By Solomon C. Robert
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Extra resources for Art of Client Service
We disagreed about two or three others. I made my case: The weaker executions would dilute the whole presentation. Besides, we didn’t need that many options. The problem was, Mel thought a couple of the ads I didn’t like were among the strongest on the wall. So we went back and forth for a while. Our disagreement never reached the knock-down-drag-out variety, but let’s just say it got pretty spirited. Mel put an end to the debate by saying he’d think about it. That’s all I could ask for. If I couldn’t persuade him, then the trouble was with me, not him.
We took a break. The boss and I had a little conversation on our own. “We can’t go with that campaign as the recommendation,” he said. ” “It is risky,” I conceded, “but not because it’s wrong, or because it’s off strategy. It’s risky because the client has never seen anything like this from us before, and it’s not what she’s expecting. We’d be crazy to kill it without at least showing it to her. ” “But I really don’t like it,” my boss persisted. 40 “But all of us do,” I countered. “If it were off strategy, I’d agree with you, but it isn’t.
I don’t blame the creative director; he thought he had buy-in from the client on both the concept and the choice of illustrator. He was mystified by the client’s disappointment. I certainly don’t blame the client, who was very supportive of what we were trying to deliver. I blame me. I did two things wrong: First, I missed the client’s signals about his lack of full endorsement of the choice of illustrator and the associated cost. Second, I didn’t manage the client’s expectations about what the finished illustration would look like, and how it would differ from the creative director’s sketch.
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