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Contents

Foreword 5 Introduction 7

l. How to fi ll in the DO Brief, section by sectioD I3 2. Examples of good DO Briefs, and rcasons why they're good '2

3 T nspi ration, 24-hour Briefs, a RedWorks Brief and the actual briefing 35 Appendi x: Examplcs of gooel DO Briefs from O gilvy Public Relations Worldwide, O gilvyAction and O gilvyOne 45

DO BAIEFOgih'Y &MaLher COfe Creative Bricr: New Idea Generation -Direction Brand Product Job No. Date

Task Success Critena

E.g., new product launch, reposition !he brand, generate inquiries How will this activity be measured and are these measunements in place?

Why 15 this briaf hare? What's keeping the cl ient awake at night? What's happening in the client's business that has prompted the need for communication? What is the big brilliant problem we can help to salve?

Who are we trylng to influence? Who is it we need to influence and how (if at all) do they currently think, feel and behave towards the brand/category/ product area? Ask yourself what they are currently doing that we need to change. Think about any barriers that exist. Please bring these people to life in a way that will help the creative team get inside their heads, not just as general consumers but within the context of the specific challenge the brand faces. NB: The relevant points will set the scene; more in-depth info can be attached in the Inspiration section or saved lor the briefing.

What do wa want them to DO as a result o, tilis communication? When it says "do" it means DO. This is the actual change in behavior that will ultimately altecl the client's business-and help them sleep well at nigh!. A simplistic answer like "buy mare X" is not enough-everyone in the business is doing tha!. Be specific rather than general. You'lI need to have explored who you need to influence, what they are currently doing, and how we need to change it befare you can express this fully.

How do we expect communications to work towards achieving this? How are the communications actually going to DO that? Will they shock, engage, make things more relevant , entice people to trial , create a unified voice far the brand, change the way people feel abQut when and where they should consume the product and so get them to consume it mare olten? How will our communications reward people for the time they spend with them?

What are we trying to convey? What is the care thought that will drive the creative solution? Think about whether this should be a big a killer fact, a promise, a straight message, or just a plain and simple big idea- it depends on the task at hand.

What wlll help people to KNOW thls? What will help people to FEEL th 51 What makes this competitive, relevant to the target and What are the care values ar personality 01 the brand we need true? NB: Additional product detail can be attached as to stay true to? Are we questioning ar directing? Are we an addendum to the core brief. being inclusive ar exclusive? Are we talking conspiratarially

with people ar are we distant and autharitative? What do we imagine the tone 01 the communication lo be?

Mandatorias Channels Supporting Materials What are the immutable "must haves" Where and whet1 will we reach people List any additional technical specs, ar "must nots" for this task? E.g., avoid in the most receptive state of mind? copy briels, or product details attacking competition or using slapstick (Please expand as needed.) supporting this brief. humor, ensure culturally sensitive references, leature the product, etc.

Account Dinector Planning Director Cneative Director

Creative Development Time Final Review Date Clien! Presentallon Date Final Deadline Production Budget

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P10Mdl03:

Perva jve Creativity. Jt's what Ogilvy aims ro r. We want LO be the network that doc Lhe bes t, the freshe t and Lhe hotte t creativc work in the world.

That's why I'm delighted by lhi renewed focus on th very start f rhe creative process- the crealive brief.

Everyone who wriles a crea tive brief ha the pp rtunity to mak a d ifferenc . You remembcr the old computer acronym GlGO? "Garbage lo, Garb gc O ut." It's like thal with b riers.

Every creallve team ha' horror stor ies of receivi ng lousy briefs. Dul! , vague confu ing, though tle What chance do they have of producing sparkli ng, fresh reative work if the accou nl t am d esn't hrief th m properly?

But every crealive leam al o remember. those bri f lhal made a di ff'e oce. Briefs that igniled their imaginations. Briefs that open d up new possibilities. Erief that inspi red and enthused.

111at's what Perva ive Crea ivity mcans here. Writing a briefhas to be a creati fe act in it elr. 1bat will O'ive crcative teams lheir best chance of producing g reat work. The better the brief, th hetter thc work.

Our Twin Peak tralegy- tbe trategy of producing the most creative work in lhe world a wd! as the mo t effective- sLarts here. With great briefs.

The DO Eriern l form is here to help y u. It asks the lough queslions you need to answer in order to write greal brief . PI as ' tudy and apply lhe lcssons in this short book.

Thank you, and good luck.

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WHY JS TIllS CUIDE HERE?

PresidentJohn F. Kenn dy wanted to ell the idea oflanding aman on the Moon. He said , "We choose to go t the Moon in this de acle and do the other things, not becau e they are easy, bu l beca use they are hard."

The DO Brief is hard. Most cr alive briefs ask familiar questions. lhe DO Brief a ks ough new questions. This guide explains why. It will he!p you answer those questions b tter.

WHAT'S EW BO T THE DO BRIEF?

1. It begins with a question about the client's business issue. N t aD awareness issu ,or an image issue, or a positioning issue, but a business issue. Unless our creative work help clrive the d ient's business, it will pass like a ship in the night. All clients want profitable growth. H w can we help?

To help solv the client's business issue, we need a commercial idea -an idea that uses Ogilvy's creativity to address th . r busin ss issue.

2. It asks what communications must goet consumers to do. H w must consumer behavior change-not just awareness or perceptions, but behavior? For in tance, a chari ty ad might raise your awareness. It might even move you to tears. But unless you put your hand in your pocket to donate money, it failed.

It asks how communications will change behavior. AH campaigns exisl to get somebody to do something, but they work in different ways. Sorne persuade, giving rational information about a product benefit. Otbers make lhe brand famous. Sti l1 o thers strengthen emotional engagement. There are many other possibilities. We need to be clear ab ut which communications fiode! applie' in th is si tuation .

4. It asks what we need to convey. U nlike most creative briefing forms, il does not assume the solution is always to dr iv a logical, factual proposition into consumcrs' minds. Often the most effective campaig ns create an emotional impression of the brand. Conveying inform aton can be effective, but conveying feelings can be more effective.

5. It is channel-neutral and global. Previously, Ogilvy & Mather Advertising, Og ilvyOne, Ogilvy Public Relations Worldwide and O gilvyAction each had different briefing forms. The DO Brief encourages in tegration among strategists of all disciplines because it is the shared platform for a11 activity. It is also used in all regions. Al! of us must use the same too1 in tn is global ized w rld .

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WHY DOES IT ASK THESE QUESTIONS?

l. To improve br iefing quality. FiIling in the DO Brief ought to make your brain hurt. It demands clarity, focus and consistency as wdl as creative stimulation. lhe harder you work at the briefing form, the better the briefing will be.

2. To help clients huy original work. It is easier for our marketing clients to seIl seen-it-before creative work within their own companies. Helping them buy fresh, truly original work is part of the planner's job, perhaps the most important parto Stanley Pollitt, one of the fathers of account planning, said something crucial about the planner's role that seems to have been forgotten: "lhe rationale of creative work after it has been developed will become much more important than the initial creative brief."

What is a "rationale of creative work"? It is a narrative that explains how the work wiIl sell more. It involves four steps:

i) Review the brand's sales and position in the market to identify a business opportunity.

ii) Identify the key consumer segment for that opportunity. iii) Analyze consumer behavior and attitudes in terms of the defined

business opportunity. iv) Articulate the role of communications in bringing about the desired

behavioral change. lhese reftect the first four questions on the DO Brief. Answer them properly and you are well on the way to selling the work as strategically right.

3. To j udge creative work. Creative work should be judged against strategy. Unless you happen to be in the target market, it doesn't matter whether you personaIly like, say, the look of the lead actor or the music track. lhe question is whether the work will get the sales job done.

If you and the client agree on the communications strategy-by going through the Ogilvy Fusion process and the DO Brief together-it will be easier to judge whether the work will be effective with its target audience.

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Wl1ERE DO IT FIT NTO O lLVY FU, 101 ?

Ogilvy Fu ion i Ogilvy's new operating system. It p urpos is to provide a way or our disciplines to work more cIo d y together and produce deeply integrated

360 Deg ree campaign .

There are two versions: Ogilvy Fu ion (d signed LO be completed in 48 hour or a similarly short ti me) and Ogilvy FusionPrf\l (designed for ]oDITer and more complex marketing programs). They share the same fi e-stage process:

4 SOLUTION

111ere are thrce Ogilvy Fusion tages before rhe DO Brief.

Business Arnbition is first. 111is asks the cssential qu stions to help articulare the dient's business issuc OY opportun y. It men h lps define the marketing and communication goals.

Customer ExjJerience identifies barrier and dr ivers to purchase at ach tep of (he consumerjourney. It a l O covers the desired consumer r pon e to our comm unications at each step.

Architecture identifies the rol s ror communications and basie channel choices at each step.

Thc So/ution nspired by the DO Brief is the fourth stage. It follows as a natural progression fro ro lhe previous Ogilvy Fusion stages. I n essence,

gilvy Fusion is a statemcnt of our strategy, and the DO Brief is the one-p age summary and creative inspiration-it is \"here the rubbej" meets the road.

You may need sub-briefs fOf particular corn municat ions tasks or channels in very elabora te, complex campaigns. Use the DO Brief format fOf these loo.

Thc fifth stage is Effectivenes.r, which identi fies key success metrics based on the Business Ambition we with .

ENTS

Colin Mitchell and Jobn Shaw wrote key sec tions. Paul Matheson, Gavin Macdonald, and Catherine Moustou of Ogilvy Asia Paci fi c made many helpful cornrnents and suppJjed examples; they were a]so key membcrs of lhe team that devised, tested and tra i_ned the DO Brief in tbe fi rst place. The Inspiration section carne from Sarah Ncwman's tenu re as Head of Plann ing in Ogilvy London. Many tha rU

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Don't begin with the brief. Alway begin wiLh a trateo-y. 111e DO BTief sh uld be the one-page su mmary of the strategy and indicate how it hOllld be implement d , a step towa rd a creaLive ol ution.

Ogi1vy & 11athcr or' Crclliv n r. New 1d a Gen ration - Direc . on The ti le says it all. Use thi briefing form l O generale a new ereati e id a.

Sometimes you don't n ed a new ereative id a- for in tanee, ror an adaptation through R dWorks. There is an example of a RedWork briefing f, rm in Chapter .

Brand Product Job No. Date

Task Success Cri terla

E.g., new PfoduCt launch, reposition lhe brand , generate inquines HOI/J will this activity be measured and are these measurements in place?

Mo t of lhe n Xl boxes are self-explana tory, but please note the rdation hip between fue Task and lh SlIccess C riteri . Ir the t sk is to reposition the brand, wouId you measur success by rhe number of inqu iri s lhe camp ign gen rated? Probably noto Ir !he task is to generale inquiries, would you measure suecess by hang s in brand image or personali ty? Again , probably noL Make SUTe your lhin king is joined up.

lt really htlp er atives when you are clear abolll how suecess will be judged . O ne kind of ca mpaign wiIl genera te inqui ries, whi1e anoth r kind wilJ reposi tion the b rand . Let th m know from the beginning whal i requi r d. Don't send them clown blind alleys.

Why Is thls brlaf here? What 's keeping the client awake at nigh!? What's happening in the client 's business tha! has prompted the need lor communication? Whal is Ihe big brillianl problem we can help lo solve?

Ogilvy's effectiveness ioi tiat ive starts right here, with an articulation of the cIient's b usi nes issue or opportunity in the crealiv grief. 1he c1ient's objeetive is always profitabl growth , bUl how is that lO be achieved?

Sometimes there is mis und ' rstanding abou t what eounts as a b usiness issue. Are sales or market share Aat or dec1in ing? That's a business issue. Is a competitor outpacing 1I, io the market? l11at's a business issue. We need w rds like " al s,"

"marke t share," "reven ue" or "profitability" in thi scction, not "bra nd image" or "awareness." 1he O gilvy Fusion proccss (Business Ambition) wi Uhelp here.

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Iryou are lucky, O gilvy RED Consul ting or Business Accelcra.lion \ViII have done sorne upstrcam analysis chat win answer this question fo"you. But rnos t often eH be up ro you and your tearo to fi nd an answer.

So rn e accou nt tcarns will say aL th is point, "We doo't know about sales; rhe cl ient doesn't share thal informa tion with us." But have you asked? Perhaps if y011 ask pol itcly and expIain how important it s, the marketing director wouId spend a haJ f hou r brie fi ng thc team on the business challenges facng the brand.

You can find ou t a tOl by yoursel f. For instance, what do financialjournalis ts and ind ustry bloggers say about lhe clien l's business? What 's in tha t industry's trad c magaz ines? What do the company's own finan cial reports and press statement

y? Does your rnanaging director o r financc director know? Do you know someone who works in that indus try? I t's always belter lO makc an ed ucated guess abou t the c1 ient's business issue lhan ro hy nothing, because Lhen c1ien ts can COfrect any misapprehensions when rhey review lhe brief.

It is es.fential that you try lo fi nd out wbat the business issue s. Campaigns that are based on business or behavioral objectives are more thanjour times as likely to be sales eJJective as campaigns based 00 a tti tude or awareness objcctivcs.' O gvy Fusion's Business Ambition scction suggests the key qucstioos tor you to answer.

Olhers migh l say, "Crearives don' t need to know lhis." But they do, and thcy've asked for it befo re. O gilvy's most senior crealives asked us nol to sh ie1d them from business rcalities in b riefings .

Who are we tJying te Innuence? Who is il we need lo inlluence and how (il al all) do Ihey currently think, leel and behave towards the brand/calegoryl producl area? Ask yoursell what they are currently doing Ihal we need to change. Think aboul any barriers that exist. Please bring these people to 1,Ie in a way that wll help Ihe creative team gel inside their heads, nol just as general consumers but wilhin Ihe conlexl 01 the specilic challenge the brand laces. NB: The releva nI poinls will set Ihe scene; more indepth inlo c.an be atlached in the Insp iration seclion or saved lor Ihe briefing .

The perfcct answer to this queslion would nclude: i) a quan titative dcscription of lhe targel audience, incl uding tbeir buying behavior

in relation to the business ssue dentified in the preccding section, and ii) a q uali tative dcscrip tion that brings lhem alive as people to creatives.

Herc's a g real example from an Axe brief: He thinks about lOomen a loto A lot loto But not drearnil1g ofrmnance, he\' (l dirty bo) lO/lO can 't stop thinking about sex lOitlz extraOldinarily lOelcoming women. ret in Ihe real wor/d) women are a complete0! differenl countl)i-S .wrnelOhere hes never heen, it l1UlJ' be a while bifre he getJ lo go thar and)ou're f},7Laranteed he won't be ableto Jpeak the language lOhen he does.Deep down he wishes he couldjust be lmse!faround gir/s, that it lOasn't so complicated) that he didn 't have to tr) so hatd.

' Binel, Les; JJ1d Field, Peter: "Marketing in lhe Era or Accountabi li ty: WARC. 2007

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This is wher we include the target's perceptions of the brand-its image, positioning or personality, etc. Don't put that in the business issue section.

What do we want Ihem to 00 as a result of thls communica1lon? When it says "do" it means DO. This is the actual change in behavior that will ultimately affect the client's business- and help them sleep well at night. A simplistic answer like "buy more X" is not enough-everyone in the business is doing that. Be specific rather than general. You'll need to have explored who you need to influence, what they are currently doing, and how we need to change it belore you can express this lully.

As the brief says, "do" means "DO." What change in consumer behavior will grow the client's sales?

NEVER write "Buy more X." That's unhelpful and spineless.

Think through how an individual might respond to the campaign. What does that person do now and what behavior do we want instead? Specific, concrete actions ("Fit window locks") are much more helpful to the creatives than platitudes ("Be vigilant"). Provide a narrative of the individual behavior change you want.

Sorne good DOs that brought the tasks alive to creatives include: When the insurance man from X comes round, don't slam the door in his face;

invite him in for a chat. Reach past the ordinary tea on the shelf and get specialty tea X instead. Get your mortgage sorted with X bifOre you look for your new house. Instead of passing by X shop as you have done every weekend for the

last five years, stop and go inside. Drool over the page and divert the taxi to X instead.

The DO must always flow sea mIes sIy from the business issue and consumer target identified earlier in the brief.

How do we expect communications lo wortc lowards achieving this? How are the communications actually going to DO that? Will they shock, engage, make things more relevant, entice people to trial, create a unified voice lar the brand, change the way people leel about when and where they should consume the product and so get them to consume it more afien? How will our communications reward people lar the time they spend with them?

Unless we specify in advance how the communications are expected to work, we don't know the issue in full, we haven't examined the problem hard enough, we don't know the audience well enough and we haven't established the strategy soundly enough.

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1l1e brief asks for a commUnlcations Olodd for the ad. What is a "cornmunications modd"? Thcre are trucc kinds:

l. Models of comrn1l1calions in Keneral

It used lO be lhought that all communicalions work lhe same way. Sorne clienls and rcsearchcrs still think that. Typical "universal" models include:

AIDA: Attention, intereSl, desire, acrion. STARCH: Sec, read, remember, act upon ,

AGMAR: Awareness, comprehension, conV1ction, action. AlETA: Awareness. intcrcs[, evaluation, Irial, adoption.

1l1cse communications modds are old- for instance, Al DA dates [rom lhe ,880s. They assume a) consumers arcpa'isive and ernpty-headed, and b) commurucaton move cOllsumers through a linear sequence oC conseious, diserete mental event before tbey buy anything. Neither of thesc assumplions i5 credible Loday.

Communicatjons models like thcse fundamentally mjsunderstand lhe way our minds, and campaigns, aetually work. lbey don'L reOeclleamings in ncW'oscicnce, psychology or n-market cffcctiveness. So why do they still survivc? Bccause lhey're plausible, not because they're right. Thcy're converuenl checklists ror prelest research and Lracking sludies.

But this can create a big problem far uso Creative ideas may appear to htil in rescarch. In reality, lhe problem may not be me creativc idea but lhe cornmunications model that underlics the research methodology. Howevcr, rebriefing the crcalives beca use ran imaginary problem wastes money and diminishes creativc mOJ-alc. You may need a conversation wiLh the client and rescarch agency about how l/ is jJarticular crzmpaigll should be pretcstcd and tracked.

2. Mode1s ofsome cllmpairtns

A more sophisticated approach allows lhaL d iffe rent campaigns may work in different ways. 'TIlrce of lhe most widely used sels of communications models are:

Hall 0' Partners: Sales Response- Pcople register a buying opporlunity thal fits lheir plan.... Persuasion- People t.ake oul a piece of information. Involvement- People get involved in the adverLising. Salience- People register lhe ad as standing oul in its sector. Q

'1 lall . Mike (oC I-Jall & Pantll,-",) : "U,ing At.lvt' rlising Dirrnenl RDTarch for Dff-rrnt C'llnpa igns." March '9.9 2

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Millward Brown: Irnmediate Challenge- Pcople lak away "new new " abou t th produc t thal create an immediate desire to buy ir. Interest/Status- Peop!c's memories of advertisement make rhem more likely lO buy brand X. Enhancement- Memories of advert ising daims and maO'es are converted ciuring experi oce of lhe prod ucl iota about the bl nd. '

IPA: EmotionalInvolvement- Peop e re 1grealerempathy for tite brand becau. e of rhe emouon created by the ad, or i likabil ity. Fame- People taLk more aboul lh brand and its adv rti ing, see it as making waves in its category. Information- People take away a piece of in fom1ation about the brand, its u ers or thei r w rlci . Persuasion- People are convinced by rarional argument that brandX is superior. Reinforcement- People are remindcd to keep on doing what th yal ready do (I oyalty campaigns) .1

There are effectiveness re ult on ly for lhis last sel. Ernotlve strat gies (Fame and EmotionaI Involverncnt) a r more Jikely lO be sale' cffective lhan rational trategies (Persuasj o and Information) . Rein forcernen l ca mpaigns are lhe least effeclivc:

Effi'ctiveoes ucce rate %

Fame p. Emotionallnvolvement 68 Pcrsuasion 61 Information Reinforcement J3

You necd to w rk out in advance wbich of lhese com municati ns models is mo ' t likely lO bring about the behavioral hange described in the previous section of lhe brief. Thi will be ba >d on your understanding f tbe consumer nd the kind of behavi ral change you are looking foro Even hough em tive campaign have a rugher success rate in gene ral, persuasive or informaLive campaigns might be better in a particular case.

3- Model of this !Jarticular campaign

Rather lhan u ing a standard, off-lhe- hclf inAu nc model, think lhrough th ljnk between Lhe campaign , nd Lhe purcha e. Ogilvy Fu -ion will help you here, with tbe Ogilvy Comm unicati ns BlueprintT\' exercises.

fM illward Brow n, as summa Tzcd b y Prue. TC'rry: "An AII -Embracing Ihcory o f How Advertising Vlorks," Ad map, Fcbruary 1998

'B inct, S; and Ficld , Pele r: "Marketing in the Erd of ccou ntabi lity," WARC,

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To give an examplc o[ think:ing [hrough Lhe purchase process, a brand o[ rruitjuice was bought by moLhers and drunk by Rcsearch"'showed kids were unlikely to ask for any particular brand in this sector. An imponant role for the campaign was to get motbcrs to bdjeve their kids would love il even Ihough tliey didll't actively aSJor it. Thi... communications modeJ is clear in tbis diagrdIIl:

ExampIc ofbespoke communications modd

Advert ising

/ Child impact

"The one for me"

%

Mother thinks ch ild wiU llke

% Mother purchases

The DO Brief version of th is mighl say someLhing like, "We m:ed moms to bcljev this is Dot only high-qualiLy juice, but also will be a trcat for Lheir "kids. lhe trouble is lhal kids don'l ever ask for it by name.. H ow can we get moms to bdievc it is popu lar with their kids ir they never ask ror it? By making a campaign their kids lave. 1l1e popuLarity with kids wiU lcad mothers to lhal thc brand is popular with lhcm too."

Wllh a communica tions modcl c1early in mind, il is much easier to design pretesl and trdckil1g research appropriale to this particular campaign .

"Snurce: KiaOra hi slOI'y, Anl< lfl)' Buck.1PA Efreclvenc!\5 Awa rdl>. 19RR

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Whal are we lJying to eonvey? What is the eore Ihoughl that wlll drive lhe ereative solution? Th ink about whether this should be a big ideaL: a killer fae t, a promise, a straight message, or just a plain and simple big idea-it depends on the task at hand.

Thi is the mo t prc SUf ed cetion of the brief. It is whal creatives look at firsl. Ir is how the brief as a whole will mainly be judged .

lt i never easy 10 wrile, bu t it is easier ir you have worked hard on lhe earl i r ections oC' lhe brief.

111 de: red behavioral change and communications mode! wil! guicle you r choice or the Ic-ind of thing th communicatons mu t eonvey. Iryou nee 1 g nerate nqujries, you wiH probably use a per ua ion infl uen e model, and ro r thal you wou ld wam te convey factual info rmati n. Iry u nced to reposition the b rand, you will p rob ably use an emOlivc influenee model, and for lhatyou woule! want to conv y f c.ngs abouL the brand.

There are sorne great "Conveys in the follmv1 n hapler.

What will help people to KNOW thls? What wll help people lo Uds? What makes this eompetitive, relevant to the target and What are the core values or persanality of the brand we need true? NB: Addit ional product delail can be attached as to sl ay true to? Are we questioning or direc ting? Are we an addendum lo the eore brief. being Inclusive or exc lusive? Are we talking conspiratorially

wi th people or are we distant and authoritative? What do we imagine the tone of Ihe communication to be?

In 010 t briefs th i s cti n wou ld b cal led "Support for che Propos iti n," which tends to lead toward ratio naJ, faet-based c1 aims. Sut we n w know information is only one Ravar of effectivc eamp igns , aoe! usually no t thc m sl eITec1ve. So lhe DO Briefgives knowledge andIeelings egual ta.Lus.

I f you want to convey fact ual information, yo u wOllld give more empha is l, lhe Knowledge box. If you want to convey a fceling, you would write more in Lhe Fcc1ings box. You don' t have to fil l both boxes each time.

Be very selec tive aboul wha t you wr e in either Avoid cl ichs and platitude D wha t you have written r a I1y suppo rl lhe "Convey," and is it meaningflll , appropriate and imaginative? Or is i l thcre for other reason - for instance, lo appea e the dient or aec unt team? 'TI1cn lhe brief will eonfuse lhe erea li e .

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Mandatorles Channels Supportlng MElterlals What are the immutable "must haves" Where and when will we reach people List any additiona! technical specs, or "must nots" for this task? E.g., avoid in the most receptive state 01 mind? copy briefs, or product details attacklng competition or using slapsti ck (Please expand as needed.) supporting this briel . humor. ensure cu lturally sensit ive references, leatu re the product , etc.

Accoun\ Planntng Creative Dlrector

Creatlve DBvoJopment Time Final Ae\iIf1w Dale CUent PresentalJon Da10 Final Ooadline Productlon Budget

Finally, we come to lhe practical stuff that creativcs need to know before they actual1y begin worki ng on someth ing_

Mandalories res tr ict creative freedo m, so , as lhe brief says , only include the "immu tables." 1l1at i.llcludes the thi ngs that will get the ad out of hand as unbuyablc. C reativcs must be in rormed o f these "m ust nots" immcdjately, befare Lhey Slart work, or you may waste their time on mutes that will never see the light o f da)'.

lhe ChanneIs box wiU summarize the O g-ilvy Communications Blueprint from Fusion .

For b riefs with many delai led req ui remems- often direct, d igital or retail act ivaton briefs-attach a separate p age to the DO Brief.

1l1e briefMUST be signed by the aCCOUl1t, planning and creative directors before it ente.tc; the crea tive deparLment. C realives are absolu tdy right to refuse to work on DO Bricfs wilho ut all th.ree signatures.

1l1C remaining boxes are sclf-explanatory.

A FINAL NOTE

A DO Brief mus t be log;ical, connected, joined up. Good briefs lell a story, wi th. a beginn ing, a middlc and an end.

The success criteria mus t fit lhe task. The target audicnce must fit the business issue. The dcsi red change in behavior must fi t the infl uence model . And so on wilh the olhcr sect10ns .

Always remember David Ogilvy's advice: "What mos t clien1.s want [rom LIS is greal campaigns, wiLh the spark to ignitc sales and lhe staying power lO build enduring brands." Read through your brief one last me crically before you pass it to tbe creatives. Has it g OL Lhar spark? Has il got staying power?

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Ho\els & Resorts ' "4/2009 Tas!< Success Cnlarla

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lnI"'I lar holels. resl lor nev; launches.

Why 19 ttts briel here") We are in the eye 01 \he worsl global recession since Ihe Ice Age. The rlo tellndustry is already blldly affected, partlcularly as lis key target, business travelers, are faced WIIh redlJced blldgets ttJe worfd over. There are dtopping occupancy rales and increased prometlollS and a priee war loomtng while more and more harels are b uilL In Ihe mldSt 01 aU Ihls, lt1e Shangri-La is also laundling a rucmber cf new hotels In mator US and Eurcpean destinatlons and is seel

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Ogil"y & f aLher Con: 'r -aove Bricf' Ncw T de: Ge nerarion - Oireuion DO BRIEF Brand PredIJe! Job O. Date

Sunlory Hlbik l s UTNAXazoOOC0 1N 9/1 6/2008

Task Success enterla

Rebranc:llng Business Target: Annual Sales 6.5 bllllon JYP + 7 tllUlon JYP in 5 yea,s)

Why is lh S brief here? The whisky category and Hibiki are suffering. Young pecple aren't drinking it. Its formal and hierarcllical drinking occasions are disappearing. And for all bUI the very loy 1, there's liltle emotional enga ement and certainly very lillle pleasure associated wlth il. And even though it's the world 's best blended whisky, very few people undersland the superiority of the blend over ane-note pungent malts. More broadly speaking, this applies to the world of premium alcohol overall. As the leading brand in the Suntory whisky portfolio, Hi iki needs to change I his. We need to brlng Hibikl back lo life; il needs to live in the modern world. We need lo position it as contemporary, with someth ing unique and compelling to say and enga e with.

Who are w Ing to Influence? Male, 35 - 40, premium whisky drinkers (including Hibiki) , plus drinkers 01 other premium alcohols. He's a man who's hungry For experiences and looks to get the moS! from life and what It has to offer. He lives life dynamically and appreciates drama. complexity, rarity, and newness. He searches for insp iratio n in today's age, he 's focused on what's ofihe highest quality, and he always wants sornething authentic. He loves to go to the best places, not lor show and status but because interesting things happen in them. Mixing with other people is at the top 01 his agenda becau5e tt 's abo u meeting excting new people and encountering new worlds. He drl nks what he oonside(s to be the best nd most interesting alcohol. He needs to understand that Hibiki is by far the best and most interest ing choice he could make.

What do we want them to DO as a result of thls communlcatlon? To actively choose Hibl and to understand why they've done so , To do so versus other prernium whisky choices , and to do so at times when other premium alcohols may also be considered. How do we expect communicatlons lo work towards achieving this? We wi ll Ik aboul b lended whisky (and our superior blend) in a new way, a way that is rich, evocative and emotionally compelling in the story it tells about Hibiki (and by association the Hlb iki dnnker). For current Hibiki drinkers, thls wi ll reinforce why they already ehoose Hibiki. For Ihose drin ing other premium alcohals, it wlll make it very d ifficult not to try Hibiki.

What are we trylng to conv y? Hibiki: Make Lite More Complex.

What will help people to KNOW this? What will help peopte to FEEL thls? A master blend of carefully selected malt and grain "Make Life More Complex" is not just about whisky-whiskies. matured for a minimum of 17 years. it represents a bigger ideal. When we look at life,

we reali ze that people who lead lives with varied Bringing many different characters together to make one experiences achieve so much more than anyone else. very deep ONE is what makes us special. "Make Life More Complex" should remind our larget 01 this. This process is where the drama happens: bring differen! Intimate. beautiful, charisrnatic, inspiring , premium. characters together and something new wi ll be born.

Mandatorias Channels Supporting Materals Ofl ly Hibiki understands lhat when we bri ng different people. th ings and experiences together, something dramatic happens, as our name Hibiki (resonating) implies.

Accollr1t Director Ptannm Director CrealJve Director

Creatlve Oevelopment TIme Anal Revlew Da.ta CUanl PresentaUon Date Final Deadllne Production BlIdge!

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al ive Brit f: Nl'w Idea G nera ti n-Din:c ti n DOBRIEFOgilvy & lalher Ce Brand PrOduct Job No. Date

Dllmage Therapy shampoos na condlooners 7/16/2009

Task Success Cnt ria

Get women to 91ve DOIle's Is )ur adVernsing a WOW? IHow mueh free p,c: do>. 1I gMerate? Ale consurnet'S anct lile nduslry lalkmg ilOOU I sI?) new shal'llpoos and Does It bUlld the Dove bmnd? lDoes II slrenglheo lhe core idea tllal Dove l ,el,Os WOI en leel greal abour themseJves?) cond.toners " '90 . Does 1I prompt women give Do', 's new .;hanlpoos and conchtioners a 9o? (000$ /1 rel3in CUI/'En/ Dove [iSefS Dnd

encoorage olllen . omen lo sWllch brands?

Why IS this brIal here? Dove's hair scientists have spent years developing a world-class, patented, superior hair r.epalr technology. It is belng launched as a new range 01 shampoos and conditioners called Dove Damage Therapy. It's a br ill iant solution t o a p roblem the vast majority 01 women don't th ink they have. Creating the need is difficult beca use no woman wants someone pointlng a finger at her and calling her "damaged ." It's insul ting. 'Nhy would she listen? The point of this bnef is to turn the issue of damage on its head , making damaged hair something 'Nomen actively choose to confront , rather lIlan 50/nething they deny or shy away from. .

Who are we trylng lo Influence? Women who don '1 think of their hair as damaged. They would probabiy desc,-ibe thelr hair as pretty normal: sometimes il behaves itself and other times it's dry. or has spli t ends, or is a rnass 01 fnzz thal's a nightmare lo styt'e. But that's normal; il doesn't mean thei r hair is damaged and it doesn't rnean they need a special. tI)erapeutic repalf system. Wnen they hear "damaged hair," tlley think of extremely fran led ha ir that has been colored , cooked. crimped and coiffed to a crsp-certainly not their own. That's why thay shun exisl ing damageJrepair variants.

Whal do W8 want them lo DO as a result of this communrcabon? We want th m to positively embrace the notion 01 damaged hair. When people ask them thell hair type. they should reply "damaged" -confidently and Witll a twinkle in their ey , They should place their Dove Damage Therapy bottles in plain view in thelr bathrooms as badges of honor and hope that guests notice them. They should use Damage Therapy every time they fee! like their har could use a litt le TLC (e.9. , the mornng after a big nlght out; at the end of a hard week; after the beach; after workng out any time ther hair feels dull and lifeless). They should join onllne communities and forums with handles Irke Stressed Tresses and leave suppor!lve messages for other women with damaged hair. They should put bumper stickers on ther bashed-up cars that say things like " ll's not Just my hall that needs repairing."

How do wa expect communlcatlons lo work lowards achlevlng thls? Cornrnunications 'Nill democratize damaged hair by revelling in the lac! that it's a slrnple tact of Ilfe for 80% 01 women . They WIII not work by lecluring or hectoring, which is the category norm. Nor will they attempt to induce anxiety. Instead. comrnunications will be upbeat and celebratory: hair darnage is par! of being a woman, par! 01 the Dove slsterhood. WhBt are we tfying lo convey? DAMAGED HAIR: BRIN G IT ON! Because damaging your hair is a sign that you are liVing life to the fullest.,

Whal wlll help people lo KNOW lhls? What wiO help people lo FEEL thl ? Darnaging your hair is normal. There's nothing to be fearful Pan tene's solution wou ld be to prey on women's insecurities 0 1' concerned about. Everyone does it. Blow-drying, brushing, with fear-based communications thal go deep inside the hair shaft coloring and straightening all darnage hair. Just living life to reveal U'le darnage that blow-drying and stralghtening cause. damages hair. But Dove isn't Pantene. Dove is posltive and suppor!ive 01 women,

not underlllining. Dove Damage Therapy makes IIght work ot the repair. It's a patented technology that beats Pantene and salon Dove is about ordlnary women getting on with it, embracing Iheir brands in laboratory tests. It delivers tangible benelits: imperfections wi th grace and humor.

2X more moisture Dove has a sense of hurnor. It 's a twinkle in the eye, 3X less rizz a conspiratorial wink between girlfriend . 'Nomen don't need 6X fewer spli t ends lo take the communieations seriously or literally in order 10X more resilience against futu re darnage to engage with tile product.

Mandatorias Chann 15 Supporting Materials Should feel IIke a breath 01 fresh air in the 360 Degree plan to follow, but anthemic For tone 01 voiee. quasi-scientilic, pretend world of hair care 1V!web spot wlll be vital. Boots' "Here Come the Girls" TVC advertising. Fun, uPQeat and anthemic, The Indigo Girls, "Closer to Fine"

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1. They re creatively sLimu latiny're also clear and internally consis tcJ1t (no false trails) , and lhey make ens .

2 . They're ro L d in r al cl ient business i sue : . 111C hOlel market i in c1 ine in the T ce sio n. Shangri-La need 10 mo r stay '

per n ight pcr hotel just lO keep rey nues lhe s me as la t y ar. - What' 1 vely about "ro more s tays" i that il makes advcrtising's lask v iv id and r al for thc creatives. A i lilar calcu lation was made f: mous in arce nt Sainsbury's IFA EITectivenc paper.!i Sain bmy', commercialobj clive was lO iner a'e 'ales by E2.5 billion over thrce ycars. 1 h is amou nt was LOO vast to be a u eful input inlO lh creativc proce . A impl uro howed il actuall , me nt cu tomen pend ing EI,I4 m re per vi it (Er.r4 x I4 mi lli n CUSl mers x 52 weeks x 3years =E2.5 billion) .

-Thi calculation ''Lransformed the role for communcations: t geuing shoppcrs to spendo titile extra," which "unl ck d rile [ 2.5 bil li n problem so Lh at creativ ity c uld be used to solve it. An un imaginably daunting was tran forrned in to somethrng a tangible and approac ab! as it's po ' ible to imagine." Can you translate b ig corporate object ive int tan ible on umer behavioral changes like thi on )'our brief:? Can )'ou solve huge pn>blcm with ,olution based on the behavior o C individuals? Creariv s wi ll love you for it.

'TIle wh i ky market i in dce ne, and Hibiki i ded ining WiLh lo Young pe pIe in particular aTe drinki ng le s. Based on current nends, Hibik i wi ll no t have a fu tu re a an advertised brand. l1le importan of Lhe la k help inspire creatives. They know that what ley d real61rnatters .

Dovc ha' sp nt years developing a product that solve p roblcm people don't tllink they have. H w lhen can we launch il lIccessfully?

Acqua Panna ales a re clown by 50%.

3. 111ey bring lhe audi nce Lo life in a way that allows creative to rel l to Lhem as peopl : .1h business traveler ror Shangri-La is no t a "road warr ior" clich bUl someone

who "arrives and leaves a lone." Th whisky dl'inker Lor Hibiki is not a "savor the best trung in !i f "cl ich ut

someone who wants LO m ingle to rn et new people, ro hay newexp erience . Dove'" ha mpo buyer want t have fu n. 'file Acqu Panna dri uker ' rule. lhe world" bUL th in k all b tt l d still water

are lh samc.

"Roach, Tom; Mawdsky, e mig; Dors')!cl,Ja ne: "Sl inshury's-HOI' an IdC

4. Il is clca .. what we need !.he audicnce lO do as a resulL of seeing lhe campaign: Specify which hotel they want to sLay in instead of booking "on autopilot."

1hat's inLrigu ing for the crealives: "So nlost hotel bookings are made on autopilot? r didn'l know that."

'i\ctively choose" Hibiki over 01 her premiunl drinks. 1hat mcans nOl joining lhe crowd, not ordering lhe same drink as othe! people. lt means standing out and asser t.i ng your individuality.

Cheerful1y reply "Damagedl" when asked what theT hair rype is, and display lhe bOltle in plain view io lhe bathroom as a "badge or honor."

Become Acqua Panna's proponent.

5. 1he Convey contains a stcp towards lhe creative solut ion: "IIospitahty from me heart" leads towards an emotivdy engaging plaLform. "Make life more complex" lcads towards a salient and involving campaign . "Damaged ha shows you ardiving life lo lhe fullest" lcads towards a campaign

aboul life and fun . "Bestows astonishing power" leads lowards aSlonishing Renajssancc art and il

P9wcrf ul patrons.

6. The Knows and Fcc1s support lhe Convey and lead towards the crea tive solulion: . 1he Shangri-La campaign "might make people laugh or cry, bul nol leave them

feeling indifferent." TI1e IIibiki campaign is nOl j usl aboul the whisky itselfbut also about leading

a varied, interesLing tife. TI'le Dovc campaign is nOL based on rearor guilt, but on cnjoying Jife. TI1e waler is sourced from the Medi Tuscao cstale and associated witb

legenclary figures.

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Ogilvy & Matllt'r eore Crcaliv BricE New Idea Generation- 1m .ra tion Use his pagejor anjlLhing thaL jlOU think could give creative people inspiration in solving the brief visual a.l we!! as verbal.

For example: !illks to relevan! material on the web, books, m"Lides, movie14rences, music, art, TV, celebrities, a "rant')ou l,ave wriUen, tlwught starters, pces o/ advertising, any material whichfleslzes ouL the target audience, 07" allything else tizat co ufd Ize!p.

The firsl pag of the DO Bricf ensUTes r 1 vanee to the el ient's busine s. The econd page is optiona\. Its role is to timulatc [re h execulion .

Creat ive peopl usually ask [or two things from a ricf: directi n and in. piraton . 111 y are like1y Lo want directioo a th y taTt work on a projec t, but as lh y try lo 'olve it they may be looking for inspiration.

Th requirements for d irec tion and io p iralion are d irrerent. Direction oe ds to b . clcar and logica\. It m sl be followed. O n the other hand, iospiration can be intu it ive, touchy-feely and vi ual. Il does nOl a1J need t be followed; it ao be used or di card d accordi ng to whethcr it is h lprul.

What you put in the Inspiratjon section is very much up to you. It i yOllr chan e to think of the mos exciting and intere . ng exampl > " and stimwi tha t bring the

ntral thought of!.he brief to lif . !t's aIs an opportun ity lO make your brief stand ou t in relation to the other briefs that are floati ng afound the creative dcpartment, to get your brief lO bout out "Work on me!"

The 1nspiration section should look like an enticing chocolate box of tirnulati n. Choosing a few good pieces of stimuli you bclieve in i more val uable than a huge quantity of stu ff. You might u e song , painlin s, video, mov ie ,websites, and other pieces of communicat ion, or your owo thoughts. You could even make tbe In piration section a coupl f vi ual sl ides where the links op n aUlomaricaUy. (Yes, Pow rPoint can be used creatively.)

Sorne examples of thi ngs that could help: Examples of olhcr bTands (gIobally) [hat have attempted si mllarj parallel

challenges, and of success and [ai lure. Competitive communications to iIlustrate thc conventions of the category,

\-v ith ideas about how to sidestepjovercome thcm . 1hings that takc us ntO the world oC" the target aud ience- in actuality and

vi sual1y and vcrbally, including smelJ, taste, and atmosphere. Bri ng thci r hopes and fears to Jife.

Sources o[ in formation and en tertainment th at inspire the tal-get audience, such as lhe web, novels, arl, etc.

Examplcs of how peopIe i nteract v"ith the categoryjthe brand. What they say about them online, how they feature in popular culture.

What would lhe planner ad look like? Fancy wriling an inspiratjonal poem or a 5hort rant? (It may Ila t bs; as hum iliating as you th ink.)

Here are cxamples of good Inspiration scc tions:

37

I. Ford Fe ta

Pan of Lh Tnspirauon crion compared the rel aunch o f (he Ford Fiesta wjth Tarantino's reseue of John Travolta1 car > r and the launch of th icon ie iMac. The ven tual work- part ofwbat wa descri ed y the sen ior rd of E urope client as "our mosr su cessfullauncb ever"- had something of the confidenr mood of lh ' iMac launch. It was nol encumb red with product messages ab ut tbe Fiesta, but gave the brand a en e oC being a d irable, fa hionabl i on:

Inspiration

John Travolta

iMac

Fanta

The team that developed Fanta's "Stealth Souod System" was able to create a stjmulus that brought the sp irit of Fanta to life, and refelTed specifically to the technology that form ed the basis of the h ighly awarded campaign:

Fanto inspl ... elleryore to Opl' " n""1 lffi,lqlnatlor,s lo see that play exists every""!nere and at any time, and that t 's easy to spread and make contagious. ,. c; < "'atin pandemir ,ot play-=

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Shame on lhe Grown-ups:

Mosquito Teen Repellent

believes the world would be a beUer place if we Id' C''/\ _ ..., t,v.., and

played more.

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nside us,

X Box: Jump In

Cadbury's

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1 his [o. pirati n ecLion illumi naled me r th most resonant lhemc for ilS targel aud iencc (a more Icading-edge group tha n Fie ta'} discovery, cele ticism nd playful subverion. 1he succes 'fu] multichannel campaign c\carly reRe Led

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24- HOUR BRlEFS .. Sometimes Ilrsl thougbts are righ t. We might spend weeks worklng on a pitch slrategy onIy to lose sigh t of the obvious. lhere's a small window al' opportun ity during which we slill think like consumers. We might say it lasts for the OOt 24 hours after recciving a new brief. Use that ti me 01' c1 arity la write a creaLive brief. Use the DO Brief format-it's on ly six questions.

lhe 24-hour Brier is provisional. It glves a work ing hypothcsis of the SLralegy before we do the work neccssary to complete a full DO Brief". Management consultants, wha use tlLis pract ice widcly, call it "solving the case befare solving the case."

It is parLicularly usefuJ when crealive work bas to be produced quickly, but it also has ather advantages. 1l1e discipline of writing ane forces you to form a hypolhesis, whieh makes subsequent prmarfand sccondary research more purposeful. Jt align the tearo befare Lhey al! go off in differenl dircclons. It allows lhe whole Lcam, particularly creatives , lO start mulling over the problem irnmcdiately. Otherwise creaves have lo wait unt il the resl of lhe team has compleled its work befare lhey can evcn begin lhi nki ng aboul solving Lhe prob!em.

l"ht bcst way lo wrile a 24-hour Brier is to asscmble a "swaml" meeting immccalely arler the cLcnt briefing and brainstorm the problem. You can also invite expcrts in the agency wha might help. 1l1e swarm arrves al a besl-guess consensus and somcone wriles it up and distr ibutes it within 24 hours. lbe priority is to get a clear art iculation 01' thc c1 ienL's business prablem. TIlat's wha t lhe crcatives need mosl

sta rling wark.

SomeLimes your 6rst impressions wiU be very near the mark. However, often the stratcgy wilJ evolvc considerably as lhe piteh develops. TIle 24-hour Bricf is no substit ute for a fu ll y thoughl-out DO Brief. No maller bow percepLive first imprcssions are, they can always be impraved upon. Always reserve the righl to go back to the crea uves lalcr witb a rcvised brief if you leam more [ram research, th inkin!! oranalvsis.

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REDW RK BRIEF

RedWorks d es nol use a con istem briefi ng formo Briefi ng for ms vary by task, channel, cJicnl and geograp hy. Here' a [a irly typ ical xample:

REDWORKS TASK BRIEF - PRINT

;Cllent : Date

Brief Owner : :IBudgetIJob No. 1; Newspaper Ad O Leafle! O POS Wobbler O OM Letter O

POS CounterMagaz.ine Ad O Flyer O Card O OM Envelope OTask I: (Check box) BusAd O Catalog O OtherPOS O Other OM O OthafBrochure O POS Poster O O(Please specifv)

Media I Publlcation(s) : Size I Number of Pages :

Media I Position : Publication(s) : Color(Ust or attach Modla Schedule) Publlcatlon Dale(s) -Material Deadllne : Ptlnl Quantity : 1Dellvery Destinatlon 1 :1

Message :

Not requ ired O Existlng - Spec:lfy iocation : OImages : (Chock box) Supplied - Attach lo brief O New Photography Required - Photo brief attached O

Notes I Inslructions

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Cl fent's Approval: Date :

The f cus is mueh m re on delivering ' xecutions l a sp cified shape and size, and less on devel ping new crcat"ve idea . RedWork brief requ ire a d iffer nt kind of clarity from the DO Brief. You need to be absolulely clea r abo ut the xact materials the cIient needs.

TTlE ACTUAL BRIEFlNG

Probably the worst lhi ng to do is write a brief, slip it under the ereatives' door and ru n away. You a re missing an opportuni ty lo in fl uence the work.

J eremy Bull more, the former creat ive d ector of JWT London, explained how bricfi ngs lead to ideas? Ask a writer of fiction to w rite a story and he may not know how Lo begin. Ask hi rn to wri te a story about, say, an in ternational terrorist and a tube of toothpaste, and h e'lI soon get started.

Creatives in agencies may sometimes yearn [or g reater rreedom, fo r release from the ty ranny of the brief. But it is prcciscly th is tyranny tlta t prov ides sti mu lus for invention. David O g ilvy may have seen many black eye-patches, but it was nOl un til h is m ind was p reoccup ied wi lh lhe problem of sell ing lIathawa)' Shirts that he realized black evepatches WeTe the solu tion to rus problem. Howcver, the acL of briefing requi res a d iffc rcn t k ind of tllink ing' from wri ti ng the brieC 111e brielcomes allhe end of the strategic process. Writing it nvolv log ica l, deductive though t bascd on in formation. The briifing comes al lhe star t of the creative proccss. ILs p urpose is to spark ideas, to encourage lateral leaps and invention.

Get lo know the creative team before briefing thern. Wh at makes lhem tick a peopIe? What creative work do thcy admi re?What are their proudest achievements? What do lhe)' consider to be their best work? How do lhey like to be brieed- do thcy prefer briefs to be plain and simple, or do they p refer to improve on creative starlers? Do they wanl mounla ins of illfonn al ion or j ust one word?"

Briefings must motivate and inspire the creatives. Talk about communicatons de ...., not about marketing stratcgy. Be more enthusiastic aboul lhe creative possibi lit ics tha n lhe business possib il ities. Make thc briefi ng f un, but kecp il relevant.

Use the briellng lo start a conversalion. The creative process nceds fuel. Briefi ng is a process, Dot a one-off ac tion. Slimulate an ongoing diaJogue and d iscuss ion.

Consider ex tending the Inspiration scction of the brief LO the briding's venuc and slyJe. Sometimes it can help to turn a ke)' element of the brief i nlo a vscera 1 expcr icnce- whelher riding in the back of a BMW al IS 0 mph, or sitting naked in a ho t spri ng, or visiting a room where Picasso painted , or being shown the real meani ng uf teamwork b), Marines in an underwatcr lunnd, 01' sampl ing the

"greas)' spoon" lifestyle of van drivers, or spending an evening with pros ti lutes n an lIIV/AIDS projec t (all real cxamples from O gjlvy staEf).

:BlI llmn rc,Je remy: "Thinking up 'TI,ings: 'TIle Advert isng C rcative Process," in Hon BulL More:l!elnd IheSctrre, i/l Advetli/lg(Nlm-k lll) , WARC , 2 003 "Two classi cs o n crcative briefing are wcll WOrlh repca led rcading: O 'M alley. Dtmien: "C reaLi\'(: Bric' fi ng," in How lo Plan ArllllTlirillg, ed. C nwlc:y, Don; Casscll , 1987; and Robertson, Charlic: "C rea li"" Brid s and Bridings," in lJow lo Plan Advming, Seco nd Edition , ed . C oop ero Alall; SOlllh-Wes tern Cengagt:, 1997

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1hc DO Brief and the creative briefing are lools thal help us reach the Twin Pcaks. Ogilvy is a creative busine ' aboye all, a crealiv bu ine. lhal helps our clienls lo grow. We mea lIrc our SlIcces by cTeal ive awards and by eTectivenes awa rd , bUl aboye all by our clients' uccess.

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1. Pond's (Og'ilvy Public Relation Worldwidc)

Ogilvy & lalht.:r Cor ' ;r aliv ' Brid New Idea Gcneralion - Di rection 008RIEf' Brand Prod ucl Job No. Date

Ponds ty

Task Success entena

360 Degree campalgn to promote mkishV/hit skin Switching dala consUlJll!fS trading up

Why is this briaf here? Three-quarters of skin -lightening products sold are "discount" - i.e. , the cheapest. There are significant millions to be made by trading consumers up a step to Pond's White Beauty. This is one level below Pond's Flawless White. The chal/enge is to convince these price-conscious consumers that Pond 's is superior to their existing product because only vye deliver a naturally pinkish-white result.

Who are we ing to Influence? l llve In a big eity. It's not the capital , but it's groWlng. You can see me on my seooter, skirting through traffic on my way to work . I have a good job, office based, and the people are nice. I spend quite a lot of time on MSN and the mobile. I li ke shopping, dancing. gossiping, flirting. Money is tight, but 1' 11 spend it if I think something is worth it. Right now I use a skin-lightening brand called Dabao. It does not meet my needs, but I buy it out of habit. Good skin is important, though , because it is the first thing boys see-and I want boys lo see me.

What do we want them to DO as a result of this communication? Put asida their spare change tor the next trip to the skin-lightening aisle.

How do we expect commuOIcations to work towards achieving this? Discount skin-lightening products may be inexpensive, but they give cheap results: they simply mask your face with a blank, artificial white color. A natural complexion is pinkish-white, glowing from within and full of life. Tllis is about quality, not quantity - wornen must realize that White Beauty is several degrees superior to their current brand because it really transforms the color of their skin.

What are we trylng to convey? Pinklsh-white ski n is priceless.

What will help people to t(NOW thls? What wlll help people to FEEL this? Ordinary whitening creams make you pale and white-as if you Pale beauty is chemical , anemic, empty,

were wearing an anonymous mask. lifeless and ignorable. Only new Pond's White Beauty gives you a pinkish-white glow

from \/Vithin ... Pinkish-white beauty is rich, alive, exciting ... because White Beauty adds back Iycopene and provitamin and attention grabbing.

83 to your skin .

MandatorIes Channels Supportlng Materials Use a three-card face transformation 360 Degree channels for Indonesia, R&D clinical support claims

Thailand, Philippines, Vietnam, China, Taiwan , India

A"::count Director DIrector Creative Director

Creativa Development Time Flnal RevlBW Date Client Presentation Date Final Deadline Production Budget

2. 1he North Face (Og il vyAcLion)

Ogih, 1athcr .ore 'realive Brit'f: New Idea G ene ratia n - Dircctian DO BRIEFBrand Product Job No. Date

The No,ih Face The North Fa.ce JanLJ8C}' 19 2009

Task Success Criferla

Grow ,narkel share in the outdoor gaar market Move up I rom 4th place In ouldDor genr calogory lo 2ncl place Repleca ColLlmllia In 2nd place In lile Brtlnd Ecuity Ranl

3- M etLife (OgilvyOne)

00 BRIEFOgilvy {;:/ ore .rcauvl Brief New Idea enemlion - D irc ti o n Brand Product Job Na. Date

M\!tUfe Term Lite IrlSurnnce {Mlddte Marke1i June 20 10

Task

Del/elOp (\ DRTV spot ImProved response and elosure rates

Why ;5 thlS brlel here? The rn ldd la market life insurance need is s,zable, Wltt en $1 1 tnUlon coverage gap- a $20 bllllon annua l premlum opportunity - and MalUle has macla It a pnorty to sel! twenty lhousand polieles VtJ direct channels Hlsloncally, DRTV efforts WBre less Ihan satisfactory. and lollowlng the momentum achleved wilh a quick fix lO the current spOI and new media plan, Ogilvy will develop entirely new work.

Who are we trylng lo influonce? Mlddle markel consumers are "emerging famll ies" whose 11eads are typically aged 25-45, In dual-income households earning $35K-$100K. They have ew responslblllties allhis 5tage in Iheir li ves, wi th many new mileslone sueh as mamage, buy ing a firsl home, ano Ihe oirth 01 a tlrsl child . While many women gel the bal! ro lling, men cOllvert al hicher rates as lhey iden tlly themsalves as the p rimar,' breadwinner. Many are worrled about lha economy and 1051ng their jOb5, are burdened wilh debt and are time pressured. With the recession, many wonder how thMy'1I ever be able to retire and now bel'eve they naed to take responsibility lor thejr own f" ture seeurity. They know Ihey "should have " li fe iFlsurance, but ailher don 't leel confidenl buying it, sea It as too for their budgets, or have al some point started the process but have given up fter f inding ir too complex. If they do plan ahead , a 401 ( , is more olten seen as more deslrable. Lite insurance is just nol sexy.

I don 't wanl lo be , ressured inlo something. f'm prettl' sure we w n '! afford il. I 'm no! sure we need il. It's something SO lar In the futuro .

With the recession, trust has eroded acrtlSS most fmancial serviee rands . Consumers see MetLife as truslworthy and identify w ilh 3noopy, but sti ll mist rust cornmlssioned sales representatives as using high pressure sales laelles.

What do we want Ihem lo 00 as a result ot Ihis communlcaUon1 Call the toll free pllone numller and get a free term lite insurance quote (visi t website fo r seoondary CTA). Test Call the toli-free number- today, gettlng lite insurance is easier!han you Ihink (vis:t websl te for secondary e TA) .

How do we expect eommunlcatlon lo work lowards ath living thls1 Address Ih lension belween prospects knowlng Ihey "should" have li fe Insurance and th ir putt ing off l acing the decision Since the consequenceslb'lnellts are seen '15 far in the fu ture. Jump-start thelr action today IVlth a free , no-obliga 'on life insurance quote. Reframe life insurance as a "financial safety ne!. "

What am WII trylng 10 convey? An online or phone quo te from MetLile 15 one of the easiest and most affordable grown -up things you 'lI ever do to protect your fam ily, he.e and now.

Mar. up! Then live your /ife.

What will help people lo KNOW this? Whal wlll help people lo FEEL thls? Forward-thlnklng leader- MetLi fe is Illnovating and actively changlng the way people buy Focus on the what, not the who: lile insurance. II has remalned salid lhrough lhe recesslon and IS one 01 !he faslest-growlng Ensure your loved anea can maintain insurance companies globally. their standard of living if anything

should happen- replace lost income, Flnanclal safety net-MetUte protec ts your assat s and your family 's standard 01 liVing, rel ieve debt burden, save your home,taday and In the future. pay lor college educations. Convenlence - MetUle provides the speediest. easles!. least pressured way to leam about It's the here and now: Protection starts life insurance. No sales pressure. No obligation. No personal I ormalion. You don 't even right now, when you need il mos!. need lo provide your name.

Waiting has a r / ice: Premiums rise Affordable - Demonslrate "surprisingly affordable" by provlding ac tual rates/coverage wilh your age. amounts. SSOOK In covera ge could casI as liltle as $30/month. At 1 % of your income, a policy could cost less Ihan your 401(kl contribution. Li le insurance is olle 01 the mos! powerlul ways lo protect your fam ily, and it can also be more affordable than you think .

Mandator\es Channels Supportlng Materials Snoopy as "brand ambassador" to bring "approachable energy" to the brand. DRTV Tagline: "Guarantees for the IF in life ." Slrong, repetitive eall to phone action. :120 conceptf:60 conce t (considar male vs lema le sl