When Things Go Wrong

Sometimes projects go wrong.  It happens.  And it can happen for a multitude of reasons.  Some of the folks in my life say it’s not the person that fails, it’s typically the process.  Blame the process, not the person.  But, let’s be honest with each other, how often does that happen?  Many people decide it’s easier to blame the person.  Usually fingers get pointed, and bridges get burned when a project (uhem, process) goes wrong.

So when a project goes wrong, we must find a way to warn each other before it gets too out of hand or off track.  What’s the client’s warning system for the creative?  What’s the creative’s warning system for the client?  At what point do we cut bait and move on?  How do we prevent that from happening?

A healthy working relationship requires a lot of things, and having a warning system in place is key to helping right things before they go wrong.  There are so many warning/prevention comparisons easily identifiable: inclimate weather warnings for hurricane (preparation of kits and evacuation routes), fire preparation methods like running drills (and remembering to “stop, drop and roll” before you catch on fire), regular preventative maintenance on our vehicles (and even carrying a spare tire in the trunk), flag warning systems in sports, etc. The list goes on and on.  All of these things have in common the preparation for unexpected situations that require immediate action.

What systems do we as clients and creatives have in place to help our working relationship.  What drills are we running to be sure we’re prepared when the time comes?  You may feel that it’s not life-threatening (like preparing for an F5 tornado), but it can be life-altering when a project goes wrong.  The client may never want to speak to the creative again.  That’s drastic, but it happens.  And even worse, the client will never recommend the creative to others.  In fact, they’ll go out of their way to recommend not using that creative.  Over time the creative’s reputation gets damaged, and they suddenly find it hard to bring in new work.  Mysteriously funding streams dry up, and the phone stops ringing all the time.  That’s the extreme case.  But, being really prepared, and having these warning/prevention methods helps us all work better together.

It is up to both creatives and the clients to create and implement a system that works.  And the system can take many forms.  Some creatives use a brief or scope of work.  Some clients and creatives spend a long time getting to know one another before the bid is awarded.  Others give one small project to test out the relationship, not too different from dating someone before you marry them.  The bottom line is finding a way to make sure the relationship is protected before things go wrong.

Find a word that can be used.  Set up parameters and means of communication that help you clearly communicate when a project is not going the way you expected.  And don’t be afraid to say, “This isn’t working well for me anymore.  Here’s the number of someone that can serve you better.”

Lessons for Creatives

• Take the time to fill out a scope of work or creative brief to track client expectations.
• Be prepared to handle the situation when the scope changes during the project.
• Have a warning system in place, that’s clearly communicated to your clients, to prepare for when things go wrong.
• Don’t be afraid to end the project early if you feel you can’t serve your client well, but do it diplomatically.  Don’t disappear or leave them hanging.  (If you have trouble with these types of things, find a business partner or mentor that can give you tips on how to make it work better.)
• If a client gives you “free reign” to be creative, keep in mind that they probably do have a clear vision of the final result. Do your best to give them samples to help them narrow the focus.

Lessons for Clients

• Be sure you have written, clearly communicated expectations. This helps protect the interest of both parties.
• Be prepared to handle the situation when the scope changes during the project. Are you prepared to pay extra costs that you’re likely to incur if the scope of work dramatically changes?
• Offer to provide samples of the final product you’re hoping to see delivered.  You may define the grunge look differently than your creative.  You may see only one shade of brick red, but there are many more out there.  Use visual samples (both printed and digital) to help you communicate the look you want.
• Make sure you’ve found a way to communicate with your creative most effectively. (Do they never answer the phone, but respond ASAP to emails? Then email is likely the best way to reach them.)
• Don’t be afraid to end the project early if you’re not getting what you need, but do make sure you’ve worked with the creative as best as you can before you move on.  And if things didn’t go too terribly wrong, give them another shot again later.  Perhaps you didn’t clearly communicate what you wanted.  There are a million ways a project can go wrong, and it’s on your shoulders just as much as it is on the creative’s shoulders to make sure it’s a success.

Have something to add?  Disagree with what I’ve said?  Let me know.  I love feedback.

Design Process

My life recently, more than ever before, has been centered around documented processes.  In my personal life, I’ve been documenting the process by which my improv team creates it’s marketing materials.  When do we need to do a photo shoot in order to make it into a poster?) On my documentary film, I’ve been a student of the process by which a film actually gets made.  Where in the process does an idea for a film die?  Or, how does it make it through the whole process, acutally get released it a the theater, and then thrive (or die again).  Yes, process has been a life-long fascination of mine.

There is a process to everything, whether we take the time to see it or not.  There are lengthy processes, and very short ones.  There are complex processes, and very simple ones.  And there are many different forms of creative processes, some of which are very rarely understood.  

For a spell, I was a designer at a firm that actually understood it.  My creative director, Jim Grosslight, was full of brilliant ideas.  He new that ideas came from many different places, and at many different times.  He was childlike in his enthusiasm and creativity.  I learned a lot from him, and have always been grateful for the chance to work with someone like that.  It wasn’t until I left that position that I really appreciated it, though.  Isn’t that always the case?  

I now understand that the creative process widely misunderstood.  In fact, it can be quite scary to some people.  And, even if the client and the creative both understand and respect the process, it can still fail.  There are other people involved in the actual approval process that can kill a great idea before it has a moment to live and breathe.

Fast Company, one of my favorite publications, recently published an article about a conversation between a designer, Dustin Curtis, and an employee of American Airlines.  It’s quite fascinating, but I won’t go into great detail because you should read it all for yourself.  (Links are at the end.)

What it revealed to me is very exciting.  We are entering, or already in, an age where conversation, knowledge and design are becoming paramount.  We are in an age where everyone has a voice, where ideas can be shared and become viral, and movements can gain strength and lead to real change.  (Dare I say that we are in an age where people will start to understand and respect the creative process more than ever before in our human history?)  

What does all of this mean for clients and creatives?  The rules are changing.  We must be adaptable, and open minded.  We must always play at the height of our intelligence.  We must seek to genuinely understand one another, and how our talents can help (or harm) one another.  

It’s the client’s responsibility to recognize the approval process before beginning a project with a creative.  It’s the creative’s responsibility to be sure to ask the client about the approval process before they get their wheels spinning.  Just like a film can die before it ever makes it into the theater, a delightfully brilliant creative idea can die before it every makes it to completion.  It’s up to us, working together, to make sure we have a process that helps us all succeed at what we do best.

It takes an incredible amount of focus, drive, transparency, education, honesty and integrity.  And it can be exhausting.  But, I firmly believe that these are the steps that lead us all to great work–together.  We are in a world of possibility.  What process enables you to do your best work, and how can you repeat it?

Relevant Links:

1. American Airlines Web Site: The Product of a Self-Defeating Design Process
2. Dear American Airlines 
3. Dear Dustin Curtis