Have you got a couple of seconds? Have a look at the pictures above. They, including the sexy one, are all designed to hook your attention.
I hope one of those grabbed you. By the way, it does not matter if they turned you on or off – what I’m trying to do is stimulate your fast archaic loop for processing that bypasses the cortex (which you must have returned to if you’re still reading!) and engages the autonomic nervous system – the one that controls heart-rate, pulse, feelings…more instinctive, automatic processes if you like. I am trying to produce a System One response (Kahneman) that bypasses your defences.
The point here is that by engaging this by-pass we put your emotions more in control of your responses. Your feelings are now plugged directly into the stimulus – and will be influential in generating a response. That’s why sex sells. As does the power of ‘free’ .
Nowadays there are more and more books that speak about the huge role of the unconscious in driving decisions, choices and behaviour. Here are links to just two of them:
In an era of shorter attention spans, where unconscious process are often in the driving seat, the hook becomes an important mechanism. The hook is the means by which you attract attention it is also the gateway to sustaining attention. In the images above the third ‘hook’ – the falling man picture – is designed to create an element of surprise and wonder – what will happen to the falling man? It also creates a dilemma and the mind does not like unresolved dilemmas, so is tempted to follow them through to resolution – and does this through active fantasy, “I wonder what happened to that guy?”
So in a world that is increasingly full of information, capturing attention is critical. You need to know what captures people’s attention and why.
The hook is the most powerful device used in television programming and advertising to gain and sustain the viewer’s attention. In the hands of a master like Jimmy McGovern (who writes ‘gritty’, realistic British drama), there is a clear formula – which in condensed form also applies to television advertising and online content. This formula is not expressed anywhere as a theorem, but in reviewing the most successful TV dramas and commercials of the last twenty years I have noticed that the ‘hook’ must be employed within five minutes of starting the programme – within seconds if it is a commercial.
There are several types of hook and they vary between the sensory hooks that seize our attention because they are outside of normal experience, and those that try to hook the deeper parts of us that house our primary drives. We will deal with three stimulus variants first:
1. The shock – this is usually some quite spectacular or unexpected event, like the world falling asleep in FastForward, the battle on the beaches in the first minutes of Saving Private Ryan or a killing in a crime show. The engaging nature of the shock results from the adrenalin rush or excitement that it causes. In commercials, shocks are less serious, more bizarre or unreal, like the city-wide roller-coaster in the Barclaycard Contactless commercial or the flash mobs in airports or stations in the T-mobile campaign. The shock both hooks you and stimulates your adrenalin which in turn focuses your attention.
2. The puzzle. It is usual for the shock to give rise to the puzzle – and for the puzzle to be the means by which attention is sustained. Puzzles leave the watcher wondering – what, why, who, how – questions that demand resolution. It is the success of these elements in holding our attention – the shock leading into the puzzle, leading to the resolution – that make crime shows the world’s most popular entertainment.
Two interesting forms of puzzle that have contemporary value are
- The technological puzzle – a conundrum that can only be resolved using scientific and technological procedures of the highest order – many of us are endlessly tinkering with these as we try to improve our skills in surfing, streaming, downloading etc. This type of puzzle is the basis of the CSI television series.
- The paradox – here the essential hook lies in the contradiction between truth and falsity – an obvious delight for the participant, providing the paradox is ultimately resolved. What is the answer? Which are legitimate clues, which red-herrings?
3. The Competition. Who will win? Who will be best? How would I do facing these tests? Could I beat these people? Nowadays, the reality TV shows – like X Factor – in which people start out as beginners and are rapidly transformed into ‘stars’ draw the highest audiences of any TV show in the land. As you will notice as you read below, the competition plays straight into both regressive (Play) and progressive (Power) motives.
Now coming onto the deeper motivations, there are four main areas where things hook us:
1. Seduction – something is so attractive and desirable that you are magnetised and held in its sway. This can be a person, a product or an idea. It’s easiest when its straightforward sexual attraction, but you will notice that many other things are either associated with sex or presented in such style that they seem sensual. Lighting and camerawork can make a car look sleek, cool and sexy.
2. Power – the most progressive hooking mechanism is the suggestion that you will be in some way increased should you buy the product or service. It will enhance your image, your speed, your appearance, your prestige or status. Since so much of our society is preoccupied with status and standing, having more power – even if only by association – is no mean thing.
3. Comfort – a more regressive in approach, these hooks usually rely upon memory or familiarity, prior knowledge or interest. Sentimentality is often a key ingredient. We all have our favourites, things we are drawn to automatically – because we are fans, because we have invested in earlier episodes or versions, because there is a lot of hype/media interest, because we know that all our friends are also using or watching the same things. One of the wonderful things about the comfort hook is that it involves minimum effort!
4. Play – again, appealing to the regressive, more childlike part of us are the appeals to play. Often these involve a large component of active fantasy as we can see in commercials for video games or those that use fun to promote quite ordinary things.
We all inhabit a world where people are increasingly setting out to hook or engage our attention. The consequence of this fight for our minds is that we have engineered increasingly sophisticated defences. The most direct of these is Studied Inattention. Its partner is rebuttal.
Contemporary opinion suggests that marketing and advertising has less power because of the diversification of channels and platforms. My own view is that this is often an excuse for work that has a low or inaccurate appreciation of hooks and motivations.
If you would like a pdf of this post, it is here: