Secret #4 – Expression and Drama

Class had ended, and I was giving final feedback for a group that had just presented their business case.

Not a bad group presentation by any means, but individual students needed work, and I like to give advice that young folks can carry with them beyond the classroom and on into the workaday world.

Not just advice, mind you, but nuggets that can confer personal competitive advantage for a lifetime.

As I briefed the presenters, a professor came into the classroom and stood by, listening in.  He’s a colleague of mine.  Smart man.  I respect him for his knowledge of finance.

A curious fellow, too.

Drama?

He took in my feedback as I advised students to eliminate a verbal gaffe called the “rising line” or the “verbal up-tic,” as I call it.  I was demonstrating this awful turn of voice.

The Verbal Up-tic or “uptalk” as it is sometimes called, is a verbal pathology that afflicts at least 50 percent of young presenters and is manifested by transforming simple statements of fact into questions.  The Brits call this the “Moronic Interrogative,” and you can probably guess that it is not a compliment.

By eliminating this awful verbal tic, you take a giant step toward presenting excellence.

My students packed up and left, and my colleague stepped up beside me.

“Well!  All this drama!  It looks and sounds like drama class.”

By now, I’m accustomed to the raised eyebrow of colleagues who look askance at some of the techniques I advocate.  It goes with the territory.  There is, after all, a kind of lock-step sameness in the faculty view of business presentations.

Deviations from the barebones structure are not appreciated nor are they recognized for the value they can add.

“You could very well say that, Roger . . . there’s a big helping of drama here.  It’s much like putting on a show.  It’s why I call my presentations ‘shows’ and my students my ‘show-people.’”

Because this, in essence, is what visual and verbal communication is all about and how it differs drastically from written work.

“Showing”

It’s no accident that I use the word “show.”  This is what we do when we give a presentation . . . when we present.  We don’t deliver a presentation; we present.

The presentation is not something behind you on a screen.  The presentation is not on a whiteboard or butcher paper.  It’s not on a flip chart.

The presentation is you.

A large part of you is how you express yourself – your presence, your expression.  We are at our best when we incorporate drama into our presentations, and this is the catalyst that provides the grist for our expression and enthusiasm.

By drama, I do not mean the phony excitement and angst of “relationships” gone wrong, the depression of being brought low by a downer “text,” the anxiety of the “drama queen” or the pomposity of “King Drama.”

I mean the “dramatic situation.”

Life. Variety. Intensity. Color.

You have drama inherent in any situation where there is conflict or the potential for conflict.  We in business, engaged as we are in competing to provide goods and services to our customers, are blessed with dramatic situations.

Business cases are chock full of drama – conflict, suspense, turning points, great decisions.  You simply must learn to recognize them and to bring them out.  It does not mean exaggerated behavior during your presentation, as noted by one of my favorite Speaking Masters of all time, Grenville Kleiser:

This is not a recommendation of paroxysms of feeling, wild gesticulation, tearing and combing of the hair with the fingers, violent pacing up and down the platform, and other manifestations of old-style oratory, happily now obsolete, but rather to suggest a power which, when properly used, will give life, variety, intensity, and color to the spoken message.

Life. Variety. Intensity. Color.  These are what you strive for.

This theatrical aspect of presenting can, in theory, surely be overdone.  But given the staid status of business presenting, the danger of this in business presentations is nil.  I never see overdone business presentations, but I’d surely welcome one.

You can harness dramatic techniques to your business presenting style, and a number of books delve into this.  One of the finest books available on the subject is Ken Howard’s Act Natural, and I strongly urge its purchase if you are serious about taking your presenting power to a whole new level.

The speaking secret of expression is an advantage that should be yours and not just restricted as a privilege for those toiling in the theater or in film.

Remember that you have incredible power at your disposal in the form of expression that makes use of drama.

A curl of the lip.

A raise of one eyebrow.

Sincere furrows in the forehead.

A smile.

Speaking Master Joseph Mosher gave us one key secret to expression in 1928, and we would be wise to recognize his observation of the importance of the mouth and eyes.

[T]here is no one element of gesture which furnishes as unmistakable and effective an indication of the speaker’s thought and feeling as does the expression of the mouth and eyes.  The firm-set mouth and flashing eye speak more clearly than a torrent of words; the smile is as good as, or better than, a sentence in indicating good humor; the sneering lip, the upraised brow, or the scowl need no verbal commentary.

The secret power of expression is yours for the taking.  You need only seize it to develop an especially powerful presentation.

Presentation Body Language – Gesture for Power

presentation body language
Good gestures are more than a garnish for your presentation . . . presentation body language is essential to taking your show to the professional level

What is gesture, and why worry about business presentation body language at all?

Gesture is nothing more than an add-on, right?

Something perhaps nice to have, but unessential to the point of our presentation.

The fact is that you cannot separate sincerity from your appearance.  You can’t disaggregate movement from your inflection, from your volume, from your nuance.

And you cannot separate your words from gesture.

So let’s add the power of gesture to our words to achieve superior messaging.

What’s a Gesture?

A wave of the hand.

A snap of the finger.

A stride across the stage with arms outstretched to either side in a universal embrace.

A scratch of the chin.  Crossed arms.

An accusatory finger.  A balled fist at the proper moment.  These are all part of presentation body language that can either enhance or destroy your presentation.

Professional presentation coaches understand that most of the information transmitted in a show is visual.  This results from the presence of the speaker.  An audio recording of a talk is not nearly as powerful as an actual live presentation.

presentation body language
Especially powerful presentation body language is the tool of the finest presenters

Executive coach Lynda Paulson is spot-on when she notes the power of gestures to persuade an audience . . . or to alienate an audience, because “at least 85 percent of what we communicate in speaking is non-verbal.  It’s what people see in our eyes, in our movements and in our actions.”

Gestures provide energy and accent.  They add power.  They add emphasis and meaning to our words.

Throughout the history of public speaking, the finest communicators have known the importance of the proper gesture.  At the proper time.

Entire books, in fact, have been written about gesture and the power it can bestow.  But most of this knowledge resides in the recesses of libraries waiting to be rediscovered.  See, for example, Edward Amherst Ott‘s classic 1902 book How to Gesture.

Gesture is too important to leave to chance.

It is certainly too important to dismiss with the breezy trope you occasionally hear:  “Move around when you talk.”  Let’s understand exactly what it means.

In 1928, Joseph Mosher defined gesture in a way that guides us even today: “Gesture may be broadly defined as visible expression, that is, any posture or movement of the head, face, body, limbs or hands, which aids the speaker in conveying his message by appealing to the eye.”

As part of your presentation body language repertoire, gesture should be natural.  It should flow from the meaning of your words.  From the meaning you wish to convey with your words.

We never gesture without reason or without a point to make.  Typically, the emotion and energy in a talk leads us naturally to gesture.  Without emotion, gesture is mechanical.  It’s false.  It feels and looks artificial.

Communicating Without Words

Gesture is part of our repertoire of non-verbal communication.

You have many arrows in the quiver of gesture from which to choose, and they can imbue your presentation with power.  And on rare occasion, can imbue your presentation with majesty of epic proportions.

Presentation body language
Presentation Body Language is especially powerful when coordinated with a strongly articulated message

For if you don’t begin to think in grand terms about yourself and your career, you’ll remain mired in the mud.  Stuck at the bottom.

Proper gesture increases your talk’s power and lends emphasis to your words.  In fact, gesture is essential to take your presentation to a superior level, a level far above the mundane.

You limit yourself if you do not gesture effectively as you present.

As with every craft, there is a correct way to gesture . . . and a wrong way.  Without a clear notion of how gesture can enhance our business presentations, we’re left with aimless ejaculations.  Movements that leech away the power of our message and the audience’s confidence in our competence.

Accordingly, here are a few of the more common examples of bad gesturing involving just your fingers.  These are so common that I cannot but believe that someone, somewhere is training folks in these oddities.  It’s the equivalent of self-sabotage.

Control Those Fingers!

Under no circumstances engage in “finger play.”

This is a habit many people develop unconsciously as they try to discover what to do with their hands.  You know you should do something with your appendages, but no one has told you what.  So you develop these unconscious motions.  Many different activities come under the heading of “finger play.”

Tugging at your fingers. I suspect that we all carry a “finger-tugging” gene embedded deep in our DNA that is suppressed only with difficulty.

Bending your fingers back in odd manner.  This is a ubiquitous movement, universally practiced.  It consists of grasping the fingers and bending them back, as if counting something, and then holding them there for a spell.  It’s almost a finger-tug, but more pronounced.

Waving your hands around with floppy wrist movement.  This is not only distracting, but the wobbly wrist action creates a perception of weakness and uncertainty.

Simply by eliminating these commonplace pathologies from your own presenting, you strengthen by subtraction.

Presentation Body Language

Why would you want to “gesture” during your business presentation?  Aren’t your words enough without resorting to presentation body language?

Frankly, words are not enough.

Gestures add force to your points.  To demonstrate honesty, decisiveness, humility, boldness, even fear.  A motion toward the door, a shrug, a lifted eyebrow – what words can equal such presentation body language?

While its range is limited, gesture can carry powerful meaning.  It should carry powerful meaning; this form of nonverbal language predates spoken language.  Said James Winans in 1915:

Gesture, within its limitations, is an unmistakable language, and is understood by men of all races and tongues.  Gesture is our most instinctive language; at least it goes back to the beginning of all communication when the race, still lacking articulate speech, could express only through the tones of inarticulate sounds and through movements.

Imagine the powerful communication you attain when, at the proper moment, your voice, your gestures, your movement, and your expressions combine in superb presentation body language.  You attain an especially powerful presentation moment when your voice, your gestures, your movement, and your expressions combine and align with the message and your visual aids to wash over your audience, suffusing them with emotion and energy.

Be spare with your gestures and be direct.  Make your presentation body language count.

For more on presentation body language, consult The Complete Guide to Business School Presenting.

Secret #2 – Your Voice

Your voice is one key to an especially powerful business presentation . . . or a disastrous one.

Your voice and your appearance are the constants that pervade your presentation from start to finish.

Voice is one of the seven dimensions along which we measure the Power Presenter, and a strong, clear, confident voice is one of the seven secrets of powerful presenting.

Paradoxically, we take our voices for granted.  Because we do, this nonchalant attitude can undermine us and destroy all of our hard work.

But you can become quite a good speaker, a presenter whose voice exudes confidence and is welcomed by the ear.

“If nature has not endowed you with a good speaking voice, you can do much toward acquiring one. The organs of speech can be trained, like any other part of the body, by assiduous attention and practice.”[1]

You can do many things to improve your voice – your articulation, your power and range, your force and tone.  If you decide that you want to move to an advanced level of presentations and are drawn to improve your voice’s quality through study and practice, many books and videos and recordings are published each year to help you along.

Much of the best writing on voice improvement was produced in the years when public speaking was considered an art – between 1840 and 1940 – and the advice contained therein are about as universal and timeless as it gets.

The reality is that the human voice is the same now as it was 100 years ago and responds to the proven techniques developed over centuries.

Ready for Change

It’s time to recognize that your voice is not a sacred artifact, nor is it some precious extension of your very being.  It’s an instrument with which you communicate.  You can sharpen your communication skills by improving your voice.  Simply thinking of your voice in this way will improve its quality.  Working to improve it with the exercise will improve its quality dramatically.

Let’s consider here just two things you can do to improve your voice.  Nothing extreme at all.  And actually quite fun, if you approach it the right way.  We have two goals.

First, we want to rid your voice of the chronic crack and rasp.  That crack and rasp is a symptom of meekness – no confidence.  Do you have this crack and rasp?  If not, congratulations and let’s move along.  But if you do . . .

“In addition to relaxing the throat muscles, the speaker should make a special effort to vocalize every particle of breath passing over the vocal cords. There should be no wheezy leakage of air.”[2]

Push air across your vocal chords and complete your sentences.  Don’t trail off at the end of every sentence with a crackling sound like folks on Disney Channel.

Second, we want to deepen your voice.  Why?  Like it or not, deeper voices are perceived as more credible.[3]  A Stanford University study, one among many, gives the nod to deeper voices:

Our studies show that directions from a female voice are perceived as less accurate than those from a male voice, even when the voices are reading the exact same directions.  Deepness helps, too.  It implies size, height and authority.  Deeper voices are more credible.[4]

Now, should things be this way?  Is it “fair” that deeper voices have some kind of advantage?

But . . . but that’s not fair!

It’s no less fair than that some people are taller than others or larger or faster or rate perfect scores on the SAT.  It’s neither fair, nor unfair.  It’s simply the reality we’re dealt.  If you want to devote your life to fighting for “voice equality,” you have my support.  Have at it, and Godspeed.

If, on the other hand, you want to deepen your voice a bit so that you gain personal competitive advantage, then let us analyze what the deep-voice reality means to us.

It means that a deeper voice is more desirable for presenting, regardless of who presents, male or female.  Now, the very fact that you are armed with that information empowers you.  When you decide to act on it, it adds to your personal competitive advantage.

Many simple and effective exercises exist to deepen and enrich your voice.  A simple awareness of your own voice-cracking should be enough to remedy that issue.  Record your voice, and listen critically.  A personal coach can help, or even a trusted confidante as concerned with voice as much as you.  Listen to each other, coach each other, and work together to achieve an improved voice.

No, your voice is not a sacrosanct.  Voice is the second secret – the second dimension along which speakers are assessed.

Work to improve yours and you’re on your way to an especially powerful presentation style.


[1] Grenville Kleiser, “How to Speak Well,” in Radio Broadcasting (New York: Funk and Wagnalls, 1935) , 42-43.

[2] George Rowland Collins, Platform Speaking (New York and London: Harper & Brothers Publishers, 1923), 33.

[3] Suter, J. K. (2003). Der Eindruck vom Ausdruck–Einfluss paraverbaler Kommunikation auf die Wahrnehmung von Nachrichtensprechenden [The impression of expression–the influence of paraverbal communication on the perception of newsreaders]. Unpublished master’s thesis. University of Bern, Switzerland.

[4] Anne Eisenberg, “Mars and Venus, On the Net : Gender Stereotypes Prevail,” (The New York Times, 2000), http://www-personal.umich.edu/~rfrost/courses/SI110/readings/Cyberculture/Eisenberg.pdf

Secret #1 . . . Especially Powerful Stance

A powerful stance imbued Kennedy with much of his charisma

Your ready position is the default stance you assume when giving your talk, when not emphasizing with movement and gesture.

Your Ready Position.

It’s a stance affirmed by more than 2,000 years of trial and error, and imbues your talk with an especially powerful ambience.

Have you thought about how you’ll stand while you give your talk?

I refer to the time when you’re not moving about the stage to emphasize this or that point.

This ready position is your anchor, your life preserver in a storm.

Your safe harbor.

Your ready stance.

Powerful . . . Confident . . . In Command

When you stride to the stage, move to the command position in front of the lectern and facing the crowd.

Now, plant yourself as you would a paving stone in a garden.

Plant yourself firmly, as a stone, with feet shoulder-width apart, weight evenly distributed, shoulders squared.

Plant yourself as a deeply rooted Redwood.

Do not slouch or put more weight on one foot than on the other.  Point your toes slightly outward.  Neither slump, nor stiffen.  Shoulders back, head up, expectant.

Do not allow your head to settle down betwixt your collar bones.  This compresses your neck like a concertina.  It cramps your voice box and cuts the flow of air that you need to speak.

Especially powerful presentation stance for personal competitive advantage
Especially powerful presentation stance

At this point, let your hands hang loosely at your sides . . . (in a moment, we’ll give you something to do with your hands).

Walking and pointing and looking and eye-contact?

Forget it for now.

Forget it all for now.

First, you must seize control of yourself.

You must control all of those little tics and habits and nervous gestures that leech the strength from your presentation.  The tics and habits that telegraph your nervousness and lack of confidence.

What tics and habits, you say?

Every young presenter has at least some of them and the ready position can help remedy the following pathologies.

Do Not cross your leg in front of you while you balance on the other. This “standing cross” is more prevalent, for some reason, among female presenters than among males. Some males have this habit as well. This is a particularly debilitating movement from both the standpoint of the audience and for you. It projects instability. And it makes you feel unstable.

Do Not cock your hip to one side – this is called a “hip-shot.” Again, this action undermines your foundation. This hip-shot posture degrades your presentation in multiple ways. It shouts nonchalance. It denotes disinterest and impatience. It cries out to the audience a breezy bar demeanor that is completely at odds with the spoken message you want to convey.

Do Not engage in little choppy steps. This side-to-side dance is common. It telegraphs nervousness.

Do Not slump your shoulders. Few things project lack of confidence like rounded shoulders. Slumping shoulders can be a reflexive response to nervousness that leads to a “closed body position.”

Again.  Stand in one place, your feet comfortably shoulder-width apart, toes slightly pointed outward.  Arms at your sides.

Your goal at this point is to maintain a solid physical foundation.  To project an image of confidence to the audience and to imbue yourself with confidence in point of fact.  You begin to do this with your stance – solid and confident.

Now here is the most important guidance I can provide you for your Foundation “Ready” position.

Your Foundation – Power Posing Stance

Stand as described, and place your left hand in your pants pocket, out of the way.  This position should be your default position.

Putting the hand in your pocket gets it out of the way and keeps you out of trouble.  Moreover, it projects confidence.

And, no, it is not “unprofessional.”

This position carries a multitude of positives and no negatives.  You never go wrong with this position.

It imbues you with confidence and keeps you copacetic.  To your audience, it projects competence, confidence, reassurance, and sobriety:  “Here is someone who knows his/her stuff.”

This is your Ready Position.

Your Ready Position is the foundation-stone upon which charisma, confidence, and professional presence is projected to your audience.  It is a component of your personal competitive advantage that is bestowed on the presenter with superior skills.

Professional Presence means passion and confidence
Powerful stance poses come to us from many great figures of history, with good reason

Everything else you do flows from this position.  Practice your two-minute talk from this position and do not move.

Stop!

Stop and think. When you are ready to make a point that is crucial to your thesis . . . When you are ready to shift subjects or major ideas . . . then

Then, step to the left while addressing the people on the left flank.  Talk to them.  Then, step to the right and address those on your right.  Hold open your hands, palms up.  Walk toward your audience a step or two.  Look them in the eyes.  Speak to individuals.

Then, step back to the center and retake your ready position.

Let your movements emphasize your points.  When you gesture to a portion of the audience, step toward them in a kind of supplication.

Always always, always go back to the ready postion.  I have seen dozens of young speakers transformed into capable, confident speakers by virtue of this alone.

How is that possible?  By removing the doubt associated with “How will I stand.”

This powerful and stable stance imbues you with confidence, your first step toward building positive energy within yourself.

The Ready Position — it’s your safe harbor in a sea of presentation uncertainty.  It’s the foundation of your personal competitive advantage.

To gain deeper understanding of the techniques you can use to enhance your stance, consult The Complete Guide to Business School Presenting.

Secret #1 . . . Your Stance

Powerful stance for personal competitive advantage
An especially powerful stance can enhance your presentation

You want to project strength, competence, and confidence throughout your presentation, and one important way to do this is with your stance.

Those techniques comprise our backpack full of Seven Secrets of powerful presenting.

Your first technique – or secret – is fundamental to projecting the image of strength.

It’s basic to demonstrate competence and confidence.

This first technique is assumption of the proper stance, but most of us never consider how we stand in front of an audience, much less how we ought to stand.

Let’s investigate that now . . .

Stance for Power and Confidence

Let me assure you that I don’t expect you to stay rooted in one spot throughout your talk.  But at risk of sounding clichéd, let’s state forthrightly that it’s impossible to build any lasting structure on a soft foundation.  This foundation grows out of the notion of what we call “power posing.”

Let’s build your foundation now and learn a little bit about the principle of power posing.

How do you stand when you converse in a group at a party or a reception?  What’s your “bearing?”  How do you stand before a crowd when you speak?

Have you ever consciously thought about it?

How you stand, how you carry yourself, communicates to others.  It transmits a great deal about us with respect to our inner thoughts, self-image, and self-awareness.

Whether we like this or not is not the point.

The point is that we constantly signal others nonverbally.  You send messages to those around you, and those around us take their cues based on universal perception of the messages received.

Your Foundation – Power Posing

What is true in small groups is also true as you lecture or present in front of groups of four or 400.

Whether you actually speak or not, your body language is always transmitting.  What’s the message that you unconsciously send people?  Have you thought about the silent and constant messages your posture radiates?

Seize control of your communication this instant.  There is no reason not to, and there are many quite good reasons why you should.

Recognize that much of the audience impression of you is forming as you approach the lectern.  Your listeners form this impression immediately, before you shuffle your papers or clear your throat or squint into the bright lights.  They form their impression from your walk, from your posture, from your clothing, from your grooming, from the slightest inflections of your face, and from your eye movement.

https://www.ihatepresentations.com/personal-competitive-advantage-2/
Especially Powerful Stances Abound Throughout History

This has always been true; speaking Master Grenville Kleiser said in 1912 that, “The body, the hand, the face, the eye, the mouth, all should respond to the speaker’s inner thought and feeling.”

Do you stand with shoulders rounded in a defeatist posture?

Do you transmit defeat, boredom, ennui?

Do you shift from side-to-side or do you unconsciously sway back-and-forth?

Do you cross and uncross your legs without knowing, balancing precariously upon one foot?

Is your free leg wrapped in front of the other, projecting an odd, wobbly, and about-to-tumble-down image?

Defeat?  Ennui?  Negativity?

Your posture affects those who watch you and it affects you as well.  Those effects can be positive or negative.

Posture, of course, is part of nonverbal communication, and it serves this role well.  The audience takes silent cues from you, and your posture is one of those subtle cues that affect an audience’s mood and receptivity.

But posture and bearing are not simply superficial nonverbal communication to your audience.

There is another effect, and it can be insidious and can undermine your goals . . . or it can be an incredibly powerful ally to your mission.

It is this: Your body language transmits your depression, guilty, fear, lack of confidence to the audience.  It also enhances and reinforces those feelings within you.  Most often, if we fear the act of public speaking, the internal flow of energy from our emotional state to our physical state is negative.

Negative energy courses freely into our limbs and infuses us with stiffness, dread, immobility and a destructive self-consciousness.

We shift involuntarily into damage-limitation mode.

It cripples us.

Your emotions affect your body language.  They influence the way you stand, the way you appear to your audience.  They influence what you say and how you say it.

Reverse the Process

Let me say this so there is no mistaking the message here.

Especially powerful stance for personal competitive advantage
So much depends upon your stance, psychologically and physically

You can use your gestures, movement, posture, and expression to influence your emotions.

You can turn it around quite handily and seize control of the dynamic.  Instead of your body language and posture reflecting your emotions, reverse the flow.

Let your emotions reflect your body language and your posture.

Consciously strike a bearing that reflects the confident and powerful speaker you want to be.

Skeptical?

A venerable psychological theory contends this very thing, that our emotions evolve from our physiology.  It’s called James-Lange Theory, developed by William James and the Danish physiologist Carl G. Lange.  Speaking Master James Albert Winans noted the phenomenon in 1915:

Count ten before venting your anger, and its occasion seems ridiculous.  Whistling to keep up courage is no mere figure of speech.  On the other hand, sit all day in a moping posture, sigh, and reply to everything with a dismal voice, and your melancholy lingers. . . .  [I]f we wish to conquer undesirable emotional tendencies in ourselves, we must assiduously, and in the first instance cold-bloodedly, go through the outward movements of those contrary dispositions which we prefer to cultivate.

Much more recently, a Harvard study substantiated James-Lange Theory and found that power posing substantially increases confidence in people who assume them while interacting with others.  In short, the way you stand or sit either increases or decreases your confidence.

The study’s conclusion is unambiguous and speaks directly to us.  Harvard researchers Dana R. Carney, Amy J.C. Cuddy and Andy J. Yap say in the September 2010 issue of Psychological Science that:

[P]osing in high-power displays (as opposed to low-power displays) causes physiological, psychological, and behavioral changes consistent with the literature on the effects of power on power holders — elevation of the dominance hormone testosterone, reduction of the stress hormone cortisol, and increases in behaviorally demonstrated risk tolerance and feelings of power.

In other words, stand powerfully and you increase your power and presence.

You actually feel more powerful.

This finding holds tremendous significance for you if you want to imbue your presentations with power.

In our 21st Century vernacular, this means you should stand the way you want to feel.  Assume the especially powerful posture of confidence.  Consciously affect a positive, confident bearing.

Square your shoulders.

Affix a determined look on your face.

Speak loudly and distinctly.

In short, let your actions influence your emotions.

Seize control of the emotional energy flow and make it work for you.

So what is a confident posture?  Let’s begin with a firm foundation.

Foundation of Your Stance

For any structure to endure, we must build on strength.  And I mean this both in the metaphorical and in the literal sense with regard to business presentations.

You must not only project strength and stability, you must feel strength and stability.  The two are inseparable, and a moment’s thought reveals to you why.

Think of the confident man.

To appear unstable and fearful before an audience, a confident man must take a conscious effort to strike such a pose.

Likewise, it would take a conscious effort for a man, who has planted himself firmly in the prescribed confident posture, to feel nervous, uncertain, or unsure of himself.

https://www.ihatepresentations.com/personal-competitive-advantage-2/
Maintain an Especially Powerful Stance for an Especially Powerful Presentation

That is, if he affected the confident pose and maintained it relentlessly against all of the body’s involuntary urges to crumple and shift, to equivocate and sway.

Think as well of the confident woman.

How does the confident woman’s demeanor different from that of the confident man?  Virtually not at all.  The point and the goal is to establish a foundation that exudes strength, competence, and confidence to add to your personal competitive advantage.

Essential to this goal is that you know the difference between open body language and closed body language.  It’s the difference between power posing and powerless posing.

This strong personal foundation is your ready position, your standard posture for your presentation.

For more on your especially powerful stance, consult The Complete Guide to Business School Presenting.

Seven Secrets of Business Presentations

Business Presentation

7 Secrets of Powerful Business Presentations.

Could there be anything more tantalizing?

Everyone loves secrets.  Dark secrets.  Sweet secrets.  Secrets to tickle the fancy.  Secrets to gain the upper hand.

Not just one . . . but seven of them!

I offer you – beginning here and now – 7 Secrets of Power Presenting.

Seven consecutive posts of Secrets to gain the upper hand in business presenting.

These 7 Secrets promise to launch you on your way to personal competitive advantage in an ever more challenging job market.  Incredibly powerful techniques and secrets are coming to you over the next weeks, right here.

These secrets have been hidden from you.  They certainly don’t appear in your business communication textbooks.  Face it . . . has anything good ever come out of a business communication textbook?  So where do these secrets come from?

They reside in the collective wisdom of more than 2,500 years of history.  This is the link that you share with every great speaker that history has seen fit to remember – you share their humanity.  This is why their secrets speak to us across the mists of time to inform our business presentations.

Cicero in 50 BC?

You in 2011 AD?

More than two millennia separate you from the Roman Republic’s greatest orator, so what could you possibly have in common with a man half-a-world away and 2,000 years ago?

Here’s the link

Perhaps Cicero spoke to the Roman Senate during the last days of the Roman Republic, while you now speak to your Business Policies class with PowerPoint on the screen behind you . . . but you both share a core necessity.

You share the necessity to convince your audience by using a handful of reliable tools that have not changed in two millennia.  For your purposes, the greatest orators in history are still alive with respect to their techniques, their tools, their words, and their abilities to sway audiences.

Demosthenes

     Cicero

          Quintilian

               Frederick Douglass

                    William Jennings Bryan

                           Daniel Webster

                                 Abraham Lincoln

What could these long-gone people possibly say to you to help you become a superior presenter here in the 21st Century?

All of these orators and many more utilized the highly refined and powerful secrets of elocution, declamation, debate, and oratory to command the stage and to sway audiences.  They were the superior presenters of their day.  The techniques and tools comprise the 7 Secrets of Power Presenting.

The best speakers of the past 50 years use and have used these Secrets – Bill Clinton, Ronald Reagan, Oprah Winfrey, Barack Obama, Steve Jobs, Margaret Thatcher, John F. Kennedy, Oliver North, Malcolm X, Martin Luther King.

They don’t announce that they’re using secret techniques and tricks of the trade, of course.  They wouldn’t be secrets any more.  So they let you believe that they were gifted with special talents.  Not a chance.  Techniques, practice, personal branding . . . and 7 Secrets.

Business Presentation Secrets Used by Every Orator

They are the secrets utilized by every great orator until the age of television, radio, and the computer rendered them lost to the vast majority of us.  They faded from use.  They were supplanted by technology in the mistaken belief that technology had rendered you, the presenter, superfluous.

And so presenting as a skill has withered.  Until now.

These secrets do not appear in today’s textbooks.  They appear only in partial form in many trade books.

Many students don’t even know about them.  They think great presenting is alchemy, magic, or a product of superior talent.  Many don’t reach the point at which you read these words right now.  Many who read these words this second sneer at them with a world-weary sigh.

But a tiny minority reads on.

And that select few will begin to acquire the power, dexterity, energy, and charisma to grow into a bold presenter – at home on the stage, at ease with yourself, and facile with the material.  You will become a fabulous business presenter.

Master these Seven Secrets, which form the Seven Pillars of your personal speaking platform, and you will soar higher in the business world than you possibly could have imagined.  And your career will soar farther and faster than you ever thought possible.

I hope that you are in that tiny minority that continues to read.

Let’s convene here later for Secret #1.

For more on Business Presentation secrets, consult The Complete Guide to Business School Presenting.

What we do not know we do not know . . . about Presentations

“What we do not know”
“What we do not know we do not know”

In 2002, former Secretary of Defense Donald Rumsfeld was widely ridiculed for his what we do not know” convolution that tended to confound his critics.

But when analyzed, his succinct turn of phrase showed that his critics had much to learn.  Just as we have much to learn about business presentations.

Rumsfeld said this:

Reports that say that something hasn’t happened are always interesting to me, because as we know, there are known knowns; there are things we know we know. We also know there are known unknowns; that is to say we know there are some things we do not know. But there are also unknown unknowns  the ones we don’t know we don’t know.

Without going too deeply into the philosophy behind this paraphrase of earlier passages, let’s simply note that it dates back to Confucius.

Broken down, it can be stated this way:

There are things we know.

There are things we do not know.

There are things we know we do not know.

There are things we do not know we do not know.

Much insight is bound up in this matrushka doll of logic.

In fact, lurking within this formula is a key to our business success, to our differentiation, to our personal brand.

Rumsfeld’s trope is simply a call for humility and recognition that false certitude can be far more harmful than healthy skepticism.  No, we don’t know at all.

In fact, there may be a great deal of what we know that isn’t so.

Take, for example, the following two experiences of people who have a fundamental misunderstanding of their own abilities.

“These Pictures Just Didn’t Come Out”

Photography – good photography – is a skill.  The framing and composition of superb photographs is not “natural” or intuitive.

And yet, the vast majority of us believe that we can take spectacular photos.  A professional photographer who worked for me years ago was tickled by a co-worker who believed he was an excellent photographer, even as evidence to the contrary was abundant.

She told how he repeatedly engaged in a fantasy.  His latest batch of photos of a reception would come in, and his coworkers would gather ’round him.  He would thumb through the photos one at a time, and he would cast many of them aside peevishly.

“These pictures just didn’t come out,” he’d say with a shake of the head.  “They just didn’t come out,” and he would invariably imply that some mechanical malfunction had ruined his photos.

Or hazy weather.

Or bad karma.

Anything but his own lack of skill.

Through it all was his inability to actually see and understand that the “picture did not come out” because of the most obvious reason in the world:  He did not know how to take photographs.

In fact, he was terrible.

But he claimed that out-of-focus, poorly framed, underexposed, overexposed photos were the result of some external problem, not his own lack of skill.  This type of hubris borne of blissful ignorance has its counterpart in the innocence of children.

Who’s the teacher?  That depends on your perspective . . .

A tennis instructor friend of mine tells the story of working with a six-year-old child.  You have to admire the chutzpuh of children, who, in their innocence, are unaware of the larger world and oftentimes unaware of their role as students in this world, subject to the instruction of teachers.

Upon starting the first tennis lesson, the child quietly watched the tennis pro demonstrate the basic forehand.  Then, the child boasted to her:  “This is the way I hit the ball.”

And the youngster proceeded to demonstrate the proper technique to the tennis instructor as if the two of them were accomplished tennis pros simply sharing pointers with each other.

The child was blissfully ignorant of the depth and breadth of the game of tennis.  So the child speaks with a confidence and easiness that betrays that ignorance.  Honest ignorance in this case.

And what a wonderful confidence it is, the confidence of a child.  A superb tennis instructor works with this raw confidence and molds into it an actual expertise and respect for the game without destroying it.

When you hear people dismiss public speaking as “easy” or a “cinch” or something that they’ll “wing” in their next class, remember the phrases . . .

“These pictures just didn’t come out.”

This is the way I hit the ball.”

Many folks are simply ignorant of the depth and breadth of the public speaking domain.

So they wax eloquently and ignorantly about it, believing it to be something that it is not.  Easier than it is.

Especially Powerful Presenting – What we do not know

Powerful presenting is actually the judicious application of high-order skills of gesture, voice, movement, style, focus, elocution, and even intuition.  This concept is alien to the “Easy Presenting” group.  Moreover, the very nature of these skills is foreign to them.

The skill set of the advanced and effective presenter is much akin to that of the actor, and these skills would seem irrelevant to someone with only a superficial understanding of the art of presenting.

After all, business is serious, right?  Wheareas mere “acting” is . . . well, frivolous.

Acting is talent-based, right, with no role for learned techniques?  Hardly.  Acting coach Anita Jesse zeroes-in on the basic skills necessary to powerful acting, and they are as easily applied to the art of powerful presenting:

Almost any proficient actor will tell you that expertise [in acting] depends upon a short list of basic skills.  Those building blocks are concentration, imagination, access to emotions, listening, observation, and relaxation.

Concentration, imagination, access to emotions, listening, observation, and relaxation.  These are the qualities necessary to an actor’s powerful performances, and these are likewise qualities essential to the power presenter.

They are elements of Personal Presence, and they are essential to the delivery of an especially powerful presentation.

For more on learning what we do not know we do not know about especially powerful presenting, consult The Complete Guide to Business School Presenting.

Do you ooze into your Business Presentation Introduction?

Business presentation Introduction

Here are sage words on the business presentation introduction . . .

Words that are so sage, they hail from 1935.

The venerable Richard Borden cautions us not to “ooze” into our introduction, and his particular 1935 coinage struck me as, yes, sage.

It also strikes me as a mighty good description of what happens at the start of many business presentations.

Oozing instead of launching.

Borden offers us much more.

Business Presentation Introductions for Power and Impact

With a collection of rare books on public speaking consisting of more than 1000 volumes reaching back to 1727, its inevitable that I come across the occasional gem to share – this one on the business presentation introduction.

And so it is that I distill the wisdom of old-time writers into chunks of advice administered in my own classes and seminars.  But occasionally, the original is so darned quaint that it carries the charm of the decade in which it was crafted.

The original can be an especially powerful tool.

Let me share some of the pithier advice that begs our attention from more than half a century ago.

Bordens 1935 volume Public Speaking as Listeners Like it could replace any dozen modern “Business Communications” textbooks, and students would be the better for the exchange.  Enjoy . . .

Use your key-issue sentence as your opening sentence.

A good conference speaker opens his comment like a knife thrower throws his knife – point first!

Conference room listeners are not leisurely listeners.  They are executives who have business on hand that they are anxious to get done.

“What do you want us to do with the pending issue – and why?”

This is the question which your listeners ask the very second you rise to your feet.  “What?  Why?”

Don’t delay your answer.  If you delay it even a few sentences, you may get an unfavorable listener reaction.  “Will he ever come to the point” is an un-uttered question which forms quickly in impatient minds.

Owen D. Young was once asked how he made such swift decisions.

“A man will come to your desk, Mr. Young,” said the questioner, “and present a fairly elaborate proposal.  Instead of saying that you will take it under advisement for several weeks, you say Yes or No – and your swift decision is usually right.  How do you do it?”

“When I tell you how I make those swift decisions,” replied Mr. Young, “you may think that I am guided by an unreliable index – but I have found it’s an index that works.  I am guided very largely by the first sentence uttered by the man interviewing me.

“I have found from experience that if my interviewer doesn’t thoroughly understand the proposal he is presenting, his first sentence will be confused.

“If he secretly doesn’t believe in the proposal, his first sentence will be evasive.

“If the details of the proposal aren’t concrete in his own mind, his first sentence will be abstract.

“On the other hand, a proposal that is opened by a sentence which is clear, compact, and concrete – is usually worthwhile.”

If you would please not only the Owen D. Youngs in your audience, but all the other conference listeners who instinctively apply the same first-sentence test, start strongly.

Don’t ooze into your speech.  Begin point first – with your thumbtack key-issue sentence.

For more pithy commentary on the foibles of oozing into your business presentation introduction, consult The Complete Guide to Business School Presenting.

“You don’t catch hell because . . . ” CLASSIC!

Earlier, I related how Malcolm X did not do much throat-clearing at the beginning of his talks.

Instead, he thrust a metaphorical sword into his audience.

He drove deeply to the heart of the issue in just a few short sentences, tapping into listener sensitivities.

His initial “grabber” was not meant simply for shock or surprise like a cheap circus stunt.  It was shock and surprise linked to the needs of his audience, directly relevant and intertwined closely – even spiritually – with his listeners. Malcolm did not engage in academic circumlocutions, oblique arguments, or vague generalizations.  He spoke directly, with punch and verve, with color and power.

He shunned latinate words and phraseology and drove home his point with Anglo-Saxon directness – short, powerful, repetitive sentences, constructed of the sturdiest syllables.

And once he had audience attention, he kept it.

Holding the Audience in your Grasp

One technique he used to hold his audiences rapt was the offering a single point and then colorfully making that point by means of a repetitive technique called the anaphora.  It’s a technique that you can use as well.  Here’s how it works.

A powerful and carefully selected phrase is utilized at the beginning of a succession of sentences. With each repetition, the presentation builds to a climax to produce a powerful emotional effect.  In Malcolm’s example we’re about to see, he uses the anaphora skillfully to identify a point of commonality among those in his audience that he holds with them.

I previously offered an example of one of Malcolm’s speeches delivered in 1963.  Let’s revisit that talk, review the first couple of sentences, and then see how Malcolm uses the anaphora to powerful emotional effect.  The speech was called Message to the Grass Roots, and he delivered it in Detroit.  Note how Malcolm begins his talk by immediately establishing intimacy with the audience.

We want to have just an off-the-cuff chat between you and me . . . us. We want to talk right down to earth in a language that everybody here can easily understand.

We all agree tonight, all of the speakers have agreed, that America has a very serious problem. Not only does America have a very serious problem, but our people have a very serious problem.

America’s problem is us. We’re her problem.  The only reason she has a problem is she doesn’t want us here.  And every time you look at yourself, be you black, brown, red or yellow, a so-called Negro, you represent a person who poses such a serious problem for America because you’re not wanted.  Once you fact this as a fact, then you can start plotting a course that will make you appear intelligent, instead of unintelligent.

What comes next?

Now that Malcolm X has the full attention of his listeners, it’s time to make point # 1 – unity and commonality of purpose.  He chooses the anaphora as his technique, and he does so masterfully.  His phrase of choice is “You don’t catch hell because . . . ”

What you and I need to do is learn to forget our differences.  When we come together, we don’t come together as Baptists or Methodists.  You don’t catch hell because you’re a Baptist, and you don’t catch hell because you’re a Methodist.  You don’t catch hell because you’re a Methodist or Baptist, you don’t catch hell becasue you’re a Democrat or a Republican, you don’t catch hell because you’re a Mason or an Elk, and you sure don’t catch hell because you’re an American; because if you were an American, you wouldn’t catch hell.  You catch hell because you’re a black man.  You catch hell, all of us catch hell, for the same reason.

Malcolm has established beyond all doubt that he shares a commonality with his listeners that is directly tied to the central thesis of his talk. He drives his point home with the anaphora: “You don’t catch hell because . . . ”

He utilized the same theme, or trope, in the video below in this speech before another audience in 1964.  This time his anaphora was slightly different: “We’re not brutalized because–”  And it is just as powerful with its mesmerizing effect.  The entire video shows a master presenter in tune with his audience and in control of his message.

Malcolm’s delivery is masterful . . . his voice, his tone, his inflection, his humor, his posture, and his gestures combine with his rhetorical techniques to establish an incredible bond with his listeners.  You sense his control of the event.

So what does this have to do with you and with business presenting?

Just this.

A powerful and graceful speaker, Malcolm X utilized an entire battery of oratorical weapons.  He intuitively understood the oratorical methods developed over more than 2500 years, and he wielded them with grace and with power.  These techniques can be yours.  You need only understand them, their function, their effects, and practice them.

For instance, the anaphora of repetition.  You can use anaphora as a powerful technique to hammer home your most important points and to hold your audience in the midst of your presentation.

But you may Hesitate

You may protest that Malcolm X lived and struggled in a different place and time over issues far more important that you or I will ever face.  Yes, he did.  The stakes were incredibly high and, for him, became quite literally a matter of his death.  But regardless of the message, the techniques of powerful presenting remain the same.  They are verities handed to us over centuries.

And if you refuse to learn from our great legacy of master speakers, if you do not emulate them, who then will you learn from?  The CEO of Coca-Cola?  Hardly.

A cornucopia of especially powerful techniques is available to you.  You may not struggle for justice on an international platform, but this does not absolve you from crafting the most powerful presentation you possibly can using the techniques of the masters.  Surely while the emphasis and tone of your message changes with circumstance, but not the methods themselves.  The anaphora is one such technique you should incorporate into your repertoire.

Malcolm X used a multiplicity of techniques to engage his friends and to disarm his enemies.  We’ll look at them in future posts.

Occupy This!

When you deliver a presentation, one of the most important factors that figures into the success of your talk is . . . where you stand.

Don’t take the example of most afterdinner speakers or professors, who hide behind the lectern, shuffling notes, looking down, gripping the edges of the podium with white-knuckled fervor.

This is grotesque.

It induces your audience to doze, to drift, to check out.

The Abominable Lectern!

The lectern is an abomination.  If you happen to be a liberal arts student who drifted here by mistake, think of the lectern as The Oppressor or The Other.  It puts a barrier between you and those whom you address.  For many students, it is a place to hide from the audience.

I recommend using the lectern only once, as a tool . . . and this is the occasion to walk from behind it to approach your audience at the very beginning of your talk.  This is an action of communication, a reaching out, a gesture of intimacy.

Do not lean upon the lectern in nonchalant fashion, particularly leaning upon your elbow and with one leg crossed in front of the other.

Fix this now.

Move from behind the lectern and into the Command Position.  In today’s fleeting vernacular, occupy the command position.

The Command Position is the position directly in front of a lectern and 4-8 feet from your audience.  It extends approximately 4 feet to either side of you.  You are not a visitor in this space.

As a presenter or speaker, this is your home.  You own this space, so make it yours.  You must always perform as if you belong there, never there as a visitor.

Occupy it!

Occupy it now for democracy, social justice, and an especially powerful presentation.

For more sloganeering and outright good presentation advice, consult The Complete Guide to Business School Presenting.

Your Presentation Audience . . . Who? Your AUDIENCE

Your presentation audience
Present what’s important to your audience

As much as some of us might seek the adulation of the crowd, it’s wise to remember that your presentation isn’t about you, although our self-indulgence can sometimes make it seem so.  It’s all about your presentation audience.

Your presentation is for your audience and you must address what it wants.  Get them to do what you want them to by demonstrating to them that it’s what they want.

Address their needs and fulfill their expectations in language they understand, with metaphors and examples that resonate with them.

Your objective must be expressed in terms of how it best connects with your audience.  Speak to their needs and fulfill them.

Dazzle ’em with their own Dreams

The good news is that your audience’s generally low expectations mean that you can likely dazzle it with a merely above-average presentation.  This is because the level of business presenting is so dismally low that audiences dread listening to them as much as you hate giving them.

No one seems happy at the prospect of this afternoon’s weekly “finance update.”

But remember this regardless of the topic of your talk, every presentation audience wants the same basic thing.  Deep down, all of us wants a chance.  Everyone wants to have a chance to be a hero.

No one wants to hear from Indiana Jones . . . everyone wants to be Indiana Jones.

Or at least we like to believe that we could do great things.

Touch Your Presentation Audience

This is a touchstone principle long known to professional speakers.  Kenneth Goode and Zenn Kaufman authored a book in 1939 called Profitable Showmanship, and their words resonate with stone-cold veracity over the subsequent 72 years, right up to today and the next quarter earnings briefing:

The audience is always on the screen, at the microphone, in the prize-fight, or in the pitcher’s box.  You, the individual member of the audience, are the hero of the day.  No selling can ever be completely successful that forgets this principle: that the prospect is the Hero of the Show. And, in fact, the only hero! . . .  The minute you slide the spotlight off him, off his crazy ideas, off his pet peeves, particularly off his whims, your show is over.  You may as well go home, for your audience is gone.  . . . The hero of the [presenting] drama is the customer – or prospect.  His vanities, his hopes, his fears, his ambitions – these are the stuff from which your plot is spun and on him – and him alone – must the spotlight shine.

If this message is difficult to digest, a mnemonic aid can help you stay focused on your presentation audience.  Dr. John Kline developed this mnemonic aid, and he calls it TOOTSIFELT.  This is a contrived acronym, which stands for:  “The object of this talk is for each listener to . . .”

This captures the spirit of your presentation.  It embodies the audience-centered approach.  If you state this question repeatedly throughout the development of your show, you will always produce a tightly scripted and targeted message.

You can learn a great deal more about focusing on your presentation audience in The Complete Guide to Business School Presenting.

How to Craft Your Presentation Conclusion

Your Presentation Conclusion can wrap up your presentation with power

Do you ever think of how you’ll end your presentation . . . with a carefully prepared presentation conclusion?

Do you carefully craft your conclusion so that your audience is left with the most powerful points you were trying to make?   Do you practice that presentation conclusion?

Do you ensure that your ending is concise, pithy, and especially powerful?  And if it’s not, have you ever wondered how the audience views you when you continue talking with nothing more to say?   A friendly audience quickly becomes a hostile army.

Don’t Forget to Prepare Your Presentation Conclusion

This phenomenon has lurked with us for hundreds of years, since the first school of public speaking was founded in the 5th Century B.C. by Corax.  J. Berg Esenwein sagely observed more than a century ago that:

“Few speakers discern that length does not indicate depth.  Better stop before you are done than to go on after you have finished.  Only makers of short speeches are invited to speak again.”

Grenville Kleiser, another presentation master notes the disparity between how we give the presentation conclusion only a nod when we should be lavishing on it a manic focus guaranteed to drive our main point to the hearts of our listeners . . .

It is the most vital part of a speech, the supreme moment when the speaker is to drive his message home and make his most lasting impression.  This calls for the very best that is in a man.  . . . it should be short, simple, and earnest.  [T]he temptation to make the closing appeal too long should be carefully avoided.  Whether the speech be memorized throughout or not, the speaker should know specifically the thought, if not the phraseology, with which he intends to end his address.”

I criticize public speaking adages as shortcut substitutes for learning how to be an exceptional presenter, but one pithy public speaking saying goes like this:  “Check your tie, check your fly, say your piece and say goodbye.”  Strangely enough, it’s the “goodbye” part that can be difficult for some people, young and old, male and female.

In fact, it’s common to see young speakers spiral out of control on the downside of a fine presentation.

The presentation conclusion trips them up.

Presentation Conclusions That Spiral Down

I have seen great student presentations founder at the last minute, because no one had thought it through all the way to the end.  No one had thought to prepare or to practice how they would end the presentation.  So it ended with a whimper instead of a powerful recapitulation of the main point.

Your Powerful Presentation ConclusionSo it remains as one of the most difficult tasks to convey to a young speaker – the importance of knowing when and how to stop.

Why is this important?

Because:

1) The conclusion is the last impression you leave your audience as you call them to action.

2) If not planned, your conclusion can and most likely will expand into another speech, and few things turn off an audience more.

3) This potentially powerful part of your show becomes, instead, a debilitating albatross that subtracts value.

Despite all of this, the ending remains a neglected aspect of the presentation.  Its chief pathology is the speaker’s inability to stop.  Here, I l let several of the great presentation masters speak to an issue that has plagued speakers for centuries.  William Hoffman said in 1935 that:

“It is well to have an ending in mind.  What the speaker says last is remembered first by the audience.  When he has hinted that he is about to conclude, he will spoil everything if he continues to plod along looking for a place to stop.  The audience is already in the mood to leave and is impatient with this failure to wind up the business promptly.  Annoyance is the only response to ‘one more thing,’ ‘as I said before,’ ‘I urge you once again,’ ‘I forgot to say,’ and the other pathetic delays of the speaker who is through but does not know it.”

From 2100 years ago, Quintilian tells us this about the conclusion:

“The repetition and summing up is intended both to refresh the memory of the judge, to set the whole cause at once before his view, and to enforce such arguments anybody as had produced an insufficient effect in detail.  In this part of our speech, what we repeat ought to be repeated as briefly as possible, and we must, as is intimated by the Greek term, run over only the principal heads; for, if we dwell upon them, the result will be, not a recapitulation, but a sort of second speech.”

Just as important, do not flee the stage prematurely.  Do not run off-stage as you deliver your last lines.

Do not destroy your conclusion in a flurry of movement, losing the last sentence in a turn of the head and a rush to leave the stage.  Make your Most Important Point . . . and let your conclusion sink in.

For more on delivering a powerful presentation conclusion, consult The Complete Guide to Business School Presenting.

The Rule of Three in Presentations

Rule of Three in Presentations
Your Business Presentation structure can rarely do better than this powerful Rule of Three in Presentations

Apply the Rule of Three to the middle section of your presentation.

You build your talk in stages, and you make the case for your recommendation.  Through all of this, the Rule of Three is the best method you can use.

Yes, apply the Rule of Three . . . and apply it ruthlessly.

Here I offer controversial advice, and not every presentation guru will agree with it.  But it forms the basis for an especially powerful presentation.

With it, you never go wrong.

What is this Rule of Three?

For a moment, let’s consider this “Rule of Three.”  This is always a successful method in structuring the staging portion of your presentation.

The Rule of Three in presentations means selecting the three main points from your material and making that the structure for your show.  Despite the fact that you may never have heard of the “rule of three,” it’s one of the most basic frameworks for public speaking, and it derives from something almost existential in the human psyche.

Think about this for a moment.  There is something magical about the number three.  We tend to grasp information most easily in threes.  Consider these examples:

Stop, look and listen – A wellknown public safety announcement

“Friends, Romans, Countrymen lend me your ears” – William Shakespeare

Veni, Vidi, Vici (I came, I saw, I conquered) – Julius Caesar

“Blood, sweat and tears” – Winston Churchill

“Faith, Hope and Charity” – The Bible

“Life, liberty, and the pursuit of happiness” – the Declaration of Independence

“The good, the bad and the ugly” – Clint Eastwood Western

“Duty – Honor – Country.  Those three hallowed words reverently dictate what you ought to be, what you can be, and what you will be” – Gen. Douglas MacArthur

The Rule of Three in presentations is a standard structural model advocated  by many presentation coaches.  And with good reason.  It’s a powerful framework, incredibly sturdy.  Think of it as a reliable vessel into which to pour your superb beverage.

With the rule of three, you can – literally – never err with regard to your presentation structure.

Here’s an Example . . .

Offer substantiation for your thesis and ultimate recommendation in three main points.

Strip down all of your convoluted arguments, all of your evidence, all of your keen analysis to the three major points that you believe make your case.

In the Toughbolt Corporation example above, note that in our thesis statement and ultimate recommendation, we mentioned three positive reasons for our chosen course of action:  “ . . . this presentation demonstrates that this course of action is fiscally sound, the best use of scarce resources among the alternatives, and a basis for rapid growth.”  These three factors serve as your basic Rule of Three structure for the middle of your presentation.

  1. Most efficient use of resources over other expansion alternatives
  2. Financial Analysis of the projected acquisition
  3. Projected returns and growth rate

Does this mean that other information is not important?  Of course not.

It means that you have selected the most important points that make your case and that you want to rivet in the minds of the audience.  The Rule of Three in presentations means that you select the major facts not to be “comprehensive” in your presentation, but to be persuasive in your presentation.

With respect to subsidiary points that appear in your written analysis, you have the opportunity to address those issues in a question and answer session to follow your show.

Follow the Rule of Three.

For more proven techniques like the Rule of Three in presentations, consult The Complete Guide to Business School Presenting.

From Stick-Puppet Presenting . . . to 3D Presenting

Stick Puppet presenting
Eliminate Stick Puppet Presenting and you’re on your way to achieving personal competitive advantage

If experience is any guide for us, we can say that approximately 90 percent of our business presentations are delivered in 2-D fashion . . . stick-puppet presenting.

No, I don’t mean this literally in the sense that people become stick figures.

I mean that the typical business presentation is stripped of depth and breadth.

Stripped of humanity, stripped of the qualities that make it interesting, stimulating, and persuasive.  Stripped of anything that might suggest personal competitive advantage.

The potential richness, energy, vigor, and power that is provided by purposive movement is absent.

Crude Stick-Puppet Presenting

We are left with cutout figures, like stick puppets.  You’ve seen stick puppets – crude, flat little figures pasted onto sticks and then used in a child’s display to convey a story.

This is truly an ineffective form of entertainment.  This is as rudimentary as it gets.  The puppets shake and move up and down as someone voices dialogue from somewhere offstage.

Today’s business presentations are sometimes no better than stick-puppet presenting delivered in 2-D fashion.

Think of this, quite obviously, as “Stick-Puppet Presenting.”

Stick-Puppet Presenting is characterized by a zombie-like figure who is crouched behind a lectern, gripping its sides.

Or a speaker who reads from a laptop computer and alternately looks at a projection screen behind him, reading it verbatim.  If any movement occurs, it is unconscious swaying, rocking, or nervous happy-feet dancing.

Perhaps there is a bit of paStop stick puppet presenting for power and impactcing back-and-forth to fulfill some ancient advice mumbled to the speaker years earlier:  “Move around when you talk!”  And so the stick-puppet presenter aimlessly wanders about the stage.

This is worse than no movement at all as it adds one more irrelevant distractor to an already deteriorating situation.

But we want movement . . . the right kind of movement.  We want to accelerate from 2-D to 3-D presenting, and one powerful step in that direction is the addition of proper movement.

The addition of proper movement to your presentation can imbue it with energy, depth, richness, and enhanced meaning.

So in the next series of posts, we’ll analyze this component – “movement” on the stage in support of your presentation.

If you want to eliminate stick-puppet presenting and receive a full-bodied explication of the transition from 2D to 3D presenting, consult The Complete Guide to Business School Presenting.

Who is “The Business Presenter?”

Cicero was doubtless as good at business presentations as he was at arguing before the Roman Senate

Before computers.  Before television and radio.

Before loudspeakers . . .

Before all of our artificial means of expanding the reach of our unaided voices, there was the public speaker.

The “business presenter.”

From the time of Corax in the 5th century B.C., public speaking soon developed into what was considered close to an art form.  Some did consider it art.

Public speaking – or the “presentation” – was the province of four groups of people:  Preachers, Politicians, Lawyers, and Actors.  The first to save your soul, the second to take your money, the third to save your life, the fourth to transport you to another time and place, if only for a short spell.

Other professions utilized the proven communication skills of presenting – carnival barker, vaudevillian, traveling snake oil salesmen.

These were not the earliest examples of America’s business presenter, but they surely were the last generation before modernity began to leech the vitality from public speaking.  To suck the life from “presenting.”

Skills of the Masters

The skills necessary to these four professions were developed over centuries.  The ancient Greeks knew well the power of oratory and argument, the persuasive powers of words.

Socrates, one of the great orators of the 5th Century B.C. , was tried and sentenced to death for the power of his oratory, coupled with his unpopular ideas.

In our modern 21st century smugness, we likely think that long-dead practitioners of public speaking and of quaint “elocution” have nothing to teach us.

We have adopted a wealth of technological firepower that purports to improve, embellish, amplify, exalt our presentation message.

Yet the result has been something quite different.

Instead of sharpening our communication skills, multimedia packages have served to supplant them, providing barriers between speaker and audience.  Each new advancement in technology creates another layer of insulation.

Personal Competitive Advantage
Especially Powerful Personal Competitive Advantage is Yours for the Taking

Seize every opportunity to deliver a powerful and persuasive business presentation, and you’ll find your personal competitive advantage increasing.

Today’s business presenter has grasped feverishly at the notion that PowerPoint is the presentation.

The idea is that PowerPoint has removed responsibility from you to be knowledgeable, interesting, concise, and clear.

The focus has shifted from the speaker to limp fireworks, and this has led to such a decline to the point where in extreme cases the attitude of the presenter is: “The presentation is up there on the slides . . . let’s all read them together.”

In many cases, this is exactly what happens.

The business presenter pivots, shows us his back, and edges away from the stage to become a quasi-member of the audience.

PowerPoint and props are just tools.  That’s all.  You should be able to present without them.

When you can, finally, present without them, you can then use them to maximum advantage to amplify the superior communication skills you’ve developed.

In fact, many college students do present without PowerPoint every day outside of the university.

Some of them give fabulous presentations.

Most give adequate presentations.

They deliver these presentations in the context of one of the most ubiquitous part-time jobs college students perform – waiter or waitress.

On the Job Business Presenter

For a waiter, every customer is an audience, every welcoming a show.

The smartest students recognize this as the opportunity to sharpen presentation skills useful in multiple venues, to differentiate and hone a personal persona, and to earn substantially more tips at the end of each presentation.

Most students in my classes do not recognize the fabulous opportunity they have as a waiter or waitress – they view it simply as a job, performed to a minimum standard.

The student does not understand or accept the concept of the “business presenter.”  The notion of being on-stage.

Without even realizing it, they compete with a low-cost strategy rather than a differentiation strategy, and their tips show it.

Instead of offering premium service and an experience that no other waiter or waitress offers, they give the standard functional service like everyone else.

especially powerful
Especially Powerful Practice . . . turn your part-time job into rehearsal for personal competitive advantage

As a waiter, ask yourself: “What special thing can I offer that my customers might be willing to pay more for?”

Your answer should be obvious . . . you can offer a special and enjoyable experience for your customers.

In fact, you can make each visit to your restaurant memorable for your customers by delivering a show that sets you apart from others, that puts you in-demand.

I do not mean putting on a juggling act, or becoming a comedian, or intruding on your guests’ evening.

I do mean take your job seriously, learning your temporary profession’s rules, crafting a presentation of your material that resonates with confidence, authenticity and sincerity, and then displaying enthusiasm for your material and an earnestness to communicate it in words and actions designed to make your audience feel comfortable and . . . heroic.

The Hero Had Best be in Your Audience

Yes, heroic.

Every presentation – every story – has a hero and that hero is your audience.  Evoke a sense of heroism in your customer, and you will win every time.

I have just described a quite specific workplace scenario where effective presenting can have an immediate reward. Every element necessary to successful presenting is present in a wait-staff restaurant situation.  The reverse is likewise true.

The principles and techniques of delivering a powerful presentation in a restaurant and in a boardroom are not just similar – they are identical.

Especially Powerful Hero for personal competitive advantage
Presentation Hero? The Audience

The venue is different, the audience is different, the relationships of those in the room might be different.

But the principles are the same.

So, back to the early practitioners of oratory and public speaking.  Here is the paradox: a fabulous treasure can be had for anyone with the motivation to pluck these barely concealed gems from the ground, to sift the sediment of computerized gunk to find the gold . . . but few bend to pick them up.

Adopt the habits of the business presenter masters.  Acquire the mannerisms and the power and versatility of the maestros who strode the stages, who argued in courtrooms, who declaimed in congress, and who bellowed from pulpits.

They and their secrets offer us the key to delivering especially powerful presentations and gaining personal competitive advantage.

For more on powerful presentations, have a look at The Complete Guide to Business School Presenting.

Zombies Ahead . . . Classic!

Bad Advice Zombies never die . . . they keep leading presentations astray

The zombies of bad advice never die.We can’t eradicate bad presentation advice completely, because these zombies are impervious to every remedy known to 21st century civilization.

When Armageddon finally comes, cockroaches and bad advice zombies will be the only survivors.

But let’s give it a shot anyway.

Bad Advice

The process of becoming a great presenter is not so much prompting students to do something the right way.  It’s getting you – yes, you – to stop doing things the wrong way.

Accordingly, I instruct students to stop what they’re doing now as a result of bad habits and bad advice.  Once they stop engaging in bad habits and misconceptions about presenting, they become de facto reasonably competent presenters.

That’s right.

Just stop the bad habits, and what remains can be downright decent.  But bad habits can be perpetuated by exuberantly following bad advice.  The problem is recognizing what constitutes bad advice.

This isn’t easy, because much bad advice paradoxically masquerades as good advice, and lots of these bad advice zombies stalk the land.

Let’s Have a Look

Here are some of the most common examples of awful, vague, or incomplete presentation advice you invariably hear during your business school career from the most well-meaning of folks.

ZOMBIE #1 “Don’t Put your hand in your pocket . . . it looks ‘unprofessional.’”

This is absurd and carries the stink of oral tradition about it.  From presidents to preachers, the hand in the pocket – if done properly – conveys assurance and confidence.  For many speakers, it also removes one hand from the equation as an unnecessary distractor.\

Put that left hand in the pocket and you keep it out of trouble.  No more strange finger-play.  No more tugging at your fingers.  No more twisting and handwringing.  It leaves your right hand free to gesture, and those gestures themselves appear more decisive.

ZOMBIE #2 “Make eye contact.”

This advice is insidious in that it actually carries a large kernel of truth.  It sounds reasonable. But it doesn’t tell you how to do it.  And, yes, there is such a thing as bad eye contact.  Too long, and you come across as creepy.  Too short, and you come across as untrustworthy.  Make eye contact with people in your audience long enough to ascertain eye color, then move on.

ZOMBIE #3 “Move around when you talk”

This gem was given to me by a student, passed on from one of his other professors.  This advice suggests that you wander aimlessly about the stage in hopes that it will improve your presentation in some unspecified way.  In this case the bad advice is worse than no advice at all.  See my previous posts on movement for ideas on how to incorporate movement into your talk . . . and how to incorporate pauses for effect.

ZOMBIE #4 “Just the facts.”

Really?  Which facts are those?

What does it mean, “Just the facts?”

Folks believe that this phrase makes them appear no-nonsense and hard-core.  But a more pompous and simultaneously meaningless phrase has yet to be devised.  Again, it means nothing and is arrogance masquerading as directness.  “Facts” must be selected in some way, and context must be provided to give them meaning.  “Facts” must be analyzed to produce alternatives and to render a conclusion.  This is a euphemism for “I don’t like what you’re saying . . . tell me what I want to hear.”

ZOMBIE #5 “The numbers tell the story.”

This is a favorite of finance folks, who seem to believe that the ironclad rules of presentations do not apply to them.  “We’re special,” finance majors like to say.  “We don’t deal with all of that soft storytelling; we deal in hard numbers.”

There is so much wrong with this, it is difficult to locate a reasonable starting-point.

Not only do numbers, alone, tell no story at all . . . if the numbers were conceivably capable of telling a story, it would be a woefully incomplete story, providing a distorted picture of reality.  Numbers provide just one piece of the analytical puzzle, important to be sure, but not sufficient by themselves.

Moreover, the business presenter who elects to serve the god of numbers sacrifices the power and persuasiveness that go with a host of other presenting techniques.  Underlying this myth is the notion that you “can’t argue with numbers.”  You certainly can argue with numbers, and you can bring in a host of analysis that changes completely what those numbers actually mean.

ZOMBIE #6 “You have too many slides.”

How do you know I have “too many” slides?

Say what? You counted them?

I assure you that you don’t know.  You can conclude nothing about my presentation by looking only at the number of slides in it.

You will hear this from folks who believe that the length of a presentation dictates the number of slides you use.  Absurd on its face, people who use this believe that every slide will be shown a fixed amount of time.  They likely do some sort of calculation in their heads, dividing the time available by the number of slides to yield a number they believe indicates there are “too many” slides.  This is because they usually deal with folks unschooled in Business School Presentations methods.

If you follow the presentation principles laid down here in Business School Presentations, you will learn the glorious method of crafting frugal slides that pulse with power, surge with energy . . . slides that people remember, because they are smartly crafted and snap crisply, and they carry your audience along for an exciting and joyous ride.

No one can tell anything about this by the number of slides in your presentation.

Bad Advice Zombies – these are just some that will come after you.  It’s probably not a good idea to argue with folks who give this sort of advice.  What’s the use? Just ignore it and replace it in you own work with sound power presenting principles. You can’t eliminate the zombies, but you can outrun them and outfox them.

And continue your upward trajectory toward becoming a superior business presenter.

For more on building especially powerful presentations, consult The Complete Guide to Business School Presenting.

The Most Important Point – Your MIP

Especially Powerful personal competitive advantage
Don’t ever forget your Most Important Point . . . not even for a second

I advocate storytelling in your business presentations to convey your Most Important Point.

Stories can capture powerful ideas in a few telling strokes.

Stories involve your listeners better than any other competing technique.  Remember to tell a story, however, that relates to your subject.  A story that contributes to your Most Important Point.

Don’t get down into the weeds, and . . .

Don’t Veer Off-Course!

But in telling a story, we sometimes do veer off-course.

We get so enamored with our own words that they build a momentum of their own, and they draw us along with their own impetus.  That’s why it’s imperative that we stay tethered to our main point.

Professional storyteller Doug Lippman calls this the MIP – the Most Important Point.

Christopher Witt is a competent coach for today’s executives, and he makes a powerful point about a story’s MIP.

He calls it the Big Idea:

 A good movie tells one simple, powerful story.  If you can’t sum it up in a sentence or two, it’s not a good story – and it won’t make a good movie. The same is true for a speech.  A movie tells one story.  A speech develops one idea.  But it’s got to be a good idea – a policy, a direction, an insight, a prescription.  Something that provides clarity and meaning, something that’s both intellectually and emotionally engaging. It’s got to be what I call a Big Idea.

What is your Most Important Point?  Your MIP?

Especially Powerful
Stay Focused and Don’t Digress . . . Stay out of the weeds!

Decide!

Decide and make that point the focus of your story.

Rivet your attention on that salient feature!

Let this be core of your story and build around it.

I urge you to focus on one point, because our tendency as business people is to include everything initially, or to add-on infinitum until the story collapses under its own weight.  The military calls this “mission creep,” and we can call it “story creep.”

Simple awareness of story creep is usually sufficient guard against it.

Your MIP Permeates Your Story

Your MIP should run through your story, both directly and indirectly.

Your Most Important Point informs your story and keeps you on-track as you prepare your presentation.  At each stage of your presentation preparation, ask yourself and members of your group if the material at hand supports your MIP.  If it does not, then it does not belong in your story.

Telling a story does not mean reliance upon emotion only.  You must have substance.

There must be a significant conclusion with each supporting point substantiated by research and fact and analytical rigor.  This should go without saying, but I’ll say it anyway.

Actually, Ralph Waldo Emerson said it much better than I can:

Eloquence must be grounded on the plainest narrative.  Afterward it may warm itself until it exhales symbols of every kind and color, and speaks only through the most poetic forms; but, first and last, it must still be at bottom a statement of fact.  The orator is thereby an orator, that he keeps his feet ever on a fact. Thus only is he invincible.  No gifts, no graces, no power of wit or learning or illustration will make any amends for want of this.

So stay on course with your Most Important Point to add to your personal competitive advantage.

You’ll be glad you did.

Pow! . . . Grab ’em at the Intro!

Especially Powerful
“Don’t forfeit personal competitive advantage in your intro!”

Do you know how to begin a presentation with a compelling intro?

Does your introduction have Pow?

Or do your forfeit personal competitive advantage right from the get-go?

Consider for a moment . . .

Do you begin confidently and strongly?  Or do you tiptoe into your presentation, as do so many people in school and in the corporate world?

Do you sidle into it?

Do you edge sideways into your show with lots of metaphorical throat-clearing.

Do you back into your Intro?

Do you start strong with a story, but let the story spiral out of control until it overshadows your main points?

Is your story even relevant?

Do your tone and body language and halting manner shout “apology” to the audience?

Do you shift and dance?

Are you like a turtle poking his head out of his shell, eyeing the audience, ready to dart back to safety if you catch even a single frown?  Do you crouch behind the podium like a soldier in his bunker?

Do you drone through the presentation, your voice monotone, your eyes glazed, fingers crossed, actually hoping that no one notices you?

Here’s an example

I viewed a practice presentation that purported to analyze a Wal-Mart case.  The lead presenter was Janie.

She began speaking, and she related facts about the history of the company and its accomplishments over the past 40 years.  She spoke in monotone.  She flashed a timeline on the screen.  Little pictures and graphics highlighted her points.

I wondered at what all of this might mean.

I waited for a linking thread.  I waited for her main point.  As the four-minute mark approached, my brow furrowed.  The linking thread had not come.

The linking thread would never come . . . it dawned on me that she had no point.  At the end of her segment, I asked her . . .

“Janie, what was that beginning about?  How did your segment relate to Wal-Mart’s strategic challenges in the case at hand?”

especially powerful
“Those were just random facts!”

“Those were just random facts,” she said.

“Random facts?”

“Yes!” she said brightly.

She was quite ingenuous about it.

Random facts.

She was giving “random facts,” and she thought that it was acceptable to begin a business case presentation this way.  I don’t say this to disparage her.  In fact, she later became one of my most coachable students, improving her presentation skills tremendously, and has since progressed to graduate school.

But what could convince a student that an assembly of “random facts” is acceptable in a too-long intro of a presentation?

Is it the notion that anything you say at the beginning is okay?

Let’s go over the beginning.  Together, let’s craft a template beginning that you can always use, no matter what your show is about.  When you become comfortable with it, you can then modify it to suit the occasion.

Set the Stage with Your Situation Statement

Your intro needs POW!
“Pow!”

You begin with your introduction.  Here, you present the Situation Statement.

The Situation Statement tells your audience what they will hear.  It’s the reason you and your audience have gathered together.  What will you tell them?

The audience is assembled to hear about a problem and its proposed solution . . . or to hear of success and how it will continue . . . or to hear of failure and how it will be overcome . . . or to hear of a proposed change in strategic direction.

Don’t assume that everyone knows why you are here.  Don’t assume that they know the topic of your talk.  Ensure that they know with a powerful Situation Statement.

A powerful situation statement centers the audience – Pow!  It focuses everyone on the topic.  Don’t meander into your show with chummy talk.  Don’t tip-toe into it.  Don’t be vague.  Don’t clear your throat with endless apologetics or thank yous.

Let’s say your topic is the ToughBolt Corporation’s new marketing campaign.  Do not start this way:

“Good morning, how is everyone doing? Good. Good! It’s a pleasure to be here, and I’d like to thank our great board of directors for the opportunity.  I’m Dana Smith and this is my team, Bill, Joe, Mary, and Sophia.  Today, we’re planning on giving you a marketing presentation on ToughBolt Corporation’s situation.  We’re hoping that—”

No . . . no . . . and no.

Direct and to-the-point is best. Pow!

Try starting this way:

“Today we present ToughBolt’s new marketing campaign — a campaign to regain the 6 percent market share lost in 2009 and increase our market share . . . by another 10 percent.  A campaign to lead us into the next four quarters to result in a much stronger and competitive market position a year from now.”

You see?  This is not the best intro, but it’s solid.  No “random facts.”

No wasted words.

No metaphorical throat-clearing.  No backing into the presentation, and no tiptoeing.

State clearly the reason you are there.

Put the Pow in Power!

Now, let’s add some Pow to it.

A more colorful and arresting introductory Situation Statement might be:

“Even as we sit here today, changes in the business environment attack our firm’s competitive position three ways.  How we respond to these challenges now will determine Toughbolt’s future for good or ill . . . for survival or collapse.  Our recommended response?  Aggressive growth.

We now present the source of those challenges, how they threaten us, and what our marketing team will do about it to retain Toughbolt’s position in the industry and to continue robust growth in market share and profitability.”

especially powerful intro
Put POW into your intro for personal competitive advantage!

Remember in any story, we must see change.

The very reason we give a case presentation is that something has changed in the company’s fortunes.

We must explain this change.

We must craft a response to this change.

And we must front-load our intro to include our recommendation.

That is why you have assembled your team.  To explain the threat or the opportunity.  To provide your analysis.

To provide your recommendations.

Remember, put Pow into your intro to leverage the opportunity when the audience is most alert and attentive.

Craft an intro that grabs them and doesn’t let go for an incredible source for your personal competitive advantage.

Perfect Presentation Practice . . .

Presentation Practice

You already know that the key to successful and confident performance is presentation practice.

But what you think you know about practice may not be quite right.

The effect of the right kind of diligent rehearsal is twofold: 1) your material is delivered in a logical, cogent fashion without stumble, and 2) the practice imbues you and your team with confidence so that stage fright is reduced to a minimum and your team’s credibility is enhanced.

The Right Presentation Practice

Practice strips away the symptoms of stage fright as you concentrate on your message and its delivery rather than extraneous audience reaction to your appearance.

But it’s absolutely essential that you practice the correct way.

This means that you practice the way you perform.  This means you do not start your presentation repeatedly, as almost all of us have done at points in our presentation careers.

There is something in our psyche that seems to urge us to “start over” when we make a mistake.  When we stumble, we want a “do-over” so that we can put together a perfect rehearsal from start to finish.  But when we do this, what we are actually practicing is the “starting over.”

We become very good at “starting over” when we make a mistake.

Start Over?  Bad Mistake!

But is that what we plan to do when we err in our actual presentation?  Start over?

No, of course not.  But if we have practiced that way, what will we do when we stumble?  We won’t know what to do or how to handle the situation, since we have never practiced fighting through an error and continuing on.

We have practiced only one thing – starting over.

Instead of starting over when you err, practice the gliding over of “errors,” never calling attention to them.  Practice recovering from your error and minimizing it.  Perform according to the principle that regardless of what happens, you planned it.

Practice according to the principles enunciated here at Business School Presenting and according to the hard preparation you have conducted leading up to your presentation.

Practice it all for an especially powerful presentation.

For more on perfect presentation practice, consult The Complete Guide to Business School Presenting.

Don’t Scapegoat Powerpoint! CLASSIC!

Microsoft’s PowerPoint multimedia software has gotten a bum rap, and this unfair reputation springs from the thousands of ugly presentations given every day from folks who don’t know how to use it.

Yet, PowerPoint is a brilliant tool.

But just as any tool – say, a hammer or saw – can contribute to the construction of a masterpiece . . . or a monstrosity, PowerPoint either contributes to the creation of an especially powerful presentation, or it becomes the weapon of choice to inflict yet another heinous public-speaking crime on a numbed audience.

PowerPoint isn’t the problem.  Clueless presenters are the problem.

So just how do you use PowerPoint?

This short video reviews several of my own techniques that provide basic guidance on sound PowerPoint use.  Have a look-see . . .

For Especially Powerful Business Presentations

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