Today I’m going to give you the keys to the kingdom.  I’m going to let you in on the secret of how to force the creatives to listen to you.  It’s taken me over 16 years to figure this out but I’m going to give it to you for free. 

The key for account people to give creative feedback that can’t be ignored is…

Don’t.  That’s not your job.

(I’m sorry.  I know that’s not the answer you were hoping for.)

Here’s the thing.  As an account service professional your job is to make sure that the creative concepts that you present to the client are on strategy.  That’s it.  It is not your job to decide if you personally like the work.  It is not your job to provide feedback on the creative concept or execution.

That’s what creative directors do and they do it much better than you ever could.

The absolute worst thing that you can do as an account service professional is to presume what the client will think and then fight for concept changes based on those presumptions.  That’s an insult to both the client and the creatives.

Be strategic.  Assess whether the work truly pays off the brief.  Judge whether the work is appropriate for the brand’s voice.  Determine whether the work fulfills the assignment.  But don’t give “creative” feedback.

The truth is that the most innovative creative work can be a little unsettling.  The best work is often original and different.  It could make people nervous.  It might make the client nervous.  The prospect of a nervous client definitely makes account people nervous.  That’s okay.  If the work is on strategy and on brand then a little nervousness might be a good sign.

Over time, if you successfully establish yourself as a strategic thinker that respects boundaries, your creative team might actually solicit your opinion on the work.  If that’s the case then by all means offer it respectfully and thoughtfully.

But then again, they might never ask for your opinion on creative.  That’s okay, too.

Junior account people: always strive to be brilliant strategists rather than crappy creative directors.  Don’t worry – in about 16 years you’ll thank me.

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The natural temptation, especially if you were a part of the Boston ad scene at the turn of the century, is to read Jay Williams’ novel “Soul for Sale” as a Primary Colors for the ad set.  And while there’s certainly some enjoyment in playing the “who’s that character based on” game, it’s ultimately a disservice to the book to read it solely on those terms.

“Soul for Sale” is a well crafted tale that excels at creating a compelling and mostly believable world populated by a cast of classic ad agency archetypes: the egotistical creative, the fatalist account guy, the overly-optimistic executive, etc.  It’s a sign of Mr. Williams’ skill as a writer that he can successfully have it both ways with his characters: they’re clichés as well as real people that you care about.  Even more impressive is how he manages to pull this off with a minimum of words.  There’s no flab here.  He deftly forges meaningful relationships and fosters dramatic tension through a series of taut chapters that compel you to keep reading, pulling you deeper and deeper into the life of the protagonist, creative director Terry Wilson, and his eccentric peers. 

The novel can also be appreciated as a wonderful window into the culture of the advertising industry.  Then again, I’m not sure if the book will actually burnish the reputation of the industry, as it largely reinforces the notion of ad people being charismatic yet narcissistic wankers, but, well, it is what it is.

Underneath the surface of “Soul for Soul”, however, lies a much more profound meditation on art and the commercialization of creativity.  And this is where the book transcends mere page-turner status.

Advertising often appears to be a dream job.  In many ways it is.  There are few corporate career options for writers and artists.  Advertising allows people to sell their ideas in exchange for a comfortable existence.  And as the book frequently demonstrates, advertising people are almost universally entertaining and fun to hang out with.

Unfortunately, the price of patronage is the loss of control over your art.  So instead of directing a film or writing a novel, you’re sweating over a TV spot for a packaged-goods line extension.  And even if you manage to tell a compelling story or strike an emotional chord within the context of the assignment, odds are that your idea will be slowly and painful destroyed before your eyes as it travels through the endless layers of the approval and production process.

Over time, this process can have a corrosive effect on even the most confident of individuals.  This tension – between art and commerce, between purity and security – and what it does to a person, is at the heart of “Soul for Sale.”

Terry’s struggles – foremost among them his struggle for identity and self-value – are universal.  Are we, as individuals, better represented by our actions or by our intentions?   

If you must, read “Soul for Sale” in an attempt to find a dashingly handsome young management supervisor that somehow championed creative while wielding his superlative client handling skills.  Or better yet, dig a little deeper and you might just find some keen observations on the human condition.  Either way, you’re sure to enjoy it.

Buy “Soul for Sale” here.

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