Everybody makes mistakes. But the biggest mistake of all is failure to learn from error. The lessons of misjudgements, miscalculations and mismanagement teach more than success - if you're prepared to face the realities of failure.
Few deals have failed faster than the double partnership, between two pairs of advertising men, which briefly created an agency called FWWH: what can be learnt from its swift demise?
One of the two leavers, Richard Hall (long-time associate of Richard French), has mercilessly analysed the case. No doubt, the remaining partners, Garry Walton and Phil Wiggins, differ somewhat in their analysis and lessons. But it's only your own soul-searching that ultimately counts.
'Lick your wounds and reflect' is, in fact, high on Hall's words of advice to failed deal-makers. So is 'limit the PR machine on the downside.' The partners wetted the baby's head with champagne before it had left the delivery room. It was a great story, but they told it too soon.
Far more important, the set-up was fatally flawed. Before starting any new venture or project, it's essential to match the structure to the purpose. Certain questions have to get clear answers: above all, that age-old enquiry, 'Who's in charge here?' At FWWH, the answer was unsure.
By experience and character, the French and Hall were the obvious candidates for command. But they were moving into the existing business of their new partners. 'Don't try to seize someone else's toy,' says Hall. The seniors didn't try, in fact - but the consequent scope for confusion and misunderstanding is obvious.
The failure of minds to meet might have been avoided if all four men had realised that taking on partners differs not at all from any senior hiring. These days, large firms quite commonly submit candidates to psychometric tests before offering them jobs. The value of such tests has been challenged, but the principle is eternally valid.
Personal chemistry is always an important factor in working relationships. A mismatch of styles, energy levels, characters or any other key traits spells failure. At a simple level, Hall and French love 'masses of ideas, lots of torn-up paper, walls filled with imagination and possibilities.' They found Walton very different: 'neat, paperless, on to a Power Mac.'
Such incompatibilities needn't be fatal. But sometimes only experience can test the issue. Hall thinks that 'a trial marriage is probably a smart idea.' Many successful mergers have only been consummated after a long period of working together. Looking before you leap is essential, but not jumping when you needn't is wiser still.
Having failed to explore the chemistry with enough care, the quartet started playing discordant music. In Hall's view, 'We were intolerant of them and they were over-expectant of us.' With two well-known ad men on board, 'They expected accounts to drop into our lap. Sadly, they were about to.'
Even sadder, Hall now realises, in hindsight, that his 'gut feeling' was uncertain about the venture: 'It was an easy deal, but the fundamentals were wrong.' His dubious inner voice, of course, came from the brain. Gut feelings are thoughts. The computer in the skull runs through elaborate routines at enormous speed to reach these apparently instinctive conclusions.
Hall is incontrovertibly right when he advises 'Always obey your stomach.' The inner call can be highly positive as well as damningly negative. Never ignore a hunch - the out-of-the-blue idea, properly studied and effectively executed, can create a better, richer business result than the best laid of rational plans (which, as the poet says, 'gang oft agley.')
Before the ganging agley of FWWH, both sets of partners had excellent rational grounds for thinking that a union between a rising creative team and a deeply experienced pair of account executives would produce a perfect combination. The little man in Hall's stomach wasn't convinced - and he proved right.
The final word of valuable advice, though, is to start the learning process by accepting that a mistake has been made, and following that acceptance to its logical, if painful conclusion. 'Get out early if it's wrong.'
FWWH By Garry Walton
Looking back on French Walton Wiggins Hall the agency we started all those years ago, some things seems a lot clearer to me now.
You are right to highlight the mis-match in cultures.
Phil Wiggins and I had worked in big agencies with big budgets and following our creative success in winning Grand Prix at Cannes & New York for VW, we felt confident that clients would beat a path to the door of our new 'creative independent' Walton & Wiggins with their accounts. How wrong could we be?
All our early income came from agencies where our reputation had some cache and it wasn't till some time later after a lot of hard slog that the business from clients direct started to trickle in.
It took us a few years to become the 'overnight success' we were hoping for.
We longed for the big accounts from clients that would allow us to shine, but eventually were grateful for the little accounts from clients that gave us a break.
Thanks to Whitbread, Maclaren, Alamo, Forte, Transwede Airlines, Time Out, and others
One of the biggest surprises for our new partners Richard Hall & Richard French was that the ad agency business had fundamentally changed and clients wanted a lot more for a lot less fees.
The industry had fragmented into all kinds of specialisms and we bought media and other services from independents.
This sea change dawned on our new partners (who used to be our old bosses) very early on.
I remember Richard French saying to me on the way back from a three way pitch for an audio speaker account with a tiny budget.
'When did all the money go out of this business?'
The two Richards' were people we knew,trusted, respected and looked up to. They were the guys who had done it before and could lead us to where we needed to go.
We were prepared to listen and go along with new ideas.
We did not ask for any financial investment from our new partners
We did hope for some new business.
The problem was they needed the time we had already had to adjust to the small time. It was painful for them.
Our business (yes Phil Wiggins and I built it) was ready to change, but into what?
We could not go back to the old days of FGA, and didn't want to.We had to find a new positioning that was better than a creative independent but not as cumbersome as a traditional agency.
We struggled to find a philosophy.
We had always tried to make to make our business as modern as possible and to my shame I was an early adopter of information technology and systems.
The creative processes of today where images are created, mailed around from studio to agency and client, changed the way agencies, art directors and creative teams work.
Apple Macs are creative tools and not some form of administrative shackle.
Richard French's PA, (remember them), told me one day that she would not use the brand new computer diary system that linked everyone together(state of the art then) and would instead stick notes on our desks.
We seemed to be going backwards.
Concepts have always been about collaboration and Phil and I had always worked as a team at every creative stage.
But sadly, sitting around with R&R throwing paper around the room didn't produce anything, I am sure anyone who has taken part in an all agency 'blue sky' meeting would know what I mean.
My sadness is not just that FWWH was not a success and that Phil & I should have just 'stick to our knitting' but in the process of losing the agency we also lost the friendship of the two Richards.
Later I came to believe that building an agency is more about doing it, than developing a philosophy.
Today I own, with my partners, a specialist agency called The Square, in Frith Street Soho.
We built it without fanfare, but with a lot of creative ideas (thanks Phil and others), hard work, shared values and respect.
As they say. 'I wish I knew then what I know now'.
Garry Walton
The Square Advertising Agency
61 Frith Street
London W1D 3JL