Is The Advertising Agency Dead?
During the so-called golden days, the Mad Men era, advertising agencies were wildly profitable. It was an industry that boasted average profit margins of 30%, allowing firms to attract the sharpest minds and most ambitious talent. If you wanted a career in marketing, Madison Avenue was the destination.
Today, that world is a distant memory. The average agency profit margin has plummeted below 10%, a steady, decades-long decline that points to a model in crisis. The business is, for all intents and purposes, unsustainable.
In a recent conversation with The Futur’s Chris Do, positioning and pricing expert Tim Williams delivered a stark prediction. “I'll make this bold prediction today,” said Williams, founder of Ignition Consulting Group. “certainly within 10 years, and probably five, there won't be a single agency left on the planet billing by hours.”
He calls the practice malpractice. An incredibly bad idea.
The question of whether advertising is dead has become fashionable cocktail party chatter. But Williams, a career agency insider, cuts through the noise. The craft isn't dead. The creativity isn't dead. But the business model? It's been on life support for years. And AI, he argues, is about to pull the plug.
The Original Sin of the Billable Hour
How did an industry once defined by explosive growth and creativity find itself trapped in a race to the bottom? The answer lies in a single, fateful decision made decades ago.
Back in its heyday, agency profitability was fueled by media commissions. When a client bought ad space, the agency got a cut. This model funded everything, from strategy to creative execution. But as the industry matured, media buying was unbundled into separate, specialized companies. Suddenly, agencies needed a new way to get paid for their thinking.
It was David Ogilvy, the iconic founder of Ogilvy & Mather, who looked to another profession for a solution: law. He adopted the billable hour and the timesheet, importing a model designed for a different kind of work into the creative world. An industry that creates intangible value began the grim work of selling time.
Williams notes the painful irony. “David Ogilvy later in life repented for on his deathbed he said he regretted ever having introduced that idea,” he explains. The regret was well-founded. The billable hour cascaded into a system that corroded agency value, pitted firms against their clients, and triggered the downward spiral in revenue and profit we see today.
The evidence of this decay is everywhere. You see it in the headlines announcing massive consolidation. Legendary names that defined Madison Avenue for a century, like J. Walter Thompson and Young & Rubicam, have been merged into obscurity, their brands dissolved into more digitally-focused acronyms. Agencies are trying to save their way to success, a strategy that never works.
The core problem is simple. The model rewards inefficiency and penalizes brilliance. It is, as Williams states, philosophically rooted in Karl Marx’s labor theory of value, the idea that the worth of something is determined by the effort it took to create it. This is a fundamentally flawed way to measure knowledge work.
Stop Billing for Inputs, Start Pricing for Outputs
The solution requires a fundamental change in thinking. It’s not about finding a new way to count hours. It's about stopping counting them altogether.
“What clients buy is not efforts and activities,” Williams insists. “What clients buy are solutions to business problems.”
This is the essential paradigm shift. You must move away from the concept of billing for inputs and start billing for outputs. Instead of charging for the person and their time, you charge for the deliverable and the solution. You price the program, not the hour.
This is not a radical or untested idea. It’s how the rest of the business world operates. “When we buy any product or service, it's usually a fixed price for what it is we're buying,” Williams points out. “You don't walk onto a BMW showroom and say, ‘I really love this new X5, but how many hours did it take to build it?’”
You are given a price for a product with a defined set of features. The equivalent in the creative business is a fixed price for a fixed scope.
Resistance to this idea is often fierce, but it’s rooted in habit, not logic. Creatives and agency leaders throw up their hands, claiming clients dictate the terms. Chris Do finds that maybe 20-30% of creatives think value-based pricing is some form of capitalist evil. But this is a fiction the industry tells itself.
“This is our system,” Williams counters. “We made the decision to migrate to the billable hour. We have taught that to our clients so well that procurement departments have constructed all their internal processes completely around it.”
If you taught them this system, you can unteach them. You can teach them a better way.
The Myth of Client Pushback
The greatest fear holding creatives back is the phantom of client rejection. They believe that proposing a fixed fee without a line-item breakdown of hours will get them disqualified immediately.
Experience proves this fear is unfounded.
Chris Do shared a personal story from his time running a production company. His agency clients demanded complex, line-by-line bids for every project. They wanted to see precisely how every dollar was spent, as if they intended to manage the project themselves. Frustrated, Do instructed his producer to make a change.
“I want you to give a one-page estimate based on scope,” he demanded. “This is the price. If they want to know the hourly rates... then they have to agree that if we go over, they'll pay the extra.”
His producer was terrified. “Chris, this will never work,” he warned. They submitted the new, opaque, single-price proposal and braced for impact.
The drumroll, as Do puts it, was for nothing. “They didn't even ask. They did not even push back.”
That became their new way of working. The imagined catastrophe never materialized. Williams confirms this is the rule, not the exception. “Agencies are continually shocked and amazed at the lack of pushback that they get,” he says. “They expect it to be the end of the world.”
By showing clients exactly what they get for their money, not the arbitrary time spent, you anchor the conversation in value. A fixed price for a fixed scope is a promise of certainty, something most organizations prefer.
A Practical Playbook for Your Next Proposal
Shifting away from the billable hour doesn't require you to blow up your business overnight. It begins with changing how you scope and present your next project. It starts with a few key principles.
The first addresses the most common objection: “How can you price something with an undefined scope?”
The answer is you don’t. You refuse to enter into the trap of the “all-you-can-eat buffet,” the open-ended retainer that Williams calls “the scourge of our business.” Instead, you work in phases.
- Phase One: Discovery. This is a paid engagement designed to uncover objectives, define the problem, and map the scope of the actual solution. You cannot know the price of the project until this work is done.
- Phase Two: Design & Strategy. Based on the findings from Phase One, you can now provide a fixed price for the core strategic and creative work.
- Phase Three: Execution & Development. Once the solution is designed, you can scope and price the final implementation.
The second principle is to never present a single price. A take-it-or-leave-it proposal forces a yes or no decision. Instead, you must always offer options. This “Goldilocks” approach leverages basic human psychology.
As Williams explains, world-class marketers from McKenzie to Apple understand this. When you give a client a choice of small, medium, and large, you accomplish several things:
- It changes the conversation. The discussion is no longer about cost but about which solution is the best fit.
- It provides context. The options frame the value of your offer, showing what the client gets (and doesn't get) at each level of investment. They are no longer comparing you to other vendors, but your options against each other.
- It encourages upselling. When presented with three choices, what do people pick 70% of the time? The middle option. It feels safest and provides the best perceived value.
Williams suggests a powerful tactic: take the budget the client has hinted at and make that your lowest-priced option. Show them what they can get for that money, then build your middle and premium tiers to demonstrate what a greater investment unlocks. “They will leave that economy option completely alone,” he says. Clients upsell themselves.
Time Is Not a Cost
To truly break free, however, requires a deeper philosophical uncoupling. You must stop seeing time as a cost. This is the argument at the heart of the value pricing movement, championed by thought leaders like Ron Baker, a mutual friend of Do and Williams and a guest on a previous masterclass on the subject.
“Time is not a cost,” Williams states directly. “Office supplies is a cost. Rent is a cost. Time is a constraint.”
Read that again.
Creative firms run a fixed-cost business. You have a fixed staff and a fixed set of overhead expenses. You don’t need timesheets to tell you what your costs are. Williams scoffs at the idea that a 40-year-old agency doesn’t know what a social campaign costs to produce. “Look in your database,” he says. “You've got the history. You know what your costs are.”
The argument that you won't know if you were profitable on a project without timesheets is equally flimsy. You know your costs on average. Sometimes you’ll come in under, sometimes over. Over a portfolio of projects, it balances out, allowing you to earn a healthy margin without micromanaging every minute.
The pricing model used by most creative firms is backward. They work from the bottom up:
- Calculate the cost to produce (hours x rate).
- Add a markup to create a price.
- Hope that price represents value to the client.
The rest of the business world works from the top down:
- Start with the customer and estimate the value of the solution.
- Establish a target price based on that value.
- Figure out if it can be produced profitably at that cost.
- Decide whether to proceed.
Steve Jobs, Williams notes, said pricing the original iPhone was one of the most important decisions Apple ever made. They didn't start with the bill of materials. They started with the value it would create and priced it from the top down.
The idea that there is a large gap between your cost and the price you charge is not unethical. It's capitalism. It’s business. As Williams points out, “It's not typical for sellers to disclose their cost to a buyer.” You don’t ask Apple for their component costs. The fact that procurement departments in the agency world have normalized this behavior is an anomaly, a bad habit that can and must be broken.
The End of an Era, a New Paradigm
The excuses for sticking with the old model are wearing thin. “It’s different in my town.” “It’s different in my industry.” Williams dismisses these as manifestations of disbelief, citing the work of Peter Block and his book The Answer to How is Yes. The real problem isn't practicality; it's a failure to change your mental map.
He offers a powerful historical analogy: germ theory.
“Prior to the 1850s, hospitals and doctors and surgeons, they operated with dirty hands,” Williams explains. For thousands of years, the dominant paradigm was that infection came from bad air. Then, Joseph Lister came along with a microscope and showed his colleagues the tiny organisms that were the real culprits. Germ theory was born.
Once the paradigm shifted, the practices changed immediately. Doctors started washing their hands and sterilizing instruments. They couldn't go back. To do so would be unthinkable.
It would be malpractice.
“In a way, billing by the hour is malpractice,” Williams concludes. The information is available. The new paradigm is understood. To cling to the old way is a conscious choice to operate with dirty hands. The economics of the business will eventually force the change, but why wait to be dragged into the future?
AI will be the final catalyst. “How do you monetize what AI can do in terms of what humans, knowledge workers, used to do?” Williams asks. You can’t bill by the nanosecond. The entire container for knowledge work has been shattered. The shift to value is no longer a choice. It's an imperative.
The Future is a Product, Not a Service
So, what lies on the other side? It’s more than just better pricing. It’s a fundamental rethinking of the agency itself. Williams believes the future lies in a productized business model.
For years, agencies have experimented with labs, incubators, and popup studios, but many of these initiatives have failed to gain traction. The reason, Williams argues, is that they tried to apply a service-business mindset and pricing model to what should have been a product business.
The shift is from selling a bullet-point list of capabilities to selling pre-defined solution sets. In his new book, Madison Avenue Makeover, author Michael Farmer chronicles how the agency Huge, part of IPG, has done just that. They offer three core products, like “Experience Transformation” and “Growth Creation,” framed around solving specific client business problems.
This approach forces specialization. Instead of being a full-service agency that can do anything for anyone, firms identify the 7-10 core problems they are uniquely equipped to solve and build products to address them. This is a core tenet of positioning, a topic Do has explored extensively, including how to find your niche and build a powerful brand.
This product mindset also opens the door to more sophisticated business relationships. Rather than simply being vendors, agencies can become true partners. We see this with firms that are incubating brands and taking equity stakes:
- Crispin Porter + Bogusky took an equity stake in Method soap, co-founded by an ex-ad man.
- Anomaly invested in and helped incubate the cosmetics brand EOS.
- Bullish in New York has done similar work with direct-to-consumer darlings like Warby Parker, Casper, and Harry's.
These firms are not just making ads. They are building brands and sharing in the upside. They are moving beyond the transactional nature of client service and becoming business partners. This is the ultimate expression of value creation.
The transformation is already underway. The choice for every creative professional and agency owner is stark. You can cling to the familiar comfort of the timesheet, a relic of a bygone era, and watch your relevance and profitability fade.
Or you can make a change.
The message from Tim Williams is unequivocal. Starting with your next client, your next pitch, your next proposal, make the commitment. Price the output, not the input. Price the solution, not the effort. The old world is gone. A new one is waiting.
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