What is *The Art of Client Service* by Robert Solomon about?

*The Art of Client Service* by Robert Solomon is a practical guide to mastering client relationships in advertising and marketing. It offers 58 actionable principles for delivering exceptional service, emphasizing trust-building, clear communication, and problem-solving. Key themes include prioritizing client needs, balancing creativity with strategy, and using low-tech methods in a high-tech world. The book blends real-world examples with concise advice for sustaining long-term partnerships.

Who should read *The Art of Client Service*?

This book is ideal for advertising account managers, marketing professionals, and client-facing teams seeking to improve client retention and satisfaction. Newcomers to client service will benefit from its foundational playbook, while veterans can refresh their skills. Solomon’s insights also apply to freelancers and consultants aiming to strengthen client trust and deliver measurable results.

Is *The Art of Client Service* worth reading?

Yes, particularly for those in advertising or marketing. Critics praise its actionable frameworks and relatable anecdotes, though some note it’s more beneficial for beginners than seasoned professionals. The book’s concise chapters (e.g., “Be brief, be bright, be gone”) provide quick-reference solutions to common client challenges, making it a valuable desk reference.

What are the main client service principles in *The Art of Client Service*?

Key principles include: - **“In a high-tech world, be low-tech”**: Prioritize face-to-face communication over impersonal digital tools. - **“Judgment overrides any rule”**: Adapt strategies to unique client needs. - **“Happy clients help you gain new ones”**: Leverage satisfied clients for referrals. - **“Respect what it takes to do great creative”**: Balance client demands with creative integrity.

How does *The Art of Client Service* address handling mistakes?

Solomon advises transparency and swift action: admit errors immediately, propose solutions, and follow through. He stresses that recovering from mistakes can deepen client trust if handled with accountability. Example strategies include over-communicating progress and documenting lessons learned to prevent repeats.

What does *The Art of Client Service* say about client presentations?

The book advocates the “Be brief, be bright, be gone” mantra: streamline presentations to focus on client objectives, use clear visuals, and avoid overloading with details. Solomon emphasizes pre-meeting rehearsals, tailoring content to decision-makers, and leaving room for dialogue rather than monologues.

How does Robert Solomon define great client service?

Great client service, per Solomon, hinges on anticipating needs, aligning agency and client goals, and delivering consistent results. It requires empathy to see challenges from the client’s perspective and the agility to pivot strategies when circumstances change. Trust is the ultimate measure of success.

What criticisms exist about *The Art of Client Service*?

Some reviewers argue the advice is too basic for experienced professionals, with a focus on traditional advertising over digital/performance marketing. Others note the lack of in-depth case studies. However, most agree it remains a foundational resource for mastering client relationship fundamentals.

The Art of Client Service, Revised and Updated Edition

58 Things Every Advertising & Marketing Professional Should Know

Robert Solomon

3.95(784 Reviews)

Overview of The Art of Client Service, Revised and Updated Edition

The definitive playbook for client service professionals that transformed how agencies build relationships. Embraced by top marketing firms and featured in Franco's Renaissance Readers Book Club, Solomon's practical wisdom reveals why listening might be your most profitable skill in today's competitive landscape.

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Chapter 1

The Art of Client Service: Where Advertising Excellence Meets Relationship Mastery

When Robert Solomon found himself suddenly fired from his role as CEO of a troubled agency office, he faced a pivotal career moment. Rather than retreating, he joined a smaller agency where he put into practice the very principles he'd written about in his book. The results were transformative-happier clients, enduring relationships built on trust, and better work. What Solomon discovered through this journey forms the backbone of "The Art of Client Service," a book that has become required reading at agencies like Carat. As David Verklin, former CEO of Carat Americas, notes, "The ideas in this book are universal and timeless for anyone in advertising and marketing services." Whether you're a seasoned advertising executive or just starting your career, Solomon's insights reveal why advertising's greatest successes often hinge not on creative brilliance alone, but on the strength of client relationships built through exceptional service.

Chapter 2

Beyond Performance: Why Client Service Trumps Creative Work

Does advertising matter? For Robert Solomon, the answer came into focus through an unexpected lens-his relationship with two bankers. Despite the larger bank's superior financial performance, Solomon moved his accounts to the smaller institution. Why? The larger bank changed his representative three times in four years, with each new rep making him feel like an inconvenience. Meanwhile, the smaller bank consistently made him feel valued through responsive, thoughtful service. This banking experience crystallizes the book's central premise: great work alone won't save client relationships. The advertising landscape is littered with cautionary tales-Ammirati and Puris lost BMW despite creating the iconic "ultimate driving machine" tagline; TBWA/Chiat Day lost Taco Bell; Deutsch lost Ikea. Conversely, some agencies retain clients despite mediocre work because they've established deep trust. Solomon once believed great work led to great relationships. Now he understands the reverse is true: "A great relationship leads to great work." This happens because clients take risks only with agencies they trust, and risk-taking enables breakthrough creative. The relationship between trust, client partnerships, and exceptional work forms a three-legged stool-remove any leg, and everything collapses. Malcolm Gladwell's research in "Blink" reinforces this principle beyond advertising. Medical malpractice suits correlate less with doctors' technical mistakes than with how patients feel treated. Relationships matter more than expertise-a lesson applicable to doctors, lawyers, bankers, consultants, and architects. In our service economy, the principles of exceptional client service transcend industries.

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Chapter 3

Setting the Foundation: Starting Client Relationships Right

When a client calls with an urgent assignment, amid the initial flurry of activity, never forget to ask: "What do you want this advertising to do?" This fundamental question begins every successful client relationship. Understanding both company objectives and personal goals is crucial-they're usually aligned but sometimes conflict. Some clients prioritize protecting their turf over collaboration, or fear risk so much they only accept safe work. These hidden agendas can undermine your ability to create outstanding advertising. In today's fragmented marketing landscape, you must speak multiple languages to serve clients effectively. While television was once advertising's dominant "hammer" making every problem look like a nail, today's toolbox includes digital, social, guerrilla marketing, product placement, and countless other approaches. You don't need complete fluency in every discipline, but you should understand enough about each to recommend the optimal combination for your client's needs and budget. Beyond simply using your client's products, you must steep yourself in their brand: know the company's history, people, and culture; talk with other customers; monitor press coverage; form perspectives on their strengths and weaknesses; and constantly seek new insights. This deep knowledge becomes particularly valuable when client personnel change-your institutional knowledge provides continuity and helps new marketing managers succeed. Every assignment needs three foundations-a budget, a schedule, and a client-approved brief. Without these guardrails, you'll inevitably find yourself redoing work. As the saying goes, "There is always time to do it over." Managing expectations from the outset is equally critical. I once failed a client by missing signals during a creative presentation. Though he approved a concept requiring illustration, his lukewarm response to our chosen illustrator and the cost should have prompted deeper discussion. The finished ad disappointed him deeply, permanently damaging our relationship and making him more risk-averse. Today's polished digital comps make expectation management even more critical.

Chapter 4

The Brief: Your Roadmap to Exceptional Work

I once wrote briefs as thick as phone books until our new creative director confronted me: "This isn't a brief; it's the anti-brief!" He scribbled a simple outline covering just nine essential points: key fact, problem, objective, key benefit, support, tone, audience, competition, and mandatories. Though I initially resisted, implementing this approach transformed our work. Our briefs became sharper and more focused, liberating rather than constraining our creative teams. Creating brevity requires hard work-not in initial writing but in relentless rewriting to distill ideas to their essence. A brief that isn't brief helps no one. The reader can't distinguish important points, the client won't embrace it, and the creative team won't follow it. Martin Puris, cofounder of Ammirati & Puris, used to say that 80 percent of all creative work fails before one word of copy is written-because if the strategy is wrong, there's little hope of getting the advertising right. Getting strategy right means recognizing it's a team sport. The creative crew must be critical partners in creating the brief, not just receiving it. This approach helps the creative team take ownership, unearths issues early, and captures unique perspectives that might otherwise be missed. Your key role is representing the client within the agency-no one should know the client better than you. Spend time in your client's offices, get into the field to meet customers, read industry publications, watch the competition, and be a customer yourself. This immersion can uncover overlooked facts that drive powerful advertising insights-like Ammirati & Puris discovering that UPS's frequent plane washing reduced drag and fuel consumption, which became the basis for their award-winning "We run the tightest ship in the shipping business" campaign. Clients sometimes suffer from "brief amnesia"-forgetting they approved a creative brief when they reject work based on it. The cure? Make clients partners in developing the brief, present it personally, address concerns, revise if necessary, and then have them sign it. This signature is transformative-it says, "I'm taking ownership and understand my advertising will be based on this."

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Chapter 5

The Creative Process: Navigating Between Good and Great

The airwaves are filled with ads that, at best, put viewers to sleep and, at worst, debase the client's brand rather than build it. It's not enough for work to be on strategy; it must engage consumers and make them want to pay attention. You can't influence how people think and act with boring advertising. Achieving results requires advertising driven by a smart, honest, and emotionally true idea. Good work is the enemy of great work. Good work is on strategy, smart, respects the viewer, and is well crafted. You can produce it on time and on budget. Your client can green light it. It makes you comfortable. Great work, while also on strategy, goes beyond smart to something rare and special. It doesn't just respect viewers-it connects with them. Great work might make you uncomfortable, take risks, challenge budgets and timelines, and require more client convincing. I once fought with my boss over a concept our team loved but he thought too risky. "We'd be crazy to kill it without showing it to the client. It's just too good," I argued. Though he reluctantly agreed to include it, the client ultimately chose a safer option despite laughing during our presentation. We ended up executing perfectly good advertising that everyone liked, but it wasn't great, and we didn't love it. Conversely, what often passes for great work today is little more than clever execution or unusual production technique. This kind of advertising masquerades as great but actually sacrifices the client's objectives on an altar of creative self-indulgence. Speaking out against work you know is wrong requires judgment, dispassion, and discipline. Don't just say "I don't like it" or "The client won't buy it." Explain specifically why it doesn't deliver on strategy, fails to engage viewers, or doesn't communicate the message clearly. Always bring your client more than one concept. While some agencies present just one solution, the best agencies know there's more than one way to execute a strategy. Three is generally ideal-enough to provide meaningful choice, yet small enough to compel selecting only the best ideas. Before presenting, agree internally on the agency's recommendation and eliminate any straw men-if it isn't good enough to execute, it isn't good enough to present.

Chapter 6

The Art of Presentation: Orchestrating Success

Agencies treat new business presentations like opening night at the theater-carefully casting presenters, investing in staging, crafting every word, and rehearsing extensively. Yet with existing clients, everyone's so busy making the work they neglect the presentation aspect. Client presentations are at least as important as new business ones. The stakes are just as high-losing a client is worse than losing a pitch. Good presentations require proper casting, thoughtful preparation addressing potential client concerns, and sufficient rehearsal time. Many agency people avoid rehearsing because they find it awkward or intimidating, but rehearsal reveals holes in arguments, helps anticipate questions, polishes delivery, coordinates team handoffs, and builds confidence. Even a quick run-through is better than nothing. Junior people need opportunities to present, but these should be confined to internal agency presentations until they're proven ready for client-facing roles. I learned this the hard way after allowing an unprepared copywriter to present to senior clients. When he froze, we embarrassed ourselves, embarrassed our client in front of her boss, and undermined our account relationship. The fault wasn't his-it was mine for putting him in a situation beyond his capabilities. Advertising presentations should be ensemble performances, not one-person shows. There should be no "scenery chewers" dominating the stage, nor should there be "dead bodies"-people without clear roles. Everyone present from the agency should contribute meaningfully. If someone doesn't have a role, they shouldn't be in the room, as clients will question their value and why they're paying for them. Despite planning a 45-minute presentation, my team once arrived to find clients running late, leaving us just 20 minutes. Caught unprepared, we couldn't edit on the fly and performed poorly. Just because you've prepared to present a certain way doesn't mean you'll get to do it as intended. Clients have their own agendas, and you must adapt yours to theirs. Before launching into your presentation, always ask, "Are you comfortable with this plan? Anything we've missed?" If you want to work without a net and appear relaxed and informal, make sure you thoroughly prepare. Know your opening cold-if you're going to falter in a presentation, it typically happens at the beginning, and mistakes compound as anxiety grows. That's why you need to know your opening as well as you know the first words of the Gettysburg Address.

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Chapter 7

Building Trust: The Foundation of Client Relationships

The "umbrella theory" applies perfectly to account management: anticipate what might happen and prepare for it. Make a checklist that anticipates questions and issues that might arise, then compile all materials you might need. It's better to have materials and not need them than to need them and not have them-even if you must carry a shopping bag full of background information. During a presentation to a prospective client, we recommended a particular celebrity spokesperson, believing they were perfect. When the client asked for data supporting our recommendation, we could only offer opinions-"we think" and "we feel" instead of facts and research. Our lack of supporting data made us look unprofessional. Before presenting, always check for claims that might not withstand client challenges. Build cases for your opinions with solid evidence. At a major new business presentation, my colleagues and I delivered what we thought was powerful strategic insight and dazzling creative for 90 minutes straight. When we finished, we asked for questions and were met with silence. A week later, we lost the account. We failed because we did all the talking, never stopping to ask the clients for their thoughts or reactions. The goal isn't to deliver rehearsed lines perfectly or make every planned point. The goal is to engage clients in a discussion that leads to shared ideas and a meeting of minds. Does anyone in advertising follow the simple rule of starting and ending meetings on time? With clients, agencies try to be punctual, but clients often keep them waiting. For internal meetings, start on time if it's yours, and show up on time if it's someone else's. If the leader isn't ready after ten minutes, leave-do this a couple times and people will get the message. Creating an agenda helps determine if you actually need a meeting or if a phone call or email will do. Ask yourself if the meeting will advance the work-if not, don't have it. I've been trapped in countless meetings that ran twice as long as needed, and I've been guilty of being long-winded myself. The solution? Come prepared. Know your desired outcome, speak quickly and clearly, and don't waste time. Most importantly, know when to close your briefcase-once you have buy-in, move on. If you continue talking, you might talk people out of what they just agreed to.

Chapter 8

Navigating Client Relationships: The Intellectual High-Wire Act

Martin Puris called the account executive role "an intellectual high-wire act." The fatal mistakes are becoming either the client's person at the agency or the agency's person at the client-both fail. A good account person provides objectivity, commitment, insight, and truth. The challenge is balancing client demands with agency realities while managing scarce time and money. The deeper challenge is having the judgment to do and say exactly the right thing in the right way to the right person at the right time. Like Stanley Motss in "Wag the Dog" who complains no one understands what a producer does, account executives rarely get credit. If you're worried about getting recognition, consider another career. Your job is to give credit to clients and colleagues, not take it. Once, I had dinner with a client before a presentation of edgy work, asking her to keep an open mind rather than immediately rejecting new ideas. The next day, she approved the recommendation. When the creative director expressed surprise, I simply said, "The work was great, and you did an amazing job presenting it." I knew I'd helped achieve the right outcome, and that was enough. Account work is fieldwork. You must visit clients regularly, whether they're next door or in another time zone. Calls and emails can't replace face time. Don't wait for trouble to visit clients-spend time with them when things are going well. Clients have little patience for account people who only show up when something goes wrong. It's almost impossible to spend too much time with clients. If you lack a specific reason to see them, create one. Some account people develop such close personal relationships with clients that they're said to "own" the account, sometimes even taking clients with them when switching agencies. This is completely unethical. While forging strong client bonds is essential, your obligation is to your agency. You don't own the client relationship; you're merely its keeper. Being known for integrity is far more valuable long-term than any short-term gain from transporting an account to a new agency.

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Chapter 9

Managing the Inevitable Challenges

Early in my career, I worked with a demanding client who once insisted on copy in two days rather than two weeks. Instead of immediately agreeing or refusing, I said, "Let me make a quick call." After consulting with creative colleagues, I negotiated four days instead of two. When a client makes a request, especially an urgent one, your instinct is to say yes immediately. Don't. Even with simple requests, a unilateral yes does a disservice to everyone. It ignores advertising's collaborative nature and disrespects your colleagues. Your job is to build bridges, not barriers. "No" is a barrier builder. Even when clients make seemingly unreasonable requests about deadlines, budgets, or changes, "no" helps no one. After consulting with colleagues, if an unqualified yes isn't possible, offer a qualified one: "Here's what we can do; it's not perfect, but does it address your need?" Discuss, negotiate, collaborate, and solve problems together. When clients dictate solutions rather than problems, resist the urge to save them from themselves. Instead, respect their direction and execute it exceptionally well. Then, go beyond by presenting what you believe they actually need. Give them what they asked for first, then show them what you think would work better. This approach honors their wishes while demonstrating your strategic value. When things go wrong-missed deadlines, print errors, wrong commercials shipped-get to your client quickly with a full explanation and potential solutions. You want to deliver bad news yourself, not have them hear it elsewhere. If significant costs are involved, involve senior management and prepare a financial solution before the client asks. Above all, never lie to clients-once caught in a lie, your credibility is "gone forever." The best account people have "such a profound sense of responsibility that they literally find a way to blame themselves for anything that goes wrong." When mistakes happen-even when not directly your fault-take ownership. Solomon shares how he once took the blame when a creative director accidentally revealed confidential product information to a reporter. Though Solomon wasn't the one who revealed the information, he considered it his responsibility to prevent such disclosures.

Chapter 10

The Human Element: Balancing Professional and Personal

Solomon shares how a client dinner went awry when seating wasn't planned, resulting in clients and agency staff clustering separately rather than mingling. Social events with clients deserve the same careful planning as business meetings. For visiting clients: meet their plane or arrange reliable transportation, help with hotel reservations and try to arrange upgrades, place welcome amenities in their rooms, and handle all local transportation. Good account people adapt to client interests without compromising their integrity. Solomon doesn't play golf but stays informed enough to discuss major tournaments with golf-loving clients. He recommends being conversant in everything from popular culture to high-brow pursuits while avoiding controversial topics like politics and religion. Take genuine interest in clients' professional and personal lives without forcing relationships. Even after one martini too many at a client dinner, Solomon learned an important lesson about self-restraint. No matter how many dinners, golf games, or ballgames you attend with clients, never mistake your relationship for personal friendship. The person across from you is always your client. Watch what you drink, how you behave, and what you say-no tales out of school, no alcohol talking. Social occasions provide valuable opportunities to discuss work in different contexts and address tough issues, but professional boundaries must remain intact. As the agency's lead representative to your client, you embody your agency's brand and culture. While Solomon once worked with a brilliant executive who pulled off the "unmade waterbed" look through sheer personality, most of us need to invest in our appearance. Whether your style is Chicago conservative, New York downtown hip, or San Francisco laid-back, grooming matters. It affects how others perceive you professionally and how you feel about yourself.

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Chapter 11

The Essence of Great Client Service: Gratitude and Excellence

It's amazing how much power those two simple words-"thank you"-have. Saying thank you to colleagues for their assistance and to clients for their business should be a given, yet it often isn't. People wrongly assume others know they're grateful. Solomon makes a point to thank people daily through handwritten notes, emails, or in-person visits for even small favors. He's worked for two contrasting bosses: one who regularly acknowledged staff contributions with voicemails, notes, flowers, or gift certificates, earning lasting affection despite being demanding; and another who rarely thanked people, generating anger rather than loyalty. The difference was striking. Expressing gratitude takes minimal effort yet delivers tremendous benefit. It feels good to say thank you, people appreciate being acknowledged, and it makes it easier to be critical when necessary. Great account people are defined more by skills and qualities than education or experience. Two essential skills stand above all others: communication and idea generation. Communication encompasses both written and oral abilities-being "good on paper" with concision and clarity, and being "good on your feet" in meetings and presentations. But truly great account people also generate ideas that solve problems and capitalize on opportunities. Two critical qualities complete the foundation: integrity and judgment. Integrity builds trust with clients and colleagues, while judgment helps navigate complex situations. Additional qualities include patience, discipline, grace under pressure, humor, meticulousness, ownership, collaboration, self-effacement, contextual awareness, and service orientation. Without these qualities, account people will struggle-they'll crumble under pressure, fail to see the big picture, make errors, and be unable to marshal agency resources effectively. The four guiding principles that define great account people are integrity, judgment, communication, and ideas. Master these elements, and you'll not only serve your clients exceptionally well, but you'll create the conditions for truly breakthrough creative work that drives business results.

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Key Themes in The Art of Client Service, Revised and Updated Edition

agency client management
trust based partnerships
creative brief development
expectation management
account service excellence

Quotes from The Art of Client Service, Revised and Updated Edition

Good work is the enemy of great work.
There is always time to do it over.
What do you want this advertising to do?
This isn't a brief; it's the anti-brief!

Characters in The Art of Client Service, Revised and Updated Edition

Robert SolomonAuthor and former advertising agency CEO
David VerklinFormer CEO of Carat Americas
Martin PurisCofounder of agency Ammirati & Puris

About the Author

Robert Solomon is the acclaimed author of The Art of Client Service (Revised and Updated Edition) and a leading authority on trust-based client relationships and agency management. A veteran brand strategist and certified organizational coach, Solomon founded Solomon Strategic in 1999, advising major firms like Digitas Health Lifebrands, Condé Nast, and Initiative Media.

His expertise stems from over two decades of shaping client service frameworks used by top advertising agencies and Fortune 500 companies.

Known for blending direct marketing principles with digital innovation, Solomon frequently keynotes industry conferences and hosts workshops on creative collaboration. His insights have been featured in Rolling Stone, Teen Vogue, and his PR agency, The RCJ Company, which empowers startups and executives.

The revised edition of The Art of Client Service distills his proven methodologies for building loyalty and driving revenue, cementing its status as a staple in business curricula and agency training programs worldwide.

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Chapter 6

The Art of Client Service, Revised and Updated Edition

OverviewOverview of The Art of Client Service, Revised and Updated Edition

One book. Many ways to hear it.

The Art of Client Service: Where Advertising Excellence Meets Relationship Mastery

Beyond Performance: Why Client Service Trumps Creative Work

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Setting the Foundation: Starting Client Relationships Right

The Brief: Your Roadmap to Exceptional Work

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The Creative Process: Navigating Between Good and Great

The Art of Presentation: Orchestrating Success

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Building Trust: The Foundation of Client Relationships

Navigating Client Relationships: The Intellectual High-Wire Act

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Managing the Inevitable Challenges

The Human Element: Balancing Professional and Personal

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The Essence of Great Client Service: Gratitude and Excellence

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Key Themes in The Art of Client Service, Revised and Updated Edition

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1,000,000+ curious minds.

1,000,000+ curious minds.

One book. Many ways to hear it.

The Art of Client Service: Where Advertising Excellence Meets Relationship Mastery

Beyond Performance: Why Client Service Trumps Creative Work

See every word as you hear it

Setting the Foundation: Starting Client Relationships Right

The Brief: Your Roadmap to Exceptional Work

Get more out of The Art of Client Service, Revised and Updated Edition

The Creative Process: Navigating Between Good and Great

The Art of Presentation: Orchestrating Success

See every word as you hear it

Building Trust: The Foundation of Client Relationships

Navigating Client Relationships: The Intellectual High-Wire Act

Get more out of The Art of Client Service, Revised and Updated Edition

Managing the Inevitable Challenges

The Human Element: Balancing Professional and Personal

See every word as you hear it

The Essence of Great Client Service: Gratitude and Excellence

You made it to the end of The Art of Client Service, Revised and Updated Edition

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Overview of The Art of Client Service, Revised and Updated Edition