How to Brief a Marketing Agency. Three Phases to Email Sensitivity.
A new client recently emailed us a brief here at Mano Design. It was very brief brief indeed. All it said was, "Can you write me some copy for a postcard?" Resisting the urge to write, "Dear Customers. Having a wonderful time - wish you were here. Love, The Client," we asked him for a more detailed brief and explained why it was necessary.
Why Write a Brief?
Even with something as simple as a small piece of copy, a proper brief will save you time and money.
The agency will also have a better chance of getting the work right first time, so you get the quality of work you expect.
Plus, it gives you something to measure the agency's work against; i.e. how well they responded to and met the brief.
What is a Brief?
A brief (sometimes called a 'creative brief) tells the agency what objective you are seeking to achieve. It answers the 'where are we now' and 'where do we want to get to' questions.
Ideally, the brief should be a written one. It focuses attention and provides the foundation for your marketing campaign. The brief should be agreed by both you and the agency before work begins and it can to some extent form a sort of contract.
The length of the brief does not matter as much as ensuring that it contains key information and objectives. Tell the agency what the business problem is, what you wish to achieve and how you will evaluate success.
What Exactly Do you Put in a Brief?
The format of a brief depends on the task. A website creative brief will need to contain different information from one for a brand-building press ad campaign for example. However, below are some basic guidelines:
1. Project information
Include your company name, contact details, project name and project manager, brand or product/service name, agency name and date.
2. Background (where are we now)
Here, give background information on your company and your industry. Tell the agency about your product/service (including key attributes and benefits) together with the issues it is facing. Include information on past marketing communications campaigns and their results. Provide details of competitor activity.
3. Objectives (where do we want to be?)
Explain what you want to achieve, e.g. increase sales, improve awareness, raise response levels, etc. Try to make your objectives specific and measurable.
4. Strategy (how do we get there?)
Give details of what you want the agency to do for you, e.g. a direct mail campaign, a website, a brochure, etc. Explain how what you are asking the agency to do fits in with your overall marketing strategy.
5. Audience (who are we talking to)
Your objective is to get a response from your audience. Tell the agency who your target audience is. Define your audience(s) as accurately as possible and share any insights you have about them with the agency.
6. Evaluation (what success will look like)
How will you measure success? When will it be measured? Who will measure it?
7. Practicalities
Mandatories:
Is there anything that must be included; for example - offer terms and conditions? Are there any corporate identity guidelines? What legal constraints are there?
Timings:
What are the deadlines? What are the media booking dates (if applicable)? By when do you want to see creative concepts? Does the project have to tie in with dates of other campaigns?
Budget:
Specifying a budget up front will help to avoid reworking of solutions. If you are reluctant to do this, then suggest three budgets and ask the agency which they would recommend and why. Alternatively, ask the agency to recommend a budget.
8. Approvals (who signs off work)
This should be the same person who signs off the brief before you give it to the agency.
The time spent preparing a brief will pay off in the long term. The agency needs a starting point and to know where it is you wish to go. Your brief should inspire them and enable them to do their best work for you.
Copyright © 2004, Chris Smith
About The Author
Chris Smith is a partner in Mano Design ( http://www.mano-design.com ) - a Vancouver Design and Marketing agency.
Article Source: http://EzineArticles.com/
The neurophysiological dynamics of understanding each email message are very complex. From that complexity, three basic phases float to the top that you will want to become familiar with. I like to label these: (1) the association phase, (2) the connection phase, and (3) the reaction phase. Let us look at each of these, and how the writer and reader can assume a more active role.
In the Association Phase, the sender's words are read and converted to an image in the reader's mind, optimally the same image the writer held in his mind. Sometimes, the writer's words lack enough information and the recipient cannot grasp the image. The word count has nothing to do with the creation of an image. I have read long emails that dance around any possibility of creating an image even if the recipient could read between the lines.
The first question I ask myself when receiving an email is: "Is what they are saying giving me enough information so I can form a clear image?" If not, I ask, "Am I in an open space at the moment to translate this image?" Sometimes, when pressed for time or there's too many thoughts swirling in my head, the space isn't available. If not in the right space, I move the email to a "to be read later" subfolder, and schedule a follow-up time to reread.
Later, after returning, and in a good space to reread, and the image is still not appearing, I send a reply email to the sender asking for clarity. My language usually goes something like this: "Thank you for your email. I have read it several times and can't seem to form a clear image of what you are asking. Could you please ask again in a different way so that I can give it my full attention and respect it deserves?"
If the email covers several subjects that were confusingly intermixed, I will also include some additional language like this: "When I write emails with various topics, I find it beneficial to create separate topic titles that focus on what comes next. Could you possible do this to add to the clarity?"
It is the sender's responsibility to convert their image into words. The right words that the reader can transform back into the same image given. Don't take on the writer's responsibility, or make assumptions, it only leads to miscommunication. If you do, the image they form of you will be off kilter and negative.
The Connection Phase. When writing your response, you will want to make sure the reader receives a clear image of what you are sending as well.
This means that your words need to match the return image you want to convey. If the topic is about apples, you do not want to add an orange in the middle of the apple image. Match apples to apples first because that was responding to the original image.
If you need to add an orange for topic support, place the information after the apple discussion in order not to distort the original image. This lets the receiver digest the apple and then tells them that another image is about to come. Their mind will prepare the space for the new image. When offering the orange, tell them the purpose of the orange and why you are adding the image. This way the reader knows to open a new file.
Another question I like to ask myself, after writing and before sending, one you might like to use, "Will the reader be able to file the image I'm sending in the same folder they began with?"
Our brains file information just as if we were dropping files in a filing cabinet manner.
Instead of just telling the reader, show the reader the image, and what folder to tuck their image in. The reader is expecting this answer. If they don't receive it, they wonder what to do with the image, it doesn't match any file in their cabinet. This splits their focus, slows down their connection, or can even halt the connection in toto.
I am sure you have your own favorite topic transition phrases; here are seven of my own. When you give these transition phrases a line of their own, the receiver's brain acts quickly to note an orange is coming.
1. Let me guess what you might be thinking. 2. As odd (unusual) as it may seem... 3. I am not at all surprised. 4. There's a story that goes with this, and I will get to this in the next paragraph. 5. Let me see if I can make this a little easier. 6. Its hard to believe, but... 7. In other words,...
The Reaction Phase. Writing an email response is not the same as speaking to that person. You don't have the immediate feedback from their body language, their silence, or huh when it isn't clear. Connecting via email with its time lapse also causes difficulty. You experience the same thing when you call, leaving a voice mail, and the party returns your call days later. If you don't state in the voice mail what you are calling about, or the person doesn't restate the purpose when they call back, your mind takes moments looking for the appropriate filing cabinet and file. Sometimes I receive a response back several weeks later and the original email I wrote isn't included. Then I must stop think or even hunt for the original email. A very time consuming process.
I find it best to begin a returning response with a "this is where we left off" paragraph. Don't assume the reader still holds the previous image in their mind. They don't. Many images came and went during that space and the previous email sits in their in box, file folder, or cabinet or worse dismissed due to lack of connection, in order to continue their processes.
It is important to reread the email before hitting send. Not just for grammar or spelling but to see that you convey the right image. It is the time to ask, "Did I convey the appropriate image with a file folder connection?" If yes, hit send.
(c) Copyright 2005, Catherine Franz. All rights reserved.
Catherine Franz, a eight-year Certified Professional Coach, Graduate of Coach University, Mastery University, editor of three ezines, columnist, author of thousands of articles website: http://www.abundancecenter.com blog: http://abundance.blogs.com
Article Source: http://EzineArticles.com/
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