The 5 biggest mistakes later-life brands make with their creative

The Value Trap is what happens when creative gets built around what the brand values instead of what the reader does.

It is rarely a decision anyone makes on purpose. It is the result of five assumptions that sound completely sensible in a meeting and cost you response on the doormat.

Here they are.

Mistake one. They think prospects want to be led towards pleasure

The happy couple in the garden. The new chapter. The life you have earned.

It is a nice thought and it is the wrong opening move.

People do not move towards pleasure from a standing start with a brand they have never heard of. They move away from something that is bothering them. The stairs that are getting harder. The heating bill. The conversation with the kids they keep putting off.

Lead with the pleasant ending and you are asking someone to imagine a solution to a problem you have not named yet.

Mistake two. They think the incentive is the most persuasive thing to say

So the offer gets the biggest type on the page.

A discount can sharpen a decision. It cannot create relevance from nothing. If the reader does not have the problem, money off is money off something they do not want.

When the incentive is doing all the persuading, it usually means nothing else on the page is.

Mistake three. They think people won’t spend any time reading anything

So the copy gets stripped back to a headline, a photograph and a phone number.

But nobody reads ads. People read what interests them, and sometimes that is an ad.

Copy does not fail because it is long. It fails because it is about you. Give a later-life reader something that names their situation properly and they will read a great deal of it, because they are making a decision that matters and they want to be sure.

Strip it back and you have not made it easier to read. You have made it easier to ignore.

Mistake four. They think the CTA is the URL, phone number or QR code

Those are the mechanism. They are not the call to action.

The call to action is the reason to do it now rather than later, and the reassurance that doing it is safe. What happens when I call. Whether anyone will pressure me. Whether I can say no. What it will cost me to find out.

A phone number on its own is a request. It is not an argument.

Mistake five. They prioritise brand rules over selling principles

This is the one nobody wants to say out loud.

Brand matters. The tone, the look, the rules, all of it has taken years to build and it should be protected.

But when brand rules win every argument in the room, the selling gets designed out. The headline gets polite. The problem gets softened. The uncomfortable bit gets removed because someone worried about how it looked.

What you end up with is tone-perfect, on grid, internally approved and underperforming.

The problem with thinking this way

It leads to creative that is designed for what the brand values, not what the target does.

That is the Value Trap in one sentence.

The five signals your creative avoids the Value Trap

Flip each mistake over and you get the checklist.

It leads prospects away from pain

The opening names something the reader already recognises about their own life. Not the ending you want them to picture, the situation they are already in.

The incentive isn’t the reason to act

The offer is there, and it works because the argument around it has made the reader want the thing in the first place. Take the discount away and the case still stands up.

Problems gain attention and keep people’s interest

The problem is not a hook you drop after the headline. It runs through the piece, getting more specific, until the reader feels properly understood rather than just accurately targeted.

The creative’s argument is the call to action

By the time the reader reaches the phone number, they already know why now, what happens next and what it costs them to find out. The number is just where the argument lands.

It follows proven direct response techniques

Structure, sequence, proof, risk reversal, a reason to act now. Not because formulas are clever, but because they have been tested for a century and they still beat instinct.

Where to start

You do not need to fix all five at once.

Take your last door drop and read the first two seconds of it as though you have never heard of your brand and have no interest in what it sells.

Ask one question. Is this about them, or about us?

Most teams already know the answer. The harder part is what to do next, which is what the free workshop covers. I take a real door drop, show exactly where it starts losing people, and what I would change.

Watch the workshop

No one cares about your door drop

A door drop is a cold call in print.

You are uninvited. They did not ask for you. They do not know you. They are not looking for what you sell. And you have got a few seconds to make a case before it goes in the recycling.

That is the honest starting position. Most creative is built as though it isn’t.

I watched a video recently of a bloke who makes sixty to eighty cold calls a day. Before he picks up the phone, he gives himself a pep talk. These people don’t know who I am. They don’t care what I have to say. They owe me nothing. All they care about is themselves and their own problems.

That is not a sales trick. That is an accurate description of every piece of direct response you have ever sent.

The difference is he knows it.

The people making it care. The person reading it doesn’t.

Creative gets shaped by briefs, brand guidelines, feedback and sign-off. That is how it gets made, and there is nothing wrong with that.

But everyone in that process is paid to care about it.

The person picking it up off the doormat is not. They did not ask for it. They probably do not want to read it. They might wish you had not sent it at all.

That is the person the argument has to be built for.

And when you forget it, the creative starts explaining the product in ways stakeholders like. What it does. How it works. Why it is different. How long the business has been going. What the customer needs to do next.

It reads as sensible. It is response suicide.

You care more than they do

This is the easiest mistake to make. You spend every day thinking about what you sell. You know why it is good. You know how it works. You have seen how much it helps people.

So you write as though the reader knows all that too.

They don’t. And more to the point, they are not that interested yet.

Now think about how small a slice of your drop volume is made up of people already looking for your solution and ready to do something about it. Then think about how much bigger that slice could be if the creative was built for the people who have the problem you solve and are open to options.

You show them something they recognise about their own life. You show them you understand why the problem keeps happening. You show them what could be better. You make the next step easy and low risk.

That is a different job to explaining your product.

It has been true for a very long time

Victor Schwab wrote a poem in 1942 called Tell Me Quick and Tell Me True. It is the best summary of this I have read, and it is over eighty years old.

I see you’ve spent quite a big wad of dough,

to tell me the things you think I should know.

How your plant is so big, so fine, and so strong,

And your founder had whiskers so handsomely long.

So he started the business in old ‘92!

How tremendously interesting that is… to you.

It carries on for another twenty lines, and every one of them is a reader asking the same question. What does the damn thing do for me?

Eighty years on, most door drops still lead with the whiskers.

Where this leaves you

Nobody is sitting at home waiting to hear about your product. They are thinking about their own life. The heating bill that went up again. The stairs that are getting harder. The conversation with the kids they keep putting off.

That is where you start.

Not with the brand. Not with the product. Not with the offer.

With the problem they already have.

I put a free workshop together that shows what this looks like in practice. I take a real door drop, show you exactly where it starts losing people, and what I would change.

Watch the workshop

The Value Trap: why your creative talks about you

There is a video doing the rounds of a bloke being asked to sell a pen.

He says he is a sales manager. His pitch goes like this. It is dark blue. Comes in fifty colours. Writes smoothly. You can get them in Poundland. Buy twenty and it is a return on investment.

Every line is about the pen.

Not a single word about the person holding it. No question asked. No problem identified. No reason to care.

That is the Value Trap. Talking about what you value instead of what the reader values.

Where it shows up

It creeps into everything. Door drops, direct mail packs, landing pages, ads.

Product before problem.

It sounds like this. Discover our beautiful homes. Discover the life you want to live. Discover your next chapter here.

All perfectly reasonable. All completely useless to someone who has not started making that decision in their own head yet.

Because when your leaflet turns up on the doormat, no one cares about you. They care about themselves. What is changing in their life. The problem they may eventually need to solve.

Same pen, different pitch

Here is how that conversation could have gone.

Do you have a pen on you? No? Sod’s law, isn’t it. You never have one when you need one. You are in a meeting, someone asks you to sign something or jot a number down, and you are sat there patting your pockets like a lemon. Worse, you end up borrowing one off someone else. Bit embarrassing.

Here is the thing though. People are seen as more credible when they come prepared. Especially when the people around them haven’t. Having a pen on you isn’t about the pen. It is about what it says about you.

And this one is the Helix Oxford. Built to last, smooth on paper, a cap that actually stays on. This is the last one in stock at twenty quid. So the question is, is twenty quid worth not looking like a lemon next time?

Same pen. Same features, mostly. Completely different pitch.

The product has not changed. The mindset has.

It is not a design problem

This is the part that catches teams out.

When I see a door drop underperforming, the design is usually fine. Professional, on brand, properly produced. The offer is often decent too.

The argument just starts in the wrong place. And when the argument starts in the wrong place, better design only makes the weakness easier to see.

What about the brand?

The objection I get most often is that this all sounds like it means ignoring brand guidelines.

It doesn’t. Your brand is your brand. It has taken years to build. The tone, the look, the rules. You should protect it and I leave it well alone.

But brand and direct response are built on different things. Brand is built on consistency, distinction and feeling. Direct response is built on proven principles, tested repeatedly, rooted in why people buy.

They are not enemies. They speak different languages. What is usually missing is a translator.

Because creative that is tone-perfect, on grid and internally approved can still be leaving money on the table. Following every brand rule and none of the rules of direct response.

The bit that stings

One of the good things about understanding the Value Trap is that once you see it, you cannot unsee it.

One of the bad things about understanding it is that once you see it, you cannot unsee it.

For some teams it is the first time they realise what their audience is actually hearing. For others it explains the thing they could never quite put their finger on.

Either way, it is painfully obvious once it lands.

If all you talk about is yourself, how good your product is, how long you have been going, how many awards you have won, why would anyone care?

Start talking about them and suddenly your product has a reason to matter.

Send me your creative and I will tell you where it is falling into this.

Send me your creative

60, 20, 17, 3: the maths behind your response rate

Here is a question worth sitting with.

If your door drop response rate tripled, what would that be worth?

For most brands I speak to, the answer is a lot. And their second sentence is usually that they are starting to wonder whet60, 20, 17, 3: The Maths Behind Your Door Drop Response Rateher door drop is still the right channel for them.

Response has flattened. Costs keep rising. They have worked the data hard and are not getting any more out of it.Only 3% of your drop are ready to buy. The gap between your current response rate and 3% is the cost of unoptimised creative. Here is what it is worth.

So they optimise the targeting. The postcodes, the planning, the distribution. The print, the format, the production. All of it.

Then they ask about the creative, and the answer is that they have tested it. Different headlines. Different offers. A few formats.

Different executions, or genuinely different arguments? That is where the trap usually is.

Why unoptimised creative still works

Split your drop volume four ways.

Sixty per cent do not know you and do not have the problem you solve.

Twenty per cent have the problem but are not doing anything about it.

Seventeen per cent know they have the problem and are open to solutions.

Three per cent are ready to buy right now.

You plan a door drop. You bring in good people to do their job. Data, targeting, format, volume, postage. Get that right and even unoptimised creative will work, because some of that three per cent will see it. Right place, right time.

So here is the question I would put to most brands running door drops.

Are you getting anywhere near a three per cent response rate?

Probably not.

The gap between where you are now and three per cent is the cost of unoptimised creative. The data did its job. The targeting did its job. The media plan did its job. The creative didn’t.

The seventeen per cent is where the money is

Most creative is built for the people who were already close to buying. That is why it can still work. Good data finds them, a decent offer nudges them.

It is also why so many campaigns get stuck.

The creative is doing just enough to convert the easy bit and not enough to persuade the bigger opportunity.

The seventeen per cent need more. They need the problem framed in a way they recognise. They need the value made obvious. They need their doubts answered. They need a reason to act now rather than later.

And they are not one neat group, so one argument will rarely do the whole job. Some need reassurance that your claims are credible. Some need proof that people like them have already done it. Some need their problem named in a way they had not thought of. Some need to feel the cost of doing nothing.

The three per cent is low-hanging fruit. The seventeen per cent is where the work is, and usually where the money is.

What that is worth

Take a campaign dropping a million pieces at a 0.010 per cent response rate, with an average order value of a thousand pounds.

Assuming those responses become orders, that campaign is worth about a hundred thousand pounds.

Move it to 0.030 per cent and it is three hundred thousand.

Same drop volume. Same postage. Same audience. Same assets. Better argument.

You do not need anything close to a tripling for that to pay for itself several times over.

It matters more this year

Postage is going up by an average of 25 per cent from October.

So everyone is talking about alternative formats, different suppliers, smaller packs, cheaper envelopes, thinner stock. All sensible conversations.

But there is another one worth having.

You are about to pay considerably more to put the same creative through someone’s door. Creative that may look perfectly respectable. Creative that has been signed off by everyone. Creative that might still be starting with the brand, the product and everything the business wants to say, rather than the problem the person picking it up actually cares about.

That creative was already costing you response. From October, it will cost you more.

You should look at production and postage efficiencies. But you cannot keep protecting ROI by making the pack cheaper. At some point you have to make the argument better.

Send me your door drop and I will show you where the response is leaking.

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Reassurance isn't a reason

Most door drops aimed at older people start by trying to make them feel safe.

A calm photo. Peace of mind. Here when you need us. A promise that everything will be taken care of.

It feels like the right thing to do. The subject is often hard, and nobody wants to frighten anyone.

But reassurance only works once someone knows there is a problem.

If you never say what the problem is, the person reading has nothing to see in their own life. And if they cannot see themselves in it, they move on.

Start with the problem, not the product

Nobody is sitting at home waiting to hear about your product. They are thinking about their own life.

The heating bill that went up again. The stairs that are getting harder. The chat with the kids they keep putting off.

That is where you start.

And before you write a word of creative, answer these properly.

How long has it been going on? What is it costing them? What can they no longer do? How does it make them feel? What happens if nothing changes?

Answer those well and the person reading sees their own life in it. Skip them and you are back to talking about yourself.

Then two things need to be clear. If they do nothing, nothing changes. If they do something, life gets better.

Being too polite is the unkind bit

Plenty of teams worry about spelling the problem out. It feels unkind, rude even, especially with older audiences.

It isn’t, as long as you can help.

Being too polite is the unkind bit. It leaves the person to work out for themselves why any of this matters, and most will not bother.

Reassurance comes after you have shown you understand. Not before.

The creative has got self-conscious

You can hear it in the copy. Sheepish. Apologetic. Sorry to bother you.

Too worried about how the brand looks. Too worried about sounding too direct. Too worried about saying the uncomfortable thing. Too worried about being judged by people who are not even reading it.

So the headline becomes polite. The image becomes warm but vague. The offer gets tucked away. The problem gets hinted at instead of named.

Easy to ignore.

The door drop’s job is not to be approved by the people who signed it off. It is to speak to one person. The person with the problem. Who may be worried, unsure, sceptical, embarrassed, resistant, overwhelmed, or simply not ready to admit they should do something about it.

That person does not care how carefully you have aligned with the brand guidelines. They care whether you understand what they are dealing with.

Outside logic doesn’t move anyone

There is a reason this matters more with later-life audiences than most.

People do not make decisions based on outside logic. The clearly better option, the obvious thing to do, the reason any sensible observer would give. They make decisions based on inside logic. Their own version of what feels right, based on who they still believe they are.

Most later-life creative starts from the outside. This is clearly better for you, why wouldn’t you? Get your independence back. Make life easier. You deserve this.

All perfectly reasonable. All useless to someone who has not even started coming to that decision in their own head.

But there are people who are close. People who have had the wobble on the stairs and not told anyone. People who have quietly looked something up online. People who have thought about it in the middle of the night and not said it out loud.

They do not need to be told what to do. They need to feel like someone gets it. That it is hard. That it feels like giving something up. That they are not ready to be told what is best for them by a brand they have never heard of.

Show them you understand how they feel. Show them someone who felt the same. Then show them what changed.

But can we make it more positive?

It comes up in almost every creative review. And it makes sense. If you want people to feel good about your brand, lead with something good.

Only your reader is not being logical when they pick it up. They are scanning, distracted, and their brain is filtering for problems first. That is negativity bias, and it is why one bad review sticks longer than ten good ones.

So when your creative opens with how good you are, you are asking the brain to do something it does not naturally do. Pay attention to good news from a stranger.

Name a problem they recognise and you have got a chance. Not because you have been negative. Because you have been relevant.

Hold up the mirror first. Then offer a way to fix it.

Leading with the problem isn’t negative. It is the fastest route to trust.

No pain, no gain.

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Testing isn't a lucky dip

Most brands test like this.

Someone in a meeting asks what we should test next. The team picks something. A new headline. A different image. A layout change.

They run it. One wins. They roll it out.

Next quarter it loses. Was it the creative? The time of year? The channel? Nobody knows.

Same meeting. Same question. Start again.

That is not testing. That is a lucky dip.

One question changes it

What are we trying to learn?

When each test is designed to teach you something specific about the people you are trying to reach, the learnings compound. You stop guessing what works and start building a picture of what makes people respond.

The difference is between testing different executions and testing different arguments. Most teams do the first and think they have done the second.

Different headlines saying the same thing is not a test of anything. Different reasons someone should care is.

An example that caught me out

I ran a test for a national retail brand last year. Loss framing against gain framing.

I expected loss to win comfortably. It is one of the most reliable findings in behavioural science. People feel the pain of losing something roughly twice as much as the pleasure of gaining it.

Gain outperformed loss by over 160 per cent.

Did not see that coming, and that is the whole point.

If we had not tested it properly, we might have run loss framing across future campaigns and never understood why the results were not landing the way we expected.

A good test does not just give you a winner. It gives you a reason. And that reason becomes the next brief.

The moment matters as much as the message

There is a second variable most testing ignores completely.

The same person can care about your cause on Monday and ignore your appeal on Tuesday. Not because they have stopped caring. Because the moment is wrong.

Three days before payday they scroll past. Three days after payday they act. Nothing about their values has changed. Their headspace has.

Ben Briggs and the team at Join the Dots have built an activity calendar for charities around exactly this, looking past the handful of annual fundraising moments the sector keeps returning to. Payday. Moving house. A news story that lands. A change in someone’s circumstances.

It is a charity example, but the principle is not sector-specific. I have been banging on about it with retail clients for years, and testing it regularly has produced year on year uplifts.

The message has to be right for the person and right for the moment they see it.

A control is not a family heirloom

The last blocker is emotional.

Teams get attached to controls, especially ones that have worked before. Which is understandable, and also the reason a lot of testing programmes stall.

A control is useful because it gives you something to beat. That is all it is.

If the challenger wins, you scale the learning. If it loses, you know what not to chase. Either way you have stopped guessing.

The good news is that most brands will not bother doing this properly. Which is exactly why the ones that do win more often.

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Format won't save a bad argument

There is plenty of good advice in the door drop world about standing out on the doormat.

One of the most popular is die-cuts, pop-outs and unusual formats.

It is sound advice. It is just not for most brands using door drop.

Where it works and where it doesn’t

Rough rule of thumb. If you are a big FMCG or ecommerce brand with an average order value around thirty to eighty pounds, format flair is fair game.

If you are in a low-interest category, later-life property, mobility, care, insurance, anything with a long consideration window and emotional weight, that advice does not track in the same way.

Here is why.

For your brand, the first action someone takes is not a purchase. It is request a brochure. Book a callback. Get a free quote. Watch this video. Call and speak to an adviser.

They have to trust you enough to take that first step before they have spent a penny.

And a die-cut built purely for attention can easily give the wrong first impression. Anyone who has watched someone try too hard to be noticed in a meeting or a pitch knows how that reads. It is off-putting. In a category where the reader is already weighing something up, off-putting is expensive.

For these brands, format is usually not the problem. Familiar, easy to hold, easy to read and easy to digest is plenty. Something the reader has picked up a hundred times and knows what to do with.

Format can earn attention. The argument earns action.

Check how it actually folds

Here is a small thing that costs more than it should.

I got a door drop from Hillarys that was clear, organised and persuasive. Genuinely solid direct response creative.

But only if you could be bothered to work out how to open it.

It had been designed to unfold a specific way. Nobody checked how it would actually be folded in production. So the experience for the reader was nothing like the one intended, and the layout ended up confusing.

That is real-world context getting lost between the marketing team, the creative team and the production team. And it turns work that should perform into work that doesn’t.

No one cares how you wanted it to be opened. They did not want to read it in the first place. Your first job is to make it effortless.

The pretty ad problem

I trained as a graphic designer. Like most students, I was obsessed with how things looked.

Then I got my first job in advertising, as a Mac operator at a direct response agency in Dartford. And I learned something brutal fairly quickly.

The prettier the ad, the worse it performed.

I would spend hours making an ad look as good as possible, only for the ugly ones to beat mine in A/B tests.

It took me a while to work out why, and the answer was simple. I was designing for me, not for the person reading it.

They did not care that I had balanced the typographic hierarchy. They did not care that I had kerned the subhead. They cared about themselves. And if the ad did not communicate why it mattered to them clearly, quickly and persuasively, it did not work.

So what actually matters

Get the argument right first, in a format that has been proven.

If the argument recognises the reader’s problem, speaks their language and gives them a clear reason to take the next step, the shape of the leaflet is irrelevant.

If it doesn’t, no fancy format is going to save it.

Getting noticed for the sake of it is pointless. Getting noticed because of the value you offer the right reader isn’t.

Or as Ed McCabe put it, every time we get creative we lose money.

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A 128-year-old formula still beats your creative brief

AIDA. Attention, interest, desire, action.

A copy formula invented in 1898. And it still works.

I know, because I use it to fix underperforming direct response creative. Sometimes it moves results three times. Sometimes ten. Sometimes it opens up a whole new decile to target in the next campaign.

But every time, someone says the same thing. Oh yeah, AIDA, I have heard of that. Or, I have never used it like that before.

Why teams pay lip service to it

Most people have read about AIDA once or twice. They liked it. It made sense. But nobody ever showed them how to apply it.

So it becomes a thing teams nod at rather than a thing they build with.

Because applied AIDA means asking uncomfortable questions. Questions that scratch at what the reader’s real problem is.

It means putting the reader first. Writing with structure, not style. Organising an argument your reader will agree with.

I learned that the hard way, writing direct response ads in the back of the national press. A client would spend ten thousand pounds on a single page in the Daily Mail, and you either delivered a two to one return or you were out.

No vanity metrics. Just sales.

Seven years of making ads that had to pay for themselves every week will teach you to use a formula.

Not because I am stubborn. Because they work.

Captions do more work than you think

Here is the most underused tool in direct response.

David Ogilvy said more people read captions under illustrations than read the body copy. He was right, and there is a reason for it.

We have had the habit since school of scanning captions in textbooks. It is a shortcut to the important bit without reading everything.

Ads work the same way. People glance at the image, read the headline, and if they are still curious they scan the caption next, deciding whether this is worth their time.

Which makes the caption one of the deadliest tools you have. It lets you sneak in a persuasive message before the reader decides to bail. And it applies just as much to DRTV overlays and video subtitles as it does to print.

But most treat captions like an afterthought. Here is our product name. Woman with a big smile. As if we cannot see that already.

Confirming the obvious is a waste.

Use captions to say what the image can’t. Give a taste of what is in it for the reader. Even one line can move someone from casual skimmer to curious buyer.

If your captions aren’t doing that, what chance has the rest of your ad got?

Nobody reads ads

Howard Gossage said it best. Nobody reads ads. People read what interests them, and sometimes that is an ad.

That is what a formula does. It forces the writer and the designer to think about the reader. Not the brand. Not the product. Not the stakeholder.

Just the problem your reader wants solved.

Because if you do not control the reading process, you end up leading with what the brand cares about instead of what the reader does.

What was true in 1898 is true now.

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Creative built for sign-off, not for the doormat

I filled in an application recently to join the DMA UK Print Council. The key question was what I would bring to the group.

This was my answer, and it is the clearest way I can put the argument.

Where the money goes and where it doesn’t

Huge amounts of energy, resource and budget go into data, targeting, production and delivery. Who receives it. How it is produced. What format it takes.

Far less attention goes into the words, pictures, structure and argument that have to persuade someone once it lands.

Creative testing usually focuses on audiences, formats and production efficiencies. Not the context the message is read in. Not the headspace of the person receiving it. And not the sales argument most likely to change behaviour.

The result is creative that ticks internal boxes but fails to move the people brands want to reach.

Everyone in the room is paid to care

That is the mechanism.

Creative gets shaped by briefs, brand guidelines, feedback and sign-off. Everyone involved is being paid to give it their attention.

The person picking it up off the doormat is not.

So the work gets safer with every round. The headline gets polite. The problem gets softened. The uncomfortable bit gets taken out because someone was worried about how it would look.

And you end up with creative that is tone-perfect, on grid, internally approved and underperforming.

Who you actually answer to

Most internal creative teams have to switch hats between brand and performance without ever being given the tools to do it.

You need brand guardians. You need people who care about green versus slightly darker green. You need people with integrity. None of that is the problem.

The problem is forgetting who the work answers to.

It is not the boss. It is not the CMO. It is not the creative director.

It is the punter. Audience, customer, prospect, reader, call them what you like. They are the only ones who matter. If the ad does not move them to act, it does not work, and what the stakeholders thought of it will not change that.

I like it does not cut it in direct response.

Brief differently

If you want the creative to come out different, the change has to happen earlier.

A brief that only says what the brand wants to say forces the creative team to invent what the reader needs to hear.

So the brief should answer these before anyone opens a design file.

What problem are we naming? Is that a problem the reader actually feels, or one we have decided they should? What do they already believe? What is stopping them acting? What proof would make this feel safe? What is the next step and why should they take it now?

Get those on paper and the creative team has something to build an argument from rather than a list of things to include.

The commercial bit

None of this is about making ads look different. It is about making them work harder.

Because you are already spending the money to reach these people. The media plan is done. The data is bought. The postage is paid.

The ad still has to do the hard bit.

If your campaign did not work and you do not know why, I will help you find the leak.

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