The Ogilvy Playbook for Winning New Business - Part 5: The Art of the Pitch

Why the Pitch Still Matters

David Ogilvy built one of the most famous agencies in history, not just on the strength of his ads, but on his ability to win clients in the room.

He treated presentations with deadly seriousness. He rehearsed them like stage plays, perfected every word, and understood that persuasion wasn't just about what you said - it was about how you delivered it.

In "Confessions of an Advertising Man, Ogilvy captured the stakes perfectly: "I still die a thousand deaths before every presentation." (p.89).

For agencies today, the pitch is still the crucible where reputations are made or lost. This blog explores Ogilvy's rules for winning in the room and how to modernise them for today's audiences.

Step 1: Rehearse Like Your Reputation Depends On It

At Ogilvy's agency, every pitch was rehearsed in front of their Plan Board senior colleagues who critiqued mercilessly (Confessions, p.87). By the time a campaign reached a client, it had been battle-tested.

Modern application:

• Run full dress rehearsals, not casual run-throughs.
• Assign colleagues to role-play as the client and ask tough, even hostile, questions.
• Record yourself and analyse delivery - tone, pace, posture.

If you wouldn't perform a play without rehearsal, why risk millions in potential revenue by winging a pitch? If you don't have the team, ask an honest friend - they will tell you where it needs to improve.

Step 2: Put One Persuasive Advocate Up Front

Ogilvy insisted that one person should deliver the pitch: "It is less distracting to the audience if one man does all the talking. He should be the most persuasive advocate available, and he should be so thoroughly briefed that he can stand up under cross-examination." (Confessions, p.87).

Modern tweak:

• Choose your best storyteller, not your most senior title.
• If you can, let others join for Q&A, but keep one clear voice guiding the narrative.
• Make sure whoever speaks knows not just the slides, but the strategy and psychology of the prospect (see Part 3).

Too many voices fracture authority. One persuasive voice builds trust. If it's you and you alone - practice as often as possible.

Step 3: Synchronise Eyes and Ears

One of Ogilvy's quirks: he never deviated from his written script. Why? Because he believed that if clients saw one set of words and heard another, they would "become confused and inattentive" (Confessions, p.89).

In other words, clarity matters more than improvisation.

Modern equivalent:

• Don't read word-for-word, but keep visuals and spoken words aligned.
• If the slide says one thing, don't wander off into tangents.
• Simplicity beats cleverness.

A confused client never buys.

Step 4: Show Proof, Not Just Ideas

Ogilvy always showed dramatic results: "In every case we have blazed new trails, and in every case sales have gone up." (Confessions, p.54).

Clients aren't just buying creativity. They're buying outcomes.

Modern equivalents:

• Case studies showing sales lifts, ROI, or measurable wins.
• Before-and-after visuals of campaigns.
• Testimonials that reassure both rational and emotional concerns.

Ideas inspire. Results close.

Step 5: Reveal the Chinks in Your Armour

Ogilvy believed in honesty: "I always tell prospective clients about the chinks in our armour. I have noticed that when an antique dealer draws my attention to flaws, he wins my confidence." (Confessions, p.75).

Prospects expect polish. What they rarely see is candour. Admitting limits or past mistakes makes the rest of your promises more believable.

Example: "We're not the cheapest agency. But our clients stay with us because we deliver consistent results."

Step 6: Manage the Room's Psychology

Pitches are as much about theatre as content. Ogilvy knew it, which is why he rehearsed delivery so meticulously.

Modern lessons:

Energy matters. If you look bored by your own ideas, why should the client care?

Confidence without arrogance. Clients want leaders, not egos.

Make them feel important. Personalise the pitch. Use their data, their challenges, their language.

Remember Carnegie's principle? People are more interested in themselves than in you. Shape your pitch around them, not your agency.

Step 7: Avoid the "Beauty Parade" Trap

Ogilvy hated contests with more than four agencies: "I like to succeed in public, but to fail in secret." (Confessions, p.74).

If you're one of ten agencies in a beauty parade, your odds are slim, and the process drains resources. Be selective about where you pitch and focus on those where you have real chemistry and fit (see Part 4).

Step 8: Play to Win, But Enjoy It

Finally, Ogilvy reminded us that the hunt for new business is a sport: "Play to win, but enjoy the fun." (Confessions, p.58).

Nerves are natural. Ogilvy himself admitted he "died a thousand deaths" before each presentation. But he also knew that if you treat pitches with grim fear, you burn out.

Approach them with curiosity, energy, and enthusiasm. Prospects will feel it.

Case Study: The Modern Pitch Done Right

Imagine an agency pitching a mid-size e-commerce brand:

• They rehearse their pitch three times, with tough internal critics.
• One confident storyteller leads, supported by two subject-matter experts in Q&A.
• Their deck is clean, with simple data points and aligned talking points.
• They open with the client's pain ("Rising PPC costs, inconsistent SEO leads") and mirror back the prospect's language.
• They show proof: a case study of another retailer who cut PPC spend by using Hike by 30% while doubling organic sales.
• They admit: "We're not the cheapest option. But we believe we can give you stability and scale that your current mix isn't providing."

That balance of preparation, persuasion, and psychology is pure Ogilvy.

The Pitch as Theatre

Ogilvy's genius in new business wasn't just ambition. It was discipline. He rehearsed, simplified, told stories, and managed psychology with ruthless precision.

For agencies today, the lessons are clear:

• Rehearse harder than your competition.
• Put one persuasive advocate in charge.
• Align visuals with words.
• Show proof, not promises.
• Admit your flaws to build trust.
• Play with energy, not fear.

Because in the end, the pitch isn't just about selling ideas. It's about making prospects believe: "This is the partner who understands me, who I can trust, and who I want by my side."

That's the art of the pitch. That's the Ogilvy way.