!

"# %#&'#()
*+ ,*-.#//012
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sllderockeL.com
A coIIection of guides for designing
stunning presentations.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn .
,*1(#1()
lnLroducuon /
ChapLer 1: SLrucLurlng ?our Slldes for Maxlmum vlsual lmpacL 0
ChapLer 2: ueveloplng a SLrong Cpenlng 1
ChapLer 3: uslng Color Lo Lvoke Lmouon 2
ChapLer 4: Lecuve use of Anlmauon 3
ChapLer 3: 1he 8esL Ways Lo lncorporaLe Mulumedla 45
ChapLer 7: Pandllng numbers and CLher Complex ConcepLs 4/
ChapLer 8: Closlng wlLh a 8ang 46
ChapLer 9: Pow Mlnd Mapplng Can lmprove ?our resenLauon 42
ChapLer 10: 1he 8lghL Way Lo use PandouLs 43
ChapLer 11: Were ?ou Successful? .5
Concluslon .4
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn /
61('*78&(0*1
Cver Lhe years, vlsual alds have begun Lo play a more and more
promlnenL role ln Lhe dellvery of all Lypes of presenLauons. llrsL, Lhere
were easels and lp charLs. nexL, came handouLs and whlLe boards.
1hen, Lhere were Lransparencles and overhead pro[ecLors.
1oday, we have Lhe sllde deck.
8ecause of Lhelr ablllLy Lo command auenuon and sumulaLe lnLeresL,
few speakers Loday wlll geL ln fronL of an audlence wlLhouL some klnd of
sllde seL aL hand. ln facL, Lhere are sLudles LhaL show LhaL Lhere are as
many as 130 mllllon owerolnL users worldwlde.
When sLrucLured properly, a sllde deck can slgnlcanLly enhance Lhe
oral poruon of your presenLauon, enabllng you Lo make whaL you are
saylng more lmpacuul, more undersLandable, and more memorable.
8uL, lf your slldes are deslgned poorly, Lhey are llkely Lo hurL - noL help -
your presenLauon.
?eL, even many of Lhe mosL seasoned presenLers sLruggle when lL
comes Lo pumng Lhelr slldes LogeLher. 1he Lyplcal" presenLer ls a sales
represenLauve, a Lralner, an educaLor, a researcher, or a mouvauonal
speaker - noL an arusL or a graphlc deslgner. So, whlle Lhey may know
how Lo use Lhe Lools Lo creaLe vlsual alds, Lhey oen lack Lhe baslc
know-how needed Lo sLrucLure Lhem ln Lhe mosL eecuve way posslble,
such as how Lo properly apply color, or how Lo lncorporaLe phoLos and
lmages for maxlmum vlsual punch.
1hls e8ook ls a compllauon of proven ups, Lechnlques, and besL
pracuces LhaL can help you creaLe wlnnlng sllde seLs. We'll dlscuss
everyLhlng from fonLs and backgrounds, Lo charLs, dlagrams, and
mulumedla. ?ou'll galn greaLer lnslghL lnLo Lhe varlous graphlcal
elemenLs LhaL are avallable, how Lhey work, and how Lo besL leverage
Lhem ln your presenLauon Lo enhance your conLenL.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 0
,"4.(#' 9: %('8&(8'012 ;*8' %/07#)
+*' <4=0-8- >0)84/ 6-.4&(
1he way you dlsplay lnformauon on your slldes can make or break your
presenLauon, yeL many presenLers sLruggle Lo sLrucLure Lhelr slldes ln
Lhe mosL compelllng manner posslble. lL's a dellcaLe balance - lf your
slldes are dull and borlng, you may lose your audlence along Lhe way.
Cn Lhe oLher hand, lf Lhey're Loo busy - crammed wlLh lmages or Loo
much LexL - auendees may be Loo dlsLracLed Lo absorb whaL you're
saylng. 1he key Lo success lles somewhere ln beLween.
?)# 4 %0-./# @4&A2'*817
?ou wanL your LexL, dlagrams, and lmages Lo pop" o Lhe screen. 8uL,
Lhey wlll dlsappear when placed up agalnsL an elaboraLe background,
mlnlmlzlng Lhelr ablllLy Lo convey key concepLs. A clean, slmple
background wlll ensure LhaL audlence auenuon ls focused on Lhe maln
polnLs and ldeas of your speech.
,"**)# ;*8' B*1() C0)#/D
?our audlence should noL have Lo sLruggle Lo vlew Lhe conLenL
conLalned on your slldes. Addluonally, LexL needs Lo be easlly readable
on handouLs. Choose larger fonLs, a mlnlmum of 28 polnLs lf posslble.
ln slLuauons where you need Lo make Lhe fonL much smaller Lo L all
Lhe lnformauon on Lhe sllde, Lry breaklng Lhe conLenL up loglcally lnLo
muluple slldes lnsLead. Addluonally, keep fonLs conslsLenL LhroughouL
your enure sllde seL, and remember LhaL cerLaln LypesLyles, such as
sans serlf" fonLs, are much easler on Lhe eyes Lhan oLhers.
E##. 6( @'0#+
Many presenLers Lry Lo cram as much lnformauon onLo as few slldes
as posslble. 8uL, slldes LhaL are packed wlLh LexL are dlmculL Lo read,
and may confuse audlence members by hlghllghung Loo many ldeas
or LhoughLs aL once. As a rule of Lhumb, Lry Lo suck Lo no more Lhan
Lwo or Lhree key polnLs per sllde. 8ulleLs, as opposed Lo senLences or
paragraphs, make lL easler Lo grasp ldeas aL a glance". And, conslder
uslng bullds" Lo brlng ln one polnL aL a ume.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 6
?)# 6-42#) 61)(#47 *+ !#=(
Wherever posslble, Lry Lo geL your polnL across uslng vlsual alds -
phoLos, lmages, charLs, eLc. - lnsLead of plaln LexL. 1he average
person cannoL read and llsLen aL Lhe same ume, so forclng Lhem Lo
peruse wordy slldes as you speak wlll hlnder lnformauon reLenuon.
Addluonally, graphlcs are far more memorable and lnLeresung, so
use Lhem oen Lo enhance Lhe way you make Lhe key polnLs wlLhln
your presenLauon. lor example, phoLography can add reallsm, whlle
dlagrams can slmpllfy complex or hard-Lo-undersLand concepLs.
1here has been much debaLe ln Lhe presenLauon world abouL cllp
arL - ls lL good, or ls lL bad? Cllp arL can be hlghly eecuve ln cerLaln
scenarlos, and qulLe lneecuve ln oLhers. Whlle a cuLe carLoon lmage
may work well ln Lralnlng sesslons or wlLh consumer audlences, lL may
Lurn o auendees ln buslness-Lo-buslness sales engagemenLs, or aL a
corporaLe presenLauon LhaL ls more serlous ln naLure. When lL comes
Lo decldlng wheLher or noL Lo use cllp arL, leL your sub[ecL mauer and
your audlence be your gulde.
3'**+'#47 !"*'*82"/D
noLhlng wlll mlnlmlze Lhe vlsual lmpacL of your slldes more Lhan a
mlsspelled word, mlsplaced lmage, or oLher error. Check your slldes
carefully before presenung. 8e sure Lo proofread your vlsuals and
numbers, as well as your LexL.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 1
,"4.(#' F: 5#G#/*.012 4
%('*12 H.#1012
?ou've surely heard Lhe old saylng - you never geL a second
chance Lo make a rsL lmpresslon". 1hls advlce, whlle lmporLanL ln
many slLuauons, ls parucularly valuable durlng Lhe openlng of your
presenLauon. ?ou have [usL a small wlndow of opporLunlLy Lo grab Lhe
auenuon of your audlence. So, Lhose rsL few momenLs - even Lhe
rsL 30 seconds - are cruclal Lo laylng Lhe foundauon for a successful
sesslon, semng Lhe Lone for how Lhey percelves your conLenL, and more
lmporLanLly, how Lhey percelve you.
@# ,'#4(0G#
Avold Lhe usual, Pl, l'm 8ob SmlLh and Loday l'll be presenung.".
lnsLead, sLarL wlLh a [oke, an lnLeresung quoLe, a LhoughL-provoklng
quesuon, a shocklng sLory - some exclung and compelllng, yeL relevanL
way Lo spark Lhelr lnLeresL or peak Lhelr curloslLy. lf you can geL Lhem
hooked qulckly, keeplng Lhem engaged LhroughouL Lhe course of your
presenLauon wlll be far easler.
I#( (* ("# 3*01(
Many speakers save Lhelr summarles for Lhe end of Lhe sllde deck.
Powever, some experLs belleve LhaL beglnnlng wlLh a few key polnLs
LhaL leL your audlence members know whaL Lhey can expecL Lo learn or
whaL value Lhey'll Lake away from your presenLauon wlll exclLe Lhem
and glve Lhem someLhlng Lo look forward Lo, encouraglng Lhem Lo pay
auenuon so Lhey don'L mlss anyLhlng lmporLanL.
E0&A 6( ?. 4 J*(&"
?our openlng ls Lhe perfecL ume Lo be a blL dramauc. use sLronger
volce lnecuons and more pronounced hand movemenLs. ause
sLraLeglcally aer lmporLanL LhoughLs or ldeas. SllghLly exaggeraLe your
faclal expresslons. 1hls wlll lend a sense of lmporLance or urgency Lo
whaL you'll be speaklng abouL. 8uL be careful noL Lo overdo lL. lf you're
Loo anlmaLed, you may look sllly and desLroy your credlblllLy.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 2
30&A 4 %(D/# K L17 %(0&A (* 6(
Whlle sLarung sLrong ls vlLal, conslsLency ls Lhe key Lo malnLalnlng
lnLeresL LhroughouL your presenLauon. LeL your openlng convey your
dellvery sLyle, and be sure LhaL sLyle ows LhroughouL Lhe resL of Lhe
sesslon. lor example, don'L open wlLh a [oke, and Lhen follow wlLh
serlous and somber conLenL. Cr, don'L begln by shocklng your audlence,
only Lo conunue wlLh llghL-hearLed banLer. 1he Lacuc you use Lo geL
Lhelr auenuon ls Lhe same one you should use Lo keep lL.
,"4.(#' M: ?)012 ,*/*' (*
NG*A# N-*(0*1
Color can a very powerful Lool ln your presenLauon arsenal, lnsLanLly
caLchlng Lhe eye of Lhose you are presenung Lo. ln facL, some sLudles
show LhaL eecuve use of color can enhance learnlng and reLenuon by
as much as 73 percenL, and promoLe up Lo 80 percenL more lnLeracuon
and paruclpauon. And, accordlng Lo Lhe 8oard 8eporL of Craphlc
ArusLs, color, when used properly, can garner auenuon and lnuence
moods.
8uL, lf you overuse colors, or use Lhem lncorrecLly, Lhey may serve Lo
dlsLracL more Lhan enhance.
LG*07 54'A @4&A2'*817)
Color works besL when used ln Lhe foreground. When dark or brlghL
colors are used as a back drop for your slldes, lL can make your conLenL
harder Lo read and lnLerpreL. lL's always besL Lo suck Lo a neuLral shade,
such as whlLe, gray, or belge, as your background color. 1hen choose
conLrasung shades for your key polnLs and lmages, Lo ensure Lhey
always pop" from Lhe screen.
<4(&" ("# ,*/*' (* ;*8' I*4/
SLudles show LhaL cerLaln colors wlll generaLe dlerenL reacuons from
your audlence members. lor example, black promoLes auLhorlLy and
sLrengLh, whlle blue conveys rellablllLy and LrusLworLhlness (whlch ls
why so many companles use lL ln Lhelr corporaLe logos). 8ed exclLes
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 7
people, prompung Lhem Lo be more lnnovauve and Lake more rlsks.
Crange demonsLraLes a comblnauon of condence and playfulness. So,
you'll wanL Lo selecL colors carefully, based on Lhe emouons you are
seeklng Lo evoke, or Lhe percepuons you are Lrylng Lo creaLe.
?)# ,#'(401 O8#) %.4'012/D
Whlle colors llke red or purple can be raLher eecuve ln cerLaln
scenarlos, when used Loo llberally, you - and your dellvery - may be
vlewed as overly aggresslve. 1he opposlLe ls Lrue for colors llke whlLe,
gray, or pasLels, whlch creaLe a percepuon of passlvlLy or weakness.
1hese colors should be used as hlghllghL or accenL colors only - as
opposed Lo key colors wlLhln Lhe presenLauon's deslgn.
@# C4'D *+ ,*/*' ,*-P014(0*1)
Whlle cerLaln colors may work well alone, when used alongslde oLher
shades, Lhey can fall aL. Cf course, Lhe mosL obvlous color comblnauon
Lo avold ls red and green - you never know how many color bllnd people
may be slmng ln your audlence. 1here are also some sLudles LhaL show
LhaL orange and blue LogeLher can acLually aglLaLe or dlsLress auendees,
because of Lhe vlbrauons" Lhe eye plcks up when Lhey are placed nexL
Lo each oLher. And, red and blue don'L provlde enough of a conLrasL,
maklng lL dlmculL Lo dlsungulsh beLween sllde elemenLs.
%(4D LQ4D +'*- @8)D 34((#'1)
Whlle you wanL your sllde deck Lo be eye-popplng, you don'L wanL lL
Lo be dlsLracung. 8usy pauerns and deslgns, llke sLrlpes or polka doLs,
really won'L enhance Lhe conLenL of your slldes. lnsLead, Lhey wlll only
creaLe a sense of confuslon, and prevenL your audlence members from
fully grasplng whaL you're saylng.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 3
,"4.(#' R: N++#&(0G# ?)#
*+ L10-4(0*1
1he ablllLy Lo anlmaLe LexL and lmages ls a sLandard feaLure ln many
of Loday's presenLauon soware Lools - one LhaL mosL speakers love
Lo use. When used properly, anlmauon can add slgnlcanL vlsual
appeal Lo your slldes, maklng Lhe sLauc lnformauon Lhey conLaln more
exclung and more lnLeresung. 8uL, lf you overdo lL, Lhe resulLs can be
dlsasLrous.
E##. 0( %0-./#
When used ln moderauon, bullds and oLher mouon-orlenLed eecLs
can help lllusLraLe lmporLanL Loplcs and draw auenuon Lo key polnLs.
8uL, Loo much anlmauon can have Lhe opposlLe eecL, dlsLracung
or confuslng your audlence, and hlnderlng Lhelr ablllLy Lo absorb Lhe
conLenL you're presenung. As a rule, alm for no more Lhan one or Lwo
anlmauons per sllde.
LG*07 SL10-4(0*1 +*' ("# %4A# *+ L10-4(0*1T
?our presenLauon ls an opporLunlLy Lo share lnformauon and knowledge
wlLh your audlence, noL a chance for you Lo show o your awesome
presenLauon deslgn skllls. ln oLher words, Lhere ls no need Lo
lncorporaLe every Lype of bulld lnLo your presenLauon - your dellvery
wlll acLually be more eecuve lf you don'L.
use anlmauon only ln places where you feel lL ls Lruly needed Lo
enhance your conLenL. lor example, bullds are a greaL way Lo help
explaln Lhe varlous pleces of a complex dlagram. 8y brlnglng Lhe
componenLs onLo Lhe screen, one aL a ume, you'll enable your audlence
members Lo beuer absorb whaL Lhe funcuon of each ls, and how Lhey all
work LogeLher.
?)# L8(*-4(0& %/07# !'41)0(0*1) C0)#/D
no mauer how many umes you pracuce Lhe umlng of your presenLauon,
Lhere ls slmply no way Lo geL lL rlghL, each and every ume. lor example,
an audlence member may lnLerrupL wlLh a quesuon, or you may declde,
on-Lhe-y, LhaL a cerLaln polnL requlres furLher explanauon, whlch
can Lake longer Lhan you orlglnally planned. So, use auLomauc sllde
Lransluons only when you're sure your umlng ls 100 preclse.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 45
@'0#+ 0) @#((#'
Anlmauon should be fasL and shorL, noL conunuous. ConsLanL
movemenL on Lhe screen as you're speaklng wlll only serve as a
dlsLracuon Lo your audlence. lnsLead of focuslng on whaL you're saylng,
Lhey'll be waLchlng whaL's happenlng on your sllde.

,"4.(#' U: !"# @#)( C4D) (*
61&*'.*'4(# <8/(0-#704
vldeo, audlo and oLher mulumedla elemenLs are a greaL way Lo lmprove
your sllde deck, glvlng lL Lhe klnd of vlsual punch LhaL Lakes lL Lo a whole
new level. 1here have been many sLudles LhaL have shown LhaL Lhe
use of mulumedla can boosL audlence auenuveness and lnformauon
reLenuon. Powever, when used lnapproprlaLely, mulumedla can
have Lhe opposlLe eecL, servlng as more of a dlsLracuon Lhan an
enhancemenL.
<4A# %8'# 6(V) W#/#G41(
Sure, lL's lmporLanL LhaL Lhe mulumedla elemenLs you use be exclung
and enLerLalnlng. 8uL, selecL Lhem very wlsely. LnLerLalnmenL value
alone ls noL enough. 8e sure LhaL Lhe vldeos or sounds you lnclude are
dlrecLly relaLed ln some way Lo Lhe conLenL you are presenung.
E##. 6( 3'*+#))0*14/
Avold home vldeos recorded on your Webcam or oLher Lypes of
amaLeurlsh conLenL, as lL wlll llkely hlnder your credlblllLy and prevenL
your audlence from seelng you as a seasoned professlonal. 1here are
a varleLy of resources avallable LhaL oer hlgh-quallLy mulumedla
elemenLs for llcensed use. So, unless you're an experL on Lhe creauon of
mulumedla conLenL, lL's besL Lo leave lL Lo Lhe pros.
>4'0#(D 0) E#D
vldeo cllps, no mauer how enLerLalnlng, wlll geL dull when used over
and over agaln. lL's besL Lo lncorporaLe several dlerenL mulu-medla
elemenLs lnLo your presenLauon - uslng each [usL once or Lwlce - Lo
keep Lhlngs fresh and lnLeresung LhroughouL.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 44
!"01A @#D*17 SX0G#T 3'#)#1(4(0*1)
?es, mulumedla adds Lremendous punch Lo speaker-led sesslons.
Powever, lL also exLends Lhe value of Lhose presenLauons LhaL are noL
llve, where lL ls much harder Lo engage your audlence and keep Lhelr
auenuon for an exLended perlod of ume. lor example, self-runnlng
presenLauons aL klosks, or Lhose LhaL are avallable on-demand vla Lhe
Web would be far more compelllng lf Lhey lncorporaLed mulumedla
alds, Lhan lf Lhey relled sLrlcLly on bulleLed slldes wlLh pre-recorded
volce over runnlng slmulLaneously.
,"4.(#' Y: ,'#4(012 ,"4'() 417
5042'4-)
As more and more research proves LhaL vlsuals lncrease lnformauon
clarlLy and absorpuon, charLs and dlagrams conunue Lo play a
promlnenL role ln presenLauons. 8uL, Lhere ls a rlghL way - and a
wrong way - Lo sLrucLure and use Lhem. roper charL and dlagram
consLrucuon ls crlucal Lo conveylng your concepLs ln Lhe mosL
undersLandable way posslble.
,"**)# ("# W02"( ,"4'( +*' ("# W02"( 54(4
1here are counLless charL and dlagram sLyles Lo choose from, each ldeal
for presenung speclc Lypes of lnformauon. lor example, ple charLs
work well when you are demonsLraung parLs of a whole (l.e. percenLage
of LoLal revenues by producL), whlle bar charLs clearly convey daLa
varlances among dlerenL lLems or groups (l.e. sLudenL enrollmenL
by course). Changes ln sLausucs or daLa polnLs over ume are besL
dlsplayed uslng llne charLs (l.e. sales by monLh). And, maps are greaL for
presenung lnformauon ln Lhe conLexL of a physlcal locauon (l.e. where
cusLomers llve, or where branch omces are locaLed).
Avold Labular dlsplays whenever posslble. AlLhough Lhey may seem llke
Lhe besL way Lo loglcally organlze and lay ouL large daLa seLs, audlences
wlll nd Lhem dull and borlng. Look for more creauve and vlsually
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 4.
appeallng ways Lo share Lhls Lype of lnformauon.
%(0&A (* H1# <#))42# .#' 5042'4-
CharLs or lmages LhaL lnclude Loo many daLa seLs, ldeas, or polnLs wlll
be sloppy, cramped, and hard Lo read. Suck Lo one slmple ldea per
dlagram, Lo avold confuslng or dlsLracung your audlence.

X4P#/ NG#'D("012 ,/#4'/D
CharLs wlLhouL correcL labels, or labels LhaL are dlmculL Lo read, are
llmlLed ln Lhelr value. 8e sure everyLhlng ls labeled accuraLely, and LhaL
you use fonL Lypes and slzes LhaL wlll be easy for paruclpanLs Lo see, so
Lhey can refer Lo Lhe lmage as you are explalnlng lL.
61&*'.*'4(# @80/7)
Some dlagrams - parucularly Lhose LhaL are mechanlcal or Lechnlcal ln
naLure - can be qulLe complex. 1he more componenLs your dlagram
conLalns, Lhe harder lL wlll be for your audlence Lo absorb lL. 1ry uslng
bullds Lo brlng ln Lhe varlous elemenLs, one aL a ume. 1hls wlll slmpllfy
Lhe concepL you are Lrylng Lo presenL, provldlng auendees wlLh a beuer
undersLandlng of Lhe dlagram's lndlvldual componenLs, and how Lhey
work LogeLher as a whole.
?)# ,*/*' +*' N1"41&#-#1(
roper use of color wlll noL only make your charL or dlagram
more sLunnlng and auracuve, lL wlll make lL more meanlngful and
undersLandable. SLraLeglc use of shades and hues can help lnsLanLly
ouLllne dlerences ln daLa polnLs, as well relauonshlps and slmllarlues
among Lhem. 8uL Loo much can be a dlsLracuon, so Lry Lo use no more
Lhan four or ve dlerenL colors per sllde.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 4/
,"4.(#' Z: O417/012 J8-P#') 417
H("#' ,*-./#= ,*1&#.()
1here wlll be umes when your presenLauon may conLaln conLenL LhaL
ls complex ln naLure. lor example, lf you are glvlng a soware sales
plLch, lL mlghL lnclude sophlsucaLed archlLecLure dlagrams. lf you are
conducung a mechanlcal Lralnlng sesslon, you wlll probably need Lo
hlghllghL englneerlng drawlngs or assembly lnsLrucuons. And, lf you are
glvlng a nanclal presenLauon, you wlll probably use number-lnLenslve
charLs Lo demonsLraLe scal performance.
lf Lhese LhoughLs and ldeas are noL presenLed properly, however,
Lhey may be losL on your audlence members, creaung confuslon
and bewlldermenL, and mlnlmlzlng learnlng and reLenuon. So, lL ls
lmporLanL Lo presenL Lhem ln a way LhaL can be easlly undersLood by
anyone.
E##. 6( %0-./#
?ou have exLenslve knowledge abouL Lhe maLerlal you are presenung.
8uL, don'L assume your audlence has any aL all. AcL as Lhough Lhe
concepLs you are dlscusslng are compleLely forelgn Lo Lhem, and
provlde as much background as posslble. 1hls wlll help Lhem absorb
your maLerlal ln Lhe rlghL conLexL. And, speak ln Lhe slmplesL Lerms
posslble, avoldlng acronyms or lndusLry [argon LhaL only experLs would
undersLand.
W#.#4( ;*8')#/+
Slnce repeuuon ls Lhe key Lo reLenuon, be sure Lo repeaL Lhe mosL
lmporLanL LhoughLs over and over agaln. lor example, polnL ouL whaL
Lhe key elemenLs on a dlagram represenL, or Lhe varlances ln numbers
beLween elds on a nanclal charL, several umes LhroughouL Lhe course
of your sesslon. 1hen, go back Lo Lhose dlagrams and charLs and Lhe
end of your presenLauon, and relLeraLe Lhose lmporLanL polnLs one lasL
ume durlng your summary.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 40
,*G#' H1# !"*82"( 4( 4 !0-#
1hls ls parucularly lmporLanL when you are speaklng abouL dlagrams or
lmages LhaL have muluple elemenLs. 8reak lL down one plece aL a ume,
descrlblng each componenL ln as much deLall as posslble, before you
explaln how Lhey all work LogeLher as a whole. 1he bulld capablllues
wlLhln mosL presenLauon soware packages are qulLe helpful ln Lhese
scenarlos, allowlng you Lo vlsually hlghllghL one speclc area of a charL,
Lo draw auenuon Lo lL as you are speaklng abouL lL.
?)# 41 H.#1 B*'8-
lew presenLers allow quesuons Lo be asked ad-hoc durlng Lhelr
presenLauon, slnce lL Lends Lo lnLerrupL Lhem mld-LhoughL and Lhrow
Lhem o Lhelr game. Powever, when Lhe sub[ecL mauer ls hlghly
compllcaLed, lL ls crlucal LhaL your audlence fully undersLand whaL you
are saylng aL all umes. lf Lhey need furLher explanauon aL any polnL,
Lhey need Lo feel comforLable sLopplng you lmmedlaLely Lo geL lL.
CLherwlse, subsequenL ldeas wlll be dlmculL Lo comprehend.
,*-.4'# 6( (* %*-#("012 B4-0/04'
Many people undersLand Lhlngs more easlly when Lhey are slmllar Lo
oLher Lhlngs Lhey know. So, whenever posslble, compare your concepL
Lo someLhlng Lhey can relaLe Lo. lor example, Lhe repalr of mechanlcal
devlce can be compared Lo xlng a car, or descrlblng how a large plece
of equlpmenL operaLes can be compared Lo Lhe way a slmple household
appllance works.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 46
,"4.(#' [: ,/*)012 Q0(" 4 @412
1he close" - Lhose lasL few mlnuLes durlng whlch you summarlze your
key polnLs and wrap up your LhoughLs and ldeas - may be Lhe mosL
crlucal poruon of your enure presenLauon. Pandle lL rlghL, and you'll
leave a lasung lmpresslon on your audlence. 8uL boLch lL, and your
enure presenLauon wlll fall aL.
E##. 6( @'0#+
1he prlmary ob[ecuve of your close ls Lo relLeraLe Lhe mosL lmporLanL
polnLs of your sllde deck ln Lhe mosL emclenL, yeL unforgeuable way
posslble. SLudles show LhaL your audlence ls more llkely Lo reLaln whaL
you say ln Lhose lasL few mlnuLes, Lhan Lhey are any oLher secuon
of your presenLauon. So, Lry Lo keep lL Lo as brlef as you can. Suck
Lo Lhree or four polnLs aL Lhe mosL, Lo make your summary easy Lo
remember. Any more Lhan LhaL wlll dlluLe Lhe lmpacL.
!#// 4 %(*'D
SLorles, [okes, and anecdoLes noL only lend credlblllLy Lo your conLenL,
Lhey also help make lL more memorable. 1ell a sLory LhaL's lnLeresung
and exclung as well as relevanL Lo your presenLauon. Cr share a quoLe
from a famous person LhaL ues dlrecLly lnLo Lhe Loplcs you've spoken
abouL. When Lhey remember Lhe sLory, your audlence members wlll
lnsLanLly recall Lhe key polnLs LhaL relaLe Lo lL. An added beneL? 1hey
may even repeaL Lhe sLory Lo oLhers, furLher spreadlng your message.
5*1V( B*'2#( ("# ,4// (* L&(0*1
ln many cases, you wanL your audlence Lo Lake some sorL of acuon
once you're done presenung. erhaps you're a sales rep looklng Lo
convlnce a prospecL Lo make a purchase. Cr, maybe you're a Lralner
Leachlng a baslc course, hoplng LhaL auendees wlll slgn up Lo Lake Lhe
more advanced class. WhaLever your goal may be, be sure Lo remlnd
audlence members whaL Lhe nexL sLeps are durlng your concluslon.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 41
%(4D *1 %&"#78/#
8e respecuul of audlence ume, especlally lf you're presenung Lo
buslness professlonals wlLh busy schedules. lf you run laLe, you'll wear
ouL your welcome and aggravaLe your auendees. Lven worse, lL may
compleLely ruln your lasL few slldes, slnce people wlll be checklng Lhelr
waLches, wonderlng lf Lhey'll make lL Lo Lhelr nexL appolnLmenL on ume,
eLc. - lnsLead of llsLenlng Lo whaL you're saylng.
X#47 ?. (* ("# N17012 I'4784//D
Audlence members expecL your presenLauon Lo lnclude a summary.
So Lhey Lend Lo be more auenuve when Lhey Lhlnk lL ls abouL Lo end,
so Lhey caLch any key polnLs Lhey may have mlssed earller on ln Lhe
sesslon. uon'L end abrupLly. urop subLle hlnLs Lo leL auendees know
LhaL you are nearlng Lhe concluslon, so you'll have Lhelr undlvlded
auenuon when you wrap-up.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 42
,"4.(#' \: O*Q <017 <4..012 ,41
6-.'*G# ;*8' 3'#)#1(4(0*1
Mlnd mapplng ls a cumng-edge vlsuallzauon process, where LhoughLs
and ldeas are organlzed lnLo a non-llnear dlagram. AL Lhe hearL of
each mlnd map ls a cenLral Lheme, wlLh supporung Loplcs and sub-
Loplcs loglcally surroundlng lL. Mlnd maps are commonly used for
bralnsLormlng, declslon maklng, problem solvlng, and plannlng.
When deslgnlng and bulldlng your presenLauon, a mlnd map can be a
hlghly valuable Lool. resenLers oen nd LhaL Lhelr slldes are more
Lhorough, more compleLe, and more compelllng when Lhey begln Lhe
creauon process wlLh a mlnd map.
6-.'*G# @'401)(*'-012
lmaglne you're slmng down Lo creaLe your presenLauon, wlLh [usL a
few brlef, hlgh-level LhoughLs ln mlnd. 1he nexL sLep ls Lo expand on
Lhose concepLs, eshlng ouL your conLenL so LhaL lL provldes Lhe level of
deLall Lhe audlence requlres. Mlnd mapplng can faclllLaLe Lhls process,
glvlng your lmaglnauon a boosL and allowlng you Lo evaluaLe or LesL"
dlerenL approaches or ldeas before you commlL Lhem Lo wrlung. 1hls
wlll help you rapldly Lurn a slmple concepL lnLo a comprehenslve ouLllne
for your sllde deck.
@#((#' H'2410]# ,*1(#1(
WlLh a mlnd map, you can more readlly see how Lhe lLems you plan Lo
hlghllghL durlng your presenLauon relaLe Lo each oLher. 1hls wlll help
you deLermlne Lhe besL sLrucLure for your deck - maklng lL easy for you
Lo see how your slldes should ow, and ln whaL order key ldeas should
be dlscussed.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 47
@#4( SC'0(#'V) @/*&AT
8ulldlng a sllde deck can be a challenglng Lask, even for Lhe mosL
lnsplred presenLers. ln addluon Lo how your conLenL should ow,
you also need Lo conslder how Lo mosL eecuvely convey key polnLs
vlsually (should you use LexL, graphs, lmages, eLc.?) and orally (whaL
are you golng Lo say?). resenLers oen geL so overwhelmed, Lhey nd
Lhemselves sLarlng aL a blank sllde, wlLh no ldea where Lo sLarL. 8uL,
Lhose who use mlnd mapplng rmly belleve LhaL lL can make you more
producuve and more creauve. As a resulL, Lhe enure process wlll be
much fasLer and easler.
LG*07 I4.)
As Lhorough as you Lhlnk your slldes may be, Lhere wlll llkely be pleces of
lmporLanL daLa mlsslng, leavlng your audlence wlLh quesuons or seeklng
furLher deLalls. 8ecause a mlnd map dlsplays ldeas vlsually (and many
belleve, more lnLuluvely Lhan Lradluonal LexL ouLllnes), lL makes lL easler
for you Lo see where lnformauon gaps may exlsL, or where speclc ldeas
may need Lo be expanded on.
E##. ("# HP^#&(0G# 01 <017
lL's easy Lo lose slghL of your ulumaLe goal when you're bulldlng your
sllde deck. 8uL, wlLh a mlnd map LhaL puLs Lhe core ob[ecuve ln Lhe
cenLer, keeplng your eye on Lhe prlze" aL all umes - wheLher lL's Lo
educaLe, Lo close a sale, or Lo prompL Lhe audlence Lo Lake speclc
acuon - wlll be easy. So, you'll be able Lo ensure LhaL your enure
presenLauon ues dlrecLly lnLo your overall mlsslon.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn 43
,"4.(#' 9_: !"# W02"( C4D (*
?)# O417*8()
PandouLs are a greaL way Lo enhance your presenLauon, servlng as a
valuable reference Lool for your audlence members. ?eL, mosL speakers
slmply prlnL ouL and dlsLrlbuLe coples of Lhelr sllde seL, renderlng Lhelr
handouLs somewhaL useless.
,*1(#1( 0) E#D
1he prlmary goal of handouLs ls Lo provlde your audlence wlLh
addluonal background maLerlals durlng Lhe sesslon, and/or valuable
reference maLerlals aerward. ln oLher words, handouLs should do
more Lhan [usL repeaL whaL's already on your slldes. 1hey should
expand on LhaL conLenL wlLh addluonal quoLes, examples, Lables, and
gures, Lo valldaLe and drlve home Lhe polnLs your maklng.
B*&8) *1 W#474P0/0(D
PandouLs should noL be long documenLs, and should be easy Lo read.
use a clean fonL, ln aL leasL 12 polnL slze. And make sure graphlcs and
lmages are large enough so all deLalls and labels can be easlly vlewed.
And Lhough you'll wanL your handouLs Lo have a sharp, professlonal
look, lL ls besL Lo avold colored paper or fancy layouLs LhaL may dlsLracL
from Lhe conLenL.
X#4G# W**- +*' J*(#)
Lach member of your audlence wlll Lake lnLeresL or nd lmporLance ln
dlerenL poruons of your presenLauon conLenL. Addluonally, you may
make menuon of cerLaln facLs, or cover cerLaln Loplcs LhaL aren'L spelled
ouL speclcally on your slldes. 1herefore, you'll wanL Lo make sure LhaL
your handouLs glve auendees room Lo [oL down key polnLs.
5*8P/#`,"#&A ;*8' C*'A
noLhlng wlll hlnder your credlblllLy more Lhan a handouL full of Lypos
and mlsLakes. roofread carefully Lo ensure proper spelllng and
grammar. And, make sure you have a handful of spare coples, ln case
your audlence ls larger Lhan orlglnally expecLed.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn .5
C"#1 (* 50)('0P8(#
Should handouLs be glven Lo audlence members before or aer your
sesslon? Well, LhaL depends. lf Lhey wlll need Lo refer Lo lL as your
speaklng, or lf Lhey wlll need Lo Lake noLes, Lhen lL ls besL Lo dlsLrlbuLe
Lhem beforehand. 8uL, lf Lhe handouL conLenL mlrrors whaL's on your
slldes, and you wanL Lo prevenL Lhem from readlng lL as your speaklng,
or even [umplng ahead, Lhen lL ls besL Lo walL unul you're nlshed.
,"4.(#' 99: C#'# ;*8 %8&&#))+8/a
?ou may Lhlnk you creaLed Lhe perfecL sllde deck. ?our colors were bold
and auenuon-grabblng. ?ou sLraLeglcally placed vlsuals LhroughouL Lhe
presenLauon. ?our fonLs were auracuve and easy Lo read. ?ou even
found some wluy vldeo and audlo cllps Lo use.
8uL how can you really Lell lf you goL lL rlghL?
!'4&A >0#Q) 417b*' 5*Q1/*47)
1hls can be an exLremely valuable performance meLrlc lf your
presenLauon was made avallable on-demand" vla Lhe Web. Pow
many umes was lL vlewed, and by how many dlerenL people? 1hose
numbers wlll help you deLermlne wheLher or noL your sllde deck, and lLs
key messages, resonaLed wlLh your LargeL audlence.
,*81( ("# S5'*. H++)T
Lvery speaker can expecL Lo lose an audlence member or Lwo durlng
Lhe course of Lhelr presenLauon, especlally lf lL ls belng broadcasL over
Lhe Web, where auendees are sub[ecL Lo counLless dlsLracuons. 8uL,
an unusually hlgh number of drop os" ls a clear lndlcaLor LhaL your
presenLauon, or lLs cenLral Lheme or Loplc, ls lacklng someLhlng, and
may need more ne-Lunlng.
!"# ,4// (* L&(0*1 K !"# ?/(0-4(# !#)(
uld your audlence do whaL you wanLed or asked Lhem Lo do aer your
sesslon was over? lor example, lf you were conducung a Lralnlng course
for an upcomlng exam, how many of your sLudenLs passed Lhe LesL?
lf you were plLchlng a new producL, how many cusLomers requesLed
more lnformauon, scheduled a demo, or made a purchase? 1he acuons
auendees Lake lmmedlaLely aer a presenLauon - and wheLher or noL
Lhose were Lhe deslred or lnLended ouLcomes - ls one of Lhe besL ways
Lo gauge how successful lL Lruly was.
!"# %#&'#() *+ ,*-.#//012 3'#)#1(4(0*1 5#)021
!"#$%&'()%* %,'')- 1he SecreLs of Compelllng resenLauon ueslgn .4
<#4)8'# ("# @8)01#)) 6-.4&(
AlLhough you llkely had a speclc call Lo acuon" ln mlnd when
dellverlng your presenLauon, Lhere are also oLher, secondary beneLs
LhaL can be achleved - beneLs LhaL can have a profound lmpacL on your
buslness. uld you bulld sLronger cusLomer loyalLy? Wln new buslness?
CeneraLe awareness ln your markeL? Pelp your audlence Lo learn and
grow? 1hese facLors can also be used Lo help evaluaLe Lhe success of
your presenLauon.
,*1&/8)0*1
Accordlng Lo renowned Amerlcan deslgner and arusL aul 8and,
rovldlng meanlng Lo a mass of unrelaLed needs, ldeas, words and
plcLures - lL ls Lhe deslgner's [ob Lo selecL and L Lhls maLerlal LogeLher
and make lL lnLeresung."
1hls holds very Lrue ln Lhe world of presenLauons, where Lhe speaker's
vlsual alds musL brlng LogeLher hls LhoughLs ln a way LhaL ls noL only
coheslve and loglcal, buL vlsually appeallng and lmpacuul as well.
8uL, few presenLers have a solld background ln deslgn prlnclples, and
even fewer have access Lo professlonal graphlc deslgn resources Lo help.
1herefore, Lhey are oen le Lo fend for Lhemselves when lL comes Lo
creaung Lhelr sllde decks.
WlLh Lhe proven ups and Lechnlques ouLllned ln Lhls e8ook, any speaker
- no mauer how seasoned - can bulld a wlnnlng sllde deck LhaL packs
maxlmum punch!
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