Just by making a few small adjustments in your daily behavior, you can gain respect, admiration and inspire people to work harder for you. Follow these six principles and you’ll see your stock rise immediately.

1. Say hello. You would not believe how many creative directors walk around ignoring people. Some do it because they view themselves as royalty and don’t want to mingle with the commoners. But most do it because they are simply insecure. I’ve known many CD’s who never made eye contact or acknowledged your existence. It’s very dispiriting and belittling to a subordinate. If they only gave a friendly “hello” in the hallway or in the kitchen or wherever, on a consistent basis, they would change perceptions almost overnight.

2. Smile. A smile is incredibly powerful. It’s so powerful that the other person is literally compelled to smile back. Try it on the cashier at the supermarket or the highway toll collector or the TSA guy at the airport. People feel an instant connection with you. Around the office it works like magic.

3. Be interested. There are moments throughout every day when you, as a creative director, come into contact with a subordinate creative. It might be in the elevator or at the coffee machine or wherever. These are opportune moments to start a conversation. All you need to do is ask them about their project or their weekend or anything. Nothing serious, just small talk. Your interest in their life shows you care (even if you don’t, but you really should). It will release tension and reduce awkwardness. For both of you.

4. Be grateful. A simple thank you and warm hand shake after someone has worked hard for you goes a long way. When you’re appreciative, the long hours they put in feel worth it. Especially when you thank each person individually, not just as a group. Perhaps even bring beers or treats or whatever as a token of gratitude. You’ll be amazed how effective this can be.

5. Learn names. This is a difficult one, especially in larger creative departments. But even if you can’t remember a name, be honest and just tell that person that you forgot, then ask them for their name again. It’s a deeply personal gesture and they will be charmed.

6. Be kind. If a creative person is presenting to you and you really don’t like a particular idea, be honest. But be kind. Say, “I’m not loving it, but let’s move on and come back to it.” Or say, “I’m not sure I totally get it, but explain to me it again. Perhaps it’s going over my head.” Or even, “I’m not crazy about it, but you seem passionate about it, so tighten it up and bring it back later.” Don’t be wooden and emotionless. Nothing ruins the mood like a blank stare and complete silence.

Many CD’s believe they need to keep their distance from people or be drill sergeants in an effort to “toughen up” their creative department. They don't care if they're liked. Unfortunately, these are missed opportunities. Being liked has many benefits. 

Treating people as valued members of the team, not as cogs in the machine, breeds love and admiration. And remember, there are plenty of talented CD’s in the world that are just as good or better than you—who aren’t jerks. Be a leader who inspires, not a manager with a cold shoulder. You can still push people hard and have a high standard, just do it nicely and you will leave a lasting impact.
2:06 PM
We all hold ourselves to a high standard. We want to produce the best work for our clients and be responsible brand stewards. But as we ascend the corporate ladder we tend to become more rigid and intolerant of “dumb” ideas. We perceive them as a reckless, like running with scissors.

There are many psychological forces that must be resisted over the lives of our careers and this is one of them.

We are not accountants or building contractors. Nobody will go to jail or die if we do something stupid. We are creatives in the idea business. An extremely crucial part of doing the best work is allowing ourselves to be stupid, trite and silly in the early stages of the idea process. We need permission to follow our inspiration, wherever it takes us. 

It’s a mindset. It’s how we approach creating. We can shackle our feet and be mature or we can let our selves run wild and think or say anything, no matter how stupid.

Here’s why: when you give permission to be stupid, better ideas happen. That’s because random, seemingly ridiculous ideas can trigger other ideas. Random words can inspire. Gobbledygook can evolve into pure genius. 

Most all innovations in the last few hundred years flew in the face of convention and “better judgment.” Personally, I don’t believe any of those ideas would have become a reality if people weren’t allowed to try stupid things.

Let’s free ourselves from the grown-up mindset of conformity. Let’s stop considering ourselves brand guardians, at least while in creative exploration. There’s a time and place for maturity. But until then, let’s not be afraid to run free and naked, like an unashamed 2-year-old just out of the bath.

[Thank you Tom for inspiring this blog post.]

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10:28 AM
I consider myself a nice person. But as a nice person, I realize my shortcomings in business. For most of my career in advertising, I’ve hesitated to be tough, afraid of offending people. I assumed you only needed a better argument to sell something. Not so. 

People buy into arguments, but they also buy into attitude. The passion behind the argument. I’ve been keeping score for a number of years and it seems that the culture of nice is on the upswing. And the downside is, we’re being overrun by doves like me, who often lose arguments.

Doves can be too democratic. Too indecisive. Too easily manipulated. Too concerned about hurting someone’s feelings. Too prone to let problems fester. Sure, everyone seems to like them. But being liked is kind of empty if you fail to be effective.

Doves also suffer from poor leadership abilities. They try hard to please everyone because they don’t want to be hated. But you simply can’t please everyone, no matter how hard you try. Toes need to be stepped on once in a while to get stuff done. Maybe even steamrolled from time to time.

I’m not advocating that we all become jerks. But we need more bulldogs. Friendly but tough. Nice but pushy. Brass knuckles in bubble wrap. 

If only we could find a nice balance of temperaments. A lot more great projects would get made. A lot more naysayers would be defied. A lot more innovations would be born.

Of all the things I love about doves, it's their tendency to be humble. That’s important. Humility says, “I’m not perfect,” and “I don’t know it all.” It leads to self improvement and greater awareness. 

At the end of the day, people respect bulldogs. They might not like them, but they respect them. Without them I think we’d be in a world of hurt. And there seems to be fewer and fewer these days. Maybe we need a bulldog bootcamp for doves tired of being doves. That’d be good.

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1:57 PM
[This is part three in a three-part series about the anatomy of an advertising creative’s mind.]

A moment of inspiration can be positively euphoric. It can erupt suddenly and unexpectedly in the mind. Like a spell or chemical high. We creatives spend our days in anticipation, hoping these moments will come. When they do, we bask in the glow as long as it lasts.

It’s one thing that separates creative people from noncreative people. Creatives dive headlong into a moment of inspiration, giving themselves entirely to it, pushing aside reason and doubt. Noncreatives tend to brush it off.

The big question is, how can we have more inspirational moments? Are we forced to just wait and hope that moment comes? Or can we trigger it? 

I believe it can be triggered by creating the right conditions. Every creative has their own technique but I'll share mine.

Creative people are inspired by stimulus. Some listen to music. Some are inspired by film. Some are inspired by nature. No matter what the source, it’s all a form of stimulus. Personally, I like to peruse art books and magazines for inspiration. I’m visual first. For me, a single image can trigger a thought or idea. Every page turn is a potential spark.

It’s difficult to ideate in a vacuum. Sitting in a room and staring at the wall rarely evokes anything of value. Yet, some creatives like peace, quiet and isolation. That’s what makes the creative mind so interesting. No two people are alike.

As an advertising veteran, I advise young art directors and copywriters to seek stimulus, in whatever form they choose. Ideas are born by association. Therefore words, pictures, and speech trigger ideas. Many creatives like to be in a room full of imagery and engage in open discussion. 

We can also inspire each other. Few things are as invigorating as an idea that takes shape when two creatives are concepting. There’s an initial thought which is built upon and evolves into a big idea. It’s an incredibly magical moment and it’s what we live for. That’s why talking more can be extremely productive. 

I can’t tell you how many times this has happened: my writer partner starts off by  explaining an idea in his head and my brain thinks he’s going somewhere else, so I'm sent off into another place. Often, two ideas come out of the experience—both born from the same kernel. But if he hadn’t said a word, neither of us would have benefitted. And it works both ways. Sometimes I start it off.

To those who struggle to get inspired, simply take a stack of photo books and/or magazines into a room with your creative partner, then encourage a lot of chatting. Words and pictures trigger ideas. The more the merrier. Then let ideas evolve naturally. 

Be careful to write everything down so you can move onto the next idea. We frequently get stuck trying to force an idea to work, when in fact it’s like chewing on a piece of gristle. It might be a dead end, so just write it down and move on to something else. Keep riffing. 

Often I’ve found that concepting in short sessions of 30-45 minutes is most profitable. A three hour brainstorming session can be exhausting and counterproductive and you end up floundering. So change the scenery. Take a break. Take a walk. Clear your head. Do whatever. Then come back to it later. 

We can’t predict when inspiration comes. We can only try to create the environment for it to flourish. Each of us has a different method. Some like noise and lots of stimulus. Some of us like total sensory deprivation. Do what works for you. But be open to trying different methods. 

Ultimately, the informed mind is the most prolific mind. Read, watch and discuss. Absorb everything you can. It will spark inspiration and generate ideas. You can't output without input.


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10:01 AM
[This is part two in a three-part series about the anatomy of an advertising creative’s mind.]

Intuition is a powerful thing. It’s instinctive and immediate. It’s a creative person’s secret weapon. They let it guide them far more often than noncreative types.

Sure, there’s a place for calculated, rational thought. But only as a compliment to creative intuition. When it comes to brainstorming ideas that enable a brand to connect to an audience, intuition trumps rationality almost every time.

Intuition says, “Yes, that’s it!” Rationality says, “Wait and see.” 

Intuition says, “I’ve never seen that... let’s do it!” Rationality says, “It’s unknown and unprecedented... I’m afraid.”

Intuition leverages experience. Rationality leverages caution.

That’s not to say that intuition is always right. Sometimes we get excited about ideas that turn out to be duds. Or we become fixated on an image, phrase or song, that alone isn’t an actual idea. And sometimes rationality proves that our intuition is flawed, especially in a rapidly changing world. But intuition is right most of the time.

I view intuition as an emotional response. Consequently, the emotional part of our brain, the amygdala, is what humans use to make purchase decisions. So says science. Perhaps that’s what makes intuition such a powerful force in developing ideas that resonate with consumers. Creatives are simply tapping into an inherent pathway to connecting with other people.

But translating our emotional intuition into coherent language is challenging. A different part of the brain governs language. Which is why so many creatives fail to clearly articulate themselves. So they’re often perceived as idiots.

Creatives that develop their communication skills have a huge advantage. It makes them better salespeople, which is an immense asset. The key is making your argument simple and devoid of B.S.

They say the most effective creative leaders are usually not the most creative. I’ve found that to be true most of the time. Perhaps because they’ve better developed their language skills while the strongest creatives struggle to find the words.

The sweet spot for a creative person is a nice balance between a highly developed intuition and an ability to communicate. Chances are, you've got a strong intuition so here’s how to become a better communicator:

1. Talk. There’s no better way to learn to communicate than talking more. It’s not an easy thing for introverts, but absolutely necessary for true success. Join a speech club. Or start your own club. 

2. Read. The more non-fiction books you read, the more you absorb and adopt convincing language. And how to form concise, compelling arguments.

3. Write. Express yourself in writing. Start a blog. Or type out your arguments, privately, to practice the language of salesmanship.

4. Befriend. Find a person who excels at making convincing arguments and learn from them. Ingest. Emulate. Practice.

Because it’s so nebulous and enigmatic, we rarely talk about intuition. Especially in business, where science and data rules. But intuition is the guiding force behind the most successful brand initiatives. Without it, we’d merely be repeating formulas robotically and boringly. 

Develop your creative intuition. Expose yourself to more of the world. Art, music, photography, culture, history, and so on. Consume, consume, consume. Then, learn to articulate yourself in convincing ways. You’ll be paid back in spades. 

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2:50 PM
[This is part one in a three-part series about the anatomy of an advertising creative’s brain.]

Creatives excel at dreaming up amazing ideas to help propel brands into the stratosphere. I guess that’s why hot talent is in great demand. But another amazing attribute only creatives seem to have is a very sensitive BS meter. That is, the simple ability to see the flaw in a strategy, brief or creative platform, and then speak up about it.

For years creatives have been accused of being overpaid prima donnas, and while that’s sometimes true, I believe the vast majority are underappreciated and underpaid. They work longer hours than anyone in the business, they resist the forces of mediocrity and they have the courage to speak up when something stinks. Especially when it comes to a terrible creative brief.

That’s why creatives should be brought into the process much earlier. They should attend the client briefings. They should attend the media planning discussions. They should attend every critical meeting very early in the process, so they can cry bullshit when something doesn’t add up, sparing clients from potential blunders.

Countless times I’ve held a new brief in my hands—one that had already passed through the hands of a lot of smart people—and thought to myself, “This is the worst brief ever! It’s a convoluted mess!”

The question is, why do creatives have such a finely tuned BS meter? I believe the answer is, creatives are first and foremost, problem solvers. We spend a lot time surveying landscapes and exploring paths—seeing things from different angles. So naturally, flaws become apparent. Sometimes instantly, sometimes within a few days. It’s this part of our job—before we even get to creating compelling solutions—that fine-tunes our BS meter.

But there’s another component. From youth, I aspired to be an artist. Since art is subjective and frequently criticized, the only way to persevere was to believe in my work even when nobody else did. So I developed a thick skin from constant rejection. This has helped eliminate my fear of nonconformity. And therefore there's no hesitation to speak up when my BS meter goes off.

It’s not to say that creatives are always right. Sometimes we're dead wrong. But our vocal skepticism calls attention to the issue and starts a conversation, which is almost always constructive.

So the next time a creative starts complaining about your brief, he’s not just being difficult. He (or she) may have a good point. And the earlier it can be brought to everyone’s attention, the less painful it will be to have to re-write the brief.


Or, if you prefer, simply look the other way as creatives rip up the brief and follow their gut instead (which happens more often than not).

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8:32 AM
Here’s an astonishing fact: most multi-million dollar ad campaigns are riding on creative ideas that are only half baked. In most ad agencies, the creative development process is so clunky and inefficient that creative teams are forced to crank out ideas overnight to meet looming deadlines. 
It wasn’t always this way. There was a time when creatives were given more time for creative development, sometimes 2-3 weeks. And they executed from a well-crafted creative brief that was approved by the top client.
Now days, the process is a mess. Turnaround times are minuscule, communication is poor and creative briefs are poorly written (and rarely singleminded). The creative teams burn nights and weekends chasing a moving target until, eventually, the top client sees the work and declares it to be “off strategy.” Then comes the panicked scramble for a sellable idea which is hurriedly conceived. It’s not great, but everyone convinces themselves that it’s good enough.
What a pity. If only the CEO knew that tens of millions of media dollars were riding on just a few hours of thinking by exhausted, depleted creatives who are basically throwing spaghetti at the wall to see what sticks. This is not the recipe for great advertising. 
Furthermore, just think of the time and money put into the products actually being advertised. Sometimes many years worth of research and development, careful thinking and planning, and thousands of man-hours. All of that riding on mediocre advertising ideas that were pooped out at the last minute. I really hate to see money wasted like that. To top it off, ad executives seem indifferent about it.
If we really want effective ad campaigns that cut through the clutter and get talked about, then something has to change. And since deadlines apparently “can’t be pushed,” the change needs to come at the beginning of the process. 
Strategies and creative briefs must be approved through the highest levels, all the way to the CEO, if necessary. Same goes for the creative platform, upon which the creative ideas are built. This all needs to happen before creative development begins. Do this and you’ll see advertising that is worth the money spent. 
Until that day comes, those of us who care will just have to hope for the occasional silver lining: rushed timelines give decision makers less time to overthink creative ideas, which can enable something notable to make it through unscathed. 
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10:25 AM
Just tell me it can’t be done. I want you to. Just tell me I’m too short. Too dumb. Not talented enough. Just tell me there’s not enough money. There’s not enough time. There’s not enough people who care. I dare you. Tell me my idea stinks. It’s a waste of time. Others have tried it and failed. Tell me it’s too weird. Too niche. Too small. Too big. Tell me it’s unproven. And impassable. And futile. I want to hear it. Call me foolish. Call me a dreamer. A fool. Got my head in the clouds. Please. Say no. Laugh. Roll your eyes. The more I hear that it’s hopeless and ridiculous and not worth it, the harder I will try to prove you wrong. Every no. Every snicker. Every scoff. Every head shake fuels me. Your naysaying is my carbohydrate. It’s coal in my furnace. Propane for my flame. I need it. My dream will pull me forward and you will unknowingly push me from behind. So keep it up. The dreamers and doers desperately need you. You are our lifeblood. We can’t change the world without you.


Long live you naysayers. You help us make the world turn. When we make it, you’ll applaud us. And you’ll probably deny that you every told us it couldn’t be done. Whatever. We didn’t do it for you. We did it because we believed in ourselves. We believed it was possible. And we were willing to do whatever it took.

Thank you, naysayers. We don’t like you, we love you.

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 [Revised 11 Aug 2014]

12:16 PM
I’ve collaborated with at least two dozen Account Directors in my career and only three of them stood out as exceptional. The rest of them seemed more like in-house clients.

In advertising, nothing matters more than the work. It must be strategically sound and emotionally compelling. It must get noticed, change perceptions and change behavior. The best account directors join forces with the lead creatives to push the best ideas forward.

It’s difficult to blame any one person for an agency’s failure to create compelling work. Ultimately, agency chiefs must accept fault. But among all the people in an agency, the Account Director can be one of the biggest influencers of the work. Good or bad.

If you want to be a bad Account Director, just follow these eleven rules.

1. Put client service before anything else.

If your client is happy, then you’re happy. So try to figure out what will make them happy and focus on that. Is it more focus group testing? Go for it. Is it advertising that carries more USP’s? Demand that. The better you can communicate your client’s desires to your entire team, and strive to make them a reality, the easier and better your life will be.

Comment: Building a brand takes tenacity not complicity. Human nature resists change. It fears risk. Most clients—although well intentioned—will not step out of their comfort zone. So “client service” generally means making the client feel comfortable with safe and familiar advertising, which might maintain the status quo, but it won’t move the needle. Real client service means doing the difficult work of building trust and instilling the courage to take risks.

2. Always ask for a “sellable” option from creatives.

The client has deadlines. They have quarterly budgets. Time is of the essence. To go into a presentation with only hard-to-sell work will agitate them and cause unnecessary stress and anxiety. Without a safety net, you might fall to your death. No ad campaign is worth that. Better to have a sellable option in your back pocket.

Comment: The sellable option is almost always the one the client chooses. “Sellable” means familiar, comfortable, rational, easy to buy. Sellable doesn’t rock the boat. But neither does it fill the sails. If you give a damn about the work, then only bring work you love and would be proud to produce. Everything else is just selling out.

3. Insist that the presentation cannot be pushed back.

There are a million reasons why this meeting has to happen by Friday. It’s been scheduled for weeks. The client is expecting to see something. Delaying it only reduces production time and creates problems. It makes everyone nervous and anxious. Plus, the client is on vacation starting Monday. We’ll miss our window. Let’s have the meeting anyway. We’ll keep it rough and call it a “tissue session.” 

Comment: An old saying goes, “Good things come to those who wait.” In fact, I think Guinness uses that for their tagline. What it means is, nothing of real quality is made quickly. It’s practically a law of the universe. What could be more important than a powerful creative idea that is thoughtfully and carefully crafted? If time is a problem, perhaps you should insist that the client brief you earlier. Or insist that you eliminate needless focus group testing. Or insist that the planners not use up so much time writing the brief. The creative ideas are the absolute most important part of the equation and therefore should be allotted most of the time.

4. Play the “devil’s advocate.”

To every argument, there is a counter-argument. And your job is to make it. You must be the voice of reason and rationality. You must be the pillar of pragmatism and prudence. There’s a “danger” alarm and you’re not afraid to pull it. A heavy dose of caution is just what this project needs to stop it from spiraling out of control.

Comment: Another term for “devil’s advocate” is “the client cap.” Either way, it’s basically an attempt to hedge bets and avoid risk. The truth is, as Seth Godin puts it, “The devil doesn’t need any help. He’s doing just fine.” Rather than advocate for the safe route, advocate for the best route. Instead of fixating on the worst possible outcome, focus on the greatest possible outcome.

5. Bypass the Creative Director and speak directly to the creative team.

The CD is a little hard to deal with. So save yourself the head-butts and simply have a quiet, casual chat with the creative team assigned to the project. Let them know how important this project is to the client. And exactly what the client is looking for. Tell them, “we need to pick our battles” and “let’s make this one a quick slam dunk.” After all, nobody likes to work late or start over, so let’s make it easier on ourselves and sell something in the first presentation.

Comment: This is a dirty, backdoor tactic. Senior creatives rarely fall for it, but less senior ones are more easily intimidated and coerced. We must accept that great work isn’t easy. It’s always an uphill battle. Lobbying the creatives to create easier-to-sell ads might ensure that everyone goes home at 5:00PM and ensures that the client remains in their comfort zone, but it will most definitely compromise the work. Not to mention, undermining the CD’s instruction and authority erodes trust and respect.

6. Manage your team via email.

Between frequent travel and meetings, you’re rarely in your office. Thankfully, you’ve got your iPhone. You can manage your teams from anywhere via email. It’s easy and creates a nice record of conversations. And, hopefully, your team will take some initiative in your absence by making some decisions without you. 

Comment: Managing via email seems like a necessary evil, but it’s not. Face-to-face conversations actually take less time and eliminate misunderstandings that occur with vague, shorthand emails. Actually leading your team in person is so much more effective. Some Account Directors schedule regular status meetings—sometimes daily—to enable better communication, discussion and problem solving. Then they attend as few meetings as possible to allow more time to be physically available, so they can lead.

7. Be difficult to reach and delay your response.

When you’re important, your time is at a premium. If you’re hard to reach by phone or email, it’s just a fact of life. And if your replies aren’t as timely as people would like, then it’s their problem. Let them deal with it. Perhaps it will teach them patience and resilience. 

Comment: Nothing is more frustrating than waiting all day long for feedback from your boss and when you finally get it, it’s riddled with criticisms and/or changes. At that point, you feel like you’ve wasted a day waiting. Now you’ll have to work late, perhaps all night, just to make your deadline. This is when an unavailable boss, who takes forever to respond, hinders your job. This wouldn’t be such a bad thing if you were empowered with autonomy to make executive decisions. But you’re not. Your boss is an authoritarian. Account Directors who strive to be fast responders keep things moving forward. The others—who are too important to be bothered—slow everything down and create resentment in their team.

8. Treat account executives as executive assistants.

Everyone has to pay their dues. You did and so must they. If your team really wants to learn client service, they should practice serving you. Getting you coffee, making you photocopies, organizing your piles of paper, keeping track of your schedule, picking up your dry cleaning, whatever. Hey, it’s not hazing if it doesn’t leave an abrasion. Right?

Comment: Many AE’s aren’t really AE’s at all. They’re glorified executive assistants. And the more eager they are, the more they get stuck doing that job. It really just comes down to an abuse of power. Account Directors should be gracious, appreciative and good mentors. Not lords. All it does is teach AE’s bad habits they’ll pass on to others. The world would be a kinder, more respectful place if Account Directors only required AE’s to do the work of an AE.

9. Talk to the client as little as possible.

Your client is busy and needs his space. Incessant phone calls and emails will only agitate him. So minimize contact. Your sparse and carefully timed interactions will send a message that you’ve got everything under control and he needn’t worry about a thing. 

Comment: It could be said that the greatest factor in doing great work is building client trust. This requires a lot of communication to get to really know the client. Also on the part of the Creative Director. Phone calls, dinners, beers after work, whatever will build a strong relationship and therefore trust. 

10. Take the path of least resistance.

The last thing you want to do is enter the boxing ring with the client. It’s better to be liked. So be agreeable and compliant as much as possible. After all, the client pays the bills. And who knows? If you play your cards right, perhaps you’ll get an offer to go client-side.

Comment: Nobody would advocate being combative and tough when it’s unnecessary. But sometimes it’s necessary. Actually, most of the time. Because, if you’re creating really breakthrough ideas, they will be more difficult for your client to approve. But in the end, it’ll be worth it. The rewards are far greater.

11. Consider yourself an honorary Creative Director.

You didn’t bust your butt to get to where you are, just to play second fiddle to the Creative Director. After all, you have the client’s ear. Therefore you are the gatekeeper. If there’s one person that’s most important to this account, it’s you. Which means no creative ideas should get approved by the Creative Directors unless it has your stamp of approval on it as well. 

Comment: It’s not unheard of that Creative Directors get excited about an idea that you know is not going to fly. But that’s no reason to try and kill it. Sometimes a creative idea can serve to challenge a client to think differently, even if he ends up rejecting it. And it can make it easier the next time, when you come back with something equally challenging. So it’s never a waste of time. It’s like trying to drive a screw into cement. It works better if you drill a pilot hole first. So let the Creative Directors do their job. It’s not a negative reflection on you if the client dislikes an idea. 

In conclusion...

Being an Account Director (or Managing Director) is one of the hardest jobs in advertising. Sometimes you’re squeezed between a hard-nosed client and a stubborn Creative Director. But, the fact is, the best agencies on the planet are creatively driven, not account driven. Be a champion of great work. And know which side you’re on. If you find yourself always at odds with creative leadership, then you’re in the wrong place.


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10:35 AM
It goes like this: you’re briefed on a new project by agency planners, but the brief is a bit vague and lacks a clear, singleminded goal. So you attempt to get clarification from your creative director. The only problem is, he’s swamped. His schedule is booked up with meetings for many days. Or perhaps he’s traveling on business. You can’t wait, so you decide to send an email in hopes of getting clarification. When he finally replies, his cryptic answers only create more questions. 

To make things worse, you know from past experiences that the executive creative director and/or chief creative officer isn’t always in agreement with your CD. So you’re left trying to guess what everyone wants. When you eventually present ideas to your CD, you discover that you’ve missed the target. So you make adjustment after adjustment until your CD is satisfied. 

Finally, you’re ready to present to the chief creative and he declares that your ideas are all wrong. The strategy, language and tone aren’t right. Now you’ve lost two weeks and are starting over, with a deadline quickly approaching. You’re suddenly in panic mode. It means working nights and weekends, jamming to develop new ideas and meet the deadline.

If this has happened to you, please know that you are not alone. This happens almost everywhere. Rarely do chief creatives exercise good leadership. Rarely do they accept responsibility for strategic blunders. Rarely do they clearly communicate their vision. It’s an epidemic.

There are many problems in corporate culture today. Despite so many ways to interact and communicate—emails, texts, instant messaging and meetings—there’s a massive failure to clearly articulate objectives and strategy. Especially between middle management and senior management. So the rest of us are forced to guess what the higher-ups want. Even then, the higher-ups often disagree among themselves.

Usually, the people held most accountable—or who receive most of the blame—are the ones at the bottom, doing the actual work. It’s a great source of frustration, bitterness and resentment.

I can’t tell you how many times I’ve seen middle managers (CD’s, GCD’s and ECD’s) fail to get in alignment with chief executives. After many weeks of sweat and toil on a project, the chiefs execs finally review the work and declare “the strategy is all wrong” or “this isn’t what we want to say.” At which point, it becomes a do-over in panic mode.

Why don’t people at the top talk to each other? Why don’t the chief executives clearly communicate their vision? Why don’t middle managers communicate their strategy for executing that vision? Why doesn’t all that happen before conducting many weeks of creative development? Why aren’t there more frequent check-ins? Wouldn’t it make more sense to thrash at the beginning of the project, while there’s still time?

Here’s the greatest tragedy of all: Workers who are forced to play The Guessing Game lose all trust and respect for the bosses. And when that happens it’s like a flesh-eating virus. Frustration, bitterness and resentment breeds apathy, which creates high turnover.

However, wherever there’s a problem there’s an opportunity. In this world of inefficient, ineffective, spineless, poor communicators, who lack leadership, vision and refuse to accept responsibility, there’s an opportunity for you to be a stand out. A gigantic stand out. 

You can become a star performer and a catalyst for change. Someone who initiates, leads and communicates clearly. Who accepts fault for missteps. Who hates to waste money. Who respects people and their time. And who everyone wants to work with.

The greatest opportunity lies within middle management. If you are a manager (CD), you have access to the top and the bottom. You can affect the most change.

The solution is simple: Insist that creative development does not start until the strategy (and the platform) is set in stone. However long it takes. It will make a world of difference.


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