Tal Guttman

Selected works, select secrets.

A portfolio of words, worlds and creative systems.

01 — Selected work

Build Boring Agents

AI21 Labs · 2026 · Concept, campaign & copy

AI21 had a problem: its models were mid, but they excelled at grounding and instruction-following. So I leaned in, pushed the weakness to its extreme and made Boring aspirational. Then the design team, led by Gitit Rafael, built the world of Boring — a visual language that was both deadpan and gorgeous: fully committed to the bit, and quietly magnetic.

In a world of unpredictable AI, you don’t want your enterprise agents to be brilliant. You want them to do the work — predictable, reliable, consistent. To be boring.

The live Boring Agents campaign page: Consistent. Accurate. Boring AI agents. Open live site ai21.com/boring-agents Live campaign page ↗

Maestro

AI21 Labs · 2025 · Positioning & campaign

Our pitch was word-for-word the rest of the category: “an agent orchestration platform that lets you build serious knowledge-work agents with ease.” Identical to half a dozen rivals. The fix wasn’t a better claim — it was a better world to say it in. We reframed enterprise AI as flat-pack furniture: complex AI, simple assembly. Allen key not included.

AI21 Maestro booth wall at RAISE Summit Paris — Complex AI. Simple Assembly. (Allen key not included), with four IKEA-style assembly steps and a line-drawn living room.
RAISE Summit Paris — booth wall.

Jiminy

2019 · Brand voice & product copy

An AI app for parents that tells the story of their children’s digital lives — not the surveillance kind, the conversation kind. The voice had to be respectful, engaging, optimistic and trustworthy, all at once: enough to make a worried parent feel held, never watched. And it spoke to the kids directly too — their own page opened with “Don’t Panic!”

See the archived site ↗

02 — Select secrets

My words, other people’s voice

Thought leadership and personal brand for AI21’s CEO.

AI All the Things — Keynote, RAISE Summit Paris, 2025

RAISE Summit Paris keynote — AI All the Things
RAISE Summit Paris · 2025 Watch on YouTube ↗

Select social posts

03 — How I use AI

Creative System

It started with a geeky question: if I could cast any wordsmiths in a single room and have them write copy together, who would I pick — and how would they play off each other? Dorothy Parker, Oscar Wilde, the editors of the Talmud, David Ogilvy — four of the thirty voices in the first room. Each one a circuit: not a personality to imitate, but a single instinct, switched on when the task calls for it.

That was the start. The framework grew into a whole creative studio — planners and strategists upstream, the best editors and screenwriters down the line — work routing itself from strategy, to execution, to an adversarial edit. Each room below is a working system prompt. Open one.

The War Room

Strategy; the brief. Find the gap between what the client wants to say and what the audience actually feels. From Kahneman and Cialdini to Jon Steel and bell hooks.

Read the room ↗

The Copy Desk

Commercial copy. Sell the truth, in fewer words than feel comfortable. Driven, among others, by Bernbach, Mark Twain, Borges and Sei Shōnagon.

Read the room ↗

The Red Pen

The editor. The rare thing is the judgment to cut, and the restraint to leave a good line alone. You don’t rewrite — you reveal. Perkins, Gottlieb, Lish, Jones.

Read the room ↗

The Studio

Copy Desk + Red Pen in one pass: a writer who commits and an editor who attacks, fighting it out in a single draft. The friction is the product.

Read the room ↗

The Bridge

Explainers — the complex made clear. Complexity isn’t the enemy; confusion is. Staffed by the likes of Carl Sagan, Feynman, Douglas Adams and Hofstadter.

Read the room ↗

The Notebook

Personal essays. An essay that knows its ending before it starts is an article. Think Montaigne, Joan Didion, Janet Malcolm, James Baldwin.

Read the room ↗

The Glass Office

LinkedIn. Not a council but a doctrine: a Cringe Index. No broetry, no humblebrags, no “Agree?” The flex is what it refuses.

Read the room ↗

The Pitch Room

Live persuasion. A pitch is a story with a transaction at the end; the real one starts when they push back. Aristotle, Cicero, Andy Raskin, Chris Voss.

Read the room ↗

The Writer’s Room

Screenplays. Dialogue is the last resort; subtext is the real script. The table seats Sorkin, Mamet, Charlie Kaufman and Larry David.

Read the room ↗
04 — Contact

Let’s make something that sings.

or just write to talgutt@gmail.com

“The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.”
— Marcel Proust