Here’s a purpose-based initiative. Where’s my award?

When I was younger there were occasional discussions about what kind of ads would win awards. You had the obvious elements of being original, simple, well-crafted, memorable and all that jazz, but as award schemes started to become more international, there seemed to be a bias towards the kind of things that would win at Cannes (ie, when judged by an international jury of people who may not speak immaculate English).

This led to a few years where people in the UK discussed the ‘Proster’ (sic) – a press ad that was simple enough to be a poster. If your ad had a single image, no words and a logo that often sat in the bottom right-hand corner, then it was more likely to be understood by people from across the globe.

I thought this was a bit of a shame (see my Press juror’s comment in the 2005 D&AD Annual, nerds), but it was just a continuation of a question as old as time: how do you make an ad that will win you a prize? (By ‘time’ I mean since the late 1990s, when ads really started to be made deliberately for awards, and scam began to take off.)

The stories of scam, homogenisation of global work, international jurors who need to have nuance explained to them (which of course course includes English-language natives, who will have no idea how to appreciate a reference to a Malaysian stand-up comedian or a Turkmenistani pun), proliferation of categories and a general lowering of standards over the fifteen years have been told many times, so I won’t repeat them here.

Instead, I’m going to point out a relatively new development that has well and truly conquered the awards scene. 

If you want to win the highest advertising prizes you must, must, must create a piece of work that either contains, or simply is, a purpose-based initiative.

I direct you to the list of this year’s Cannes Grand Prix winners. Out of 27 winners in over 30 Grands Prix, I counted 4 (maybe 3 1/2) actual ads that just sold something produced by a corporation.

The others were either initiatives created by a corporation, or ‘for good’/charity communications/ideas. So that’s about 15% that were not purpose-based.

The lesson: next year, you’d better do something nice, because it ain’t Santa who’s making a list; it’s the world’s ad juries.

Here’s a rundown of the Grand Prix winners and the extent to which they tried to save the world:

The Brand Experience and Activation, Radio and Audio, and Influencer Grands Prix were won by Vice World News for their Unfiltered History Tour. It brilliantly highlights the fact that the British Museum should really give back all the stuff it has stolen from other countries. I’ve watched it a few times, but had no idea it had anything to do with Vice World News (11,813 views so far, by the way). Amazing initiative. Surely not a great ad. 

The Creative Strategy and PR Grands Prix were won by The Breakaway: the first ecycling team for prisoners. Ummm… so they put Pelotons in a jail? Not really – that would be too expensive, but that sums it up. I guess it must have had some great PR to have won the Grand Prix, but with 6,666 Youtube views, no one seems to have been directed to this film. I’ve now watched it twice, but have no idea who Decathlon (the client) is. I could Google a bit harder, but I think that misses the point somewhat. Another so-so ‘ad’. 

The Glass and Creative Data Grands Prix were won by Data Tienda from WeCapital. This initiative allowed Mexican women to build up a credit score based on the hitherto-irrelevant credit they had used in small, local shops. They could then get loans to build businesses. Great! 10,000 women and 50,000 shops got involved, so it seemed to be pretty substantial. On the ‘is it an ad?’ Question, I think the case study highlights an interesting point: if you take too much credit (pardon the pun) for these efforts you look like a shitty company making hay off the back of people’s misery. But you have to let people know who was behind it, or you won’t have any kind of an ad. I assume all the suggested newspaper headlines at the end went on to mention We Capital, so maybe it was a decent corporate communication to go with the great initiative. 

The Industry Craft and Media Grands Prix went to Hope Reef for Sheba cat food. As the Youtube description says, ‘The world’s coral reefs are at breaking point. But, there’s hope. We’ve launched the world’s largest coral reef restoration program, to preserve and restore the beauty in our oceans.’ 8.2m views are not to be sniffed at, but my question is, what does this have to do with cat food? There was a point when it mentioned that ‘more coral means more fish’, and I thought, ‘Yeah, for your cat food’. But it didn’t suggest that was the case, so I’m left wondering why a company that offers Tender Whitefish and Tuna flavours is trying to save fish. Why not just stop selling it as cat food? Is it a good ad? I honestly have no idea.

The first film Grand Prix went to Channel 4’s latest remarkable Paralympics ad. I’m going to make this down as a slight initiative, as the Paralympics have a sort of purpose-based vibe. I know it’s advertising Channel 4’s actual programming, but you know what I mean.  

The second film Grand Prix was a bloody ad! Yes it was! With no initiative stuff at all! How did it slip past the jury? Crazy stuff, full of moments that actually demonstrate the products’ benefits (check the credits at the end), and with 34m views! Well done, Apple!

The Titanium GP went to Long Live The Prince, for the Kiyan Prince Foundation/EA Sports/QPR/Match Attax. This reimagining of Kiyan’s life had he not been killed with a knife at 15 is an ad for the Kiyan Prince Foundation, so it’s not an initiative for something else, but it is a ‘for good’ communication. 

The Creative B2B Grand Prix went to Speaking in Color for Sherwin-Williams Coil Coatings, which allows you to use your voice to describe something, which they then interpret with AI to create a colour or palette for your paint. It does say, ‘Defined by human experience, it redefines how people connect with colour’. So I don’t think that’s an initiative, although I think they’re trying to make it sound like one. 

The Creative Business Transformation Grand Prix went to Piñatex, Dole/Ananas Anam, an initiative (Phew! We’re back to those) to create a sustainable leather substitute made from the cellulose fibres extracted from pineapple leaves. Seems like a good thing. Is it much of an ad for Dole? I don’t know, but it’s going to have to do more than this to compensate for its terrible crimes against humanity (financing death squads in Colombia etc.). 

Next, another actual ad with no initiative! The Creative Ecommerce Grand Prix was won by Wingstop/Thighstop, a chicken wing shop that pivoted to selling thighs when wings ran out. Nothing else to say. 

The Creative Effectiveness Grand Prix was won by an initiative to help farmers grow organic crops. The Contract for Change was actually tied very tightly to Michelob Ultra, as they guaranteed to buy the organic barley that was a more risky choice for farmers to grow:

The Design Grand Prix was fully ‘initiatived’. Penguin Books’ ‘The Portuguese (Re)Constitution’ uses the ‘blackout poetry’ technique: several poets and illustrators passed the blue pencil over this constitution until some words were highlighted, celebrating the freedom of expression. Yeah… it’s all a bit complicated, but bottom line: it was the design of a purpose-based book.

The Digital Craft Grand Prix went to Backup Ukraine, from Polycam x Unesco. It’s an app created for Unesco which allows people to digitally scan architecture and monuments in Ukraine that are under threat of being destroyed in the war. Obviously purpose-based (and obviously a great cause).

The Direct Grand Prix was won by Coinbase for its lo-fi Superbowl ad. No purpose-based initiative there! 

The Entertainment Grand Prix was won by Eat A Swede, Ikea, which was – yes, you’ve guessed it – an initiative! Creative Review describes it as a ‘mockumentary for Ikea that appears to show Swedes eating lab grown human meat, in order to raise awareness of the impact climate change will have on the global food supply’, so who am I to argue?

Even the Entertainment Lion for Music was ‘for good’. This Is Not America ft. Ibeyi is all about protesting police brutality:

Entertainment Lions for Sport’s Grand Prix was an initiative to create a training system for those who are menstruating:

And the Film Craft Grand Prix was for a German supermarket called Penny. But was it about selling peas or Coke? Of course not! It was a purpose-based thingie with plinky music about dealing with the pandemic:

Of course the Grand Prix for Good was a ‘for good’ thing:

As was the Grand Prix for Good – Health:

As was the Sustainable Development Goals Grand Prix: 

Health and Wellness’s Grand Prix was a ‘for good’ initiative where a company made a mosquito repellant whose packaging killed mosquitos when chucked in a dumpster:

The Innovation Lions Grand Prix was an initiative to create a home that’s more resilient to extreme weather:

Mobile Lions’ Grand Prix was for Real Tone by Google, an initiative which captured darker skin more accurately on its Pixel phone’s camera.

The Outdoor Grand Prix went to Adidas’s Liquid Billboard, which created a swimming pool for women in Dubai, who could now wear Adidas’s more inclusive swimsuit range. Yes, It was a for-good initiative.

OK, we’re nearly at the end. The Pharma Lions Grand Prix went to an initiative called I Will Always Be Me, which allowed people with Motor Neurone Disease to save their voices before they lost the ability to speak (initiative!):

Finally, the Print and Publishing Grand Prix went to an initiative called The Elections Edition, from Annahar Newspaper, which skipped a day of publishing and donated the paper and ink to create election ballots:



Why Ads Aren’t Funny Anymore

I highly recommend the latest episode of Dave Dye’s podcast. It’s a chat with Orlando Wood, who has written two books on the links between psychology, creativity and advertising.

When I commented on it via Twitter, Dave said, ’It occurs to me that, although they seem different, all of our ad blogs, yours, mine, George’s, Dave T’s, Gregg Benedict’s, etc are essentially the same – Don’t forget this thing, it works.’

Yep. Or to put it another way, we like to point out where creative advertising could be better, while trying to offer solutions that often seem self-evident and easily accessed.

I wrote a post about this entire subject a while ago, so if you want to have a wallow in the weirdness of our collective insanity, go right ahead. 

In that post I explored some of the thinking behind the madness, but I didn’t really discuss humour, and the reasons why there’s not so much of it about. So here’s my attempt to do just that:

The Oscars Reason

Have you noticed that comedies very rarely win the Oscar for Best Film? Look at recent nominees: maybe CODA is a slight comedy, but it’s mainly a drama, and so is Licorice Pizza. Jojo Rabbit is a proper nominated comedy, albeit a black one. The Big Short is funny, but is it a ‘comedy’? Kind of. Ditto The Wolf Of Wall Street and Django Unchained. But that’s it: one proper comedy and a few funny dramas out of the last 100 nominees.

I think that’s because comedic artistic expression is both very hard, and not considered as positively as something serious. It’s thought to be trivial and silly, so you have to expend far more effort to do do it well, and you get much less credit for the result.

There are quite a lot of articles that go into the disappearance of the movie comedy (TL/DR: they are less profitable and Marvel-esque blockbusters have driven them out of cinemas and and onto streaming services), but I wonder if we have become a more serious planet in the last ten years. There’s a climate crisis, a pandemic, various wars and an explosion of political resentment and disagreement in many countries. Funny ads could help to alleviate all that, but they might appear out of step with the cultural vibe.

The Difficulty Reason

Very good comedy is a real craft that requires great writing, casting, editing and direction, and it’s harder to seem funny in the initial script, especially when it is now often passed around as a deck to be read rather than a presentation to be performed.

Maybe clients have seen many supposedly funny scripts fall flat, and subsequently found themselves drawn more towards a straight manifesto that’s read out over some stock footage. They’re hard to love, but they’re easy to visualise before they’re produced (you can knock them up in a ripomatic on a laptop these days), and you can easily swap out or alter lines right up until five minutes before you supply them to go on air. They can accommodate the wishes of all the client’s departments, which makes everyone’s life easier, but also makes the ad duller.

You can’t do that with a comedy. It’s impossible to pre-produce that magic alchemy of script, performance, timing and direction, so everyone has to take a leap of faith, and people (especially clients) don’t like doing that if there’s a cheap, easy non-leap of faith alternative.

Write a script with people dancing and everyone can imagine it because it’ll be like the other fifty dance scripts currently on air. The same with the serious purpose-based initiatives and the po-faced celebrations of how your chocolate bar or loo cleaner is changing the world.

The ‘Our Biscuits Are A Big Deal’ Reason

Dave and Orlando mentioned that clients probably prefer a script that says their crumpets are the best thing since sliced bread, rather than one which self-deprecatingly recognises the true insignificance of practically everything on the average supermarket shelf. They make fish fingers all day; fish fingers are very important to them; why wouldn’t they be important to the rest of the nation? Because they’re just bloody fish fingers, but try telling that to people who think about and talk about nothing but fish fingers, all day, every day. Good luck!

The Victim Reason

Comedy also needs a victim. In the past the Doofus Dad has often taken that role (idiot dad that we all roll our eyes at because he’s childish or irresponsible), but it might just as easily be a clichéd societal convention or a crappy musical genre. However, that means someone, somewhere might get offended, and then express that offence on Twitter or Instagram. No client wants that! It’s a PR disaster! Fiona in Basildon actually likes the music of Steps, thanks very much, and she’s mobilised eighteen Facebook friends to protest the pisstakey use of Tragedy in  your latest jam commercial. Quick! Pull the ad, and let us never speak of it again. And we must now apologise. Profusely.

That’s a situation best avoided, so instead let’s just be safe, and nice and not funny, because funny can be provocative, and ‘provoked’ people like causing a stink on social media to take revenge on the provokers.

The John Lewis Reason

Humour seemed to disappear around the same time as the rise of the serious/tear-jerky John Lewis ads. Some very talented people created an entirely new genre: the 60-second heart-warmer, and every client seemed to want one of their own. ‘That worked, so give us one’, is a common refrain from many clients (and many CDs), and the dominance of the John Lewis-alike may well have knocked the entire industry off its axis.

And if your biggest ad of the year is going to be one of those then you’re unlikely to spend the rest of the year being ha-ha funny; the two things would make your brand inconsistent, and many clients (and many CDs) do not like an inconsistent brand. So the tail kind of wagged the dog until it almost became weird to stand out with a throwaway gag (yes, standing out is a GOOD THING, but it also requires ‘BRAVERY’, and people don’t like being ‘BRAVE’ because it’s KINDA SCARY).

So it’s obvious why humour has fallen by the wayside: it’s difficult, expensive, hard to communicate in a deck, trivialising, guaranteed to annoy someone you want to sell things to, and not like a John Lewis ad.

That’s a pretty hard tide to swim against, but I would urge you to try because I like funny things, and, funnily enough, so does literally everyone else on earth.



How Long Till Your Current Job Ends?

The other day I was reading an article about the longevity of stardom. It asserted that stardom can only last for three years, after which stars can remain famous, but only as a kind of reminder of what people liked their three years of stardom.

I mentioned this to my wife, and we then considered various stars and the degree to which they reinvented themselves at the three-year mark: George Michael with three years of Wham, three years of Faith, three years of Listen Without Prejudice, then a kind of retirement; Bowie with three years of Ziggy/Aladdin Sane/Diamond Dogs, three years of Berlin, three years of Let’s Dance, then another kind of retirement; Eddie Murphy with three years of tyro parts like Beverly Hills Cop and 48 Hrs, three years of superstardom (Coming to America etc.), then an enforced sabbatical imposed by making shitty films no on wanted to see, and a late-career return with three years of dressing up in fat suits.

My wife went on to say that she’d read an article that said Baby Boomers tended to stay in their jobs for twelve years, while Gen X-ers were six years, Millennials were maybe three years, and Gen Z were looking like one-and-a-half.

I assume this reduction has something to do with the grotesqueries of late-stage capitalism, as it increasingly robs us of stability and security, the better to enrich the already copiously enriched. But that aside, our attachment to jobs, and by extension, corporations, is worth examining.

When I worked at AMV BBDO I remember having a chat with Mary Wear, who told me that she and her then-partner had a policy of staying at each job no longer than three years. She then split up with her partner, who may have have then pursued his own three-year stints at Mother and Lowe before founding his own agency. Mary, however, stayed at AMV for a good few years, but with different art directors, perhaps each partnering her for something like the magical three years. So it wasn’t necessarily the agency that dictated the length of cycle. Sometimes it was the art director. 

I look back at my own career in this context and see quite a few three-year chunks: an art director, another art director, an agency I co-founded, a period of freelancing, ECDing Media Arts Lab in London, doing something similar but larger in LA, starting another agency etc.

It makes me wonder if there was some kind of natural progression to that time frame. Unlike Mary, I wasn’t conscious of making moves at the thousand-day mark, but perhaps there was a kind of corporate circadian rhythm that made me feel as if it were time to move on. Some of those changes were not by my choice, but is it possible that I was subconsciously sabotaging my circumstances, readying myself for the chrysalis and attendant reinvention?

Going back to the article my wife read, are we all leaning towards shorter stints at each place, or do we keep the timelength with which we started? There could be an arc to any situation, one that we adhere to without realising: a beginning, a middle and an end, with each new act feeling appropriate at a certain time. ‘Here comes year three. Time to start packing my parachute and putting out feelers for another position. Or to look for a new copywriter who can refresh me…’

It’s also possible that people get tired of people after a certain amount of time, and we collectively conspire to move on and be moved on. Or at least the excitement of the new is bound to fade over that time: just look at Madonna’s 3-year cycles, often starting with something provocative (the lyrics of Like a Virgin, the video for Like A Prayer, the Sex book) that echoed to faintness before she found another way to ‘shock’ us. 

Does going over the allotted time simply lead to a kind of disappointment or failure? Do you have a different timeframe that dictates your career? Do you try to jump before you’re pushed?

I need more data. I’ll add a question to wherever I end up posting this, but do feel free to comment with your own experiences…



Let’s face it: older people are kind of crabby and gross, and younger people are just idiots.

Come on! Let’s just get it out there: older people are icky and lame. They are often covered in a layer of dust. They need help going to the loo (which is why so many smell of wee). They have no idea what Zoom, Twitter or Charli D’Amelio are. They talk about things that happened in the last century. They look at you funny when you insist on creating an 80-page deck to convince a fifth-rate director to take on your 6-second blipvert. They don’t know how to create DAOs, and they think crypto is a pyramid scheme for the terminally credulous.

But on the other side, look at the kidz: their faces are buried in their TikTok feeds instead of an old One Show annual. They have no idea how to craft anything, or what ‘craft’ is. They think ‘Create The Future Together’ is a great endline, or maybe a great strategy, or possibly a great campaign idea. They spend more time comping visuals than thinking about why they’re comping those visuals in the first place, and they think that a Cannes Bronze is actually something of value.

In short, both are making advertising worse. One is too expensive while the other is too ignorant. One is too stuck in their ways while the other flits from fad to fad. One thinks everything was better in the 1990s while the other has no idea what happened in the 1990s.

But other than the people who are 30-35, everyone is too young or too old, so maybe we should try a bit harder to make the best of both worlds rather than condemn the worst.

As luck would have it, I just read an article that might help us with that. Although the title is ‘The kind of smarts you don’t find in young people,’ it’s really an explanation of how the brains of younger and older people have separate specific abilities, both of which are essential to the creative process:

In the mid-20th century, psychologists set about finding an explanation for a great mystery. Researchers had long noted that some skills—analysis and innovation, for example—tend to rise quickly very early in life and then fall through one’s 30s and 40s. Meanwhile, one’s knack for combining complex ideas, understanding what they mean, and relating them to others rises throughout middle age and can stay high well into old age.

The two groups of skills originate in two basic types of intelligence: fluid and crystallized. The first is essentially the ability to solve abstract problems; the second represents a person’s knowledge gained during a lifetime of learning. In other words, as a young adult, you can solve problems quickly; as you get older, you know which problems are worth solving. Crystallized intelligence can be the difference between an enterprise with no memory that makes lots of rookie errors and one that has deep experience—even if the company is brand new.

In a neophiliac industry like advertising, new stuff is always highly prized. From Second Life to NFTs to the latest bands, influencers and pop-ups, adland always likes to jump in first and ask questions later. Is it right to recommend the latest fashion to a client? Sometimes, but many agencies feel compelled to do that without considering or waiting for the consequences; after all, by the time you’ve done your due diligence, your new thing is longer new.

But older people are more predisposed to seeing the patterns that point to the mid- and longer-term futures of what is currently untried and untested. Sure, it’s not as whiz-bang to move slow and fix things as it is to move fast and break them, but older people have seen the fashions come and go, so they tend to have a better idea of how your current circumstances might play out in the weeks or years to come.

The point is, as a general rule, using the old to optimise the implementation of the new makes a lot of sense. Yes, that might seem like clipping the wings of the crazier ideas, but it also might mean that strategic or creative rigor is applied, leaving less chance for errors or problems further down the line. As that article says:

Companies would do well to install master teachers throughout their business. Don’t target people who pine for the “old days” in their careers and abilities. Instead, look for elders who recognize that it is healthy and normal to see some of their capabilities decline with age, and that this presents an opportunity to foster those abilities in others. Older leaders should be enthusiastic about making great teams, developing others’ ideas, sharing knowledge openly and generously, and making prudent judgments based on their own deep experience.

Obviously, doing this requires hiring or retaining more older people, and I’m fully aware that such a practice is heresy for many agencies. Even though St Luke’s recently took on my friend Mark Denton as the Oldest Intern In Advertising for a month’s placement, that was still unusual enough to be worthy of lots of ‘How’s That Ker-Azy Idea Going To Work Out???’ articles, while further agencies giving it a go seem to be thin on the ground.

But oddly enough, it’s one of the closest things I’ve seen to the ‘master teacher’ suggestion in that article. Mark’s conclusion, ably assisted by another elder statesperson, The Ad Contrarian, is that he could be a ‘Brain In A Bottle‘, a kind of Yoda, sitting in the corner of the creative department as a wisdom resource for his more callow colleagues. We saw how things worked out for a month, but what about a year? Twelve months where course corrections could be made and feedback could be taken on might well add more value than whatever a ‘Mark’ might cost. Advertising is always exhorting clients to be brave. Shouldn’t we take our own advice occasionally?

One other factor might be the fear and competition bred by the situation: young people have to use whatever edge they can to get their job, and when that happens they know that they only succeed by having their idea chosen over that of the other team on the brief. So may the best team (or the team that creates the most sellable idea) win, which means that the other team loses. That is the implication of every day in the agency.

For the older ones, you know that every raise increases the size of the target on your back and the number of knives aimed towards it. No one says no to a raise, but we all know that the higher the salary, the more you stick out to the network CFO in Manhattan, who just needs to cut costs by 8%, and can see that one easy way of doing that is to delete the names of you and your partner. What is the magic danger-number, and when does the axe-person start looking around? Nobody knows, but your career is generally spent inching closer to the guillotine, and it’s coming for us all.

So if you take those two situations and run them simultaneously, you get fear and competition instead of something that might be far more useful: collaboration. We’re taught from the start to try to be the last team standing, but an atmosphere that gets us all to try to improve each other’s work would surely be better for both the work and our mental health.

Instead we take our place on the conveyer belt, watch as the people some distance ahead fall off the end of it, and brace ourselves for that inevitability. But if the more experienced people were retained and given the chance to continue contributing to the young, that might improve the system and the advertising for everyone.

Mentors, mentees, education, growth, improvement, success.

It’s not exactly a new idea, but then sometimes the things that stand the test of time do so for a reason.



Your Idea Is Nothing Without Execution

Last week I was listening to the peerless Graham Fink on his second episode of Behind The Billboard. If you haven’t had a listen yet, stop reading this now and rectify that scandalous situation. Then listen to episode 1. I’ll wait.

You’re back? Good.

Wasn’t it brilliant? There were many excellent anecdotes, but the part that really stuck with me was an almost throwaway comment at the end where Graham quoted Hugh Laurie as saying, ‘There’s no such thing as great ideas; only great execution of ideas’ (the actual quote and interview are here). Graham went on to say that there was a big difference between having ideas and getting those ideas made exactly as you want, or even better. 

He added that we never really present ideas to clients that are above 8/10, but then you go into execution, and that’s when you crank it up a few notches with great photographers, typographers or directors.

OK. There’a a lot to examine there, so let’s start with the main point; the one that says execution supersedes concept…

Many years ago I went to Watford (West Herts College) to study Copywriting and Art Direction under the great Tony Cullingham. He instills in his pupils the opinion that concept is 90% of the endeavour. The other 10% is the actual writing or art direction bit (the execution).

And he’s not alone in that thought. We’ve all heard those creative department insults: ‘Yeah, but what’s the idea?’ or ‘There’s no fucking idea’, suggesting the primacy of the conceptual underpinning, but you only have to go back to my penultimate post (and this one I wrote seven years ago on a similar theme) to see that we don’t even agree on what an ‘idea’ is. This incredibly valuable currency of the ad agency is… what exactly? 

If we go back to Hugh’s suggestion, and Graham’s agreement, it’s not that important. 

According to the winner of the Commercial of the Year at last week’s British Arrows, it’s ‘Show models dressed in Burberry jumping and dancing around a street while snowballs land on them’. You might say that fashion advertising doesn’t usually have ‘ideas’, and you’d be right, but this is undeniably a brilliant ad. It was liked, shared and awarded all over the place. It might even have sold some clothes:

As far as the concept went, Riccardo Tisci, Creative Director of Burberry, said, ’It’s about that fearless spirit and imagination when pushing boundaries.’ That sounds like bollocks to me, but the end result, like great fashion, is all about emotion and attitude, so it makes sense to skip the logic of a conceptual foundation. This is all about execution, and the distance between ‘People dance around in a snowball shower’ and the finished ad is like the distance between a Cadbury’s Creme Egg and a Fabergé Egg.

So is the idea ever important? Well, Good Things Come To Those Who Wait, Mac vs PC, Beware Of Things Made In October and Write The Future make very effectively the argument that it is. But Burberry, Flat Eric and Whassup are equally powerful on the ‘no idea’ side of things.

So why don’t we just get it out in the open? Sometimes advertising ideas matter, and sometimes they don’t. It’s OK not to bother with a solid concept, but if you have one, great. No biggie either way.

But idea-wise, what really does matter are the thousands of little creative contributions that happen between brain and reality. Let’s stick with the Burberry example: many, many ideas happened even after someone suggested dancing around in the snow would demonstrate the fearless spirit and imagination one displays when pushing boundaries. What kind of street? How many models? What size snowballs? When do they fall? What are the dance moves? Who goes where? Who should shoot it? Who would be a good DOP? 

And those are just the basics. You’ll then have: which lens do we shoot with? How heavy should the greens be in the grade? Should we shave three frames off the end of that shot or that one? Four frames? Five? Back to three again? How far should we roll up the second dancer’s cuffs? What expression should the dancer at the back have at 1:23.06 seconds? Should the camera move this far to the left? Another inch? Three inches? Three feet?

And even then there will be another thousand questions that pivot from those answers, but you get the idea. (Yes, I said ‘idea’. That was deliberate.)

So many ideas happened to improve this ad, and yet there was no discernible ‘Watford’ idea underneath it all. Then they made something similarly idea-less a year later and it was just as loved:

And it was all in the execution. So Hugh and Graham were right. Kind of.

I remember having a conversation with a colleague ten years ago. He had come up with an idea for a story and he asked me if there were people who would write a book or script based on that idea. He wanted to be an ‘ideas’ guy, who just thought up basic premises, which he would then pass on to a supposed executor.

I told him that if there was something like that I was not aware of it. Sure, there are staff writers, or people who accept commissions from studios (‘We just bought the rights to this biography of Marilyn Monroe. We’ll pay you X to write the script’), but that’s not the same as ‘I just had an idea for a story. Could you spend weeks/months writing it on the off-chance someone will like it enough to buy it?’ For a start, most executional writers have their own ideas for stories, ones that they would be happy to spend hours getting just right. In addition, great ideas are so easy to find, here are 100 of them, left on my blog eight years ago by a commenter, who said ‘Shit ideas are ten a penny. The problem is, so are good ideas’.

The example I always give is, if I came up to you in 1990 and said, ‘I’ve had this idea for a book about a theme park with real dinosaurs that are brought to life by adapting and developing their genetic coding’, would you have thought, ‘Well that sounds like a massive bestseller that will become the highest-grossing film of all time’? Probably not. You’d want to see what the characters were like, how exciting the plot could be, what kind of dinosaurs there were, etc.

I could even say that a man parks his car outside a bank, and that would still require answers to questions like, what kind of car? What kind of bank? What is the man wearing? What is the weather like? Are there any passers-by? How old are they? What city are we in? What year did this take place? Any one of your answers could make the scene better or worse.

So execution is a very large proportion, of the final work.

Which brings me to the second thing Graham said: that we never really give a client any idea that is above 8/10, and usually more like a 6 or 7. And that means that’s the level of what you tell your partner, or your CD. I can tell you for sure that paragraphs of ideas are not particularly helpful. At best they can get someone to say, ‘OK, write it into a script and show me what you mean. Stress test it’. Then, in some form of execution, it can be judged with greater clarity.

There are thousands of rejected ideas for Happiness Is A Cigar Called Hamlet, Good Things Come To Those Who Wait, and Mac vs PC. There is a smaller number of ads that got made, then binned because the execution didn’t live up to people’s expectations of the idea. There are also great ideas, executed to everyone’s satisfaction that then appeared before a public that did not not give a toss. At every step of the process you are dealing with subjective interpretations of ‘funny’, ‘quick’, ‘irreverent’, ‘cool’ and hundreds of other abstract notions. The idea just gets you to the next stage of execution, where it can get better, worse or stay about the same.

Imagine you saw the script for Guinness Surfer. Could you have executed it with the same brilliance as Tom and Walt, Jonathan Glazer, Johnnie Burn, Ivan Bird etc.? Part of the buy-in from the Guinness client must have been the track record of the agency, especially the creative department. Otherwise they’d be looking at a few paragraphs about a surfer waiting for a perfect wave, and have no idea (there’s that word again) if it was going to be worth committing a giant budget to its execution.

The idea stage is where you can change anything for tuppence (your chargeable hourly rate notwithstanding). Changes in commitment are equally cheap and insignificant. A chat over a pint of beer can lead to a joke that doubles the quality of the script. Ten more ideas can appear between lunch and home time. A client’s feedback can alter the whole thing, or be argued with until the idea is better, worse or dead. Then you just go again, for no more than your hourly rate. The idea stage is where you can watch a short film to pass the time and decide that, with the addition of your client’s logo, what you are watching could be the ‘idea’.

But execution is where the rubber hits the road. It’s where the real money is spent. It’s where the commitments are made from which you cannot return. It’s what takes the most time. It’s where specialists form a team that elevates something invisible to something tangible. It’s where you can make something great or something shit, no matter whether your ‘idea’ is great or shit. 

Let’s not say one is better or worse, or more or less noble than the other. The idea is necessary to get to the execution, but the execution is absolutely necessary to make the idea any good.



The Best Accounts In Advertising

How topical is this?

I wrote this post a few days ago, but what I witnessed at the Oscars tonight helped prove my point.

Here’s a question: which category of advertising offers the best opportunities to produce brilliant, famous and (if you’re into that kind of thing) award-winning work?

Is it the heartstring-tugging, gritty edginess of the Charity and Public Service sector? Is it the in-built coolness and decades of brilliance of sportswear? Maybe it’s tech, or alcohol, or luxury.

Nope. It’s media.

Here’s why: if you are a newspaper or a TV channel or some kind of social media platform, you are the conveyers and/or creators of things the public finds very interesting. If you in turn have to advertise those very interesting things then your work has a much better chance of being interesting itself.

This gives you a massive head start over washing powder, chocolate bars or even brilliant things such as holidays. Those three things are also interesting to the public, but they are also broadly the same things, offering the same effects, year after year.

But media is different. Even if you watch BBC1 every single day, you might find yourself experiencing anything from sport to drama to horror. The Guardian covers everything from the climate crisis to sexual dysfunction. Twitter will drive stories on Black Lives Matter, murder and Taylor Swift. All of the above will run millions of words about Will and Chris’s little contretemps.

So you’re not selling these intermediaries; you’re selling what they show, and as these intermediaries want to seem as compelling as possible, you will usually be given the opportunity to advertise their most interesting content.

About ten years ago I was freelancing at 4 Creative. Their idents had just won D&AD Gold, their Paralympics coverage was just about to win D&AD Gold, and in the meantime they had to tell people about sexy Skins, superlative Sopranos and global cultural touchpoint, Friends. 

One day the creatives were called into one of the meeting rooms and briefed on a new show called Black Mirror. We were told about the plot of the first episode, which sounded fascinating, especially when the planner said, ‘They’re going to kill the Princess of Wales unless the Prime Minister does something specific.”

They’d been pretty forthcoming to that point, so I wondered why they were suddenly being so coy. “What does he have to do?” I asked. The planner looked a bit sheepish before replying, “He has to fuck a pig in Trafalgar Square.”

This, dear reader, is why media clients, especially those as edgy as Channel 4, are so great to work on. 

Sure, Persil Automatic washes whiter, Beanz Meanz Heinz and Autoglass repairs and replaces, but none of them has a central proposition that involves the leader of the country being blackmailed into practicing bestiality in public.

Even if you don’t get to go that far, just take a look at the best media ads of all time: decades of The Economist; years of LWT; The National Gallery (another D&AD Gold); endless great work for The Guardian, including D&AD Gold for its redesign; brilliant posters for The Times; Endless pencil-winning genius for Fox Sports; Twitter’s Cannes Grand Prix-winning billboards; more Cannes Grands Prix for The Tate Gallery; more D&AD Golds for The New York Times; D&AD Gold for BBC2’s idents; D&AD Gold for Channel 4’s logo; D&AD Golds for Channel 4’s second Paralympics campaign and Film 4’s idents. Time Out, Britart.com, Uncommon’s current ITV work…

This extends into the world of design, where books, albums and especially movies have inspired hundreds of indelible and iconic images. Just think of the Jurassic Park logo, the helmet from Full Metal Jacket, the shark rising to towards the swimmer of Jaws, The spiral of Vertigo, the characters of Trainspotting… 

Media properties are almost always created to elicit an emotional reaction, so their representative communications must be able to to the same. distilling those feelings into a single image or a minute or two of film. That’s a great target to aim for, one that is rarely part of the KPIs of your average ad campaign. 

On top of that, you have a never-ending churn of product. Instead of trying to breathe new life into yet another year of KFC, Travelodge or Audi, you get to sink your teeth into new shows, new issues, new stories and new people. That helps with morale, recruitment and retention, and of course fame and awards, which also help with morale, recruitment and retention.

Charity accounts were always famous for being the easy route to a prize because they dealt with issues that were inherently compelling. That meant you had to do far less heavy lifting to persuade people of your way of thinking. But there was a stigma to that: work was often created for free, as a kind of quid pro quo for the opportunity to win awards and feel a bit better about yourself. Was it proper work to proper briefs? Sometimes; sometimes not so much.

But many media accounts offer creatives a product that is already fascinating, without the suggestion that they’re doing the work as a cheap shot at grabbing a Cannes Lion.

These are real companies, looking for real success, often via work that is original, riveting and as brilliantly crafted as their own offerings.

In many ways that’s advertising’s dream, and unlike many other parts of the industry (and Will Smith’s career), it’s alive and well.



We Are Speaking Different Languages

I once wrote a popular tweet that listed ten words that are used in every advertising meeting, even though nobody really knows what they mean. I only mention the popularity to indicate that there was quite a lot of agreement with the list. Anyway, I had a look for it, but it’s buried too far beneath my thousands of tweets despairing of Boris Johnson, so here’s an attempt to recall the magic ten with an additional one for good luck:

Organic

Graphic

Human

Idea

Platform

Strategy

Digital

Effective

Brave

Emotional

Simple

Yes, I know you all know what brave and effective mean, or at least you could give me a definition that’s pretty close to the one in the dictionary, but you know what I’m saying: these words take on new meanings in the advertising boardroom or creative review.

Does that stop us throwing them about like confetti, with no thought for how they ended up in your hand, nor where they might finally fall? Of course not

So let’s take them one by one, examining the advertising definition and how far it has traveled from its origins.

Organic

I just looked up the dictionary definition of this word, only to discover that is has several, and NONE of them is the one we use when we talk about ads. Then I realised I have no idea how to define the advertising version.

I think it’s kind of ‘pertaining to nature’, or ‘naturally occurring, but not like a flower, more like naturally occurring from a situation or process. Like when a man hits his head in a way that isn’t contrived, we say that it happened organically’. How’s that for a definition?

We tend to use it as if it vaguely means what I just wrote but can any of us define ‘advertising organic’ clearly? I don’t think so, which means we all mean something slightly different when we use it. And we’re all talking bollocks to some degree, and no one is calling anyone out on the bollocks, or admitting they don’t understand what’s just been said.

If you think that’s a little bit crazy, read on…

Graphic

The dictionary says graphic means ‘relating to visual art, especially involving drawing, engraving, or lettering’ or ‘giving a vivid picture with explicit detail’. (There are other definitions, like the one that pertains to the phrase ‘graphic sex’, but none of them is relevant here.)

Of course, none of that is what we mean in our agencies. The advertising definition of ‘graphic’ is, ‘with straight lines and corners, and probably quite a lot of negative space’. That’s it. In advertising, ‘organic’ pictures are full of curvy lines and natural colours, but ‘graphic’ imagery is closer to the work of Mondrian, or the contents of a geometry text book.

Again, this has never been said explicitly, or agreed upon, but that is what people in ad agency meetings seem to think graphic means. Pay attention next time someone says it (almost certainly at some point today) and see what they’re really suggesting. From art directors to clients, all departments seem to use this meaning, possibly because all departments seem to use this meaning. It’s another silent agreement that means we can’t really go back to whatever meaning ‘graphic’ used to have.

Human

As a noun, easy; as an adjective, it’s nowhere near as simple. The Human League song Human appeared to suggest it meant that you’re born to make mistakes, but of course an ad agency chat takes it elsewhere.

When someone says, ‘It’s really human’, I think they are saying that something is organic (see above), as in ‘pertaining to nature’, but with a further emphasis on ‘not like a computer or robot’. So the human characteristics of love, kindness, thoughtfulness tend to be what we mean by the advertising version of human. Humans can also be evil, envious, anxious, jealous etc., but those are bad things, so they do not describe characters in ads or products we try to sell (see ’emotional’ below).

A close cousin to ‘human’ is ‘intuitive’, which is more of a product word, and is closer to its real definition, but when we add it to a pre-prod meeting we soon find that any real meaning disappears and it’s simply a surrogate for ‘soft’ or ‘nice’.

Idea

Bearing in mind how many times it’s used in an ad agency, you’d think that we’d have a clear definition of what an ‘idea’ is.

But we don’t.

I know this because I once attended a management meeting where we discussed all sorts of things, one of which was ‘ideas’. It soon became clear that we were talking about different things. Some said ‘Just Do It’ was an idea; others suggested the idea was the articulation of the concept that could then be copied by anyone else, eg: ‘show how something can be worth waiting for’; others thought it was more like ‘Dell computers are easy to use’.

So we all say ‘idea’ fifty times a day, and we’re all talking about different things.

Let me complicate it further by asking you to explain the idea in the VW Lemon/Think Small campaign. Could you please articulate it in a way that is consistent with your definition of the ‘idea’ for Happiness is a cigar called Hamlet? Or the entire Old Spice campaign, from The Man Your Man Could Smell Like to Wolf CEO, to Momsong? Or the idea for the Whassup campaign?

As an industry we definitely use ‘idea’ to mean several different things, but it’s one of the most important terms we employ, so how does that work? Poorly.

Platform

This is a new one. For decades it meant that place where you found your train, but 10-15 years back it became the word used to describe a giant medium, such as Facebook or Google; a thing that acted as a starting point for lots of other things (kind of like a train platform).

But more recently I’ve heard it being used for that Old Spice thing; a campaign above a campaign. Wieden and Kennedy clearly sold P&G some kind of über campaign that could encompass the various manifestations of The Man Your Man Could Smell Like, including Terry Crews as a manipulable online character, that crooner playing the piano, Wolf CEO, Momsong, and everything else we’ve seen on behalf of that brand during the last decade.

I think The Power Of Dreams is the clearest articulation of an advertising platform (although it was never referred to as a platform), but even then, it’s kind of vague. Cog, Grrr, Impossible Dream, the banana press ad… yes, you could say they came from the power of dreams, but doesn’t everything? You think something up, and if that thing is exciting enough, it drives you to bring it to life, whether that’s a Kit-Kat, a board game or a Honda Civic.

If platform can accommodate sub-campaigns, is it a campaign, or is it something else? I think it would help to call it something else; but if you do that, what do you call it? Platform makes sense, except that it already has a significant meaning in the advertising world. But here we are with two ‘platforms’ when we could have one ‘platform’ and one ‘springboard’, or one ‘trigger’. I dunno. I bet there are fifty good names for the campaign above the campaign that aren’t ‘platform’, but we now have ‘platform’ creeping into that space, so we may have to just accept the unnecessary stupidity of that.

Strategy

Here’s a contentious one.

So ‘planners’ are now ‘strategists’, and by implication everything they do is in service of the creation of a strategy. But it’s not. Most strategies that I read (having ploughed through a massive deck that leads up to the hallowed ‘strategy’), are not strategies at all; they are maybe tactics, or abstract sentences that sound a bit like a strategy but are really just… not strategies.

Great strategies are hard. Bogstandard strategies are apparently also hard, because I rarely see them. They should be overall guides for what an advertising campaign is supposed to achieve, distilled into a sentence, or (these days) a paragraph (or, God help us, a deck). But they are often less specific, like ‘PayPal is the way we all need to live our lives’, or ‘Adidas is ambition, distilled’.

Those are not strategies, but we tend to accept and discuss them as if they are. Then we use Slack, Teams and WhatsApp to bitch about he fact that they are not. And then we go into the process of creating the work without a strategy…

Digital

A few years ago I attended a three-day Hyper Island course, along with the entire management of my agency. A couple of hours into it, one of the people running the course asked us (maybe 60 people) what we thought ‘digital’ meant. He received different definitions from every single person. (By the way, mine was ‘not analogue’, which was as correct as it was useless).

The point was that we all used that word without agreeing what it meant. So, to emphasise the point of this entire post, Hyper Island made it very clear that we were not speaking the same language, when it would make a lot of sense for us to do exactly that.

What do you think digital means? Do you think your definition is the same as that of everyone else in your agency? Your department? The other voices in your head?

The reality is that we all say the word ‘digital’ every day, and it could mean a dozen things from ‘online’ to ‘non-traditional’, and that is not a great basis for a useful conversation.

Effective

The weird thing about effective is that we are often left in the dark as to what it means, and what it is supposed to mean.

Is it sales figures? Awareness? Likes? Or a bunch of other odds and sods that we’re never told about?

I once asked this question of my bosses and was told (sheepishly) that our client just wanted to look cool to his colleagues. That was the effectiveness we were aiming for. Yes, we all understand what effective means; it’s just that the thing we’re trying to achieve in those terms is often kept from the people trying to achieve it, rendering it essentially meaningless.

Do you know the ultimate aim of your current campaign? Are you sure? If you’re not sure, what the heck are you doing?

Brave

People who are staying in Ukraine to protect their country are brave. Nothing that happens in an advertising agency comes under that definition.

Yes, all things are relative, but come on. How brave is ‘advertising brave’? About as brave as driving five miles an hour above the speed limit.

Of course we like to think that some of our decisions take some kind of courage, but as we all know, bland advertising is brave because it’s likely to fail. But exciting advertising is also brave because it some people might not like it. So everything is brave and nothing is brave (especially your decision to add a serif to the client’s typeface, FFS), so let’s just retire that word and allow it to go back to describing actual, y’know, bravery.

Emotional

If your ad isn’t funny, or incredibly straightforward/dull, it’s  almost certainly emotional, but what does that mean?

There are many emotions. Here are the eight basics: anger, fear, sadness, disgust, surprise, anticipation, trust, joy. How many times do you see all of those in an ad break? Not much disgust, I’d imagine; probably not much fear. The more negative emotions tend to be shunted off to the side, so when we say an ad is emotional, which emotion are we talking about?

The odd thing is that I’m not sure human beings are particularly good at specifying emotions, never mind advertising people. My reaction to Guinness Surfer is definitely emotional, but is that excitement+surprise+anticipation? And how much of each? I have no idea.

When we talk about very powerful ads, we often use the ‘E’ word, but it’s more of a verbalisation of ‘it makes shivers run down my spine’ or ‘it gives me goosebumps’. But if we all speak of something being ‘emotional’, that must be something both subjective and unspecific, and thus functionally meaningless.

Simple

Simply put, your simple ain’t my simple.

Simple briefs, simple scripts, simple solutions, simple edits, simple endlines, simple decks, simple meetings…

I have definitely had different expectations of that simplicity to other people in the room. Whenever I’ve said that we want something simple, I think everyone nodded in agreement, but what were we agreeing to? Different things, of course!

You know when you brief a photographer or a sound designer or a director as to what you would like to achieve? Do they always produce the exact thing you were hoping for? Or an even-better version of that vision? Not always, right? They misinterpreted what you were after, and those people were fellow creatives. Imagine how differently a client or account person defines ‘simple’. Now you know why your pleas for simplicity fall on subjective/deaf ears.

Your ad, which was striving at all times for simplicity achieved exactly that, by which I mean it achieved nothing of the sort, and all because your simple wasn’t the same as the strategist’s, the account handler’s or the client’s.

So there we have it: we’re constantly speaking different languages in quite fundamental ways.

The good news is that the first step to a solution is admitting you have a problem.

The bad news is that no one thinks this language gap is a problem.

Perhaps I can magically sum that up in language we all understand:

¯\_(ツ)_/¯



The Ages Of An Agency And The Longevity Of A Career

I heard a podcast recently that compared the ages of companies to the ages of humans: in short, when they’re babies they need a lot of help and attention; when they’re teenagers they’re prone to making errors as they attempt to transition into being grown up; as they get towards the end, they need to downsize and, well, prepare to die.

Interesting enough, but it was the corollary that really caught my attention.

Each one of these different phases of growth needs a different set of people. Maybe not 100% different in every department, but enough to make the company work properly and seem appropriate for its new age.

New companies often need someone with a great vision that they can bring to life in an inspiring way. More energy and charisma can attract more investors, along with the kind of employees that will agree to work on a project that barely exists. On the other hand, older companies need a safe pair of hands to wind things down and sell off assets for the best price.

I used to work at an agency with a talismanic president. She was the kind of leader many people would crawl around the world on broken glass to please (although she inspired as much fear and antipathy as respect and love). She was perfect for a while, dragging the company from its infancy through to its teenage years, but then things had to calm down as we entered maturity. After a tussle with her network bosses and our major client, she was eased out and replaced by someone less incendiary.

Would people have followed the new president through fire? Less so than the woman he replaced, but instead of that trait we now had calm, compassion and a little more sanity, along with a happier client and more confident network management. The work was still excellent (some might say better).

Three years later CEO number two was out, along with the CCO, who had been there from the start. A new president and a new CCO arrived. I don’t know too much about them as I left as they arrived, but things seemed to be humming along well, with plenty of award-winning work continuing to flow into the usual media channels.

Considering all this, a few questions popped into my mind: are advertising creatives suited to certain needs of a company, and do those needs only appear at specific stages of its existence? Are we aware of when we change to fulfill a different need? Do the skills we develop at the start of our careers continue to make us valuable in the later years? And when so much changes, how can you predict and aim for those new needs?

I think most creatives go into advertising with the belief or ambition that they will be the ones who create enormously famous award-winners on a regular basis. No one thinks they’ll be the steady workhorse, or the pitch specialist who wins business but never makes anything. But there are far fewer awards or culturally significant ads than there are teams, so by that mathematical logic, most of us are doing a job that does not fulfill our original ambition.

Is that a problem? It depends on the extent to which you can make peace with that reality. In this day and age a creative is even less likely to produce famous work because so much of it exists in the dark recesses of the interweb. No taxi driver will be aware of the great line you just cranked out for Audi’s Snapchat feed, so you’d better be OK with sweating buckets to produce work that is seen by hardly anyone you might know, and disappears forever the day after it runs

But these lines need to be written (and art directed), so that’s now a big part of the job. If you’re able to turn great (in reality, decent) stuff around quickly, and be OK with its 99% insignificance, there is a place for you in this industry in 2022, possibly with a decent salary in a big agency. So you have the right ability for a current need, just like a CEO who is covering an apposite growth stage of a company.

If, however, you are not that person, you might now find it harder to justify a good salary.

In the mid-Nineties, you had to develop an ability in press, posters, TV and/or radio. You might have created something we now think of as experiential (much of the ‘guerilla’ categories of those days seemed to cover that kind of thing), but it was usually no more than a nice-to-have niche, often created specifically for awards.

Now you have to be adept at far more disciplines, reducing the time you have to hone your craft skills or explore the outer edges of your concepts. Distant deadlines and generous budgets are largely a thing of the past, so you now need to adapt or die.

This is especially true as younger people coming into the business have known nothing else, so they might ironically be the equivalent of the late-stage CEO that keeps the ship steady despite increasingly straitened circumstances. Clients are now more willing to pay for quantity than quality, so cheaper (younger) people who can do that to a competent level are what the industry currently needs (I say ‘needs’ knowing full well that the industry actually needs the exact opposite of that, but more immediately it needs to get paid, so here we are).

As someone who has gone through these changes, I can say that a degree of pragmatism is essential. I feel like the requirements for good quality at high quantity rather than exceptional quality on a more occasional basis have actually improved my headline writing. Instead of stressing over one great line, I can now produce larger numbers at greater speed, at least one of which is up to my former standards.

So I’m in no way the creative I was when the Spice Girls first appeared. Back then I was insecure, awards obsessed and not particularly good. Now I’m confident, entirely uninterested in awards and (excuse me for blowing smoke up my arse) better than I used to be.

The other thing I get asked to do is CD/GCD/ECD projects, where I’m client facing and have the responsibility of overseeing and improving the work of others. That might be on a production or a pitch, but it’s where my management experience comes in handy. 

I guess that makes me a little more Swiss Army knife than someone who has never been an ECD, maximising my opportunities by being able to fit into more roles. On that subject, I occasionally consider learning design and Photoshop because those skills are where the industry is currently leaning. The creation of decks, comps and social layouts are three requirements that didn’t really exist 10-15 years ago, but are now daily needs in almost every agency on the planet.

So if I want to be the right-place-right-time CEO in the next 5-10 years, adding those strings to my bow would not only improve my chances of getting a gig as a creative in 2027, they would also make me a better CD/GCD/ECD by improving my ability to evaluate the non-writing elements of a project.

But I know how specialised the writing side of things is, so I get that learning design and art direction to a CD-level, including those software skills, is something I would have to devote a lot of time to. Is it worth it? Probably. I bet my time in and around advertising has given me a decent foundation, which I could then spend a year or two building upon. And if it extends my employment by a couple of years, it will surely be a good use of my time.

I get that (possible AI contributions aside) advertising will always need human concepting and writing, but who knows what else the future holds? I am aware that I am entering the autumn of my career, and that advertising is an inherently ageist industry, so if I can squeeze a few more years out of the journey, learning along the way, where’s the downside?

You can expect the industry to constantly have a home for your current contributions, or you can adapt to fill its changing needs. Some people have managed the first option successfully, but I think it makes more sense to see what you can do to bring about the latter. It will increase your odds of employment, and thus your longevity.



There’s a war (there’s a war).The kingdom’s on fire, the blood of a young messiah, I see sinners in a church, I see sinners in a church. Sometimes I might be the weekend.

‘Nooooooooooo!’ button for dire situations.

Are you you?

Six degrees of Wikipedia.



You and me we come from different worlds. You like to laugh at me when I look at the weekend.

Global database of fruit trees on public land.

Explore music history an album a day.

Guess where global food dishes come from.

NYC with the sound back on: