally published at >a href="http://thesfegotist.com">The San Francisco Egotist

Giving students a jump-start to their career, college programs provide many aspiring creatives an opportunity to get some real-life experience through an ad agency internship. This is when young creatives learn fast that working in the biz is nothing like the textbook or bubble test said. It's actually much more interesting and fun. But knowing what it takes to make the leap from unpaid (or poorly paid) volunteer to a junior level employee who earns a paycheck starts by knowing what to soak up during that two-three month adventure.

Here are the seven things I think are most important for interns learn:

1. If You Don't Ask, No One Will Help You. 
Not the last thing a creative will do, but low on the list is checking on an intern. Many professional creatives are wrapped up in their own world of "make the logo bigger" crises. Don't be afraid to bug someone or ask them to get coffee, lunch or an after-work beer just to talk shop. They'll probably welcome the break. The result is that creative pro will label you as a driven individual. Should a higher-up ask about you, he/she will now have something positive to say. During your chat, put your ideas on the chopping block, ask "why" and milk his or her mind for all it's worth.

2. Go To Meetings That Have Nothing To Do With You.
Meetings ... boring, yes. Valuable for an intern, definitely. You'll pick up lingo and understand the DNA of the agency. You'll also discover why certain people are stressed and why so many agency workers drink moderate to heavily. There will be presentation documents, creative briefs, short brainstorms and client feedback. These are all things you'll never see in a classroom setting.

3. Your A+ Thesis Paper Has Nothing To Do With Creative Copywriting.
My first creative director told me: "Clients don't pay you to write or for me to design. They pay us for our minds." It's true. Think about it this way: everyone thinks they can write and/or design (until they actually have to). But thinking creatively on a highly strategic level is a skill few possess. It's what separates us from our clients and their brand team - we are their brand's thought leaders. It's not about writing a clever headline with a pretty photo, rather it's about writing a clever headline and designing an ad that meets six brand objectives while still clearly communicating to a human being. Forget writing essays and designing your cousin's band poster, the creative side of the biz is based on intelligently communicating with people in creative ways. Learn that or at least show a spark, and you'll be valuable.

4. Jump In On A Pitch.
Many ad students get to participate in the AAF competition through "Campaigns" class. They have four months to come up with a large creative presentation for a national client, where they'll compete against other college student teams. In the agency world, that same process happens in about 10-14 days (sometimes less) instead of 120 days. You're guaranteed to hear the word "RFP" (request for proposal) while interning. When you do, do what you can to get involved. Even if it's just gathering photos, proofing or binding. Pay attention to how the team brainstorms. Study how the copywriter writes up the ideas to be sold. How the art directors design comps to communicate the idea. Figure out why the creative director and account director wanted it in certain order. It may not be a flawless process and final product. But this is your chance to finally see how the sausage is made. "Just Do It" wasn't sold as just a clever line - the agency went through a pitch process, creating a strategic deck book that made the idea of that famous line shine.

5. Keep Building Your Book, Even If It's Not "Real" Work.
In some situations, it can be difficult as an intern to truly own a project. If you have that chance, save every PDF and file, and make it the showpiece of your book. Unfortunately for many, you'll dabble here and there, but may feel uncomfortable claiming a finished piece as your own. Don't let that stop you -- now that you understand a brand better than ever, go ahead and design your own campaign. Show what you can do with total creative control. Have a reason for everything you do and say in the campaign. In your upcoming interviews, creative directors are going to be looking to see that you can think and execute creatively and strategically. The ad doesn't have to be printed in Time Magazine. Good creative is good creative.

6. Be Digital Or Be Left Behind.
You know the vehicles: Facebook, Twitter, LinkedIn. Now get active and learn everything you can about them. Pay attention to what brands and marketers are doing with them. Connect with others in the industry through it. Know how to talk about social media in simple terms. Need practice? Try explaining Twitter to your grandparents or crazy uncle. While interning, ask if you can participate in speaking for the agency through their social media channels. Contribute to the agency blog. Be seen, be heard and know what you're talking about.

7. Be A Writer Or Designer. Never Both.
If you say you can do it all, no one will believe you. If you really can excel at both writing and designing, more power to you. But for most, it's crucial to pick one path and become as great as you can be at it. Creative directors and agency heads want to know that you're "our writer guy" or "our design gal." Don't get me wrong, having cross-over skills is great -- just don't sell yourself as such. At least until you reach the level of Creative Director.

With the ultimate goal is landing that first job shortly after the internship, remember the process is all about luck, timing, skills, your book, drive, resiliency and intangibles... plus a bunch of other things.

Good luck and let me know what you think. Like the Dude says, everything in this post is just, like my opinion, man.

This editorial originally appeared in the St. Louis Egotist

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Eammon is a copywriter who's worked over eleven years in the ad agency business. He's won a few ADDYs, judged a few shows and worked on a variety of national clients. Find out all about him on his LinkedIn profile and feel free to follow him on Twitter.

Linkedin link:
http://www.linkedin.com/in/eammonazizi

Twitter link:
www.twitter.com/eammon