Brand creativity and marketing will only be as successful as the problem definition itself.

Problems get our attention. Great brands solve problems.

Problem definition is the work of positioning.

Creativity is a tool that liberates strategy to tell the story of your brand.

Earning attention has always been job one for advertising and marketing. Gaining it and keeping it, has always been the game. Attention must be captured and held with a relevant and compelling idea, expressed creatively, that captures heads and hearts.

Brands today are starved for attention. The media world is a fragmented, cluttered landscape of attention seekers. Finding your audience and gaining and holding their attention can feel like a high-wire act.

Today’s modern media dashboards with precise targeting tools, would seem to make it relatively easy to reach your prospects. These sharp tools and the targeting methods are blunt instruments in context of the complexity and distractions in our lives today.

Reaching a prospect is one thing, earning attention in their hearts and minds is another. Your ads and content may well reach your intended audience, without really reaching them at all.

Robots serve ads 24/7 into the digital vacuum; job done. The robots serve their own master and it’s not you. The robots have no emotion for you or your brand. You’re the only one that holds on to the hope that somehow your ad or content breaks through the clutter. It’s an algorithm that lacks rhythm, a truly soulless enterprise.

Humans have problems; some of them can be solved or at least soothed by brands.

Creativity is the differentiator that separates winners from the losers. Creativity puts the rhythm and rhyme back on your side. The human side.

Observational tension is a tool of the storyteller, more often felt than discussed. Its subtle power renders a disquieting tone that invites audience emotion to enter the scene. The tension of a shot that lingers on a subject after the dialogue or apparent action has ended can deliver extraordinary poignancy. It does not work in this way automatically, it requires the right moment in a story, perhaps during an emotional dialogue, or monologue or action during which a character is wrapped in a physical experience.

Observation is part of the idea at work. It can be the observation of the character, akin to documentary, where the camera is objective to the scene, a bit removed from the action. But observational tension can also exist in the subjective as we are inside the scene and with the characters, we can then relate to their objective observation within the story. We are with them.

Experienced directors and cinematographers, actors and editors will look for and create moments to put the tension of observation to work in service of the story. Being attuned to these moments in the creation of a script, filming a scene, a documentary as it unfolds, and in the edit is an essential skill.

These moments of tension, of observation, can be as simple as the slow unfolding of ripples from a pebble dropped into a still pond, the uncomfortable silence between two characters, an expansive view of a prairie, or the lingering, insecure glance of a lover. Allowing a few extra beats on these types moments accentuate the tension of the observation.

The internal tension of these scenes is enhanced, by the intention of what comes before, as well as what comes after. It is the juxtaposition of image and emotion, scene-to-scene, shot-to-shot, beat-to-beat that gives the observational moment the additional tension that amplifies its emotive power. It moves the story along.

A subjective view of a brash, young driver inside a speeding car racing and swerving through crowded streets. Followed by a scene of an old man, walking very slowly across the road, approaching a step up a curb, the camera stays fixed on the old man as the car flashes by obscuring our view of the old man, only to have him emerge once again unscathed. The camera lingering on him for a few extra beats as he wobbles a bit, amplifying the frailty of our existence. The car roars off into the distance.

Observational tension or the tension of observation, no matter how you look at it, it’s a perspective worthy of attention. 

I’m hot but not uncomfortable, saved from the intensity of the sun by the occasional gusty breeze and the air that’s being conditioned by the crashing surf.

If you are lucky or early, it’s possible to put your blanket down just above the high tide line. Close enough to the surf to benefit from cool ocean spray, yet far enough not to be forced to retreat up the beach if you catch a rising tide.

The sun feels heavy on your eyelids as you push your sunglasses up into your hair and lie back into the blanket. Squirming a bit allows you to conform the sand into the perfect cradle.

Somewhere up wind, someone moves and sand, carried on the breeze peppers your skin. Involuntarily you close your eyes tight, squinting against the odds. Along with the sand in the breeze comes the sounds of a distant ballgame on a radio and other radios add to the low chorus with music. The sounds of chattering kids playing, whooping in the surf, the smell of coconut oil and the salt air effervescence fills your nostrils. A deep breath, an exhale, and you drift back into a semi-conscious state, enveloped within the surround sound of summer.

Awake but asleep, suspended, hanging in the luxury of a perfect beach day it feels like another world. Distant, then near, the sound of a single engine aircraft lumbering at low speed stirs you to awareness. As it approaches you don your sunglasses, lean up on your elbows and watch in fascination as it drags a banner through the air a few hundred feet above and just offshore. Flying for miles along the beach, the banner promoting a radio station or beach club, brand or event, is seen by countless thousands of people, just there, just for you, the community of beach goers. An anticipated and perhaps welcomed part of the day, the aircraft with its banner, gives a wink and a nod to the pleasure of hang time. A summer ritual along the shore, popping and waving as it flies.

Back in the pre internet days, our attentions were not as divided as they are today. Now those flying banners are competing with the banners of the internet. Media has always been vying for our attention, at all times, in almost all locations, oblivious to our surroundings, our moods, our desires. On days like this, I’ll take the flying banner.

Is it an age-old media stunt? Sure is, but I don’t mind the novel interruption. When I sit up and open my eyes, I not only see the promotion, I also appreciate the sea and the sand and the sky. As the plane sails off into the distance, I notice the little shore birds chasing through the foam and I feel blessed.

Context is key.