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Jan
27

What Makes Great Ads Great?

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Last year following the Super Bowl I wrote a post about what happened to Volkswagen?  It was in response to a tweet from Marty St. George the CMO of jetBlue following VWs lackluster Super Bowl spot. The ad was mildly entertaining but hardly that compelling.  It got me wondering about what makes great advertising, great.

As if to emphasize this even further, recently I had an interesting interaction with my 7 year old daughter. I was reading “Beezus and Ramona” to her.  Despite there being a recent movie about these two precocious sisters, the reality is the books are pretty old. In this passage there was a reference to one of the most famous Alka Seltzer commercials.  I read it as if from the commercial, “I can’t believe I ate that whole thing.” When we finished the passage I asked her if she’d like to see the original commercial, fairly confident we could find it on YouTube.  We found it and my daughter would laugh hysterically reenacting it over the course of the next several weeks.

Husband: “I can’t believe I ate that whole thing.”

Wife: “You ate it Ralph.”

Husband: “I can’t believe I ate that whole thing.”

Wife: “Take two Alka Seltzer.”

As she laughed to herself, it dawned on me, this was a great ad. Iconic even.  But why?

I think in this case it was less Ralph and more his wife. A subtlety that just worked.

As I did with the original VW post I think it’s important that we need to provide a simple rating system for the quality of ads.

I think it might look something like this. Let’s consider this a spectrum in which generally a lot of the same companies generally hover in the same area.

Legendary/Iconic is just that. It’s designated as once in a lifetime… we talk about it for generations. Think DDB’s VW “Think Small” ads, Arnold’s “Driver’s Wanted”,  Alka Seltzer’s “I can’t believe I ate the whole thing”, Apple’s “1984”, Coke’s “I’d like to buy the world a Coke”.

Great  means it stands out in the category and continually performs well and is stylistically imitated. For example Apple’s “Mac vs. PC” ads now being imitated by T-Mobile stand out in my mind. Another example would be Target. It’s really hard to say the impact Target’s brand ads have had on the industry let alone on their partners brands. Target has been amazing at nurturing its own brand while leveraging iconic brands.

Good means it basically does its job. And let’s not forget, the company and product have to stand behind the work. Generally successful ads here are incumbent of being a part of a larger campaign. For example I would put Hyundai in this category. Individually wouldn’t say any of Hyundai’s advertising is all that memorable. As a part of their entire marketing effort they’ve obviously done a pretty stand-up job.

Honorable Mention means it’s functionally decent break-even advertising. The sort of advertising that speaks to knowing 50 percent of your advertising works but not knowing which 50 percent.

Much like wealth in our country the greatest ads occupy the top one or two percent.

When I wrote the piece about the VW ads of yore, I wrote it because that’s what we were used to from VW. We were used to Legendary or at least Great. Even when campaigns weren’t great, they flirted with great.

But what makes great ads great? In my mind, there are a few things and they largely rest on the following:

  • The Idea
  • Suspension of Disbelief
  • Casting
  • That little something or certain moment

The Idea – First and foremost the best ads are generated from a good idea. At its foundation, it should go without saying that any great ad is borne from a fundamentally good and sound idea.

Suspension of Disbelief – Just because you’re dealing with 60 seconds, 30 or even 15, doesn’t mean that the rules of suspension of disbelief don’t apply.  It becomes harder to suspend disbelief when you’re presenting “real life” moments. Humor is probably the most effective way to enable people to suspend disbelief. The problem is that humor which while certainly subjective still relies on two critical things. The first is timing. The second is delivery.

Consider the Sony ads with Justin Timberlake who treats them more like an SNL skit than an ad.  He’s genuinely funny and allows the absurdity of any moment to disappear.

M&M successfully uses humor to suspend disbelief. One of my favorite spots as of late is the one where M&Ms characters are in the kitchen cabinet throwing things at this guy who’s simply trying to get his pregnant wife a “snack”. He tells the M&Ms to “get in the bowl.” One of the M&Ms fires back the most common of childish comebacks, “You get in the bowl.”

Another successful use of humor is with the FedEx ad where a group of staffers are looking at a map of the world and one of them is supposed to put a pin where China is. He doesn’t know where it is and tears down the whole map to avoid being “outted”.

As such with humor, casting becomes so important. In general it’s a very little moment, a split second that makes it or breaks it and that’s usually as a result of good casting.

When you’re not using humor and presenting truly real moments the challenge becomes one of sincerity.  Now you’re in a position where it has to be believable. Generally the best work in this realm comes from clearly understanding the brand. While Disney has lost some of its “magic” in my mind, its motivation is still to be thought of as truly the most magical place on earth. Or take Folgers’ spots. I’m fairly certain Folgers’ motivation in their ads is to make you cry. But in order to pull this sort of work off, it has to be sincere. Not about the coffee but about the moment.

All this being said perhaps though what is most important for great ads are two things. A collective will. And brave clients.

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I’m a partner in a start-up agency called Pomegranate.

Like many of my brethren in the industry, we’re working hard to address the question of the business model as well as the compensation model. I think plenty of agencies have tried to address the compensation model (which in some instances led to huge industry shifts e.g. the segregation of media) but few have tackled the actual business model.

We’re not necessarily sure we’re going to create the template for the “agency of the future” but we’re certainly hoping to not look anything like a “traditional” agency. This is probably easier said than done but we’ll die trying and hopefully all remain housed, fed and clothed in the process.

Our bet is that it will look something like what Joseph Jaffe proposed which is sort of a hybrid model. Incidentally, Bud Caddell did a great blog post rounding up the latest and greatest pontifications on what the “agency of the future” will look like.

One of our key goals is to address the issue of extensive overhead. And not necessarily so we can put it back into our own pockets. Of course we’d like to make a nice living but don’t feel a need to be obscene.

In any event one of the first people recruited was a CFO. He’s hardly the CFO type actually but his acuity with all things dollars and cents (and other things too) is astounding. We also wanted someone from outside of the ad/marketing business. This was very much by design.

In recruiting someone with no real marketing experience let alone advertising experience required me giving him a sort of Agency 101 tutorial. This was a wonderfully helpful exercise for me because looking at the model of yesterday really got me to think about how and why we will do it differently today.

I’d love to get feedback and encourage discussion about what’s missing or am I completely off my rocker?

What drives costs at agencies is overhead. Space and people. Roughly 6-10% of an agency’s revenue goes to space. Every big agency is in A-class space and spends a boatload on it. Then it’s people who drive costs and everything essentially boils down to billable hours. (New business pitches drive costs as well but that’s a whole other blog post.)

Agencies have traditionally been built based on mediums (ways to reach the consumer) and there were four basic mediums:

· Advertising (TV and print)
· Direct marketing (direct mail, direct response, 800# call to actions)
· Public relations
· Digital (web sites)

There are also media companies which are responsible for buying ad media (places where the ads go e.g. TV, online magazines, sponsorships).

All of this is based on what’s known as disruption marketing. In other words, I as the consumer am interrupted from a program and fed an ad, like it or not. These days the world is moving more towards permission-based marketing. This is where I as the consumer am largely in control of which “content” ads or otherwise I’d like to see. There may still be some disruption marketing there but companies have to be much smarter about placement because if marketing is not aligned with content appropriately I’ll find something else to watch.

So what does this have to do with the hybrid approach? It’s acknowledged that for any client it’s imperative that we know our client’s business inside and out and we understand their customers and everything about those customers. However, gone are the days where we “push” a message out to the broadest amount of people and hope that they’ll respond which is basically what :30 (thirty second) TV spots are.

Now, for any given effort we may decide to develop say… a mobile phone application. This requires idea creation and oversight from the principals, a little art direction and then programmers to develop it. The heavy lifting is done by the programmers but that’s not a function we want to own, nor should we because every client is different every client’s need is different and every client’s customer is different and how we reach them is inevitably going to be a broad mix of mediums.

I’ll use Sunoco as an example. Sunoco’s retail strategy for the past several years has been “The Official Fuel of NASCAR”. So they put the signage on everything and then some and do a few ads with NASCAR drivers and sprinkle it with a loyalty program and presto everyone comes running. Not so much. They’ve effectively made NASCAR “the” strategy as opposed to being a part of “a” strategy and in all likelihood have probably alienated anyone who isn’t a fan of NASCAR.

An approach might be to have NASCAR as a part of a greater motorsports strategy. Sunoco is also the official fuel of Porsche Club of America (not sure how many Porsche Club folks are NASCAR fans). This is a great affinity group and ones who are likely to evangelize the brand. Sunoco also happens to be in Philadelphia within maybe two hours of something like a good 3-4 nationally known Porsche tuners. Another part of the strategy might be supporting those groups with a little more TLC and letting them organically help to grow a loyal base of customers. The bottom line is it’s an effective strategy that doesn’t require the full-time hierarchy of agency staffing that you need to find ways to keep busy.

Typical agency staffing looks something like this:

CEO

Creative (develops ads/strategy)

· Chief Creative Officer
· SVP Creative Director
· VP Creative Director
· Associate Creative Director
· Art directors
· Copywriters

Account Management (client relationships/strategy)

· SVP Group Account Director
· VP Account Director/Management Supervisor
· Account Supervisor
· Account Executives
· Assistant Account Executives

Account Planning (customer insight)

· SVP Account Planner
· VP Account Planners

Studio (prepares creative for production)

Traffic (manages timelines and information flow)

Broadcast Traffic (manages timelines and insures that TV ads get to the right networks/stations/etc)

Then of course there are the support functions for all of this (HR, admins, finance/accounting).

Mirror all these people for all of the different mediums I told you about and you’re talking about a lot of frickin’ money in which people scramble with timesheets to account for the billable hours agreed upon. As advertising agencies battle with corporate procurement, agencies are now butting up against the evil they’ve in essence created.

Our CFO also asked how long clients stayed with agencies.

It used to be forever. Literally. Up until the 80s, accounts stayed with shops for 20+ years. Now days, agencies are lucky to hold onto business for more than a few years. This is largely a result of a three things. 1) Quarterly earnings – if you’re not moving the needle, you’re out. 2) CMO tenure – on average I believe it’s less than 24 months. This is also tied to quarterly earnings. 3) When the CMO goes or there’s a significant shift in the agency such as a creative talent leaving, business often shifts with it. There is very little loyalty left in the business anymore. There are other reasons why client’s part with agencies related to poor client service management or not delivering solid creative product as well but the bottom line is agency/client relationships are often pretty tenuous.

Now after re-reading all of this I’m wondering why I signed up to help these guys?

Oh yeah I love it.

Oh and while I can’t fully predict the success or failure there is one thing that I do know and that is for an agency like thisto succeed is going to require a first client who is willing to take a risk to help the industry evolve and know that mistakes will be made but figured out. Kind of like this whole social media thing.

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At breakfast with a colleague today the discussion of advertising agency diversity came up.

Being a black male who spent about 13 years in ad agencies, a lot of people ask me how I managed to be successful and what I think are the reasons why ad agencies can’t seem to tackle the diversity issue.

Although I do think agencies have traditionally “self-selected” its staff which is really just human nature, I do not believe there to be any significant mal intent. And I say this fairly confident that I’ve been discriminated against at least a few times in my agency career.

That being said, my view on the agency diversity problem is exceptionally pragmatic.

The most fundamental reason for why ad agencies lack diversity so much lies with simple economics.

Ever noticed that account service staffs at big agencies are generally made up of good looking white kids who look like they came out of a j. crew catalog? There’s a reason for this. Ad agencies don’t pay well at the entry level and generally the big agencies are in urban centers. Expensive ones. NYC, Chicago, Boston, LA, San Francisco. These two factors are critical. Most of my peers when I was a lowly AAE were subsidized in some way shape or form and almost no one had the burden of a student loan to pay off (including myself). In walking around agencies these days, things haven’t seemed to change very much. If you haven’t read a book called “The Hidden Cost of Being African American” by Thomas M. Shapiro that might be a good place to start in beginning to address the diversity issue in agencies. It’s a fact. Most African Americans coming out of college have significant student loans to pay off. Living in a very expensive city on an assistant account executive’s salary in many cases isn’t even an option.

Most of the best and brightest African American college graduates are pursuing careers in law, medicine or business. This is largely a financially driven decision. Any of the best and brightest kids of color who might have been marketing majors are getting cherry picked by guess who?

Your clients.

And they offer a much clearer career path, training programs, benefits and better salaries in areas where the cost of living is far more sustainable. If a potential client has a diversity requirement as a part of an RFP, might I suggest you request to borrow a few of theirs? And I’m not kidding.

Ad agencies might want to look at organizations like The Posse Foundation which provide access to students of color to generally small liberal arts colleges and further work to ensure retention. I would suspect that ad agencies might find similar challenges to that of small liberal arts colleges.

However, until the wealth gap closes significantly or entry level agency salaries increase significantly, I wouldn’t expect much to change.

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