Turning Your Brand Story Into A Blockbuster

April 24, 2014

FADE IN:

Act I: Set-Up

The shaman figures prominently in many Pre-Columbian and aboriginal cultures. For millennia shamans acted as stewards of an oral legacy stretching back to time immemorial.  Around dancing fires, the people huddled and listened as the Shaman cast his spell; but his sorcery was not supernatural - it was storytelling. Without stories, there is no past, and without a past, there can be no identity, no destiny, only the perpetual present, stuck spinning forever.

Telling stories defines our talent and personal brands and shows candidates and customers alike what we do, what we've done, and what we've got the potential to actually achieve.  No matter what medium, we're hard-wired to respond to stories. The catch is that our emotions don't respond as much to what we say as how we say it.  That means that as in haute cuisine or high fashion, presentation really is everything.

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Act II: Confrontation

Go to any Coffee Bean within a 100 mile radius of Los Angeles on any given weekday afternoon, and you'll see at least a couple of somewhat scruffy looking dudes, faces lit by the glow of Final Draft on their Macbook Pros. Always Final Draft (the standard software for screenwriting) and always a Macbook Pro, always with matching earbuds playing sweeping studio scores on shuffle.

Besides their tech specs, of course, these aspiring writers, whether they know it or not, share another commonality.  They might say their work is influenced by Tarantino or Truffaut, but it is, in fact, shaped far more by one man: Syd Field.

For better or for worse, the work of this recently deceased, self-described storytelling "guru" (before social made that word pretty much meaningless) has profoundly impacted the conventions of contemporary communications, arguably more than any one individual since the dawning of mass media. That’s because the formula he taught has found its way into the collective conscious of any writer trying to get enough points to automatically qualify for another year of benefits.

Syd Field taught screenwriters a formula for storytelling as straightforward and as simple as the one shamans back in the day possessed.

A screenplay, as a rule of thumb, consists of one page for every minute of screen time, meaning that a two hour movie must be 120 pages. It's no coincidence that most movies have that uniform length, because those 12o minutes can be perfectly subdivided into the most basic structural components of a story: the beginning, the middle, and the end.  Stories aren't stories without them - and they form the basis for what's commonly referred to as "the three act structure."

That three act structure also forms the basis of every successful business presentation, marketing campaign or sales pitch.  It's a formula that works, and works consistently - and one that if you're not following, you're likely not getting your story across.

Here's how to get your brand story across, using Field’s Basic Film Paradigm that most screenwriting syllabuses feature on the first day of class. It's an easy formula to follow.

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Act III: Resolution

Anyone who's ever stared down a blank page knows that the hardest part of capturing any story is knowing where exactly to begin.  For most brands, this starts with their formal founding.  For Apple, this was famously a garage situated in Silicon Valley, or for Facebook, that Harvard dorm room.  But in many cases, the story starts far before the action itself, from the experience of its founder to the evolution of the marketplace. For example, Steve Jobs’ search for inspiration in India and his life in a hippie co-op or Zuckerberg’s desire to be part of the establishment.  For some, it starts decades after the brand hit the market, with a relaunch, rebrand or restructuring, such as Jobs’ return from exile and the transformation of Apple into one of the most innovative and valuable consumer brands in the world.

But knowing that exact moment a story starts - what's known as the inciting incident - is key, because it's the baseline from which all action must inevitably rise.  It's only through rising action, the forward momentum of movement, that a story's structure is sustainable.  For talent brands, every story should start with a hire and unfold with every day at the office, establishing a narrative that blends the experiences of the individual employees.

All opening acts function to establish exposition and set the plot in motion; similarly, when telling your story, inspiration should quickly give way to action - and no matter what your brand story might be, its origin myths serve as a foundation for what follows, but as Act II begins, the plot - proverbially and literally - thickens considerably.

Plot Point 1 is where the world of the story moves from establishing exposition to the real meat of the story. Think: the dead body in murder mysteries, the romantic comedy where the boy and girl have that first chance encounter, the part of the TV show that comes after the cold open and title cards.  Or, the moment a company won its first major customer, went public, or perfected its product. Find that critical instant where your trajectory completely changed, and you'll have the momentum you'll need to make it through the end of Act II, where the confrontation finally reaches its climax.

Plot Point #2, as Field refers to it, is when the biggest obstacle is encountered and ultimately, overcome.  This means the Plot Point #2 should function as the call to action for content or a campaign, that moment where you've finally triumphed over a formidable challenge (personal or professional), and steer your audience towards the happily ever after.

That final act in your story, if you're a business, brand or blogger, is still being written, so Act 3 has no denouements, no real resolution.  That's up to sales, recruiting, or whoever has to close the deal. After all, no story sells itself. That's why we made up marketing.

FADE OUT.

* image by Gregg Jaden

Employer Brand Playbook

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