Client Brief Summary

THE CLIENT BRIEF
A best practice guide to briefing communications agencies
Joint industry guidelines for young marketing professionals in working effectively with agencies

FORE WORD
“FORGET,JUST FOR A MINUTE,
THAT YOU ARE BRIEFING AN AGENCY.
INSTEAD, PRETEND YOU ARE
STANDING ON THE BANK OF A RIVER
ABOUT TO BUILD A BRIDGE.”
Around you are architects, builders, all sorts of
different experts that you have hired to help you.
They might all come from different specialist
companies, they might all come from a single
one-stop-bridge-shop. It really doesn’t matter.
All that matters is that you build the best and
most effective bridge you can.
So what brief should you give them in order
to get that perfect bridge?
How about where it should start from?
Where are you standing right now?
Where is ‘point A’? They need to know that.
That’s not up for debate.
And what about where it should finish?
Where’s ‘point B’? The destination. If I were
the architect, that’s the bit of information
I’d want made pretty clear.
Finally, what about how to build the bridge itself?
Probably not.
Maybe you’d give them some ideas on what the
bridge might look like, what vehicles will need to
cross it, what size boats will need to go underneath
it, how high the hand-rails should be, etc, etc.
But you’re not going to tell them how to build the
bridge. That’s their job. You’re going to sit back
and wait to see the drawings.
It’s the same with briefing agencies. They need to
know where you are now. And they need to know
where you want to get to. What will success look like?
And how will it be measured?
If every agency involved in your campaign shares
that same information, aren’t they likely to work
better together to achieve the desired result?
So when you’re writing an agency brief, think
“Where am I now?” and “Where do I need
to get to?”. Make it crystal clear. And you’ll
find that most agencies will be pretty good
at getting you there.
I think that’s the single biggest thing we’ve learned
from all of our research in preparing this guide.
So I hope it sings out loud and clear as our single
biggest recommendation.
Now, back to bridges.
The Millennium footbridge. Wouldn’t you just love
to see the original client brief?
CHRIS HERD
IPA Value of Advertising Committee

The aim of this new joint industry initiative is to
provide you with best practice guidelines on how
to brief communications agencies and make the
most of their expertise.
There are universal pressures on all clients to work
faster, cheaper, better, and increasingly your personal
success will be connected to your marketing activity
being more effective. Adopting these guidelines will
positively impact upon this success.
In addition there’s a growing requirement for clients
to demonstrate that robust processes exist within
their own operations. Formally adopting best practice
in agency briefing will go a long way to satisfy
this requirement.
The brief is the most important bit of information
issued by a client to an agency. It’s from the brief that
everything else flows. Indeed written briefs are a
point of reference that can be agreed at the outset
and therefore, to some extent, form a contract
between client and agency.
The better the brief, the better and more accurate
the results. The more time, effort and information
you input at the start, the greater the time savings
throughout the process.
This document is designed for use with all types of
communications agencies. We have included a simple
list of the main headings in a good brief for easy
reference and a short summary of what each section
should contain. There is also a longer web-based
document, which goes into more detail.
We have conducted research with over 100 clients
and more than 100 agencies to quantify these views
(you will see verbatim comments and figures from
the research illustrated throughout the text). We have
also considered many briefing templates developed
by clients and agencies alike to distil the ‘common
ground’ and we have discussed briefing techniques
with many independent expert consultants to ensure
that our guidance document is as reflective of
current best practice as possible.
We want you to use this template to help your
marketing teams become the best briefing practitioners
possible. We want agencies to disseminate the guide
far and wide amongst their client base. We want
you to consider joint training with your agency.
Together we can make a difference and truly improve
effectiveness whilst limiting the wastage of time
and money for all concerned.
I welcome your comments, suggestions and questions
on this important topic and assure you that ISBA will
continue to work with the IPA, MCCA and the PRCA to
deliver first class information, training and services to
enable advertisers to manage their agency
relationships more and more effectively.
IN TROD UCTION
“THE BETTER THE BRIEF, THE BETTER AND
MORE ACCURATE THE RESULTS.”
DEBBIE MORRISON
ISBA Director
of Membership Services

The biggest waste of agency resources is to put
them through the process of developing a solution
repeatedly without concrete direction. It wears on
relationships and is costly in wasted staff time
(on both sides).
“We need agencies to get more work right
first time. That saves time and money. A proper
written brief makes the process more efficient
– that’s good for clients and good for agencies.”
(‘BRIEFING’ RESEARCH 2002: CLIENT SAMPLE)
In our research 99% of agencies and 98% of
clients agreed that: “Sloppy briefing and moving
goal posts wastes both time and money”. A clear
written brief can minimise this wastefulness and
maximise the chances of a ‘right first time’ agency
response to the client.
“The written brief instils a discipline on my team
and the agency to be very clear about what the
objectives and expected outcomes are.”
Both clients and agencies say that ‘time pressures’
are the main reason for inadequate client briefs.
But in fact not writing a brief to save time is a
false economy, as more often than not it leads to
re-working. Worryingly, 75% of agencies and 55%
of clients agreed that: “The briefs that we work on
are often changed once the project has started”.
Worse, 79% of agencies reported that: “Clients often
use the creative process to clarify their strategy”,
and even 35% of clients agreed with this. It’s like
using your first set of curtains merely to define how
big your windows are!
thoughtfully its key business issues are described,
the more likely it is that strategic and creative thinkers
in agencies will be able to apply their specialist skills
to produce great solutions.
“The whole idea is to stimulate the creative
imagination, not to restrict it. Ultimately you are
buying creative ideas. Procurement people can
sometimes write briefs as though they were buying
copper piping or paperclips. But selling is an art.
It’s more like briefing an architect. We need
agencies to feel inspired so they can do their
best work.”
(‘BRIEFING’ RESEARCH 2002: AGENCY SAMPLE)
WHY WRITE A BRIEF?
T H E C L I E N T B R I E F
THERE ARE THREE COMPELLING REASONS WHY IT IS WORTH WRITING A BRIEF
FOR EVERY PIECE OF WORK THAT YOU COMMISSION AN AGENCY TO DO:
1 It leads to better, more effective and measurable work
2 It saves time and money
3 It makes remuneration fairer
2 SAVING TIME AND MONEY
1 BETTER WORK
A brief is the most important piece of information
issued by a client to an agency. It’s from the brief that
everything else flows. Therefore it’s essential that
every effort be taken to prepare the best possible
documentation of what is required.
It’s in the nature of creative thinkers that giving them
the tightest of parameters will often stimulate the
most inventive of responses – and 79% of clients and
agencies agreed that: “It is difficult to produce good
creative work without a good brief”.
The client brief can be considered the platform for a
communications campaign. The better a company’s
corporate or brand position is defined and the more
I

One of the criticisms that marketing people face
from their colleagues in finance and in the boardroom
in general is that they lack accountability for the
very significant sums of money they spend.
The caricature of the flash and superficial
marketing executive will only be dispelled by a
more professional approach. Ensuring that briefs
are written for every project from every agency
is an essential place to start.
Over 90% of agencies and 84% of clients agree that:
“Payment by results is impossible without fully
agreed business objectives”. Given the increasing
prevalence of a PBR component in so many
remuneration agreements, this is another
compelling reason for a proper written brief.
Clearly the scale of the project will dictate the depth
and complexity of your brief – one for a major new
brand launch will obviously be much more detailed
than one for a small tactical advertisement within
an existing campaign.
But, whatever the task, a written brief that includes
‘objectives’ and ‘success criteria’ is the foundation
stone for accountability and demonstration of the
effectiveness of advertising, media, PR, direct
marketing, sales promotion and indeed all forms
of commercial communications. And without the
ability to demonstrate our effectiveness, none of us
will receive the remuneration that we deserve.
WHY W RITE A BRIEF?
“A PROPER WRITTEN BRIEF
MAKES THE PROCESS MORE EFFICIENT–
THAT’S GOOD FOR CLIENTS
AND GOOD FOR AGENCIES.”
3 FAIRER REMUNERATION
Clients generally get the agencies they deserve! The best work flows from client/
agency partnerships that are built on mutual respect, integrity and a joint humility of
approach which allows the professional perspective of both parties to be recognised and
respected.
In working together successfully, clients and agencies need to achieve the commercial
equivalent of a ‘Vulcan mind meld’, which can only flow from clear, open and non-precious
communications in both directions.
Establishing a clarity of purpose through the definition of objectives which are outcome
focused and measurable is clearly at the heart of the briefing process. Clear briefs are not
the only critical success factor in arriving at good advertising and marketing, but without
this sound starting point you have little chance of success.
WITH ANDREW NEBEL
ANDREW NEBEL
Barnardo’s – UK Director of
Marketing & Communications
IN REAL LIFE

THE PRINCIPLES BEHIND A GOOD BRIEF
THERE IS REMARKABLE CONSENSUS AMONGST CLIENTS AND AGENCIES
ABOUT WHAT MAKES A GOOD BRIEF. THERE ARE THREE KEY AREAS:
1 Written briefs 2 Clarity of thinking 3 Clearly defined objectives
1 WRITTEN BRIEFS
Our research shows that 94% of clients and 98%
of agencies believe: “A combination of written
and verbal briefing is the ideal”. Both parties see
enormous benefits in starting with a written document
produced by the client, which is then analysed by the
agency and debated between the two teams.
“We prefer a written brief because this forces the
client to consider their request. The discipline of
writing a brief ensures some rigour on their part.
The opportunity to discuss this at a subsequent
verbal briefing usually allows us to cover any
inconsistencies and, if necessary, develop focus
through mutual agreement.”
The process of developing, discussing and agreeing
the brief in this manner in itself adds value. And if
more than one agency is involved in developing the
campaign (as is often the case with media and
creative agencies) it is advisable to brief all parties
together – with one written brief and one subsequent
briefing meeting.
“By writing a brief we have focussed on what it is
we are expecting from our activity and what we
expect our agencies to contribute/come back with.
By discussing this written brief, each party has the
opportunity to build on the written brief, challenge it
and buy into it. It assists clarity and helps build an
effective team.”
A written brief is also vital in ensuring the ‘buy-in’
of other key people in your company. This buy-in is
essential in order to avoid the significant waste of
time and resources that can happen when senior
executives – often outside the marketing department
– challenge key assumptions in the brief, leading to
belated changes in direction. Written briefs should
have the buy-in of all interested parties before they
are delivered to your agency.
Nowadays, when you may retain three, four or more
agencies to work on different aspects of your
organisation’s corporate or brand communications,
the premium on convening a key meeting to enable
all parties to debate and contribute to the brief has never
been greater. Having people with advertising, media,
direct marketing, public relations, sales promotion and
other communications skills together in one room at the
beginning of the project will add enormous value and
set the shared agenda for the work ahead.
In the words of Bill Bernbach, “Our job is to simplify”.
The key to effective briefing is to provide a simple insight that can be dramatised memorably. Ensure that you
know exactly what you want. Then tell the agency as clearly as possible.
(It also helps to have a seamless relationship with them stretching back over four decades, mutual understanding
and respect, a fine brand and peerless products.)
ALAN DOYLE
Volkswagen UK – Communications Manager
IN REAL LIFEWITH ALAN DOYLE

2 CLARITY OF THINKING
3 CLEARLY DEFINED OBJECTIVES
A good brief is not the longest or most detailed, it’s
the one whose clarity and focus creates the platform
for a great strategic leap, a blinding customer insight
and an effective solution.
Briefs are called ‘briefs’ because they are meant
to be brief. They are a summation of your thinking.
Try to attach all relevant supporting information
as appendices.
As Blaise Pascal put it in his Lettres Provinciales
of 1657; “I have only made this letter longer because
I have not had the time to make it shorter.” Too much
information can fog the process. Relevance and
context are more important than reams of data.
“The main difference between good briefs and bad
briefs is that good briefs leave you with a clear
understanding of what you are trying to do. Bad briefs
drown you in contradictory information and objectives”.
The client brief should therefore be a concentration of
your current thinking, it should contain key nuggets
of information and it should focus on setting out the
objectives of your product or service that commercial
communications can play a key role in achieving.
This appeal for clarity and objectivity, however, is not
an attempt to reduce your creativity. For instance,
often your dramatisation of the brand’s situation and
the key issues it faces can spark off great creative
thinking. The tried and trusted ‘factory visit’ should not
be forgotten and there may be other more innovative
ways that you could light the creative fuse.
“Clients should not underestimate how much a
good brief, written with real flair and delivered with
belief, can help enthuse and inspire the agency.”
Remember that briefing your agency is a joint and
dynamic process. Whilst this booklet encourages
a formalised approach to briefing in order to
create clarity, this should never be at the expense
of additional, more dynamic and inspirational
briefing methods.
“Ultimately the point of communications is to get
people to do things. Which people? What things?
You’ve got the basis of the brief right there.
Everything else is detail.”
Start by making sure that your objectives are crystal
clear. Use concrete business objectives rather than
vague terms such as ‘to improve brand image’.
(And remember, every objective starts with
the word ‘to’…)
If your objective is indeed to improve your brand image,
then go further. Explain the desired improvement that
you want to achieve. From what to what? What will
it do for your business? (eg so IFAs will recommend
your brand, etc). What’s your business rationale for
spending £xm to achieve this? Concrete business
objectives rather than woolly intermediate objectives
are essential.
“The clarity of the objectives is the most
fundamental part of a good written brief. The single
greatest frustration is when there isn’t a clear
and credible problem to solve.”
Almost all agencies and 82% of clients believe
that: “Client briefs should focus on making sure
the business problem is properly defined”.
Furthermore, 72% of agencies and 84% of clients say:
“All briefs should have effectiveness criteria and
evaluation methodology written into them”.
Since no remuneration agreement that contains a
performance related element can be made to work
without appropriate measures of performance,
quantifiable objectives should always be set.
So, clearly defining the objectives to establish the
project’s ‘success criteria’ (what will success look
like and how will it be measured?) is the number
one principle of writing a good brief.
THE P RINCIPLE S BEHIN D A GOOD BRIEF

These headings and sections should be completed for
every brief you give to an agency. Clearly the depth
of detail within each section will vary according to
circumstances: this week’s tactical retail price offer
will be heavy on the practicalities; the next major
campaign for a brand intended to last for five years
will be stronger on the strategic issues.
Generally your brief should focus on defining the
‘two ends of the bridge’: “Where are we now?”
and “Where do we want to be?” Creating
communications to build the ‘bridge’ for the brand
to travel between these two points is the key
role for any agency, and their response should be
required in the context of the client marketing and
campaign strategy set out clearly under “What are
we doing to get there?” and “Who do we need
to talk to?”
A crucial point is to be explicit as to the measures
of the effectiveness of the exercise, ie “How will
we know we’ve arrived?”
At either end of the brief there are the operational
requirements of “Project management”,
“Practicalities” and “Approvals”.
1 PROJECT MANAGEMENT
You should ensure that the basic facts of the project are provided. These will vary according to your
internal systems, but the following are common bits of information that are required:
DATE; PROJECT NAME; PROJECT TYPE; PURCHASE ORDER; JOB NUMBER
COMPANY: PLC/GROUP COMPANY; OPERATING COMPANY/BRAND OWNER
BRAND: NAME/VARIANT
CLIENT TEAM: NAMES/TITLES AND CONTACT DETAILS
AGENCY/S: NAMES/TITLES AND CONTACT DETAILS
WHAT A GOOD BRIEF SHOULD CONTAIN
THE KEY SECTION HEADINGS OF A BEST PRACTICE CLIENT BRIEF ARE AS FOLLOWS:
1 Project management 5 Who do we need to talk to?
2 Where are we now? 6 How will we know we’ve arrived?
3 Where do we want to be? 7 Practicalities
4 What are we doing to get there? 8 Approvals
Arriving at the COI after a long history on the agency side at Saatchi & Saatchi,
I’ve been forcibly reminded of how important a disciplined briefing process is,
especially in the complex communications environment in which our clients in
Government departments operate. Both in my private sector days and now at
the COI, I find that working to a clearly written brief gets the right results: be clear
on where you are now, where you want to be, and then employ the best agency
people to get you there.
IN REAL LIFEWITH ALAN BISHOP
ALAN BISHOP
COI – Chief Executive

2 WHERE ARE WE NOW?
Describing the current position of the brand, its background and the key issues it faces defines the start point for
the journey on which communications will take the brand.
The brief should try to contain the following information: product or service description (including key attributes
and benefits); manufacturing or service delivery; distribution channels; market size (volume and value); customer
usage data; the brand’s positioning; its history of brand communications, competitive brands/products and their
communications activity, etc.
WHAT A GOOD BRIEF S HOULD CON TAIN
3 WHERE DO WE WANT TO BE?
This section defines the desired destination of the journey on which successful communications will have taken
you. The goal should be set in the context of the overall corporate business and marketing plan, as well as what
will be achievable by this specific project on the proposed expenditure.
A single-minded and measurable objective is usually a pre-requisite for success. Typical objectives are to effect
improvements in sales, usage, awareness, image, reputation, profitability, customer profile, shareholder value, and/
or response levels – although there are many other possible objectives of communications. A quick glance
at any selection of award winning papers from the IPA Effectiveness Awards, the MCCA Best Awards or the PRCA
FrontLine Awards will reveal that there are nearly as many valid objectives for communications campaigns as
there are campaigns themselves!
4 WHAT ARE WE DOING TO GET THERE?
MARKETING STRATEGY:
It’s unlikely that advertising or other communications will achieve the defined objective alone, so it’s essential for
the agencies involved in developing these communications to have a full understanding of the total marketing and
communications strategy – and of the programmes that you have already put in place. It is also essential that
this strategy is demonstrated to be in line with and in support of your overall corporate business plan.
CAMPAIGN STRATEGY:
The campaign that you are briefing will probably involve more than one medium or communications discipline –
and hence more than one agency – all of whom will need to know your overall campaign strategy. This section
should describe and define the campaign plan, as well as the specific advertising/media/PR/DM/SP/etc briefs
within it. Think about what direction you can give to your agencies’ creative briefs. And what inspiration you
can give them. What is the role of each medium or discipline within the total campaign? And for each one,
what is the key message? What brand/tonal values are required?
YOUR BRIEF SHOULD FOCUS
ON DEFINING THE‘TWO ENDS OF THE BRIDGE’:
“WHERE ARE WE NOW?”AND
“WHERE DO WE WANTTO BE?”

7 PRACTICALITIES
Your agencies’ responses to your brief will have many implementational consequences, so it’s important that all the
key practicalities for them to bear in mind are included in your brief. These fall into three main areas:
BUDGETS:
An upfront tackling of budget issues (and the anticipated results from different budget levels) will dramatically reduce
the reworking of solutions – reducing total costs and improving integration across the campaign. Your approach to
setting the budgets may vary from brief to brief. Ideally, you will know the budget from the outset, in which case it
should be clearly stated and broken down into its component parts. Sometimes, however, ‘scenario budgeting’ will
be required in order to give clear direction to the agency. For instance one or more hypothetical budgets might be
supplied (ie what would your recommendation be on budgets of £x, £y and £z?). Alternatively, you might request
the agency’s recommended budget to achieve a set of given and measurable objectives.
TIMINGS:
What are the key delivery dates? What are the key payment dates? When should the key project milestones be set?
What are the booking dates or deadlines for media? Should it consider the timings of other campaigns? Is there
a sales conference whose deadline precedes the media copy date? How do you want the creative timings to run
(eg tissue meetings)? What phases of pre-testing research are planned? What are the logistics of production?
OTHER CONSIDERATIONS:
Each communications discipline will have different practicalities that should be thought through before the agencies
are put to work.
For creative briefs, are there any agreed media strategies and vice versa? Are there any background documents to
append to the brief? What legal constraints are there in this market? It is vital legal and regulatory restrictions are
identified and raised with agencies, particularly in relation to sensitive sectors such as financial products, alcohol
and food and children. Ensure agencies are briefed on corporate codes of practice and ethics. Establish from the
start that illegal activities such as fly posting are not part of the brief.
8 APPROVALS
The final piece of detail needed in the brief is who has the authority to sign off the work that the agency produces.
This person (or people) should also be the one(s) to sign off the brief before it is given to the agency and, preferably,
to attend the resulting presentation.
6 HOW WILL WE KNOW WE’VE ARRIVED?
You and your agencies need to know what success (or failure) will look like. Measures should be put in place to
establish whether or not the campaign delivers against its desired objective. How will the campaign be measured?
When will it be measured? Who will measure it? This is vital to the operation of PBR remuneration agreements.
Remember that most communications campaigns are steps along the path of a bigger journey. Progress towards
the bigger and longer-term brand and corporate goals should also be measured.
5 WHO DO WE NEED TO TALK TO?
All communications are designed to elicit some form of response from a particular group of people. These target groups
should be defined and prioritised as accurately as possible via demographics, lifestyle, product usage, attitudes, etc.
Equally important are the insights that you and your agencies already hold about these target groups that can be
leveraged to create the desired reaction. Often your agency will conduct further research to generate even greater
understanding – and your existing insights will provide them with a useful and welcome platform to build on.

THE MAIN SECTIONS OF THE CLIENT BRIEF
PROJECT MANAGEMENT
WHERE ARE WE NOW?
WHERE DO WE WANT TO BE?
WHAT ARE WE DOING TO GET THERE?
WHO DO WE NEED TO TALK TO?
HOW WILL WE KNOW WE’VE ARRIVED?
PRACTICALITIES
APPROVALS
1
2
3
5
6
8
BRIEF NOW
START HERE
WHAT A GOOD BRIEF S HOULD CON TAIN
4
7

Creative development and design by Su Johnstone. For further information email info@sujohnstone.com or telephone 07976 793368.
First published July 2003, reprinted November 2004.
NEED TO KNOW MORE?
If you would like more detailed guidance on briefing we have created an online version of this guide, with each
section and its sub-sections described more fully, and with examples by way of illustration. This will provide
in-depth guidance and could be a helpful tool for any company wishing to incorporate the principles of briefing
into in-house training modules.
There is a practical, interactive online briefing tool at www.clientbrief.info based on this best practice guide.
The full online briefing guide is available as a downloadable PDF from the following websites:
www.IPA.co.uk www.ISBA.org.uk www.MCCA.org.uk www.PRCA.org.uk
IPA
44 Belgrave Square
London SW1X 8QS
United Kingdom
Tel: +44 (0)20 7235 7020
Fax: +44 (0)20 7245 9904
E-mail: info@ipa.co.uk
ISBA
44 Hertford Street
London W1J 7AE
United Kingdom
Tel: +44 (0)20 7499 7502
Fax: +44 (0)20 7629 5355
E-mail: info@isba.org.uk
MCCA
3-4 Bentinck Street
London W1U 2EH
United Kingdom
Tel: +44 (0)20 7935 3434
Fax: +44 (0)20 7935 6464
E-mail: info@mcca.org.uk
PRCA
Willow House, Willow Place
London SW1P 1JH
United Kingdom
Tel : +44 (0)20 7233 6026
Fax : +44 (0)20 7828 4797
E-mail: info@prca.org.uk
GUIDES IN DEVELOPMENT
There are five more joint
industry guides ‘under
contruction’, all designed to
help you get more from your
communications agencies.
Please contact the IPA, ISBA,
MCCA or PRCA if you want
to get more details.
FINDING AN AGENCY
A best practice guide to agency search and selection
Joint industry guidelines for young marketing professionals in working effectively with agencies

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