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For the past decade, I have used Hollywood screenwriting tactics to help companies create difficult promotion, advertising and marketing stories. I’ve seen firsthand how difficult even storytelling can be in transforming a company’s messaging.
Before we go even further assuming, spoiler alert, I need you to take into account that it can simply damage moving footage for you. Then again, as you continue to discover it, furthermore perhaps I would simply simply show you the right way to make your promotion, advertising and marketing story a lot more inconceivable to endure.
The power of the problem in the screenplay
For a 2d, let’s take off our promotion, advertising and marketing hats and put on our screenwriting hats.
On this planet of screenwriting, grasp the storytellers and know that to create a compelling narrative, you must write an impressive problem over which a hero can triumph. If there are no problems within the story, there is no story.
Can you believe that Liam Neeson gets the call that his daughter has been kidnapped (another time), then this time too, just as he is about to walk away from the terrorist on the other side, his daughter jumps on the news and tells him that it is all just a joke. Her friends took her to New York to study universities and he or she would like him or her to enroll with her.
Then the rest of the film simply sees them walking around spherical New York taking part in an autumn day. It’s not an interesting film. You might be able to get out.
There must be an argument over which the hero can triumph. A bomb must be about to explode. A meteor must be launched towards the earth. A Loss of Life Giant title must be about to damage every different planet.
The bigger the problem the hero must triumph over, the more the goal market will pay attention and wait to see if the hero can solve the problem in the future.
However, there may be more to writing an interesting story than just creating a big problem.
The three levels of problem
So, obviously, for a movie to actually conquer the objective market, the hero has to return during a big problem. There is something that must get in the way of what the hero desires. This is called an external problem.
External problem
The external problem is the visible, tangible obstacle or disadvantage that the main character faces. It’s the surface level problem that is simply identifiable. In the Hunger Video video games, Katniss must win the Hunger Video video games. In Giant Title Wars, Luke must damage a Loss of Life Giant title. Amazing, smooth to grip.
This is where I’m going to start ruining moving shots for you. To relate to the objective market, screenwriters want to dig deeper than the external problem. Finally, how many people have had to compete in Hunger Video video games or damage a Los Angeles Giant title? Just a few. So how can we relate to the main characters if we never got to experience their fun?
Storytellers have found that they attract audiences by introducing two additional levels of the problem: internal problem and philosophical problem.
Internal problem
Beneath the surface of every external problem lies an internal struggle. In one movie, the hero has to defuse a bomb (external problem), then most likely all the time he was trying to defuse a bomb, he lowered the wrong wire and people died. Now, he’s not sure he has what it takes. This is his internal problem. How many people have ever wondered if we have what it takes now? Close to everyone.
The story isn’t about destroying a bomb, but it’s still about the hero’s desire to have what he needs. The internal problem becomes the center of the story and makes the story further connectable to the objective market.
Philosophical problem
The next level of problems used by screenwriters is referred to as a philosophical problem.
This is the maximum internal level, which addresses why the problem arises in a broader context or moral level. It eternally refers to what is right or wrong, just or unjust. The film will argue that good must conquer evil or that true love must prevail over arranged marriages.
By incorporating all 3 levels, storytellers can further create compelling narratives that resonate deeply with their target audience. When the hero overcomes all 3 levels of problems, he wins.
What does this suggest for you as a marketer?
In your promotion, advertising and marketing, your buyer is the hero of your story. One of the very powerful crucial elements in creating a compelling story for your brand is understanding the buyer’s problem. Then again, here’s the thing: Most companies simply scratch the surface when it comes to defining their buyer’s problems.
External problem: the visible obstacle
The external problem is what most companies focus on. It’s the tangible, visible problem your buyer is going through. For example, if you sell lawn care products, the outdoor problem might be a weedy lawn. It is easy to identify and easy to treat. Most marketers understand this type of information.
However, if you stop right there, you may miss the true power of storytelling. This is the position many businesses fall into temporarily, failing to connect with their target audience on a deeper level.
Internal problem: emotional struggle
Customers are eternally more motivated to purchase solutions to their internal problems than external ones. For example, a homeowner with a lawn full of weeds (external problem) won’t hire anyone to take care of their lawn until they feel truly frustrated and embarrassed (internal problem).
The Inside Problem is where the real story begins to take shape. It’s what drives the character (or, in our case, the buyer) to look for a solution. By addressing this level, you show your target audience that you simply, truth be told, understand their difficulties and make your promotion, advertising and marketing further engaging.
Philosophical Problem: The Huge “Why”
The third and highest internal level of the problem is philosophical. This is the great symbol, the reason why the problem arises within the grand scheme of things. It is eternally framed as a question of right and wrong or fairness.
In our lawn care example, the philosophical problem might be: “People should spend time beyond regulation attending to their lawn rather than working on it.” This level provides weight and meaning to the buyer’s problem, making your product or service seem even more essential and impactful.
Implementation of the 3-level problem in promotion, advertising and marketing
Now, let us easily check the right way to apply all 3 levels of problem in promotion, advertising and marketing.
1. Solve the external problem.
Start by clearly defining the tangible factor that your services or products solve. Be specific and use language that your consumers would use themselves. For example: “Our device helps small businesses organize their budget even more effectively.”
2. Find out the internal problem.
Dig deeper to grasp the emotional effect of the external inconvenience. What feelings or internal struggles does it create? For our financial device example: “Small industrial business owners feel really overwhelmed and stressed in managing their budget, scared that they might make costly mistakes.”
3. Articulate the philosophical problem.
Believe in the greatest symbol. Why is this issue unjust or unfair on a larger scale? For our example: “Hard-working entrepreneurs will no longer need to become expert accountants just to successfully run their companies.”
4. Insert all 3 levels into your messages.
In case you have recognized all 3 levels, make sure they are in your promotional, advertising and marketing materials. Here’s how our financial device might work: “Managing your small business budget can really feel like a full-time job.
Our easy-to-use device simplifies your accounting, giving you peace of mind and time beyond regulation to pay attention to what you do as best you can. Because you started an industry to pursue your pastime, not to become an accountant.”
This message addresses the external problem (inefficient financial control), the internal problem (pressure and crushing), and the philosophical problem (entrepreneurs must be free to pay attention to what they love).
Make your promotion, advertising and marketing unimaginable to resist with those script tactics
By clearly defining your buyer’s problem on at least 3 levels: external, internal, and philosophical, you create a message that is now not only clear, but also deeply resonant and motivating.
Take note, most businesses are missing two of the crucial layers in promotion, advertising and marketing. By imposing this script technique, you are now not simply selling a product or service; you’re inviting your buyer directly into a compelling story where they’re the hero, and you’re likewise the guidelines they were looking for.
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