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Super ior Presentat ions

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The A+ formula: A guide to del iver ing super ior presentat ions

Fresh out of business school, James was hired by the company where he had

interned for two summers. After only a month on the job, he received an email

from the senior vice president that read, “I’d like you to join me in Denver next

Wednesday to meet with a small group of local investors. Not only do we need

them to finance the project, they also have the political pull we need to get the

job done. All the information I have is attached. I’ll be on vacation through

Tuesday, so be prepared to debrief me on the plane.”

After a week of tireless preparation, James nervously walked his colleague

through the research. She commended his approach, giving him the confidence

he unknowingly and so desperately needed.

The room of financiers was more than intimidating. This was not like the lecture

hall where he presented ideas hoping for an “A.” Instead, millions of dollars

rested on his shoulders. The mere thought made him perspire like

a geyser. While he was able to keep his voice from cracking, he

struggled to keep his nerves in check.

As he gave the audience a moment to mull over the financial

statement handout, James remembered his feisty grandmother’s

advice before his first show and tell: “Kid, don’t be nervous. Just

picture everyone in their underwear!” The thought brought a misplaced smile to

his face. He quickly grabbed his glass of water to hide the embarrassment written

all over his face.

While may be not to this extent, we have all nervously stood in this young man’s

shoes at some point in our lives. Presentations carry the weight of responsibility,

which can be paralyzing for some. As Ralph Waldo Emerson said, “Speech is

power: speech is to persuade, to convert, to compel.”1 Although information on

its own does not summon one to action, a charismatic personality coupled with

an inspirational message is what creates power. From making abstract concepts

meaningful and converting nuggets of data into groundswells of emotion, this is

where the magic happens.

As a presenter, it is your responsibility to deliver not only an idea or a concept,

but an experience. Within this Blue Paper®, we will explore how to properly draft,

design, refine and deliver a presentation and much more.

1 Emerson, Ralph Waldo. Letters and Social Aims. Boston: J. R. Osgood, 1876. Print.


So let’s dive in, shall we?

Phase 1: Craft your messageFew people possess the talent of weaving words into a much larger message. Two

who stand out from the crowd are George Carlin and Mark Twain–renowned

authors, comedians and entertainers in their times. They carefully crafted works

and delivered performances that drew focus to larger social issues. Twain once

said, “It usually takes more than three weeks to prepare a good impromptu

speech.”2 Similarly, after forty years in comedy, the anti-establishment comedian

Carlin punched a clock every day and ran through every line about 40 times to

find the perfect rhythm. This illustrates one of the keys to effective presentations:

the art of presentation takes considerable preparation.

Unknowingly, or perhaps underestimating the value of the craft, a novice

presenter often decides to draft the message while simultaneously designing the

visual presentation. Content should be created independently from the show. Put

simplistically: Think before you speak.

Noted writer, graphic designer and CEO, Nancy Duarte has dedicated her

career to the art and psychology behind superior presentations. As a master

communicator, she devotes 36 to 90 hours toward the preparation of a one-hour

speech containing 30 slides.3 Based on Duarte’s estimate, Twain was not too far

off in his jest, despite not having seen the advent of PowerPoint®.

Audience-Centric Messaging

Much like planning a party, the first step is to consider who will be in attendance.

Your audience will undoubtedly set the tone of both your verbal and visual

messages. Whether you’re presenting to a lecture hall of students

or a reception hall for your brother’s wedding, there are four

goals of all speech: inform, persuade, entertain or inspire.

While all may apply to your message, it’s foolish to open your

mouth without focusing on at least one goal.

The Shape of Presentations

When drafting your message, focus not only on your goal

but the path it takes to get there. In her years of research, Nancy Duarte began

mapping the structure of historic dramas with the assumption that, like the arcs

in musical theory, great presentations must also have a shape. Analyzing verbal

2 “Mark Twain Quotes.” BrainyQuote. BookRags Media Network. Web. 27 June 2012. <http://www.brainyquote.com/quotes/quotes/m/marktwain100433.html>.

3 Duarte, Nancy. Slide:ology: The Art and Science of Creating Great Presentations. Beijing: O’Reilly Media, 2008. Print.


peaks and valleys, her efforts concluded that great speeches throughout history

indeed adhere to a pattern.4

The starting point is the state of the status quo, or the “what-is.” As the

speech moves along into a vision of possibilities for the future with your idea

implemented, or the “what could be,” the shape takes a 90 degree turn in an

upward direction. The pattern then banters back and forth, with stark contrasts

visually painting a picture. Duarte likens the traverse between “what is” and

“what could be” to sailing, stating that going back and forth fights resistance and

propels others to adapt your idea much faster than a straight shot. The conclusion

ends in a utopia, or your blissful vision. 5 See the graphic below to see this pattern of speech take form.

To effectively alternate between the status quo and the new utopia, incorporate

stories into your presentation. Stories create an emotional connection and apply

meaning to your cold, hard facts.6

To illustrate, consider this statement:

A nine-year old operates a front yard lemonade stand to meet a $2,000

goal. This story seems to be about teaching a child the value of hard work.

If we revise this statement, adding more details, it has the potential to change the

entire message:

Nine-year old Jessica set up a lemonade stand in her front yard where she

works each day in the hot summer sun. Her goal is to raise $2,000 to help

local needy children buy school supplies. Skyrocketing unemployment

rates have placed 15% of area families below the poverty line. Because

of Jessica’s dedication, kids will return to school in the fall with the basic

tools for success.

While this story took slightly longer to craft, the reward is also greater. The

second story has more meaning, giving a greater significance to the facts.

Designing Dramatic Elements

From her years of experience, Duarte recommends creating an antagonist in

which the audience can rally around. She also cautions against misunderstanding

4 Duarte, Nancy. “Nancy Duarte: The Secret Structure of Great Talks.” TED: Ideas worth Spreading. TED Conferences, LLC, Feb. 2012. Web. 03 July 2012. <http://www.ted.com/talks/lang/en/nancy_duarte_the_secret_structure_of_great_talks.html>.

5 ibid6 Signorelli, Jim. “Five Reasons Why Marketers Should Care About Stories.” Daily Fix Blog. MarketingProfs, 27

June 2012. Web. 27 June 2012. <http://www.mpdailyfix.com/five-reasons-why-marketers-should-care-about-stories/?adref=nlt062612>.


your role as the presenter. You should play the mentor, or the Mr. Miyagi to the

Karate Kid, leading the audience to arrive at its own cathartic conclusions.7

Dramatic scripting and effective presentations are similar in their approach to

creating a captive audience. Writer Aaron Sorkin, who is best known for writing

A Few Good Men© and The West Wing©, says that there is a formula to scripting

a drama. First, make an over-simplistic, yet charged statement that begs for an

explanation. Follow that with a passionate fact dump to achieve several goals,

the first being a support for the argument; second, to establish a reputation as an

authority; and most importantly, to set a rapid tempo. He then follows Duarte’s

pattern of “what is” and “what could be,” but states that “rhythmically you don’t

want this to be too on the money. You’re not just testing the human ear anymore;

you want people to hear what [you’re] saying.” Finally, rather than telling the

audience what to think, lead them toward a conclusion.8

Create Stimulus for Reaction

Laughter is a great option for getting your audience to physically react to your

message. Follow the advice of the classic number from Singin’ in the Rain©: “Just

slip on a banana peel, the world’s at your feet. Make ‘em laugh. Make ‘em laugh.

Make ‘em laugh...”9 Injecting humor into the situation allows the audience

to relax and put their guard down, thereby leveling the playing field. While

not everyone can properly execute a joke, simple and humorous anecdotes or

analogies are within everyone’s reach.

When using humor as a tactic to connect, remember to make sure it’s relevant.

If you run off topic, you risk tarnishing your credibility and losing your audience.

Additionally, if your attempt at humor falls flat, don’t dwell on it. Plan to keep

your message flowing, with or without the humor.

Before moving into the production of your presentation, let’s take a moment

to briefly recap the first important points of crafting your message. There is

a definitive pattern in the message that turns an ordinary presentation into

an extraordinary experience. There are several ways in which to follow that

pattern based on the goal of your presentation, but the pattern is always the

same. Finally, through your messaging, lead the audience toward a conclusion to

increase their involvement.

7 ibid8 Sorkin, Aaron B. “How to Write an Aaron Sorkin Script, by Aaron Sorkin.” GQ. Condé Nast, 20 June 2012. Web.

28 June 2012. <http://www.gq.com/entertainment/tv/blogs/the-stream/2012/06/how-to-write-a-monologue-like-aaron-sorkin.html>.

9 Singin’ in the Rain. Dir. Gene Kelly. Perf. Gene Kelly, Debbie Reynolds, Donald O’Connor. Warner Bros./ MGM, 1952.


Phase 2: Des ign your v isual presentat ionYou have carefully created a story, but now it’s time to make it visually appealing.

There are many presentation tools to select from, so take into consideration the

crowd, the environment and how to best get your point across. For instance,

if you walk into a board room to present third- quarter sales to six upper-level

managers, you may want to shy away from the laser pointer. By contrast, if the

same speech was presented to a theater full of executives, the laser pointer would

be appropriate to focus the attention of the group. Again, utilize the best tools

to connect with your audience.

Over the years, many presentation tools have emerged. While

PowerPoint continues to be the mainstay, exciting and more interactive

programs are changing the presentation format. For instance, Prezi®

deviates from a linear slideshow, allowing the presenter to illustrate

both a macro and micro-view of a topic.

When it comes to the design of your presentation, consider the words of

Leonardo di Vinci: “Simplicity is the ultimate sophistication.”10 Your goal is not

to visually overstimulate your audience. Aim to present visual cues designed for

easy recall. Within this section are design tactics for taking your visuals to the next

level, regardless of your presentation tool.

First, it’s important to open with a super-stellar slide. Despite the warning, people

cannot help but judge the book by its cover–or a presentation by its opening

slide. Although it is often assumed that the formation of a snap judgment is

unreliable, inaccurate or baseless, many psychologists whole-heartedly disagree.

Studies conducted by Dr. Nalini Ambady and Dr. Robert Rosenthal at Harvard

University®11 repeatedly show subjects were able to draw logical conclusions based

on a two-minute interaction. They coined the term “thin-slicing,” that refers to

the subconscious’ ability to accurately and quickly draw logical conclusions, not

from information provided alone, but from their accumulation of experiences. In

short, whether you opt to create suspense or surprise, aim to hold your audience

captive from the first slide.

Another tactic to employ: Repeat. Repeat. Repeat. Repetition is extremely

valuable to the absorption and retention of your message. Ivan Pavlov, the grand-

father of the classical conditioning principle, discovered that behavior can be

trained to react to certain stimuli as the familiar story of Pavlov’s dogs suggests.

10 “Leonardo Da Vinci Quotes.” ThinkExist.com. ThinkExist, Web. 09 July 2012. <http://thinkexist.com/quotation/simplicity_is_the_ultimate_sophistication/213576.html>.

11 Ambady, Nalini, and Robert Rosenthal. “Half a Minute: Predicting Teacher Evaluations from Thin Slices of Nonverbal Behavior and Physical Attractiveness.” Journal of Personality and Social Psychology 64.3 (1993): 431-41. Print.


Pavlov would ring a bell and follow it with the immediate delivery of food. After

much repetition, the dogs would salivate at the mere tone of the bell–without

the presence of food.12 Although it’s not suggested to ring bells at your audience

attempting to get them to drool, the same classical conditioning theory can be

applied to your presentation. Repetition allows for information to be absorbed

more easily and stored longer, giving your message opportunity to leave a lasting

impression. Start using this tactic by telling the audience what they can expect

in the presentation, then present them with the message and finish with a

summary.13 Tell them what you’re going to tell them. Tell them. Then, tell them

what you’ve told them.

It is important to note that each slide or screen should contain fewer than 40

words. Anything longer is considered a document and worthy of a handout.

The average person can read 250 to 300 words per minute, whereas they can

comfortably process verbal information at 150 to 160 words per minute.14 This

disparity in time will allow your audience’s mind to wander, and you risk not

being able to reel them back in. Limiting your presentation text allows your

audience to rapidly peruse the visual information and then focus more intently on

your message.

When you want the audience to focus on the spoken word, utilize dark slides to

draw attention to the speaker. If the slide is black and is void of all content, the

audience is almost forced to focus solely on the presenter. In contrast, white slides

will draw the audience’s attention toward the screen in anticipation of what

may come.

Business author Dan Heath warns that bullets should be avoided like the plague.

The majority of presentations are bulleted and info-heavy, which he claims is

“death by presentation.” To differentiate, he recommends three things in place

of overwhelming visuals: Be simple, show something useful and tease before

you tell.15 Heath recommends watching a video on YouTubeSM entitled The Girl

EffectSM as an illustration on how to use all three techniques properly.

Focusing on differentiation, attempt to deviate from the standard templates

contained within your presentation tool. If you’re unfamiliar with basic design

concepts, this brief overview can help you make your visuals resonate.

12 “Pavlov’s Dog”. Nobelprize.org. 10 Jul 2012 http://www.nobelprize.org/educational/medicine/pavlov/readmore.html

13 Desjardins, Jesse. “Steal This Presentation.” SlideShare. SlideShare, Inc., 13 July 2011. Web. 09 July 2012. <http://www.slideshare.net/geterrdone/steal-this-presentation-8581018>.

14 Bailey, Robert W. Human Performance Engineering. Prentice Hall, 1996. Print. 15 Heath, Dan. “Made To Stick: Presentations That Stick.” FastCompany.com. 7 Apr. 2010. Web. 27 June 2012.

<http://www.fastcompany.com/video/presentations-that-stick>.


Design Basics 101

In the basics of design, we will cover the basic principles of layout, fonts,

palettes and images along with the use of video.

According to The Non-Designers Design Book, there are four basic and

interconnected principles that apply to the layout of every well-designed

piece: contrast, repetition, alignment and proximity.16

• Contrast carries the most visual weight, as it directs the readers’

eyes. The designer should utilize a variety of elements–from fonts

and line thickness, to colors and spacing–aimed to keep the slide

visually stimulating. But be cautioned, this does not mean that

your slides should have 15 different fonts and 20 different colors. Spice

it up with contrast, but don’t go overboard.

• The use of repetition throughout your entire piece creates an

organizational framework. For example, if a 56pt. Bold Century Gothic

font is used as a headline on the second slide, it should remain that size

and style throughout the entire presentation.

• Proper alignment will create a clean look and pairs all items visually,

rather than making each element look disconnected. The simplest

method to properly align elements is to divide your screen into three

columns and place your elements across one, two or all three. For

example, the most prominent image can span all three columns, while

the main points can span two and the image credit or caption can

occupy the third column. Alignment can apply from slide to slide, as

well. Note that headlines should appear in the same page position

throughout.

• Keep related elements in proximity or near each other. Although this

is most applicable for complex designs, it also has implications for

presentations. In using the previous example with one main photo, the

body content and image credits or caption–the caption should be in

close proximity to the main image. If the text is at the bottom of the

slide, it becomes a questionable reference point.

Now, let’s explore the fun world of fonts. Your choice of font will definitely

influence the tone of your presentation. The best example of an epic font

failure comes from the sports world. When LaBron James decided to depart the

Cleveland CavaliersSM, Cav’s owner Dan Gilbert fired off an angry email … written

entirely in the playful font Comic Sans.17 His gaffe went viral and all validity was

16 “The Joshua Tree Epiphany.” The Non-designers Design Book: Design and Typographic Principles for the Visual Novice. Berkeley: Peachpit Press, 2004. 13. Print.

17 Biderman, David, and Emily Steel. “LeBron and the Revenge of Comic Sans.” WSJ.com. Dow Jones & Company, Inc., 9 July 2010. Web. 27 June 2012.


voided due to his poor font choice.

To avoid humility greater than wearing a scarlet “A” written in Comic Sans, here

are a few basic rules for choosing your fonts:

• Use a balanced mix of serif and sans-serif fonts. Serif fonts have the

playful ligatures or “feet” and are typically used for body text. In some

design circles, it is believed that the feet create an eye line, making

the text easier to read.18 Examples of serif fonts include the universal

Times New Roman as well as Garamond and Courier New. Conversely,

sans serif fonts are visually cleaner and are often used for headlines

and captions. These fonts include the popular Arial, Calibri and Century

Gothic.

• Avoid using more than three fonts as not to visually clutter the slide.

If unsure about your choices, play it safe and remain within one font

family. For example, the Franklin Gothic family has a variety of options

ranging from very bold to ultra-thin.19

• Size your fonts 30 points or larger. Remember that your slides are

visuals, not an eye exam. If you have slides that convey so much data

that you will only fit it using a smaller font, chances are you have a

larger problem. Either simplify your data or draft an auxiliary handout.

Next, let’s talk about colors used in your presentation. The aesthetics of color are

recognized beyond being pretty. When choosing your color combos, the obvious

option is to go with the branded colors. But for those presentations that are

not branded and a little more free-form, palette selection can be a little more

daunting.

For years, color has been considered a powerful tool because audiences

instinctively and subconsciously connect colors with emotion. According to The

Wright Theory of Color Psychology, each shade has a universal and distinct effect

on people, based on personality type.20 Based on this theory, here’s a sample of

attributes elicited by each color:21

• Red–can indicate strength, warmth, energy, excitement, defiance or

aggression.

<http://blogs.wsj.com/dailyfix/2010/07/09/lebron-james-and-the-revenge-of-comic-sans/>.18 Martin, Michael. “Typographic Design Patterns and Best Practices | Smashing Magazine.”Smashing Magazine.

Smashing Media GmbH, 20 Aug. 2009. Web. 27 June 2012. <http://www.smashingmagazine.com/2009/08/20/typographic-design-survey-best-practices-from-the-best-blogs/>.

19 Ibid. 20 Wright, Angela. “How It Works.” Colour Affects. Web. 27 June 2012.

<http://www.colour-affects.co.uk/how-it-works>. 21 Wright, Angela. “Psychological Properties Of Colours — Colour Affects.” Psychological Properties Of Colours.

Web. 27 June 2012. <http://www.colour-affects.co.uk/psychological-properties-of-colours>.


• Orange–can reveal security, sensuality, passion, abundance, fun,

frivolity or immaturity.

• Yellow–can indicate optimism, confidence, friendliness, creativity,

emotional fragility, depression or anxiety.

• Green–can indicate harmony, rest, restoration, peace, stagnation or

blandness.

• Blue–which is the most preferred color, can indicate intelligence,

communication, trust, serenity, logic, reflection, calm or coldness.

• Purple–can represent spiritual awareness, vision, luxury, truth, quality,

decadence, suppression or inferiority.

• Pink–can indicate femininity, love, survival of the species, inhibition or

physical weakness.

• Brown–can indicate seriousness, nature, reliability, stability or a lack of

humor.

• Black–can indicate sophistication, glamour, security, emotional

safety, oppression or coldness.

• Grey–carries more of a negative connotation and can indicate

apathy, depression or a lack of energy.

• White–can represent sterility, clarity, purity, simplicity,

sophistication, efficiency, unfriendliness or elitism.

If you are still in need of inspiration, designers and color enthusiasts

recommend visiting ColourLovers.com for palette suggestions.22

Now that we’ve covered fonts and palettes, let’s venture into imagery. Like

the psychology of color, imagery’s effects are also hard-coded in the brain. By

layering verbal information with images, you deliver another tool for recalling

information.23 For a simple illustration, let’s assume you are part of the audience

on a presentation about dogs. The speaker has an emotional story about how his

black Lab “Cody” saved his daughter’s life. Without visuals, this is a compelling

story that undoubtedly will resonate. However, if the presenter displays an image

of Cody playing with his daughter, there is now increased potential to recall this

story every time you see a black Lab. By pairing a verbal message with a visual

cue, the audience can better recall the information at another time.

When focusing on linking both verbal and visual information, it’s imperative to

select the perfect image. Consider images that are atypical and unexpected with a

secondary goal of injecting energy and excitement into your presentation. Be sure

to simplify the amount of visual information being processed. Use only one image

22 Ibid.23 “Dual Coding Theory (A. Paivio).” Instructional Design. Web. 27 June 2012.

<http://www.instructionaldesign.org/theories/dual-coding.html>.


per slide.24

Essentially, there are four places to find digital images:25

• The easiest place to derive graphics is your own cache of proprietary

images. Personal photos are especially useful when connecting with

your audience through storytelling. If you develop graphs or tables,

think twice about their necessity in your interpretation. If you are

able to make the detailed information more relatable through a

simpler visual, always opt for the other choice.

• For a nominal fee, royalty-free websites like VeerSM, iStock

PhotoSM, ShutterStockSM or ThinkStockSM offer a wide variety

of photos and illustrations. Royalty-free images can be highly

targeted and offer continuity in image styles throughout the

entire presentation.

• Found on websites like FlickrSM, creative commons images are

conditionally free. The most frequent condition is that credit is

given to the photographer either under the photo or on a credit slide

at the end of the presentation. This option has the potential to yield

specific photos rather than metaphorical or conceptual photos.

• Using screenshots allows you to illustrate your point by highlighting

information that is seen daily. Putting context to this point: if

illustrating the need for a new furnace, take a screen shot of the

accounting software that has broken down by line item all of the

HVAC repairs and maintenance items needed. Programs like Skitch

or SnagIt™ allow you to draw attention to specific elements of your

screenshot, like the grand total.

• Attempting to grab photos from places other than these four sources

can potentially violate copyright laws. Each infringement can carry a

penalty of up to $300,000 per instance.26

Videos are another great way to keep your audience involved in your message,

as long as it’s short, simple and relevant. Aim for a 30 second clip, but if it needs

to be longer, two to three minutes should be the maximum. If you want to take

this to the next level, use a program like ScreenFlow™ to record and edit a short

video clip to highlight the parts most relevant to your message. Be sure to embed

the video in the slides instead of having the video play in a different program

or screen. If necessary, you can remove the audio so you can talk over the video.

If you want to have a video playing in the background while you present, make

sure it is simply that–background. You don’t want to compete with the video for

24 Ibid.25 Ibid.26 “FAQs: Can I Use Someone Else’s Work? Can Someone Else Use Mine?” U.S. Copyright Office. U.S. Copyright

Office, 16 July 2012. Web. 01 Aug. 2012. <http://www.copyright.gov/help/faq/faq-fairuse.html>.


your audience’s attention.27

Finishing Touches

When designing your concluding slides, be sure to share your contact

information. Permitting your audience to contact you continues the

conversation and helps lead the audience to their own conclusion, as

discussed earlier in this Blue Paper.

Also, consider taking a few additional steps to make your slides accessible after

the presentation. Amit Agarwal, a technology columnist for the Wall Street

Journal, recommends using a service like ScanMyDocTM.28 This free service

generates a QR code for your last slide and stores the slideshow online, allowing

you to gauge the effectiveness and reach of a presentation based on analytics.

ScanMyDoc simplifies the process by letting users replace files without needing a

new code.

Phase 3: Ref ine & rehearseEveryone from inventors to hall of famers seems to have advice about

preparation, but the message is all the same: Practice. Practice. Practice.

In his best-selling book Outliers, Malcolm Gladwell outlines a 10,000 Hour Rule

that says to truly master any skill, it takes 10 years, “…or ten thousand hours of

hard practice … [that’s] the magic number for greatness.”29 You obviously don’t

have 10,000 hours to diligently practice your speech, but throughout the book, it

basically states that no one is born exceptional. Rather, it is a set of circumstances,

a serendipitous fate that puts you on a path to greatness. All those circumstances

start with a drive to be exceptional and a willingness to practice.

The single, most important reason to practice your speech aloud is to develop a

flow. Back to the legendary George Carlin, he once said in an interview with a

fellow comedian, “What we do is oratory. It’s rhetoric. It’s not just comedy, it’s a

form of rhetoric. And with rhetoric, you look and listen for rhythms. You look for

ways to sing at the same time you’re talking…”30 Developing a hypnotic rhythm

makes your message more palatable for your audience as your pace establishes

your presence as a speaker. Too fast makes you seem nervous. Too slow makes you

boring.

27 Ibid.28 Agarwal, Amit. “Share Your Presentation Slides with a QR Code.” Digital Inspiration. 5 Feb. 2012. Web. 01

Aug. 2012. <http://www.labnol.org/internet/share-documents-with-qr-code/20456/>.29 Gladwell, Malcolm. “Part One: Opportunity | 2: The 10,000-Hour Rule.” Outliers: The Story of Success. 1st ed.

Brown and Little, 2008. 35-68. Print.30 “ George Carlin — Mark Twain Prize for American Humor (part 2 of 10).” 11th Annual Mark Twain Prize for

American Humor. Public Broadcasting Network. PBS, Washington, DC, 10 Nov. 2008. 11th Annual Mark Twain Prize for American Humor. The John F. Kennedy Center for the Performing Arts, 11 Mar. 2010. Web. 26 June 2012. <http://www.youtube.com/watch?v=XjjZOFMFXNQ&feature=relmfu>.


Practicing also allows you to perfect your timing. Whether it’s comedic,

technological or just relevance-based, practice will allow you to combat any

hiccups without an audience watching.

Additionally, when running through your presentation, it’s always best to err on

the side of caution and prepare for the onset of Murphy’s Law–which stipulates

that if anything that can go wrong, it usually will. In presentations, this almost

exclusively pertains to technical glitches. Should this happen, a trial run of a

technical glitch will keep you in control over the situation, not the other way

around. Save your presentation locally, to a USB drive and on an online host like

DropboxSM.

Depending on the size/importance of your presentation, it may be a good idea

to conduct at least one trial run in front of an audience. One tactic to judge your

message’s efficacy is to omit your introduction and conclusion. When finished,

ask them to list what they found most important, interesting, memorable or

confusing. If they are able to touch on all your main points, you have met your

goal!

Phase 4: Del iverySo it’s D-day. Zero hour … and you find yourself freaking out.

Be calm. You can do this. You know this inside and out. You have

carefully crafted your message, designed an engaging presentation,

and practiced, practiced, practiced.

Let’s start with the basics of a well-executed delivery.

First, it’s important to always look your best and dress for success. What this

means for you will vary depending on the topic, venue and the many extenuating

circumstances. Know, but don’t obsess, that your audience is basing their opinion

of the speech, either fairly or unfairly, on their perception of you.

For starters, one can rarely be overdressed for a presentation. If you’re looking

for an excuse to treat yourself to a manicure, a presentation may be a qualifier.

However, the goal for your attire is to be an unspoken extension of your message.

The best example is Steve Jobs. While he was praised for various aspects of his

public speaking abilities, his presentation wardrobe acted as an extension of the

Apple™ brand: his black mock-turtleneck represented simple luxury–just like the


iPhone®. Posthumously, demand for his St. Croix turtleneck, which retailed for

$175, increased nearly 100% according to the manufacturer.31

Looking your best also establishes your authority. Take the example of the

infamous Kennedy-Nixon debate of 1960, the first series of televised presidential

debates in history. In substance, the candidates were nearly identical. For those

who listened to the debate on the radio, they perceived that Nixon had a

slight advantage. For the television viewers, Kennedy was the clear victor. The

viewers drew their conclusions based on their visual perception of Nixon, who

was ghostly pale after a severe bout of influenza. He had refused make-up

and his clothes hung off his sickly frame. Conversely, Kennedy had recently

campaigned in southern California and was looking tan, fit and well-rested. The

viewers’ perception of the message was heavily influenced by the candidates’

appearances, a message they clearly took to the polls that November.32 Imagine

how the course of history might have changed if Nixon had a new shirt and

agreed to sit in the make-up chair …

Now that you’re feeling prepared and looking good, it’s time to focus on how you

actually verbalize your message. Throughout this Blue Paper, we have explored

what to say, and how to say it–both verbally and visually, but we have yet to

explore injecting your mannerisms into the message. Based on a report released

by the Economist Intelligence UnitSM, four of the six most important attributes of

communication have nothing to do with what you say.33 These attributes include

tone of voice, facial expressions, subconscious body language and conscious

movements and gestures. The other two characteristics–the words you choose and

how you engage your audience–are framed long before your delivery.

While the interpretation of body language is not an exact science, much can

be gathered from both conscious and unconscious movements. Only a limited

number of emotions can be attached to a wide variety of gestures. Note that the

audience is unknowingly summing up whether to trust your words based on these

movements. Best practices would encourage you to have an open stance, giving

the impression that you are welcoming, transparent and trustworthy. A closed

stance–with hands in pocket or arms folded in front of you–acts as a barrier to

communication. Making eye contact with your audience is another unspoken

indicator of trust.

31 Friedman, Megan. “Brand Behind Steve Jobs’ Iconic Turtleneck Sees Sales Boost.” Time NewsFeed. Time Inc., 6 Oct. 2011. Web. 03 July 2012. <http://newsfeed.time.com/2011/10/06/brand-behind-steve-jobs-iconic-turtleneck-sees-sales-boost/>.

32 Tyner Allen, Erika. “The Kennedy-Nixon Presidential Debates, 1960.” The Museum of Broadcast Communications. Web. 27 June 2012. <http://www.museum.tv/eotvsection.php?entrycode=kennedy-nixon>.

33 The Power of In-Person. Digital image. Econimist Intelligence Unit/ Cisco. Web. 21 June 2012. <http://www.cisco.com/web/telepresence/economist-infographic.html?CAMPAIGN=Economist+Campaign&COUNTRY_SITE=us&POSITION=link&REFERRING_SITE=cisco&CREATIVE=Call+Out&keycode=216968_5>.


Naturally, it is this establishment of trust that will make your overall presentation

a success. If you’re deemed unreliable by the audience, your message will fall flat.

To build a lasting trust, insinuate that this presentation is only the beginning of a

larger dialogue. The closing slide bearing your contact information will invite the

audience to interact beyond the presentation. To prompt the conversation, ask

your viewers to contact you with feedback on the presentation. This will double

as a learning experience for you.

When finished, sincerely thank your audience for the time, attention and/or

participation. If you want your audience to leave with a literal takeaway, be sure

to also include your contact info on your handouts. Making yourself available

extends your credibility.

Super ior presentat ions make a last ing impress ionSo there you have it. The layering of common sense and storytelling artistry,

sprinkled with some basic principles of psychology and topped with a charismatic

personality is undoubtedly a recipe for oratory success. The overall objective of

your presentation is to engage your audience. Make them think. Make them

laugh. Let them walk away with a new perspective.

The legendary Maya Angelou once said, “People will forget what you said, people

will forget what you did, but people will never forget how you made them

feel.”34 If your audience leaves educated, convinced, entertained or uplifted, you

have effectively delivered an experience.

34 Kelly, Bob. Worth Repeating: More than 5000 Classic and Contemporary Quotes. Grand Rapids, MI: Kregel, 2003. Print.

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