Guia 9

Chapter 9 - Managing Creativity in Advertising and Integrated Brand Promotion
TRUE/FALSE
1. Creative advertising people and creative advertising organizations have to be willing to take risks, shake
things up, and upset some people.
ANS: T DIF: Moderate OBJ: 9-Intro

NAT: AACSB Analytic | CB&C Model Creativity TYP: Comprehension
2. Brands make emotional connections when they engage consumers with detailed knowledge, accurate
information, and logical facts.
ANS: F DIF: Moderate OBJ: 9-Intro

NAT: AACSB Analytic | CB&C Model Product TYP: Comprehension
3. Great brands don’t just get the attention of consumers, they make emotional connections with
consumers.
ANS: T DIF: Moderate OBJ: 9-Intro

NAT: AACSB Analytic | CB&C Model Brand TYP: Comprehension
4. There is absolutely no doubt that humor is the secret ingredient in great advertising.
ANS: F DIF: Moderate OBJ: 9-Intro

NAT: AACSB Communication | CB&C Model Creativity TYP: Comprehension
5. Creativity is very different depending on the domain in which it exists.
ANS: F DIF: Moderate OBJ: 9-1

NAT: AACSB Communication | CB&C Model Creativity TYP: Knowledge
6. Ideas that are born of true creativity reveal their own unique logic, so most people will respond by
saying, “Wow, I don’t get it.”
ANS: F DIF: Difficult OBJ: 9-1

7. Howard Gardner's selection of seven of the greatest creative minds of the 20th century, as discussed in
the textbook, listed individuals from a variety of advertising and promotional fields.
ANS: F DIF: Easy OBJ: 9-1

8. In his analysis of some of the most creative people of the 20th century, Gardner found that they had little
interest in social life, often neglected family members, and dismissed the idea of cultural conformity.
ANS: T DIF: Moderate OBJ: 9-1

NAT: AACSB Diversity | CB&C Model Creativity TYP: Comprehension
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9. A total commitment to one's creative work seems to be a positive trait with essentially no downside,
according to Howard Gardner.

10. Gardner supports the contention that creative people have much less interest in playing by the rules,
acting nice, and being socially acceptable compared to more ordinary people.

NAT: AACSB Diversity | CB&C Model Creativity TYP: Knowledge
11. Gardner found that despite the passion for their work, widely recognized creative people are particularly
shy about getting exposure for their work.
ANS: F DIF: Difficult OBJ: 9-1

12. Creative thinkers demonstrate complex and mature thoughts, while ordinary people often have simple
and childlike thoughts.

13. The creative person appears to strongly desire marginality—being an outsider—and this marginality
provides the energy needed to push forward with innovative ideas.
ANS: T DIF: Difficult OBJ: 9-1

14. Based on the findings of Gardner and others, extreme levels of creativity seem to lead to a satisfying
personal life and a carefree professional life.

15. Lee Clow, dubbed “The Dude Who Thought Different,” thought his real gift of creativity was not as an
individual, but as a synthesizer for the creative efforts of others.

16. Creativity is viewed in the business world as a negative quality for employees because creative people
are hard to work with.

17. Though countless books and magazines give advice on being creative (and in fact, so does the text), it is
almost impossible to truly learn to become more creative—basically, you either have it or you don’t.

18. Those who really understand creativity and the world of advertising know that good ideas can come
from anywhere—the managers, the accountants, even the clients.

19. If you have a "creative" job, that means you are "creative."

20. Creatives in ad agencies almost always have ideas just “come” to them, like magic.

21. As a social process, advertising is marked by the struggles for control and power that occur within
departments, between departments, and between the agency and its clients on a daily basis.

NAT: AACSB Analytic | CB&C Model Creativity TYP: Application
22. It is a common situation in ad agencies that the account services department and the creative department
do not agree on the ultimate goal for an advertisement.
ANS: T DIF: Easy OBJ: 9-2

NAT: AACSB Analytic | CB&C Model Creativity TYP: Knowledge
23. The kinds of ads that cause headaches for the account executive are the same kinds of ads that often win
awards for the creative department.
ANS: T DIF: Difficult OBJ: 9-2

24. The tension between an agency's accounts services department and research department is similar to the
historical conflict between art and science.

NAT: AACSB Analytic | CB&C Model Research TYP: Comprehension
25. In agencies, people in research departments are often put in the tough position of having to “judge”
creative work.

NAT: AACSB Communication | CB&C Model Research TYP: Comprehension
26. One of John Sweeney’s suggestions about creativity is that bad work is more a matter of talent than
structure.

27. Executing an IBP campaign is like performing as a symphony orchestra—many individuals are
simultaneously making unique contributions to create a final piece.

NAT: AACSB Communication | CB&C Model Creativity TYP: Application
28. Preparing and executing a breakthrough IBP campaign is rarely a people-intensive business—it usually
hinges on the creative work and the business acumen of a few key individuals.

29. Unfortunately, effective teams are often incompatible with the “American way” of individualism—the
personal contribution is often forgotten in the rush to form a cohesive group and build a consensus.

NAT: AACSB Analytic | CB&C Model Creativity TYP: Knowledge
30. The creative brief is a small document with a big role—in essence, it gets everyone moving in the same
direction.

31. The creative brief provides guidelines for the creative process, which unfortunately often defeats the
purpose and ends up restricting creativity.

32. By brainstorming, a group or team can quickly generate novel solutions to a problem.

33. There is a right way and a wrong way to brainstorm.

34. Robert Sternberg has found that to be more creative, you need to spend time gaining knowledge but also
avoid getting mired in so much knowledge that creativity is stifled.

NAT: AACSB Reflective Thinking | CB&C Model Creativity TYP: Application
35. Robert Sternberg’s suggestions for boosting creativity stress that you should learn to see problems the
way other people see them.

NAT: AACSB Reflective Thinking | CB&C Model Creativity TYP: Comprehension
MULTIPLE CHOICE
1. Research shows that the primary benefit of creative, award-winning ads is that they
a. showcase an agency’s style, innovation, and originality.
b. act as a sophisticated form of entertainment.
c. get people to feel something.
d. break through the clutter and get remembered.
ANS: D DIF: Easy OBJ: 9-Intro
2. Looking back, the main problem with Burger King’s 2004 status in the eyes of the public was that
consumers
a. didn’t know what it served.
b. were unaware of the name.
c. thought it was boring and irrelevant.
d. confused it with other fast food outlets.
ANS: C DIF: Moderate OBJ: 9-Intro
NAT: AACSB Communication | CB&C Model Customer TYP: Comprehension
3. The following four people work at the cutting-edge Zanadu Agency. Based on the common personality
traits and professional characteristics of the seven greatest creative minds of the 20th century as noted in
the text, which one probably works in the creative department?
a. Mia, who is quiet, calm, humble, conforming, and friendly to everyone in the room
b. Simone, who is extroverted, personable, intelligent, fashionable, and a great partner to
clients
c. Jackson, who is self-confident, alert, unconventional, hard-working, and driven to the point
of obsession
d. Carlos, who is edgy, intense, goal-oriented, logical, and focused on the bottom line
ANS: C DIF: Difficult OBJ: 9-1
4. Though it is almost impossible to define, creativity is essentially the ability to

a. build emotional bonds.
b. make new connections.
c. rebel against logic.
d. make difficult decisions.
ANS: B DIF: Easy OBJ: 9-1
5. A creative person tends to look at the world and think about the way things
a. ought to be.
b. could be.
c. always are.
d. have to be.
ANS: B DIF: Moderate OBJ: 9-1
6. Socrates mused that creativity can be a divine gift from heaven, one received in the form of
a. humor.
b. intelligence.
c. talent.
d. madness.
ANS: D DIF: Moderate OBJ: 9-1
7. Which of the following would most likely be experienced by a highly creative person coming up with
ideas for a new commercial?
a. putting objects together that can be classified in the same way
b. putting ideas together in an unusual way that makes its own kind of sense
c. putting people together who seem like they should go together
d. putting labels on things and places so they can be identified together
ANS: B DIF: Difficult OBJ: 9-1
8. Howard Gardner discovered a number of positive traits that the greatest creative minds of the 20th
century shared. But he found that these individuals were not necessarily
a. self-confident.
b. easygoing.
c. hardworking.
d. unconventional.
9. Which individuals did Howard Gardner highlight in his book, Creating Minds, in his pursuit of the most
creative people of the past century?
a. Edison, Einstein, Twain, Roosevelt, Gandhi, Disney, and Vonnegut
b. Picasso, Bernstein, Van Gogh, Nureyev, Frost, Hemingway, and Einstein
c. Eliot, Bradbury, Ellington, Graham, Churchill, Wright, and Edison
d. Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, and Gandhi
10. During Gardner’s work in identifying seven of the most creative people of the 20th century, he identified
some negative sides to their lives. Which five characteristics did they all appear to have in common?
a. egotistical, narcissistic, obsessed, socially isolated
b. delusional, irrational, antisocial, psychotic
c. inattentive, unfocused, impatient, hyperactive
d. dysfunctional, clingy, codependent, impulsive
ANS: A DIF: Moderate OBJ: 9-1
11. The textbook suggests that creativity almost always reflects

a. social norms.
b. high intelligence.
c. childlike thinking.
d. psychosis.
ANS: C DIF: Moderate OBJ: 9-1
12. The following comments were overheard at a huge party thrown by a well-known ad agency for its
biggest corporate client. Based on points made in the text, which is the most accurate representation of
the way the corporate world views creative people?
a. “They’re way overrated—what has creativity ever done for business, anyway?”
b. “Nobody wants a creative employee—it’s just not a valued trait anymore.”
c. “We all need them—but nobody really knows who they are or how they do it.”
d. “They’re simple to spot—the smiling ones who get along with everybody.”
13. Whose amusing take on creative departments was featured in the text, peppered with comments about
spending time with feet up talking about movies, watching the clock tick and the deadline near, and
staring at the partner’s shoes propped on the other desk?
a. Carl Jung, psychologist and author
b. Lee Clow, advertising mentor
c. John Sweeney, advertising instructor
d. Luke Sullivan, copywriter and author
ANS: D DIF: Difficult OBJ: 9-2
14. Most research concerning the contentious environment in the world of advertising places the ____ in a
central position as a focus of the conflict.
a. account executive
b. creative department
c. client
d. agency owner
NAT: AACSB Communication | CB&C Model Research TYP: Comprehension
15. Various personnel see ads in various ways. For instance, people in the creative department tend to see an
advertisement as a way to
a. achieve a predetermined objective.
b. showcase a personal ideology.
c. grow the market share for the brand.
d. reflect the client’s thinking.
16. While members of the account management team may admit that the creative department is full of
experts in expression and design, they also commonly feel that creatives
a. do not share management’s goals.
b. cannot meet deadlines.
c. kill the innovative ideas that they claim to value.
d. ignore the copy in favor of the visuals.
17. It is somewhat of a generalization, but the creative department of an agency is usually seen by potential
clients as
a. a pampered group of difficult artists that are best left alone.
b. a subdivision of the powerful account services department.
c. a nice addition but not really essential to an agency's strength.
d. a key issue when selecting an agency.
ANS: D DIF: Easy OBJ: 9-2
18. According to the text, creativity in advertising is most often stifled by

a. a firm's shareholders who know little about promotion and advertising.
b. media buyers who choose the wrong channels for the ads.
c. account managers who want nothing more than to play it safe.
d. clients who don’t realize they are killing the very ideas they originally sought.
19. Who is the liaison between the two main parties involved in promotion—the client and the agency?
a. the agency owner
b. the account services manager
c. the creative director
d. the account executive
NAT: AACSB Communication | CB&C Model Promotion TYP: Knowledge
20. In economic recessions or in other situations requiring downsizing within an agency, which is one of the
first positions to be cut?
a. the account executive
b. the creative director
c. the budgeting manager
d. the research director
21. One tip from John Sweeney, a former creative director, is that if you’re working with a pool of talented
people, they’ll produce their best work if you
a. hand them over to the account executive.
b. keep them out of any conflicts that arise.
c. give them some structure.
d. just agree with them.
22. Without a leader, the many individuals on an IBP campaign are compared in the text to
a. athletes exercising as they get ready for a game.
b. symphony musicians making noise as they warm up.
c. artists splashing paint on a wall.
d. children arguing as they play in a sandbox.
23. Well-known innovator Lee Clow comments on his own creativity by saying that he was a much better
____ than a(n) ____.
a. businessman; artist
b. conductor; soloist
c. follower; leader
d. player; coach
24. Advertising is a(n)

a. solo occupation.
b. individual competition.
c. team sport.
d. business rather than an art.
ANS: C DIF: Easy OBJ: 9-3
25. Which of the following is true concerning teams?

a. They try to blend diverse skills but are rarely successful.
b. They have become the primary means for getting things done.
c. They squash individuality and creativity all too often.
d. They were popular in the 80s and 90s but are now considered a passing fad.
26. An old saying applies to the idea of individuality within teams in the world of advertising. It goes like
this: “If you and I think alike . . .”
a. “. . . then one of us is unnecessary.”
b. “. . . then you must be right.”
c. “. . . then we’ll make a good team.”
d. “. . . then we’re probably both wrong.”
27. In their book, The Wisdom of Teams, Katzenbach and Smith offered a number of insights about teams.
Which of the following was NOT included in the text?
a. They operate on synergy.
b. They avoid focusing on results.
c. They promote personal growth.
d. They are accountable for performance.
28. Leadership over creative teams involves at least three main tasks, one of which is
a. working closely with the client.
b. allowing team members to work independently.
c. contributing ideas without dominating the group.
d. suggesting a list of advertising objectives.
29. Juan has just been assigned the role of team leader of his creative group for a new ad campaign. What is
Juan’s first job?
a. to suppress any disagreements
b. to meet with the client
c. to provide a list of his ideas
d. to build consensus about goals
30. Leaders of creative teams do many things, but one thing they should never do is to
a. stick to the advertising plan.
b. allow an individual to fail.
c. jump in and do the real work.
d. admit a team mistake.
31. The text suggests that you think of an account team as a ____ with the team leader in the middle.
a. football huddle
b. game of tag
c. string of pearls
d. bicycle wheel
32. All members of an account team are also
a. employees of the client.
b. assigned to the creative department.
c. team leaders for their own groups of specialists.
d. members of the accounts services department.
33. Which of the following is true about the creative brief?

a. It tends to actually stifle any creative effort.
b. It sets primary goals for the client.
c. It allows plenty of room for creativity.
d. It results from team brainstorming.
34. In essence, a creative brief is a(n)

a. informal contract depicting the responsibilities of the creative team.
b. set of guidelines to get the creative group moving in the right direction.
c. solution to the primary problem of the ad campaign.
d. list of possible ideas to use in the ad campaign.
35. Who prepares the creative brief?

a. the client leader and the account executive
b. the owner(s) of the agency
c. the client brand manager and the head of the creative department
d. the account executive assigned to the campaign
36. Teams are able to “liberate decision making” when members

a. all think alike and agree with one another.
b. allow the leader to make all the decisions.
c. trust one another and feel it’s safe to contribute.
d. just make suggestions but leave decisions to the client.
37. There is quite a bit of evidence showing that account teams come up with ideas that are
a. pleasing to clients but not award-winning.
b. the most creative and the most useful.
c. funny or memorable but not linked to the brand.
d. the products of conformity and groupthink.
38. Well-known psychologist Carl Jung identified three sets, or dimensions, of cognition. Which of the
following pairs are included in these dimensions?
a. sensing vs. intuiting, and thinking vs. feeling
b. thinking vs. feeling, and seeing vs. hearing
c. rational vs. emotional, and sensitive vs. intuitive
d. extraverted vs. introverted, and creative vs. logical
ANS: A DIF: Difficult OBJ: 9-3
39. The “stereotyped” view of the people who work in the world of promotion, which probably has some
truth to it, says that
a. creatives favor right-brain thinking.
b. advertising experts rely on their left brain.
c. business types use both sides of their brain.
d. teams tend to come up with left-brain solutions.
ANS: A DIF: Difficult OBJ: 9-3
NAT: AACSB Diversity | CB&C Model Promotion TYP: Comprehension
40. What concept refers to the unique preference that each person has for thinking and solving problems in a
particular way?
a. creative abrasion
b. creativity framework
c. brainstorming
d. cognitive style
41. Which condition almost always has a very negative effect when found in teams?
a. conflict
b. creative abrasion
c. cognitive style
d. interpersonal abrasion
42. New ideas and breakthrough solutions often result when there is just enough tension and just the right
clash of ideas, called
a. creative abrasion.
b. interpersonal abrasion.
c. team conflict.
d. cognitive dissonance.
43. The term brainstorming can mean many things in today’s workplace, but in general it can be defined as
an
a. agreement on a concept for the good of the team objective.
b. ongoing clash of ideas and decisions that result in chaos.
c. interpersonal conflict by which new ideas emerge.
d. organized approach to generating ideas.
44. The text notes that tranquility and sameness can be deadly to the creative drive. It suggests shaking
things up with a visit from an “alien,” meaning a person
a. who will create interpersonal abrasion.
b. from outside the department, the firm, or the advertising industry.
c. with a global view and a universal sense of creativity.
d. insulated from the outside world.
45. Creativity evolves from teamwork as well as from individuals laboring on their own. Pulling together
both levels of creativity is the responsibility of the
a. client.
b. account executive.
c. creative director.
d. team leader.
46. Though individual achievement is important to foster, getting creative people to work as a team has its
unique challenges. Which guidelines below were included in the list provided in the text for heading a
creative team?
a. Allow for plenty of room between teams and clients, and foster competition between team
members.
b. Communicate your own personal preferences, and stress the use of a particular cognitive
style.
c. Take care in making your team assignments, and rotate assignments over time.
d. Foster creativity by giving your team members free reign, and judge each creative idea as it
is suggested.
47. What do the three Ps stand for in the 3P’s creativity framework?
a. Processes, Problems, and Perks
b. Preparation, Pragmatism, and People
c. Practicality, Problem-solving, and Production
d. People, Process, and Place
48. What does the text suggest you do if you want to objectively measure your own level of creativity?
a. Brainstorm a list of creative ideas.
b. Search for a creativity test on the Internet and take it.
c. Model yourself after one of the seven great creative minds of the last century.
d. Follow the 3P’s creative framework.
49. The text gives a number of suggestions for advancing your own creativity, but which of the following is
NOT one of them?
a. Defy the safe solution.
b. Learn to cherish ambiguity.
c. Challenge your comfort zone.
d. Avoid analyzing your own ideas.
50. In his studies of creativity and intelligence, Yale psychologist Robert Sternberg has found that when you
suggest a really creative idea, you need to
a. copyright it.
b. be prepared for opposition to it.
c. explain it to others.
d. base it on an accepted standard.
51. Psychologist Robert Sternberg, expert on creativity and intelligence, advises that if you want to be more
creative,
a. do something you love.
b. learn from the pros.
c. expect to be disliked.
d. head up a team.
Scenario 9-1
The Xcellent Agency specializes in developing advertising campaigns for smaller retail clients. Xcellent
was hired by Shadowleaf Shoes, a small regional chain of six shoe stores, to develop a slogan and
specific ads to be used in a three-month newspaper campaign. Shadowleaf's marketing director, Manuel
Margolis, was adamant when meeting with the Xcellent account executive, Kia Chin, that the campaign
must be catchy and modern to appeal to a target audience that has an active lifestyle and is between the
ages of 18 and 35. More importantly, Margolis wanted the slogan to be memorable and unique.
Kia Chin, representing Xcellent, developed a campaign and presented it to Margolis, based on the
slogan, "Do What You Do in a Shadowleaf Shoe." Visuals included men’s legs—different sizes, skin
colors, etc.—walking, jogging, dancing, and otherwise moving in all types of Shadowleaf shoes. She felt
that this campaign would target young male consumers, but would also get the attention of others
regarding its comfortable shoes and would raise awareness of the Shadowleaf brand. After running the
ads, the Xcellent Agency won an advertising effectiveness award. It seemed that the surprising and
appealing visuals gave the slogan unexpectedly positive social meaning for people of all ages, not just
men aged 18 to 35.
52. (Scenario 9-1) When Manuel Margolis insists on a measuring stick for the creativity of the campaign,
what will the Xcellent Agency tell him, if Kia Chin is smart?
a. “The award alone proves that this ad is loaded with creativity.”
b. “If people like the ad, they’ll buy the product.”
c. “We met the technical standards for this advertising effort.”
d. “Great brands do more than just get attention, they make emotional connections.”
53. (Scenario 9-1) The Xcellent account manager, Kia Chin, explains to Margolis how they developed the
slogan. “Before you can be believed, you have to be liked,” she says. “And what could be better than a
new pair of shoes? Remember when you were little and you got a new pair of shoes? And when you
learned to lace them up? No matter what their age, everybody likes putting on a new pair of shoes,
right?” This creative description for the Shadowleaf slogan could have been drawn from which core
characteristic of creative people?
a. childlike thinking
b. obsessive commitment
c. self-confidence
d. unconventional attitude
54. (Scenario 9-1) Margolis has listened to all the explanations for the theme, and understands the nice ideas
behind it, but he still isn’t sure this ad will sell shoes. Which department at Xcellent is most likely to be
the source of conflict between agency and client?
a. the media planning department
b. the accounts services department
c. the creative department
d. the production department
55. (Scenario 9-1) Which individual at the Xcellent agency will be responsible for maintaining a good
relationship with Margolis and the Shadowleaf organization?
a. the research manager
b. the creative director
c. the media planner
d. the account executive
56. (Scenario 9-1) Looking back, who was responsible for creating the client brief, which should have
informed Margolis and others of the creative endeavors behind the campaign?
a. the owner of the Xcellent Agency
b. the client leader and the account executive
c. the research manager and the creative director
d. the account executive assigned to the campaign
Scenario 9-2
The Optima Bike Company manufactures broad-tire, three-wheeled and two-wheeled bicycles mostly
for the retirement market. Its primary market is seniors, usually those who live in retirement
communities where there are clearly designated and safe bike paths. Seniors—and especially the
younger baby boomers—like these recreational vehicles because they are easy and safe to ride. The
company has had some early successes in Florida, Arizona, and California, where such communities
began. Optima now wants to expand to other retirement enclaves. It has learned from two
well-conducted consumer research studies that the main way that male retirees buy the Optima line is
through the urging of wives who want to exercise in some way other than playing golf.
Optima decides to engage an ad agency to capitalize on this consumer insight and promote its bikes to
newer golf communities. It asks two agencies to pitch for its business and gives each a meeting in which
it conveys the information above.
Alpha Agency is based in Miami and insists that its creative team is best suited to promote Optima. Its
managers tell the prospective client that this team is well versed in advanced animation techniques and
can dramatize the features of Optima’s two- and three-wheeled bikes in a dynamic way. They’ll focus on
how fast they can go and how they can “transform the ride” into an adventure—this has worked in other
ads, and this will appeal to the male consumers who need to be lured away from the golf course.
Following this initial display of product prowess, they suggest a campaign that demonstrates how the
bikes can be customized to be more “comfortable and attractive for the ladies,” including pink seat
options. They finish by asking whether the brand name can be changed to “something more exciting.”
Beta Agency is based in Los Angeles and promises to serve as Optima’s branding partner. It asserts that
its creative philosophy is centered on long-term brand building. Its managers propose that they will
develop the right message by applying the research-based consumer insight that women want to use the
bikes to entice their husbands to leave the golf course once in a while. They suggest that their successful
work in building regional appreciation for brands, such as Sea-Doo water vehicles and Ski-Doo
snowmobiles, indicates their prowess in branding similar but not directly competitive brands. They
emphasize the difference that Optima offers in the recreational-ride category, and the consumer targets
that differ from other brands. They close by complimenting this prospective client on how appropriate
the brand name is, given its customer base and likely target consumer.
57. (Scenario 9-2) Optima chooses the Beta Agency to create its campaign. What is likely the primary
reason for this choice?
a. Alpha Agency focused more on men than on women.
b. Alpha Agency was in Florida, which covers a smaller region than California.
c. Beta Agency focused on making a brand connection to the consumer.
d. Beta Agency was in Los Angeles, which is a more up-and-coming area regarding senior
marketing trends.
58. (Scenario 9-2) Which of the following is one critical item of information that Optima’s brand manager
should expect to see on the final creative brief to diminish conflicts in the future?
a. the creative team will avoid animation and cartoon graphics
b. the ad should be likeable without pushing for a particular belief about the brand
c. the music for the campaign should be oldies rock
d. the goal is reaching wives of retirees who play golf
ANS: D DIF: Difficult OBJ: 9-3
59. (Scenario 9-2) Once Optima managers have engaged Beta Agency to do their IBP work, how will they
ensure that their hopes for a great campaign—and partnership—will become reality?
a. by writing specific creative team members into the contract
b. by asking that Beta check daily with the brand manager for Optima
c. by beginning work with the account executive at Beta to write a creative brief
d. by setting up a dinner meeting for the CEO of Beta and the CEO of Optima
60. (Scenario 9-2) As often happens in new client-agency relationships, Beta Agency and Optima Bike
Company conduct a joint brainstorming session prior to finalizing the IBP campaign strategy. Sam
Spokes, head engineer and designer for Optima, interrupts the session frequently, refuting agency
staffers’ spontaneous suggestions that women love bikes, a bike is like a golf club, and the bike will sell
itself. He also labels them as uninformed about various technical aspects of the bicycle mechanisms.
How has the behavior of Spokes influenced the brainstorming session?
a. positively, by winnowing out the bad campaign ideas from the good ones
b. negatively, by diminishing its purpose in inhibiting others from offering ideas freely
c. positively, by pointing out important aspects of product design and showing expertise
d. neutrally, by making irrelevant and immaterial comments
ANS: B DIF: Difficult OBJ: 9-3
ESSAY
1. What are the core characteristics of great creative minds, as identified by Howard Gardner? List as
many as you can. Then relate them to the positive and negative repercussions in the lives of people who
demonstrate extreme levels of creativity.
ANS:
Gardner suggested that great creative minds share particular qualities—unending self-confidence,
childlike simplicity, nonstop alertness, unconventionality, self-promotion, strong work ethic, and
obsessive commitment to work. These traits, all of which he discovered when analyzing seven highly
creative minds of the past century, can lead to a number of positive conditions. They foster fresh
thinking, fascinating ideas, and innovative solutions to problems—not only invigorating and amazing
the world, but also improving it.
Although these qualities—and their benefits to business and consumer lives—are very positive and
desirable, there is a downside, largely based on the degree to which creatives show these traits.
Self-confidence, when out of balance, can degrade into narcissism and egotism. Childlike thinking,
while leading to refreshing and compelling insights, can also lead to childish behaviors. Obsessive
commitment to work can lead to a distressing hardships for an individual’s family, friends, and
associates, who may be ignored or treated poorly while also being expected to cheerlead from the
sidelines and compensate for the creative's shortcomings.
DIF: Moderate OBJ: 9-1

2. Describe the tensions that are routinely found between creatives and managers within agencies. Give
several examples. Be specific and concrete. Then discuss why these are so commonly found in the world
of advertising.
ANS:
Tensions begin with the uncertain nature of the creative product. Although everybody understands that
ads need to be “creative,” there is no hard and fast rule that identifies “creativity” when it appears.
Moreover, some clients and agency managers have the perception that creatives spend a lot of time
telling jokes, having fun, and “screwing around” as they let the creative wheels turn. But the other side
may not be recognized—that creatives are continually pressed to come up with yet another totally
“unique” and “original” concept, design, or slogan, often with little time and few resources. It is hard
work to not only get the right creative idea but to convey it and produce it in a tangible form. The time
and effort needed to do that is often dismissed or unseen by managers and clients. These types of
misunderstandings aggravate client uncertainty, which in turn frustrates account executives and agency
directors.
By nature, many creatives are provocateurs—they take risks, push envelopes, and sometimes step over
the lines of ethics and good taste. Managers, to a degree, dislike too much edginess in a creative
execution and often seek to minimize it, but in doing so, they may end up micro-managing the team
rather than letting the final product speak for itself.
DIF: Difficult OBJ: 9-2

3. Explain the importance of collaboration—creating teams and encouraging teamwork—in the creative
advertising environment. Give three or four reasons why teams foster creativity in the real-life
workplace of contemporary advertising. Consider the ideas featured in the text excerpted from The
Wisdom of Teams by Katzenbach and Smith.
ANS:
Today, interpersonal skills are highly valued—and expected—in the workplace. And advertising has
become a team sport. Coordination and collaboration are required in all phases of promotion and
marketing nowadays. Teams have become the primary means—sometimes the only valid option—for
getting things done.
Teams bring many positive elements to the table. They can generate a synergy that makes the whole
bigger than its parts. They allow people to focus on many individual tasks and then combine their talents
in a unique way. They make the group rather than the individual accountable for performance, and they
are expected to show results.
Teams can create and build campaigns more easily than individuals. They can simply handle the
demands, time constraints, and quality requirements that are often beyond the scope of one person’s
abilities. But effective teams also appreciate and utilize individual excellence. They allow people to
bring unique talents and contributions to the job. Likewise, the people involved learn about their own
cognitive styles, observe the work of others, and become better collaborators overall.
DIF: Difficult OBJ: 9-3

4. What is meant by the term cognitive style? How has it been stereotyped into two polar opposites in
creative environments like ad agencies? Explain how cognitive styles affect creative teams.
ANS:
Cognitive style refers to the unique preference of every individual for perceiving, thinking, and solving
problems. Some lean toward logical or analytical thinking, others prefer intuitive or visual thinking.
Many versions have been suggested, beginning with the work of psychologist Carl Jung, who proposed
three categories of opposing cognitive styles—sensing versus intuiting, thinking versus feeling, and
extraversion versus introversion.
The stereotypes often depicted in creative businesses like advertising and promotion have produced
some familiar cultural stereotypes. It is easy to label the “business types” as left-brained
thinkers—interested in numbers, tests, data, and reports. And to label the “creative types” as
right-brained thinkers—focused on ideas, images, visuals, and abstractions. While these stereotypes are
narrowly defined and force people into cookie-cutter “types,” they do point to the idea that people think
about things, tackle projects, and carry out tasks in very different and individual ways.
Overall, teams doing creative advertising work tend to benefit from a good mix of different cognitive
styles. Different kinds of thinking lead to creative solutions.
DIF: Easy OBJ: 9-3

5. Define the terms interpersonal abrasion and creative abrasion. Discuss the differences between the two,
as well as the similarities. Give an example of each that might be found in the advertising workplace
environment.
ANS:
The two concepts are similar in that they both refer to a level of tension, conflict, frustration, irritation, or
disagreement that almost naturally occurs when highly motivated people work together to solve a
problem or create a new idea. But there are great differences between the two.
Interpersonal abrasion refers to the clash and friction between people, often in a very personal way.
Communication breaks down, new ideas die, creativity shuts off. This type of conflict can be a
destructive force in a workplace.
Creative abrasion refers to the clash and friction between ideas, usually in a professional way. Opinions
are expressed, arguments take place, voices are raised—but in the middle of all this, ideas pop, thoughts
clarify, and breakthrough solutions evolve. So this type of conflict can be very productive in the
workplace. In fact, some form of friction or tension needs to be present to stir things up and get the
sparks flying.
Examples from the advertising workplace will vary among students, but will probably include in some
form the common state of conflict between clients and agencies, or between account executives and
creative directors. Either way, the creatives are usually at the center of the conflict.
DIF: Moderate OBJ: 9-3 NAT: AACSB Communication | CB&C Model Creativity
TYP: Application
6. Psychologist Robert Sternberg has devoted his entire career to the study of creativity and intelligence.
What advice does he give to those who want to boost their creativity? The text highlighted ten of his
suggestions for becoming more creative. List as many you can. Then choose three and give a realistic
example of how each might apply to the world of promotion.
ANS:
Sternberg said that to become more creative, you need to make certain decisions and follow through on
them. The decisions listed in the book include the following (examples will vary among students):
1. Redefine problems to see them differently from other people.
2. Be the first to analyze and critique your own ideas, since we all have good ones and bad
ones.
3. Be prepared for opposition whenever you have a really creative idea.
4. Recognize that it is impossible to be creative without adequate knowledge.
5. Recognize that too much knowledge can stifle creativity.
6. Find the standard or safe solution and then decide when you want to take a risk by defying it.
7. Keep growing and experiencing, challenging your own comfort zone.
8. Believe in yourself, especially when surrounded by doubters.
9. Learn to cherish ambiguity, because from it comes new ideas.
10. Remember that research has shown that people are most likely to be creative when doing
something they love.
DIF: Moderate OBJ: 9-4


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Chapter 9 - Managing Creativity in Advertising and Integrated Brand Promotion

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5. Creativity is very different depending on the domain in which it exists.

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33. There is a right way and a wrong way to brainstorm.

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4. Though it is almost impossible to define, creativity is essentially the ability to

11. The textbook suggests that creativity almost always reflects

18. According to the text, creativity in advertising is most often stifled by

24. Advertising is a(n)

25. Which of the following is true concerning teams?

32. All members of an account team are also

33. Which of the following is true about the creative brief?

34. In essence, a creative brief is a(n)

35. Who prepares the creative brief?

36. Teams are able to “liberate decision making” when members

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