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The Fine Art of Pitching Your Creative
© 2012 COPYRIGHT • BIG BLOCK STUDIOS, INC. • JUSTICEMITCHELL.COM • ALL RIGHTS RESERVED
Hi.
@justicemitchell
© 2012 COPYRIGHT • BIG BLOCK STUDIOS, INC. • JUSTICEMITCHELL.COM • ALL RIGHTS RESERVED
Reality Of The Pitch
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Fantasy & Fun Crushing
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Creative Development Process & Structure
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REVIEW & TEST
BRAND STANDARDS
Creative Development Structure
EMOTIONALSTATES
REFINEMENTEXECUTIONALVARIATIONSCREATIVE
VISUALS:TONE
COLORVOLUMEMANTRAIMPACT
SIZE
STORYLINE
KEY DIFFERENTIATORS
COMPETITIVEANALYSIS
AUDIENCE& PERSONA
GOALASSESSMENT
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Pitching Creative
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There are all kinds of creative and levels at which you will pitch them including (but not limited to):
• Identities & logotypes
• Single executions, short-run campaigns & one offs
• Campaigns & storytelling development
• On/Offline media planning
• Brand construction
• Fully integrated campaigns
Pitching Creative
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Pitching Creative: Identities & Logos
GOALS
AUDIENCE
COMPETITION
KEY DIFFERENTIATORS
EMOTIONS
STORY
VISUAL
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Pitching Creative: Single Executions & Short-Run Campaigns
GOALS
AUDIENCE
COMPETITION
KEY DIFFERENTIATORS
EMOTIONS
STORY
VISUAL
© 2012 COPYRIGHT • BIG BLOCK STUDIOS, INC. • JUSTICEMITCHELL.COM • ALL RIGHTS RESERVED
Pitching Creative: Campaigns & Storytelling
GOALS
AUDIENCE
COMPETITION
KEY DIFFERENTIATORS
EMOTIONS
STORY
VISUAL
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Pitching Creative: Brand Construction
GOALS
AUDIENCE
COMPETITION
KEY DIFFERENTIATORS
EMOTIONS
STORY
VISUAL
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Pitching Creative: On/Offline Media Planning
GOALS
AUDIENCE
COMPETITION
KEY DIFFERENTIATORS
EMOTIONS
STORY
VISUAL
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Pitching Creative: Integrated Campaigns
GOALS
AUDIENCE
COMPETITION
KEY DIFFERENTIATORS
EMOTIONS
STORY
VISUAL
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Pitching Creative: Integrated Campaigns
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The Modern Media Landscape
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Owned, Earned & Paid Media Models: Defined
Owned Earned Paid
Collateral & Direct Response
Web, Mobile & Tablet Site
Blog & Video Content
Social Media Channels
Email/SMS & Lists
Location Marketing
Custom Apps
Intellectual Property
Public Relations
Word-of-Mouth
Speaking Engagements
Awards, Recognition
Search Engine Optimization
Social Distribution
Customer Support
Buzz/Viral/Mass Opinion
Print Advertising
Advertising Networks
Paid Search
Affiliate
Co-Op & Advertorials
Sponsorships
Specials & Coupons
Outdoor & Trade Shows
Campaign Measurement • Social Reporting • Reputation Management • Segmentation & Predictive ModelingUI/UX Testing • Optimization • Progressive Refinement
Intelligence
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The Checklist
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Before entering a pitch, you MUST research, discover and receive "buy-in" on a number of things in order to earn the client's trust and the elusive "approval:"
✓ Define and approve the budget (this can change AFTER you pitch)
✓ Define the client’s goals and objectives
✓ Define the audience, demo and geographic location of the intended customer
✓ Define the media types you are prepared to create for within the budget
✓ Define the schedule of the creative and its perceived ROI
Pitching Creative: The Checklist
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The Disaster Scenario
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The Pitch
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• The client(s) – duh.
• Account representative (Account Executive)
• Creative representation (Creative Director)
• Interactive/development representation (ICD/IAD; Developer)
• Agency Executive (Partner, VP, Executive)
Alternates:
• TBD based on campaign complexity
Pitching Creative: Who’s In The Room?
• Organized• Budget Conscious• Logical• Professional
• Cool• Creative• Unexpected• Passionate
DRESS THE PART!
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• Open with a story of how you got to this point in the process
• Be positive and entice the room to feel your excitement about what they’re about to see
• Talk about the process and the “countless” concepts that have lead you to:
• Concept 1 - (Insert story title narrative here)
• Concept 2 - (Insert story title narrative here)
• Concept 3 - (Insert story title narrative here) - THE WILD CARD
Pitching Creative: The Pitch
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Pitching Creative: What To Show
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Pitching Creative: What To Show
K.I.S.S.
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Pitching Creative: The Concepts
1Safe Creative
“Fuzzy Puppies”
2
Moderate Risk
“Guard Dogs”
3Unexpected & Risky
“Satan’s Bulldozers”
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Pitching Creative: Campaign Elements
1“Fuzzy Puppies”
GO
ALS
TAC
TIC
S
DE
PLO
YM
EN
T &
TIM
ING
OW
NE
D, E
AR
NE
D &
PA
ID
INTE
ND
ED
RE
SU
LTS
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Pitching Creative: Recommendation
YES
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Creating “Dad’s Decision”
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• Make sure the clients seen ALL the work before commenting
• If asked for a recommendation - have one. Be sure to point out, however, that ALL the examples will work for their needs and be successful
• Listen and understand the client's concerns. Have someone taking notes at all times
• Assess any concerns as they pertain to the goals
• Define how the creative has accomplished the goals (ideally beyond what was requested)
• If you have case-study materials from previous clientele – support the ROI
• Review final comments and close the meeting
• If they do not like any direction, do not give them the work as a “leave-behind”
• Always leave upbeat and positive that you will deliver the perfect FINAL for Approval
Pitching Creative: The Jedi Mind Trick
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Post Pitch Communications
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• Immediately compile all notes and email them to the client to ensure you didn’t miss anything
• If you feel firmly that unchosen piece of creative could work ASK if you can bring it back with the revisions to the version that the client selected
• Follow up prior to secondary review to ensure the client that things are going smoothly and that you’re quite sure they’ll LOVE the results
• Re-pitch revised work
• Restate your position and explain how you applied the revisions to the new design
• Reveal, Pitch & Pray ...
Pitching Creative: Constant Intel’
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Secret Weapons & Kill Moves
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• All your work should be contractually approved prior to start
• Assign the client a contact person (AE); request a single point of contact with client for approvals
• Keep strict hours, descriptions on work performed and labor rates for each duty
• Use an online approval management system (AMS) such as Basecamp (www.basecamphq.com)
• Apply the fee for the (AMS) within your contract
Pitching Creative: Self Protection
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• Your schedule should have “not to exceed” hours written within your revision process
• Issue change orders to clients who abuse the contracts - AKA “SHOCK COLLARS”
• Make sure all work created can be used within your portfolio contractually
• Ensure your contract allocates additional charges for fonts, photos and external vendors if necessary
• Make sure you create and receive approval signatures THROUGHOUT the process of the work
• Contract Signing
• Research Approval
• Creative Approval
• Project Closure
Pitching Creative: Self Protection Continued
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