SOUND FAMILIAR

Your client has a message to communicate: an argument, a sales pitch, a call to action. Your job is to give it form. You're an expert at this. You know how to take a complicated bunch of ideas and reduce them to their arresting, memorable, engaging essence. You come up with some big ideas that you're convinced will work and, detail by careful detail, you bring those ideas to life. But there's a problem: your work is second-guessed by a bunch of middle managers, some of whom are insecure, some of whom have their own agendas to inject, some of whom just like to say no. Despite all that, you refine and revise, hoping to keep the strength of your original idea intact. Finally, your work is approved, and it goes out into the world. If you're lucky, it really makes a difference: minds are changed, passions are fueled, your client looks great. And, somehow, hardly anyone out there knows you were involved at all.

This is not about innovation, product design, or graphics. It was written about speechwriting.
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