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For the past ten years, I’ve been using Hollywood screenwriting techniques to help companies create powerful marketing stories. I've seen firsthand how powerful storytelling can be in transforming a company's messaging.
Before we keep going though, spoiler alert, I need you to know that may just ruin movies for you. On the other hand, if you keep reading, I also may just show you how to make your marketing story even more irresistible.
The Power of the Problem in Screenwriting
For a moment, let’s take off our marketing hats and put on our screenwriting hats.
In the world of screenwriting, master storytellers know that to create a gripping narrative, you need to write a powerful problem for a hero to overcome. If there is no problem in the story, there is no story.
Can you imagine Liam Neeson getting the phone call that his daughter is kidnapped (again), but this time, just as he’s about to go off on the terrorist on the other end, his daughter hops on the call and tells him it's all just a prank. Her friends took her to New York to check out colleges and she’d like him to join her.
Then the rest of the movie is about them just walking around New York enjoying a fall day. That is not an interesting movie. You would walk out.
There has to be a problem for the hero to overcome. A bomb has to be about to go off. A meteor has to be hurling towards earth. A Death Star has to be about to destroy another planet.
The bigger the problem the hero has to overcome, the more the audience pays attention and waits to see if the hero can eventually overcome the problem.
However, there is more to writing an interesting story than just establishing a big problem.
The Three Levels of Problem
So obviously, for a movie to truly grip the audience, the hero has to encounter a big problem. There is something that has to get in the way of what the hero wants. This is called an External Problem.
External Problem
The External Problem is the visible, tangible obstacle or challenge that the main character faces. It's the surface-level issue that is easily identifiable. In the Hunger Games, Katniss has to win the Hunger Games. In Star Wars, Luke has to destroy a Death Star. Pretty simple to understand.
Here is where I’m going to start ruining movies for you. In order to relate to the audience, screenwriters have to dig deeper than the External Problem. After all, how many of us have had to compete in the Hunger Games or destroy a Death Star? Very few. So how can we relate to the main characters if we’ve never experienced their experience?
Storytellers have learned to hook audiences by introducing two more layers to the problem: Internal Problem and Philosophical Problem.
Internal Problem
Beneath the surface of every External Problem lies an internal struggle. In a movie, the hero has to disarm a bomb (External Problem), but maybe the last time he tried to disarm a bomb, he cut the wrong wire and people died. Now, he is not sure he has what it takes. That is his Internal Problem. How many of us have ever wondered if we have what it takes? Pretty much everyone.
The story is no longer just about destroying a bomb, but it is about the hero’s desire to prove he has what it takes. The Internal Problem becomes the heart of the story and makes the story more relatable to the audience.
Philosophical Problem
The next layer of problem screenwriters use is called the Philosophical Problem.
This is the deepest level, addressing why the problem matters in a larger context or on a moral level. It often relates to what's right or wrong, fair or unfair. The movie will make an argument that good should triumph over evil or true love should win out over arranged marriages.
By incorporating all three levels, storytellers can create more compelling narratives that deeply resonate with their audience. When the hero overcomes all three levels of problems, the hero wins.
So what does this mean for you as a marketer?
In your marketing, your customer is the hero of your story. One of the most crucial elements in crafting a compelling story for your brand is understanding your customer‘s problem. But here’s the thing — most businesses only scratch the surface when it comes to defining their customer's issues.
External Problem: The Visible Obstacle
The external problem is what most businesses focus on. It‘s the tangible, visible issue that your customer is facing. For example, if you’re selling lawn care, the external problem might be a weed-filled lawn. It's easy to identify and straightforward to address. Most marketers get this right.
However, if you stop here, you're missing out on the real power of storytelling. This is where many companies fall short, failing to connect with their audience on a deeper level.
Internal Problem: The Emotional Struggle
Customers are often more motivated to buy solutions to their internal problems than their external ones. For instance, a homeowner with a weed-filled lawn (External Problem) is not going to hire someone to care for their lawn unless they feel frustrated and embarrassed (Internal Problem).
The Internal Problem is where the real story begins to take shape. It's what drives the character (or in our case, the customer) to seek a solution. By addressing this level, you show your audience that you truly understand their struggles and make your marketing more interesting.
Philosophical Problem: The Big “Why”
The third and deepest level of problem is philosophical. This is the big picture, the reason why the problem matters in the grand scheme of things. It's often framed as a question of right and wrong or fairness.
In our lawn care example, the philosophical problem might be, “People should spend more time enjoying their lawn than working on it.” This level adds weight and significance to the customer's problem, making your product or service feel more important and impactful.
Implementing the Three-Level Problem In Your Marketing
Now, let's look at how to implement all three levels of problem in your marketing.
1. Identify the External Problem.
Start by clearly defining the tangible issue your product or service solves. Be specific and use language your customers would use themselves. For example: “Our software helps small businesses manage their finances more efficiently.”
2. Uncover the Internal Problem.
Dig deeper to understand the emotional impact of the external problem. What feelings or internal struggles does it create? For our financial software example: “Small business owners feel overwhelmed and stressed about managing their finances, worried they might be making costly mistakes.”
3. Articulate the Philosophical Problem.
Consider the bigger picture. Why is this problem unfair or wrong on a broader scale? For our example: “Hardworking entrepreneurs shouldn't have to become accounting experts just to run their businesses successfully.”
4. Put all three levels into your messaging.
Once you‘ve identified all three levels, make sure they are in your marketing materials. Here’s how it might look for our financial software: “Managing your small business finances can feel like a full-time job.
Our easy-to-use software streamlines your bookkeeping, giving you peace of mind and more time to focus on what you do best. Because you started a business to pursue your passion, not to become an accountant.”
This message addresses the External Problem (inefficient financial management), the Internal Problem (stress and overwhelm), and the Philosophical Problem (entrepreneurs should be free to focus on what they love).
Making Your Marketing Irresistible With These Screenwriting Techniques
By clearly defining your customer‘s problem at all three levels — external, internal, and philosophical — you create a message that’s not just clear, but deeply resonant and motivating.
Remember, most companies are missing two of these crucial levels in their marketing. By implementing this screenwriting technique, you‘re not just selling a product or service; you’re inviting your customer into a compelling story where they‘re the hero, and you’re the guide they've been looking for.
I really appreciate your insights on the intersection of screenwriting and storytelling in marketing—it’s a fascinating area where narrative techniques can truly elevate a brand’s message. The idea that the crux of any compelling story hinges on a powerful problem resonates deeply with me. It makes me think about how effective marketing has increasingly mirrored cinematic storytelling, where the emotional connection with the audience is paramount.
You’ve hit on a crucial point with the connection between narrative techniques and marketing. When brands treat their messages as stories, they shift the focus from products to people. Every compelling narrative thrives on conflict, and in marketing, the “powerful problem” often involves real customer pain points.
I completely agree with you about the power of narrative in marketing. It’s intriguing how the lines between storytelling in film and brand messaging are becoming increasingly blurred. There’s something inherently human about stories; they help us make sense of our experiences and connect with one another on an emotional level.
I completely resonate with your thoughts on how the crux of any compelling story hinges on a powerful problem. It’s interesting to see how brands are increasingly adopting this cinematic storytelling approach. In many ways, marketing nowadays is less about the product itself and more about the narrative woven around it, which invites consumers into a journey rather than just presenting facts.
I appreciate the insights you’ve shared about the intersection of storytelling techniques in screenwriting and marketing. The concept of a powerful problem being at the heart of a narrative reminds me of Joseph Campbell’s “Hero’s Journey,” which highlights how the protagonist’s struggle often resonates with audiences. Similarly, in marketing, presenting a relatable challenge can create a vital connection between the brand and the consumer.
This exploration of storytelling through the lens of screenwriting is quite fascinating, and it raises important considerations about the art of narrative construction in marketing. The notion that a compelling story hinges on a powerful problem resonates with many aspects of communication, whether in film or in marketing.
This is a fascinating angle you’re exploring! The idea that every compelling story needs a strong problem really resonates with me, especially as it ties into how companies can craft their narratives. It makes me think of how brands like Apple have always positioned their products as solutions to common frustrations, whether it’s simplifying technology for the everyday user or empowering creativity.
Your exploration of screenwriting techniques in marketing storytelling is fascinating and highlights a crucial aspect often overlooked in business narratives. The idea that a powerful problem is essential to a compelling story resonates deeply, especially when considering how audiences engage with narratives in film and marketing alike.