When Superman flies over Metropolis, the viewer knows it is unreal — a flight of fantasy, literally. He suspends his disbelief and enjoys the ride. The viewer’s involvement comes from the core of such stories: the victory of good over evil, the triumph of a hero when the odds are stacked against him or the citizens of his town. The Bollywood hero beating up multiple goons or crash-landing safely after jumping from the 20th floor of a skyscraper lives in the same realm. “Impossible” is often the core of action films and action heroes — its power comes from imagination rooted in reality.
On the other hand, mystery and horror films are often based on how Alfred Hitchcock described events in his movies: “they are improbable, but possible.” The engagement in viewing such stories comes from the fact that they could be possible, but not experienced every day or by most people. Famous Hitchcock films are of this realm — Psycho, Strangers on a Train, Rope, Frenzy, etc. They are about unusual, chilling events that surprise the viewer when finally revealed. “It could happen to me, though unlikely” is at the core of the best suspense stories. When they turn unreal, they look absurd and, sometimes, even funny — as happens in bad horror films!
Finally, there are many stories based on reality — the world of the “possible”. Romantic comedies live in this realm. Their charm comes from the fact that the storyteller captures vignettes from the viewer’s (or reader’s) life poignantly and adds drama to key points to enhance engagement and memorability. Stories from the world of the “possible” touch the heart since they are based on real human stories and experiences that one can relate to. “It happens to me” is at the core of such stories.
Advertising is about storytelling — telling stories that make products and brands exciting to consumers. For that, the stories need to either make consumers relate to the brand (“it connects with my life”) or make the brand aspirational (“I wish I could live that life”). The best advertising operates in one of the three realms mentioned. However, at the core, it is based on real human insights and emotions. The “possible” stories need some element of drama for engagement; the “probable” stories are engaging since they are unusual life incidents. The “impossible” ones are toughest to crack since they can lose consumer interest if seen as purely fantastical and unreal — they could even alienate people.
When, in a commercial, a cool dude enters a barber’s shop demanding an eclectic hairstyle and the barber gets him that by putting sour candy in his mouth, the audience suspends its disbelief and enjoys the dude’s trip being taken by the elderly barber. The story is “impossible”, but the smart alec getting his comeuppance from the innocent barber charms the viewer.
In a life insurance advertisement, an elderly gentleman gifts his wife a diamond ring on Valentine’s Day. The wife blushes and worries about it being too expensive. Not too many retired people can gift their wives a diamond ring. But it is an aspiration for all loving husbands. This makes it “improbable but possible”. The audience vicariously lives the situation, and thus enjoys the brand and the message it communicates: that, with a good pension scheme, you could do that. Similarly, in a tea advertisement, when a young man decides to interview his potential political candidate who comes canvassing for his vote, the situation again is “improbable but possible”. Many viewers connect with the story because they wish they could do that, and believe the odd gutsy person who could do it does, in fact, exist. This is the realm that most advertising storytellers constantly seek to explore, trying to find the sweet spot for consumer attention.
However, stories from the realm of the “possible” have their own charm. They may sound and seem like a slice of life and, when told well, can connect with the everyday existence of the consumer. When a little kid licks a chocolate at a dining table so that she doesn’t have to share it with the rest of her family, it’s charming — it tugs at the viewer’s heartstrings and makes the ad memorable. Kids are often like that! For a video-on-demand service, a pregnant woman demands to see a particular film in the middle of the night, much to the exasperation of her befuddled husband. The realness of the situation makes the story endearing to watch — pregnant women can get unreasonable with their demands! Placing a product in the consumer’s everyday life can make it relevant and engaging. It stimulates positive associations and induces behaviour change by triggering the usage of the brand at the moment of need.
Whatever the realm of the story, it must appeal to the audience. For a lubricant that helps a truck give better mileage and hence more earnings, a trucker enters an auction and bids highest for an antique item. The message, that you save and make more money, was clear — however, the story was “impossible”, for the target and the situation were fake, alienating the audience rather than engaging them. The brand came back with real-life testimonials from truckers. Also, that sounded true and, not surprisingly, was a runaway success with the same audience.
Nuances could also make for realness and unrealness in stories. Two commercials were aired a few years ago for a strong tea positioned for “brave-hearted” people. The first had an inspector warning a local don in his police station. The second had a young woman sitting in front of a builder’s bulldozer ready to raze a colony. The first was a “possible” life situation. However, it did not create aspirations for its viewers: the policeman was not really brave; he was issuing threats on his home ground! The second resonated strongly: a woman, the cause, standing up for the underdog, showing courage in adversity — the true hallmark of bravery. The second had more traction. It was “improbable but possible” and hence more unusual. Above all, the story reflected the real emotions of the average lower middle-class viewer it was aimed at.
Impossible, probable or possible — whichever the realm of the advertisement’s story, it is the emotions underlying it that must be real, to connect with the consumer and make the brand persuasive. Something worth thinking about.
The writer is vice chairman of Ogilvy and Mather, India. These views are his own.
madhukar.sabnavis@ogilvy.com
