Of course most people like their own ideas, sometimes none more so than creative people themselves.
I’m sure the person who came up with the term ideation was delighted with it.
But what a lot of people, and by that I mean the idea-toting non-creative wing of adland, may struggle with (only because it takes time and experience to learn), is knowing how an idea will actually work or how to make it work, or what it will look like when you’ve done it and how it will be perceived once you’ve had it.
Add to that whether the idea is doable in the time, within budget, and won’t simply look stupid or in poor taste.
People tend to think in terms of scenarios. ‘How about a woman who is having trouble reading the small print on a menu while on a first date.’ is a perfectly reasonable scenario in film, but almost impossible in a still. It’s probably just a woman squinting at a menu.
It’s as hard as knowing if you’ve just had a good idea or not. In fact, arguably that’s what a good idea is.
It’s why we still have creatives, and we still have creative directors (for the moment) and it’s why a creative person’s idea is often – not always – been through their own internal creative director’s office, before it even makes it to a ‘what do you think of this?’ in the open air.
Because an instant love for our own ideas has been tempered by the crushing disappointment of other people’s opinions and a desire to do the kind of work that gets them their next job.
As a creative you start out with a raw talent, ideally, if it hasn’t been beaten out of you by your education system, parental pressure for you to find a proper job or the desire for qualifications in History and Maths.
You take this raw talent, tout your book of ideas around town and after about a year of people hating your ideas, eventually you start doing better ones, then quite good ones and then hopefully a few stonking ones and then, if you are in the right place at the right time, someone will recognise talent it in you and give you a job.
You then spend those first ten or twenty difficult years learning what those ideas that pop in to your head actually mean and how you can turn them in to something. But with practice you get really good at deciphering the bad ideas from good, the practical from the impossible and so on, almost instantly. You don’t always get it right, but it’s a process that takes time to learn.
That experience is hard won, but that expertise is what clients pay for without even really considering it, not just the talent of coming up with them.
It comes with the daily agonising process of coming up with ideas and seeing most of them dismissed.
The problem is, none of that is on show when you present work. It appears that you are just showing a bunch of random ideas that you just whipped up in a couple of days.
Sure looks easy. Let’s all have a go, it’s fun.
But all the years of internal deciphering wheat from chaff is what has led you to this point, not a couple of hours in a brainstorm or scribbling on a pad.
There’s probably a sperm and egg analogy here but I’ll leave it at that.
The famous photographer David Bailey, when asked how he could charge 20k for a day’s shoot when he completed the shoot in a couple of hours, allegedly replied “this didn’t take me two hours it took me twenty years”.
I am not sure if he stole this reply from Picasso who was said to have offered to sign a napkin for 20k on the basis that it wasn’t the minute it took to sign it, it was about the fifty years he had spent making it worth signing.
Experience matters in creativity, almost as much as no experience.
So now if you are a ‘non-creative’ and you think your idea is a way better than what you’ve seen, just ask yourself whether you like it because it’s yours or because it’s actually better.
Because judging your own ideas is different to judging someone elses work. Objectivity is a huge factor in judging others’ ideas.
Judging your own ideas is really hard. And it’s important to judge them as if your career were to be judged on it.
That’s not to say your idea isn’t any good, by the way. But you owe that CD a listen as to why it may not be.
I’ve found the best clients or ‘non-creatives’ can offer ideas and lines but are usually also pretty good at taking push back if the CD (in a sudden role reversal) doesn’t think it’s right. As are the best kind of creatives.
The worst kind of client just want you to do it their way.
Mutual respect is important in a client agency relationship and that includes ideas.
What is usually more helpful to hear from the client side is ‘I think your idea is wrong or not doing enough of this or that. How can the agency solve it?’
The more prescriptive you are the harder it is for agencies to crack the problem.
So it doesn’t mean your ‘I’m not a copywriter but…’ idea isn’t any good. It just depends on how you regard it. Does your idea have some kind of special golden ticket as it’s yours? do you have so few ideas that when you come up with one it needs to be curated like an ancient artifact?
Or is it an idea that deserves the same scrutiny that all ideas, from whatever source they derive from, should expect to receive.
So, let’s assume IT IS a great idea.
Has it been done before? Will it look different and stand out. Will it fit brand guidelines? Is too complicated?
Making sense is only the first step.
Because you may be a CEO or a CMO or even a brand manager or planner or agency suit and your idea may be fantastic. But creatively speaking, if you haven’t spent some time learning these creative ropes, it’s an idea from a junior creative.
In other words, someone who hasn’t learned to reject their own ideas yet.
If you can accept that, then ideate away my friends.
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