Clients Hate Advertising.
Dear Students,
Following is a list of things I seen happen.
When you're done reading you may be tempted to reconsider whether learning to make ads is what you want to spend the next two years doing.
Patience.
The next post gets to a positive destination.
But now, in the spirit of Mr. Letterman's Top Ten Lists,
10
Agencies show up on time to meetings to show ads even after flying across the country to do so.
Clients are late, in their own building.
9
Account people get 5 phone calls from the client about dinner reservations, airport transportation and ballgame tickets for every 1 pertaining to an ad.
8
The presentation of an ad to a client begins with the agency explaining what the ad they're showing was created to do. This is followed by each person from the client in turn explaining in words no one at the agency has heard before a fully different description of what the job of the ad was meant to be.
7
When an ad is presented, the head client pushes it along the table to the next client without reading it. After it circles the table the last person pushes it into the middle of the table where it sits for the rest of the meeting like a spurned treaty.
6
If a client does look at the ad he holds it at arms length with both hands, grimacing as if it were an enlargement of a membership card in the Communist Party of America with his name on it.
5
If an ad makes its way past 4 layers of approval to a meeting with a client who can say yes or no, that client will begin the meeting by saying, Well, I don’t know anything about this advertising business, but....
4
More time in the meeting is spent discussing the copy than the headline.
This is followed by even more time spent on a monologue by the client asserting no one reads copy.
The bulk of the meeting is spent making certain which version of the logo will be used, for which design the company spent a sum of money greater than the yearly fee paid the agency.
The discussion of where the ad runs, how often, and how many millions of dollars will be spent takes 2 & ½ minutes and is later changed in a 2-minute cellphone call from a bar.
3
The decision to run one ad rather than another is made by 15 people who don't work for the client or the agency but were found wandering about in a shopping mall one afternoon and who, when approached by people with clipboards did not possess even enough sense to walk the other way but instead were persuaded in less than a minute to follow an unknown person down a hallway into a dark room after being promised a bowl of M&M’s and maybe enough money to buy a tank of gas. (This is called a focus group. Bad news--you'll get a chance to see more than one before you're dead)
They will not be aware they are making a decision, will not know which of their remarks made the decision & which not, but their unconsidered & unconnected sayings, pauses, burps & look-abouts will be collected into a voice more powerful than the weight of the agency’s argument or the common sense of anyone involved.
2
The most easily moved item of business in any client’s day, even the ad manager's, is a meeting with the agency. It does not outrank an auto mechanic’s call, a takeout container of Chinese food, a discussion of baby clothes with an office intern, or.....
The person from the agency presenting the ad is paid $300k a year.
The person from the client to whom the ad is being presented makes $55K.
Next: If Clients Don't Want Ads, What Do They Want?
Following is a list of things I seen happen.
When you're done reading you may be tempted to reconsider whether learning to make ads is what you want to spend the next two years doing.
Patience.
The next post gets to a positive destination.
But now, in the spirit of Mr. Letterman's Top Ten Lists,
Tell-Tale Signs of What Clients Think of
Ads, Advertising, Ad Agencies:
Ads, Advertising, Ad Agencies:
10
Agencies show up on time to meetings to show ads even after flying across the country to do so.
Clients are late, in their own building.
9
Account people get 5 phone calls from the client about dinner reservations, airport transportation and ballgame tickets for every 1 pertaining to an ad.
8
The presentation of an ad to a client begins with the agency explaining what the ad they're showing was created to do. This is followed by each person from the client in turn explaining in words no one at the agency has heard before a fully different description of what the job of the ad was meant to be.
7
When an ad is presented, the head client pushes it along the table to the next client without reading it. After it circles the table the last person pushes it into the middle of the table where it sits for the rest of the meeting like a spurned treaty.
6
If a client does look at the ad he holds it at arms length with both hands, grimacing as if it were an enlargement of a membership card in the Communist Party of America with his name on it.
5
If an ad makes its way past 4 layers of approval to a meeting with a client who can say yes or no, that client will begin the meeting by saying, Well, I don’t know anything about this advertising business, but....
4
More time in the meeting is spent discussing the copy than the headline.
This is followed by even more time spent on a monologue by the client asserting no one reads copy.
The bulk of the meeting is spent making certain which version of the logo will be used, for which design the company spent a sum of money greater than the yearly fee paid the agency.
The discussion of where the ad runs, how often, and how many millions of dollars will be spent takes 2 & ½ minutes and is later changed in a 2-minute cellphone call from a bar.
3
The decision to run one ad rather than another is made by 15 people who don't work for the client or the agency but were found wandering about in a shopping mall one afternoon and who, when approached by people with clipboards did not possess even enough sense to walk the other way but instead were persuaded in less than a minute to follow an unknown person down a hallway into a dark room after being promised a bowl of M&M’s and maybe enough money to buy a tank of gas. (This is called a focus group. Bad news--you'll get a chance to see more than one before you're dead)
They will not be aware they are making a decision, will not know which of their remarks made the decision & which not, but their unconsidered & unconnected sayings, pauses, burps & look-abouts will be collected into a voice more powerful than the weight of the agency’s argument or the common sense of anyone involved.
2
The most easily moved item of business in any client’s day, even the ad manager's, is a meeting with the agency. It does not outrank an auto mechanic’s call, a takeout container of Chinese food, a discussion of baby clothes with an office intern, or.....
and the Number 1 tell-tale sign that what clients think of advertising is different from what agencies think--
The person from the agency presenting the ad is paid $300k a year.
The person from the client to whom the ad is being presented makes $55K.
Next: If Clients Don't Want Ads, What Do They Want?

31 Comments:
11
The first sentence uttered by the client after you present work is "Look, I know you want to do something creative here..."
I make solutions that nobody wants to problems that don't exist
Alvin Lustig.
But they still need us. Every day I see a reason why advertisers need advertising agencies. But more often than not they treat us like they don't need us.
This goes with Steve's #11.
True story: After presenting creative, I once had a client tell me, "I think 99% of people would LOVE this ad, but I don't want to deal with the 1% who won't."
Ah, Mark Fenske. I agree with you more and more the longer I work in this industry.
I covet Mr. Fenske’s blog. I am not* alarmed about the industry I have devoted my life too.
* remove word.
"I love the campaign. It's creative, it's perfectly on-strategy, its tone is perfect for out brand.
But I'm gonna run it by some people in the office before I give final approval."
Dead ad walking.
"Ehhh.. hmmmm.. I know you guys wanna get creative here.. but.. ...er.. can we get some more 'options'??"
Gwadd...!! LOL
try sleeping with your client ;)
The client people you report to have been shuffled to marketing because they sucked at whatever other jobs they had in the company.
Ok. I know this happens. Agencies know this happens. Clients know this happens. Agencies know that clients know and clients know that agencies know. So WHY does it still happen? Is it because we don't present to a Mr. Dean Witter of Dean Witter Inc., or a Mr. Procter or a Mr. Gamble (that's a good name for a client) and instead we get to present to middle management people without the guts and/or brains of the original entrepeneurs? Or is it that we're all scared about loosing jobs and clients? It's sad.
Dear anonymous,
You've put your finger on several of the variables that figure to greater or lesser extent into every client/agency relationship. If I was capable of giving you the answers to your questions and did so here in response to a comment on a dippy little website like mine instead of immediately opening an agency and putting the knowledge to work for profit I'd be an even more complete bonehead than I actually am. Lowering the sights a bit, though, I do aim to finish part two of this thought-piece with a suggestion I hope you'll find valuabe that I've seen work a little bit. It's not an answer to the points you raise. What you've mostly brought forward are the differences in point of view that exist when mixing such oil & water entities as agency & client, and which are all tangled up with the choking vines of The Great Dissembler--big money.
Depressing, but true. After 17 years in the business nothing has changed.
However, one way to force change: start your own agency/join a smaller one. The relationships about which you write happen most often in big, multi-national agencies, with big, multi-national clients, full of underpaid, middle-management types as previously observed.
In a smaller agency you get to select your clients. Obviously, it pays to do so carefully. It's not foolproof, and the bad ones are not always that easy to spot. But I can tell you that early in my career (when I was at a mega-agency) what you describe was the norm, now the exception.
A message of hope.
It's too easy to be a cynic in this business. Lord knows I used to be one. But what good does it do? None.
I have to agree with Luke Sullivan on this one:
"Learn to love the process."
If you can love the whole process and not just the finished ad, when a client kills your idea, you won't start the blame game. Maybe you will, but you won't play as long.
Clients are like fickle old ladies who go out to breakfast, order something bland and then send it back because they want to show how knowledgeable they are about the country skillet.
But aren't we supposed to be in this together? (Agency and client). Why hire an agency then? It's like a baseball team hiring the best hitter in the league they can afford but when he's ready to play ask him not to try and hit homeruns so he won't strike out as often.
What's the point?
I forgot to add:
And then tell the big hitter to "love" the training, not the game.
True story:
Account guy to Mark Fenske, after flirting with a potential new client, "That was a good chemistry meeting. I think we should go ahead and pitch them. What do you think, Mark?"
Fenske, "I think they're a bunch of Fascists."
While we're on the topic, I repeatedly work with clients that don't understand the art of copywriting. They cannot comprehend why we start sentences with "and", end sentences with prepositions, use short choppy sentences etc. etc. How would you explain the art of copywriting to a client?
Well, it has been a month and a half at my new job. So far, 2 things happened relating to this post.
1. The CD told me that the Account people didn't think the client would like my radio.
2. After reading my radio directly to the client via conference call, the client told me that if it were to run, PETA might call. (different radio than number 1)
My response to both? "O.K."
I believe Anomaly is an example of how to approach the future of the ad business.
Furthermore, I don't believe this is just an advertising problem but a greater business problem as a whole. The standard processes for doing business are out dated and over and it is time to re-think it. The relationships, process, system, distribution, channels, deliverables, etc.,etc all needs to be re-done, the expectations need to be set on a more realistic level. The real problem lies in the fact that the consumer is more sophisticated and has higher expectations for the products they buy, no matter how creative the 30 second spot is….to me there is a bigger elephant in the room that no one is talking about. The people who succeed will be the people who see the vision and lead their organizations into the right direction. . . .
Dear anonymous,
I hope this doesn't sound merely dismissive but the best answer I can suggest for "How would you explain the art of copywriting to a client?" is whoah, nellie, I think the wheel fell off a mile back.
In short, I wouldn't attempt it. I don't know what the art of copywriting is and I'm sure as heck not going to let my client see that I don't.
Dear Nate,
See, you're going to be great at this.
Dear Andre,
Nice use of Country Skillet in a sentence.
Fenske,
you didn't mention the clients who think they'd do a better job making the ads themselves. You know, the ones that rewrite the copy and send along examples of visuals for your art direction consideration. And then they get upset when you haven't employed their suggestions. Because making ads is easy.
If you truly want a copywriter's portfolio, get a job in the client's legal department. That cliche holds true.
I know this is early, but I figure it's going to take a Michigander a couple of months to learn.
On, Wisconsin! On, Wisconsin!
Stand up, Badgers, sing!
"Forward" is our driving spirit,
Loyal voices ring.
On, Wisconsin! On, Wisconsin!
Raise her glowing flame
Stand, Fellows, let us now
Salute her name!
This post is bloated with suckups and those who get wood from reading their own comments.
"Following is a list of things I seen happen."
Having been reared in rural north Louisiana (as was Britney Spears), I never thought I'd find this type of grammatical came-to-shit-but-only-farted use of our language outside my beloved homeparish.
Thank you, Mark.
I have a 1989 FJ62 with 83,000 miles. I hate it, but I'd hate myself if I sold it.
A fan,
cw
Mark - Thank you and god bless for putting these words out. I've experienced all those scenarios. Actually, my favorite was with a client who told my art director partner and I, "You know, I studied Design and I subscribe to Communication Arts." (This, after quickly looking at a campaign and wrinkling her nose. Not a yes or no, just the quote.) So my art director stood up, said, "Great, then you can do the work," and he walked out. I wished I'd followed him.
Such is the nature of advertising. Can't recall who said it, but the line is something like: "Everyone, from the art director, to the account director, to the client knows they can write better copy than the copywriter. They just have more important things to do with their time."
Thanks for keeping it real.
- Tim
I actually sat in a client meeting yesterday in which the company's CEO spent almost a half-hour talking about what copy should be etched onto the WINDOW of his conference room. It's a window that faces a rural road with an average speed of 60 mph.
This is why, ultimately, you learn to get your satisfaction from the doing of it. There is joy in the making, and pride in the beholding (but not for too long). These should be savored, because after that you and the work have a plane to catch.
You may have taught me this, or if not, forcibly reminded me.
Lost a project client last month.
Why?
Because they wanted to call their new men's magazine ADAM and we wanted to call it something else, like 13.1.14
We did a campaign to show how it would have worked, they hated it, fired us and today Adam Magazine hit the streets.
Anxiously awaiting part 2 of this post, in the hopes it can do something to resurrect the pieces of my broken creative soul.
Or I could just get over it, as you all seem to have done...
Clients pay agencies to develop creative solutions to business problems. The smartest and best advertising is that which most effectively shifts consumer behaviour. Anything else is just pretty pictures expressed in the wrong place. If you wanna make art, be an artist, not an advertiser.
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