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Microsoft Office 365 & PowerPoint 2021, Comprehensive iii
Brief Contents
Getting to Know Microsoft Office Versions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . OFF-1
Using SAM Projects and Textbook Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM-1
PowerPoint Presentation Concepts: Planning, Developing, and Giving a Presentation . . . . PRES 1

Preparing a Presentation for a Resort
Module 1 Creating a Presentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 1-1
Presenting Information About an Insurance Company
Module 2 Adding Media and Special Effects. . . . . . . . . . . . . . . . . . . . . . . . . . PPT 2-1
Using Media in a Presentation for a Veterinary Hospital
Module 3 Applying Advanced Formatting to Objects. . . . . . . . . . . . . . . . . . . PPT 3-1
Formatting Objects in a Presentation for a Sales and Marketing Company
Module 4 Advanced Animations and Distributing Presentations. . . . . . . . . . . PPT 4-1
Creating an Advanced Presentation for Agricultural Development
Module 5 Integrating PowerPoint with Other Programs . . . . . . . . . . . . . . . . . PPT 5-1
Creating a Presentation for a Rowing Convention
Module 6 Customizing Presentations and the PowerPoint Environment. . . . . PPT 6-1
Creating a Presentation for a City-Wide Green Challenge
Index IDX 1
iv New Perspectives Series
Table of Contents
Getting to Know Microsoft Office Versions . . . . . OFF-1 Developing the Body of Your Presentation . . . . PRES 18
Using SAM Projects and Textbook Projects . . . . SAM-1 Gathering Information . . . . . . . . . . . . . . . . . . PRES 18
Evaluating Information . . . . . . . . . . . . . . . . . . PRES 19
Organizing Your Information . . . . . . . . . . . . . PRES 19
POWERPOINT MODULES Developing Your Conclusion . . . . . . . . . . . . . PRES 23
Planning, Developing, and Giving a Presentation Creating Visuals . . . . . . . . . . . . . . . . . . . . . . . . . PRES 24
Preparing a Presentation for a Resort . . . . . . . . . . . PRES 1 Using Text as Visuals . . . . . . . . . . . . . . . . . . . PRES 25
Using Graphics as Visuals . . . . . . . . . . . . . . . PRES 26
Session 1 Visual Overview: Planning a
Creating Handouts . . . . . . . . . . . . . . . . . . . . . . . PRES 30
Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PRES 2
Understanding Presentations and Presentation Session 3 Visual Overview: Delivering a
Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PRES 4 Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . PRES 32
Planning a Presentation . . . . . . . . . . . . . . . . . . . . PRES 5 Preparing for the Delivery of an Oral
Determining the Form of the Presentation . . . . . PRES 5 Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . PRES 34
Determining the Presentation’s Purposes Choosing a Delivery Method . . . . . . . . . . . . . . . PRES 34
and Desired Outcomes . . . . . . . . . . . . . . . . . . . . PRES 6 Preparing for Audience Interaction . . . . . . . . . . PRES 35
Determining the Purposes . . . . . . . . . . . . . . . . PRES 6 Anticipating Audience Questions . . . . . . . . . PRES 35
Identifying Desired Outcomes . . . . . . . . . . . . . PRES 7 Preparing for Audience Participation . . . . . . PRES 36
Analyzing Your Audience’s Needs and Rehearsing the Presentation . . . . . . . . . . . . . . . PRES 37
Expectations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PRES 9 Connecting to Your Audience . . . . . . . . . . . . PRES 39
Referring to Visuals During Your
Session 2 Visual Overview: Creating a
Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . PRES 42
Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . PRES 12
Evaluating Your Appearance . . . . . . . . . . . . . . . PRES 42
Creating the Presentation . . . . . . . . . . . . . . . . . PRES 14
Setting Up for Your Presentation . . . . . . . . . . . . PRES 43
Focusing Your Presentation . . . . . . . . . . . . . . . . PRES 14
Preparing Copies of Your Content . . . . . . . . . PRES 44
Identifying Your Key Points . . . . . . . . . . . . . . . . PRES 15
Assessing the Technology and Staff
Developing an Introduction . . . . . . . . . . . . . . . . PRES 15
Available . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PRES 44
Gaining Your Audience’s Attention . . . . . . . . PRES 15
Becoming Familiar with the Setup . . . . . . . . . PRES 45
Providing an Overview of Your
Identifying Other Needed Supplies . . . . . . . PRES 45
Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . PRES 18
Evaluating Your Performance . . . . . . . . . . . . . . . PRES 46
Review Assignments . . . . . . . . . . . . . . . . . . . . . . PRES 48
Microsoft Office 365 & PowerPoint 2021, Comprehensive v
Module 1 Creating a Presentation Printing a Presentation . . . . . . . . . . . . . . . . . . . PPT 1-63

Presenting Information About an Insurance Closing PowerPoint . . . . . . . . . . . . . . . . . . . . . . PPT 1-67
Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 1-1 Review Assignments . . . . . . . . . . . . . . . . . . . . . PPT 1-68
Case Problem 1 . . . . . . . . . . . . . . . . . . . . . . . . PPT 1-70
Session 1.1 Visual Overview: The PowerPoint
Case Problem 2 . . . . . . . . . . . . . . . . . . . . . . . . PPT 1-71
Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 1-2
Planning a Presentation . . . . . . . . . . . . . . . . . . . PPT 1-4 Module 2 Adding Media and Special Effects
Starting PowerPoint and Creating a New Using Media in a Presentation for a
Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 1-5 Veterinary Hospital. . . . . . . . . . . . . . . . . . . . . . . PPT 2-1
Working in Touch Mode . . . . . . . . . . . . . . . . . PPT 1-6
Session 2.1 Visual Overview: Formatting
Creating a Title Slide . . . . . . . . . . . . . . . . . . . . . PPT 1-8
Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 2-2
Saving and Editing a Presentation . . . . . . . . . . . PPT 1-9
Applying a Theme Used in Another
Adding New Slides . . . . . . . . . . . . . . . . . . . . . . PPT 1-12
Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 2-4
Creating Lists . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 1-14
Inserting Shapes . . . . . . . . . . . . . . . . . . . . . . . . . PPT 2-6
Creating a Bulleted List . . . . . . . . . . . . . . . . PPT 1-15
Formatting Objects . . . . . . . . . . . . . . . . . . . . . . PPT 2-9
Creating a Numbered List . . . . . . . . . . . . . . PPT 1-16
Formatting Shapes . . . . . . . . . . . . . . . . . . . . . PPT 2-9
Creating an Unnumbered List . . . . . . . . . . . PPT 1-18
Formatting Pictures . . . . . . . . . . . . . . . . . . . PPT 2-13
Formatting Text . . . . . . . . . . . . . . . . . . . . . . . . PPT 1-20
Duplicating Objects . . . . . . . . . . . . . . . . . . . . . PPT 2-15
Moving and Copying . . . . . . . . . . . . . . . . . . . . PPT 1-23
Rotating and Flipping Objects . . . . . . . . . . . . . PPT 2-16
Manipulating Slides . . . . . . . . . . . . . . . . . . . . . PPT 1-25
Creating and Formatting a Table . . . . . . . . . . . PPT 2-17
Changing the Theme . . . . . . . . . . . . . . . . . . . . PPT 1-28
Creating a Table and Adding Data to It . . . . PPT 2-17
Closing a Presentation . . . . . . . . . . . . . . . . . . . PPT 1-32
Inserting and Deleting Rows and
Session 1.2 Visual Overview: Slide Show and Presenter Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 2-19
Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 1-34 Formatting a Table . . . . . . . . . . . . . . . . . . . . PPT 2-20
Opening a Presentation and Saving It with a Filling Cells with Pictures . . . . . . . . . . . . . . . PPT 2-26
New Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 1-36 Inserting Symbols . . . . . . . . . . . . . . . . . . . . . . . PPT 2-28
Inserting Pictures and Adding Alt Text . . . . . . PPT 1-37 Adding Footers and Headers . . . . . . . . . . . . . . PPT 2-30
Cropping Pictures . . . . . . . . . . . . . . . . . . . . . . . PPT 1-40
Session 2.2 Visual Overview: . . . . . . . . . . . . . . PPT 2-34
Resizing and Moving Objects . . . . . . . . . . . . . . PPT 1-44
Compressing Pictures . . . . . . . . . . . . . . . . . . . . PPT 1-48 Using Animations and Transitions . . . . . . . . . . PPT 2-35
Converting a List to a SmartArt Graphic . . . . . PPT 1-50 Applying Transitions . . . . . . . . . . . . . . . . . . . . . PPT 2-36
Adding Speaker Notes . . . . . . . . . . . . . . . . . . . PPT 1-54 Applying Animations . . . . . . . . . . . . . . . . . . . . PPT 2-38
Editing Common File Properties . . . . . . . . . . . PPT 1-55 Animating Objects . . . . . . . . . . . . . . . . . . . . PPT 2-38
Checking Spelling . . . . . . . . . . . . . . . . . . . . . . . PPT 1-56 Changing How an Animation Starts . . . . . . PPT 2-43
Running a Slide Show . . . . . . . . . . . . . . . . . . . . PPT 1-58 Animating Lists . . . . . . . . . . . . . . . . . . . . . . . PPT 2-44
vi New Perspectives Series
Using the Morph Transition . . . . . . . . . . . . . . . PPT 2-47 Applying Advanced Formatting to Shapes . . . PPT 3-50
Adding and Modifying Video . . . . . . . . . . . . . . PPT 2-51 Making Presentations Accessible . . . . . . . . . . . PPT 3-54
Adding Video to Slides . . . . . . . . . . . . . . . . PPT 2-51 Checking for Accessibility Issues . . . . . . . . . PPT 3-55
Trimming Videos . . . . . . . . . . . . . . . . . . . . . PPT 2-54 Checking the Order Objects Will Be
Setting a Poster Frame . . . . . . . . . . . . . . . . PPT 2-55 Read by a Screen Reader . . . . . . . . . . . . . . . PPT 3-58
Modifying Video Playback Options . . . . . . . PPT 2-56 Review Assignments . . . . . . . . . . . . . . . . . . . . . PPT 3-61
Understanding Animation Effects Case Problem 1 . . . . . . . . . . . . . . . . . . . . . . . . PPT 3-64
Applied to Videos . . . . . . . . . . . . . . . . . . . . PPT 2-58 Case Problem 2 . . . . . . . . . . . . . . . . . . . . . . . . PPT 3-65
Compressing Media . . . . . . . . . . . . . . . . . . . . . PPT 2-60
Module 4 Advanced Animations
Review Assignments . . . . . . . . . . . . . . . . . . . . . PPT 2-64
and Distributing Presentations
Case Problem 1 . . . . . . . . . . . . . . . . . . . . . . . . PPT 2-66
Creating an Advanced Presentation for
Agricultural Development . . . . . . . . . . . . . . . . . . . PPT 4-1
Module 3 Applying Advanced Formatting
to Objects Session 4.1 Visual Overview: Understanding
Formatting Objects in a Presentation for a
Advanced Animations . . . . . . . . . . . . . . . . . . . . PPT 4-2
Sales and Marketing Company . . . . . . . . . . . . . . . PPT 3-1
Using Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 4-4
Session 3.1 Visual Overview: Creating a Adding More Than One Animation to
Chart on a Slide . . . . . . . . . . . . . . . . . . . . . . . . . PPT 3-2 an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 4-6
Working with SmartArt Graphics . . . . . . . . . . . . PPT 3-4 Using the Animation Pane . . . . . . . . . . . . . . . . PPT 4-10
Creating a SmartArt Graphic . . . . . . . . . . . . . PPT 3-4 Setting Animation Triggers . . . . . . . . . . . . . . . PPT 4-17
Changing the Appearance of a Changing the Slide Background . . . . . . . . . . . . PPT 4-19
SmartArt Graphic . . . . . . . . . . . . . . . . . . . . . . PPT 3-8 Creating and Editing Links . . . . . . . . . . . . . . . . PPT 4-25
Animating a SmartArt Graphic . . . . . . . . . . PPT 3-10 Creating and Editing Text Links . . . . . . . . . . PPT 4-25
Adding Audio to Slides . . . . . . . . . . . . . . . . . . PPT 3-16 Changing the Color of Text Links . . . . . . . . PPT 4-29
Adding a Chart to a Slide . . . . . . . . . . . . . . . . . PPT 3-18 Creating Object Links . . . . . . . . . . . . . . . . . PPT 4-30
Creating a Chart . . . . . . . . . . . . . . . . . . . . . . PPT 3-18 Inserting Action Buttons . . . . . . . . . . . . . . . PPT 4-32
Modifying a Chart . . . . . . . . . . . . . . . . . . . . PPT 3-22 Creating Slide Zooms . . . . . . . . . . . . . . . . . . . . PPT 4-34
Inserting and Formatting Text Boxes . . . . . . . . PPT 3-25 Creating Slide Zooms . . . . . . . . . . . . . . . . . . PPT 4-34
Applying WordArt Styles to Text . . . . . . . . . . . PPT 3-28 Modifying Slide Zooms . . . . . . . . . . . . . . . . PPT 4-37
Hiding a Slide . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 4-39
Session 3.2 Visual Overview: Formatting
Shapes and Pictures . . . . . . . . . . . . . . . . . . . . . PPT 3-32 Session 4.2 Visual Overview: Automatic
Removing the Background from Pictures . . . . . PPT 3-34 Slide Timings . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 4-42
Editing Pictures . . . . . . . . . . . . . . . . . . . . . . . . . PPT 3-37 Creating Self-Running Presentations . . . . . . . . PPT 4-44
Creating a Custom Shape . . . . . . . . . . . . . . . . PPT 3-40 Setting Slide Timings Manually . . . . . . . . . . PPT 4-44
Rotating Shapes with Text . . . . . . . . . . . . . . . . PPT 3-44 Rehearsing Timings . . . . . . . . . . . . . . . . . . . PPT 4-46
Microsoft Office 365 & PowerPoint 2021, Comprehensive vii
Recording a Slide Show . . . . . . . . . . . . . . . . PPT 4-48 Session 5.2 Visual Overview: Importing,
Applying Kiosk Browsing . . . . . . . . . . . . . . . PPT 4-51 Embedding, and Linking . . . . . . . . . . . . . . . . . PPT 5-32
Using the Document Inspector . . . . . . . . . . . . PPT 4-52 Inserting a Word Table . . . . . . . . . . . . . . . . . . . PPT 5-34
Saving a Presentation in Other Formats . . . . . PPT 4-55 Formatting Cells in Tables . . . . . . . . . . . . . . . . PPT 5-35
Saving a Presentation as a Video . . . . . . . . . PPT 4-55 Inserting Excel Data and Objects . . . . . . . . . . PPT 5-39
Saving Slides as Pictures and a Presentation Embedding an Excel Worksheet . . . . . . . . . PPT 5-39
as a Picture Presentation . . . . . . . . . . . . . . . PPT 4-57 Linking an Excel Chart . . . . . . . . . . . . . . . . . PPT 5-42
Save a Presentation as a PDF . . . . . . . . . . . . PPT 4-60 Breaking Links . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 5-46
Save a Presentation as a Annotating Slides During a Slide Show . . . . . . PPT 5-47
PowerPoint Show . . . . . . . . . . . . . . . . . . . . . PPT 4-62 Creating Handouts by Exporting a
Review Assignments . . . . . . . . . . . . . . . . . . . . . PPT 4-64 Presentation to Word . . . . . . . . . . . . . . . . . . . . PPT 5-49
Case Problem 1 . . . . . . . . . . . . . . . . . . . . . . . . PPT 4-66 Review Assignments . . . . . . . . . . . . . . . . . . . . . PPT 5-52
Case Problem 2 . . . . . . . . . . . . . . . . . . . . . . . . PPT 4-68 Case Problem 1 . . . . . . . . . . . . . . . . . . . . . . . . PPT 5-54
Case Problem 2 . . . . . . . . . . . . . . . . . . . . . . . . PPT 5-56
Module 5 Integrating PowerPoint with
Other Programs
Creating a Presentation for a Rowing Module 6 Customizing Presentations and the
Convention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 5-1 PowerPoint Environment
Creating a Presentation for a City-Wide Green
Session 5.1 Visual Overview: Understanding Challenge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 6-1
Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 5-2
Session 6.1 Visual Overview: Slide
Creating a Presentation by Importing Content . PPT 5-4
Master View . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 6-2
Creating a Presentation by Inserting a
Sharing and Collaborating with Others . . . . . . . PPT 6-4
Word Outline . . . . . . . . . . . . . . . . . . . . . . . . . PPT 5-4
Comparing Presentations . . . . . . . . . . . . . . . PPT 6-4
Inserting Slides from Another Presentation . PPT 5-8
Working with Comments . . . . . . . . . . . . . . . . PPT 6-7
Working in Outline View . . . . . . . . . . . . . . . . . . . PPT 5-9
Working in Slide Master View . . . . . . . . . . . . . PPT 6-10
Organizing a Presentation Using Sections
and Zooms . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 5-12 Modifying the Slide Master . . . . . . . . . . . . . PPT 6-11
Creating Sections in a Presentation . . . . . . . PPT 5-12 Modifying the Style of Lists . . . . . . . . . . . . . PPT 6-14
Creating Section Zooms and a Summary Creating Slide Layouts . . . . . . . . . . . . . . . . . PPT 6-19
Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 5-13 Modifying a Slide Layout . . . . . . . . . . . . . . . PPT 6-24
Manipulating Sections . . . . . . . . . . . . . . . . . PPT 5-18 Changing Theme Fonts and Colors . . . . . . . . . PPT 6-26
Inserting Icons . . . . . . . . . . . . . . . . . . . . . . . . . PPT 5-22 Filling Text and Shapes with a Color
Using the Effect Options Dialog Box to Used on the Slide . . . . . . . . . . . . . . . . . . . . . . . PPT 6-31
Modify Animations . . . . . . . . . . . . . . . . . . . . . . PPT 5-24 Saving a Presentation as a Custom
Working with Layers . . . . . . . . . . . . . . . . . . . . . PPT 5-27 Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 6-36
viii New Perspectives Series
Session 6.2 Visual Overview: Advanced Presenting Online . . . . . . . . . . . . . . . . . . . . . . . PPT 6-51

File Properties . . . . . . . . . . . . . . . . . . . . . . . . . PPT 6-40 Review Assignments . . . . . . . . . . . . . . . . . . . . . PPT 6-54
Creating a Custom Show . . . . . . . . . . . . . . . . . PPT 6-42 Case Problem 1 . . . . . . . . . . . . . . . . . . . . . . . . PPT 6-55
Working with File Properties . . . . . . . . . . . . . . PPT 6-44
Encrypting a Presentation . . . . . . . . . . . . . . . . PPT 6-46 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IDX 1
Making a Presentation Read-Only . . . . . . . . . . PPT 6-48
Getting to Know
Microsoft Office Versions
Cengage is proud to bring you the next edition of Microsoft Office. This
edition was designed to provide a robust learning experience that is not
dependent upon a specific version of Office.
Microsoft supports several versions of Office:
• Office 365: A cloud-based subscription service that delivers
Microsoft’s most up-to-date, feature-rich, modern productivity tools
direct to your device. There are variations of Office 365 for business,
educational, and personal use. Office 365 offers extra online storage
and cloud-connected features, as well as updates with the latest
features, fixes, and security updates.
• Office 2021: Microsoft’s “on-premises” version of the Office apps,
available for both PCs and Macs, offered as a static, one-time
purchase and outside of the subscription model.
• Office Online: A free, simplified version of Office web applications
(Word, Excel, PowerPoint, and OneNote) that facilitates creating and
editing files collaboratively.
Office 365 (the subscription model) and Office 2021 (the one-time pur-
chase model) had only slight differences between them at the time this
content was developed. Over time, Office 365’s cloud interface will con-
tinuously update, offering new application features and functions, while
Office 2021 will remain static. Therefore, your onscreen experience may
differ from what you see in this product. For example, the more advanced
features and functionalities covered in this product may not be available
in Office Online or may have updated from what you see in Office 2021.
For more information on the differences between Office 365, Office 2021,
and Office Online, please visit the Microsoft Support site.
Cengage is committed to providing high-quality learning solutions for
you to gain the knowledge and skills that will empower you throughout
your educational and professional careers.
Thank you for using our product, and we look forward to exploring the
future of Microsoft Office with you!
Getting to Know Microsoft Office Versions OFF-1
Using SAM Projects
and Textbook Projects
SAM Projects allow you to actively apply the skills you learned live in
Microsoft Word, Excel, PowerPoint, or Access. Become a more productive
student and use these skills throughout your career.
To complete SAM Textbook Projects, please follow these steps:

SAM Textbook Projects allow you to complete a project as you follow
along with the steps in the textbook. As you read the module, look for
icons that indicate when you should download your SAM Start
file(s) and when to upload the final project file to SAM for grading.
Everything you need to complete this project is provided within SAM.
You can launch the eBook directly from SAM, which will allow you to take
notes, highlight, and create a custom study guide, or you can use a print
textbook or your mobile app. Download IOS or Download Android.
To get started, launch your SAM Project assignment from SAM, MindTap,
or a link within your LMS.
Step 1: Download Files

• Click the “Download All” button or the individual links to download
your Start File and Support File(s) (when available). You must use
the SAM Start file.
• Click the Instructions link to launch the eBook (or use the print
textbook or mobile app).
• Disregard any steps in the textbook that ask you to create a new
file or to use a file from a location outside of SAM.
• Look for the SAM Download icon to begin working with your
start file.
• Follow the module’s step-by-step instructions until you reach the
SAM Upload icon .
• Save and close the file.
Using SAM Projects and Textbook Projects SAM-1
Step 2: Save Work to SAM
• Ensure you rename your project file to match the Expected File
Name.
• Upload your in-progress or completed file to SAM. You can down-
load the file to continue working or submit it for grading in the
next step.
Step 3: Submit for Grading
• Upload the completed file to SAM for immediate feedback and to
view the available Reports.
• The Graded Summary Report provides a detailed list of project
steps, your score, and feedback to aid you in revising and re-
submitting the project.
• The Study Guide Report provides your score for each project
step and links to the associated training and textbook pages.
• If additional attempts are allowed, use your reports to assist with
revising and resubmitting your project.
• To re-submit the project, download the file saved in step 2.
• Edit, save, and close the file, then re-upload and submit it again.
For all other SAM Projects, please follow these steps:

To get started, launch your SAM Project assignment from SAM, MindTap,
or a link within your LMS.
Step 1: Download Files

• Click the “Download All” button or the individual links to download
your Instruction File, Start File, and Support File(s) (when
available). You must use the SAM Start file.
• Open the Instruction file and follow the step-by-step instructions.
Ensure you rename your project file to match the Expected File
Name (change _1 to _2 at the end of the file name).
Step 2: Save Work to SAM
• Upload your in-progress or completed file to SAM. You can down-
load the file to continue working or submit it for grading in the
next step.
SAM-2 Using SAM Projects and Textbook Projects
Step 3: Submit for Grading
• Upload the completed file to SAM for immediate feedback and to
view available Reports.
• The Graded Summary Report provides a detailed list of project
steps, your score, and feedback to aid you in revising and
resubmitting the project.
• The Study Guide Report provides your score for each project
step and links to the associated training and textbook pages.
• If additional attempts are allowed, use your reports to assist with
revising and resubmitting your project.
• To re-submit the project, download the file saved in step 2.
• Edit, save, and close the file, then re-upload and submit it again.
For additional tips to successfully complete your SAM Projects, please

view our Common Student Errors Infographic.
Using SAM Projects and Textbook Projects SAM-3
O b j e ct ives Planning,
Session 1
• Understand presentations and
presentation media
Developing,
• Learn about common forms of
presentations and Giving a
Presentation
• Understand how to identify a
presentation’s purposes and
desired outcomes
• Identify an audience’s
demographics and the Preparing a Presentation for a Resort
audience’s relationship to the
presenter
• Learn how to recognize the
needs and expectations of an
Case | Outer Island Hotel and Resort
audience Outer Island Hotel and Resort is a hotel on Sanibel Island in Florida.
Session 2 The hotel was recently bought by the national hotel chain, Castle
• Understand the importance Hotels. Castle Hotels spent the last year renovating Outer Island
of determining the focus for a Hotel and Resort. They hired Theary Him to create a marketing
presentation campaign to attract new corporate business to the hotel. As part
• Learn how to identify the key of the campaign, Theary plans to visit large companies all over the
points of a presentation United States to describe the services and amenities of the hotel and
• Understand how to develop an to convince them to schedule their next convention, sales meeting,
effective introduction, body, or corporate retreat at the hotel. She needs to create a presentation
and conclusion to help her do this.
• Explore types of visuals and
handouts In this module, you’ll learn how to plan presentations by deter-
Session 3 mining their purposes and outcomes and by analyzing the needs
• Identify the ways to deliver a and expectations of your audience. You’ll also understand the
presentation importance of identifying a clear focus for the presentations and
• Learn how to prepare for outlining your key points, and how to apply this information as
audience questions and you develop an introduction, organized body, and conclusion for
participation presentations. You’ll learn about the types of visuals and handouts
• Understand what to focus on you can use to support the content of a presentation and about
when rehearsing a presentation the criteria for assessing the situation and facilities for giving the
• Consider aspects of your presentation. Finally, you will learn the value of rehearsing your
appearance delivery and preparing your appearance, and how to evaluate
• Consider the steps for setting
your performance.
up for a presentation
• Learn how to evaluate your
performance
Starting Data Files
There are no starting Data Files needed for this module.
PRES 1
PRES 2 Concepts | Planning, Developing, and Giving a Presentation
Session 1 Visual Overview:

Knowing whether the presentation will Understanding what you want your
be delivered by a person either in front listeners to know, think, feel, or do
of a live audience or over the Internet, Presentations can be after listening to your message
or if it will be self-running, affects how informative, persuasive, helps keep you focused on your
you will use presentation media. or demonstrative. audience’s needs.
Determine Determine
Identify the
the form of the purpose
desired
the of the
outcome
presentation presentation
Planning, Developing, and Giving a Presentation | Concepts PRES 3
Planning a Presentation
Identifying your audience’s Learning the characteristics
relationship to you can help of your audience will help
you determine the appropriate you deliver an effective
style for your presentation. presentation.
Determine Determine
the the
audience’s demographics
relationship of the
to you audience
Understanding Presentations
and Presentation Media
A presentation is a talk in which the person speaking—the presenter—is communicating
with an audience in an effort to explain new concepts or ideas, sell a product or service,
entertain, train the audience in a new skill or technique, or achieve a wide variety of
other goals. The ability to give an interesting and informative presentation is an important
skill for students and professionals in all types of businesses.
Some talented presenters are able to simply stand in front of an audience and speak.
They don’t need any presentation media—the visual and audio aids that you display to
support your points—because they are able to captivate the audience and clearly explain
their topics simply by speaking. Most of us, however, want to use presentation media to
help hold the audience’s interest and enhance their understanding. Presentation media is
also a valuable reinforcement tool for those who process learning visually.
Presentation media can include photos, lists, music, video, and objects that the
presenter shows or shares with the audience. You can also use the following tools to
display presentation media:
• Presentation software, such as Microsoft PowerPoint
• Whiteboard
• Flip chart
• Posters
• Overhead transparencies
• Handouts
• Chalkboard
Presentation software like PowerPoint makes it very easy for presenters to create bulleted
lists of information points. This sometimes results in all of the presenter’s c ontent listed
on a screen behind them, which they then proceed to read to their audience. Since most
people can read faster than someone can speak, the audience finishes reading the words
before the presenter finishes speaking, and then sits, bored, waiting for the presenter
to move on to new information. Even if the presenter has additional information to
communicate, the audience, anticipating that they will be able to read the information on
the screen, has probably stopped listening. Sometimes visuals contain so many words that
to make them all fit, the presenter must use a small font, making it difficult or impossible
for the audience to read, leading to frustration as well as boredom (see Figure 1).
Figure 1 A bored audience member
Yuri Acurs/Shutterstock.com
Although brief bulleted lists can be very helpful when the presenter is explaining
facts, people attend presentations to hear the speaker and perhaps to see diagrams or
other illustrations that will help them understand and retain the information. When you
give a presentation, you should take advantage of this opportunity to thoroughly engage
your audience. For example, if you display a graphic that supports your statements,
your presentation will be more interesting, and the audience will pay attention to you
and what you are saying, rather than tuning you out while trying to read words on the
screen (see Figure 2).
Figure 2 An interested, engaged audience
Rawpixel.com/Shutterstock.com
In order to deliver a successful presentation, you need to spend time developing it.
There are three stages to developing a presentation: planning, creating, and preparing
your delivery. In this session, you will focus on the planning stage.
Planning a Presentation
When you plan a presentation, you need to consider some of the same factors you
consider when planning a written document—your purpose, your audience, and the
information you want to convey. Planning a presentation in advance will improve the
quality of your presentation, make it more effective and enjoyable for your audience,
make you better prepared to deliver it, and, in the long run, save you time and effort.
As you plan your presentation, you should ask yourself the following questions:
• Will I deliver the presentation real-time in front of a live audience or in a webinar, or will
it be a self-running presentation? If it is real-time, will it be recorded for later viewing?
• What are the purposes and desired outcomes of this presentation?
• Who is the audience for my presentation, and what do they need and expect?
The following sections will help you answer these questions so that you can create a
more effective presentation, and enable you to feel confident in presenting your ideas.
Determining the Form of the Presentation

Usually when someone refers to a presentation, they mean an oral presentation given by a
presenter to a live audience. When giving an oral presentation, a person might present to
a small audience in a room the size of a classroom, to an audience in a hall large enough
to require using a microphone, or over the Internet in webinar format. A webinar is a

presentation in which the audience signs in to a shared view of the presenter’s computer
screen and either can hear the speaker through the screen, or calls in to a conference call
to hear the presenter over the telephone line. If the presenter is using video technology,
such as a webcam, the webinar audience will be able to see the presenter as well.
Depending on the webinar software, the audience might also be able to participate by
asking questions verbally or posting them to an area of the screen.
With PowerPoint and other presentation software, you can also create a presentation
that is self-running or that is controlled by the person viewing it. Sometimes, this type of
presentation includes recorded audio, but often it includes only the presentation content.
This type of presentation can be challenging to create because the person who prepares
the content needs to avoid making it simply a substitute for a written document.
If you are presenting in front of a live audience, you can use facial expressions
and body language to help convey your points. If presenting in person, or with some
webinar formats, you can also see your audience’s facial expressions and body
language, which can help to indicate how they are feeling about your presentation.
For example, if you see confused expressions, you might decide to pause for questions.
If you are presenting via a webinar, you need to make sure all the visuals that you
use to help explain your points are very clear, and you need to figure out how to
interact with your audience in a way that won’t disrupt the flow of your presentation.
If the presentation will be self-running or pre-recorded, the content will need to
be compelling enough on its own to make the audience want to watch the entire
presentation. For this reason, the content of a self-running or pre-recorded presentation
must be even more visually interesting because the presenter will not have the
opportunity to directly engage the audience.
Determining the Presentation’s Purposes and

Desired Outcomes
When you are planning a presentation, you need to know what the purpose of the
presentation is. Most presentations have one of three purposes: to inform, to persuade,
or to demonstrate.
Determining the Purposes

Informative presentations are designed to inform or educate. This type of presentation
provides the audience with background information, knowledge, and specific details
about a topic that will enable them to gain understanding, make informed decisions,
or increase their expertise on a topic. Examples of informative presentations include:
• Summary of research findings at an academic conference
• Briefings on the status of projects
• Overview, reviews, or evaluations of products and services
• Reports at company meetings
Persuasive presentations are designed to persuade or sell. They have the specific
purpose of influencing how an audience feels or acts regarding a particular position or
plan, or trying to convince the audience to buy something. Persuasive presentations are
usually designed as balanced arguments involving logical as well as emotional reasons
for supporting an action or viewpoint. Examples of persuasive presentations include:
• Recommendations of specific steps to take to achieve goals
• Sales presentations to sell a product or service
• Motivational presentations
Demonstrative (or training) presentations show an audience how something works,
educate them on how to perform a task, or help them to understand a process or
procedure. Sometimes you will provide listeners with hands-on experience, practice,
and feedback so they can correct their mistakes and improve their performances.
Examples of demonstrative presentations include:
• Software demonstrations
• Process explanations
• Employee training
• Seminars and workshops
• Educational classes and courses
You should always identify the primary purpose of your presentation. However,
presenters often have more than one goal, which means your presentation might have
additional, secondary purposes. For example, the primary purpose of a presentation
might be to inform an audience about a wildlife preserve and describe it to them. But
the secondary purpose might be to raise funds for that preserve. Identifying the primary
purpose of a presentation helps you focus the content; however, by acknowledging
secondary purposes, you can be prepared to answer or deflect questions until after the
presentation so that the primary purpose remains the focus of the presentation.
Figure 3 summarizes the three categories of presentation purposes and their goals.
Figure 3 Purposes for giving presentations
Purpose Goal Examples

Informative Present facts and details Summary of research findings, status reports,
briefings, discussions of products and services
Persuasive Influence feelings or actions Recommendation reports, sales presentations,
motivational presentations
Demonstrative Show how something works and Software demos, process explanations,
(Training) rovide practice and feedback
p employee training, seminars and workshops,
educational courses
When Theary gives her presentation about the hotel, her primary purpose will be
to persuade the people in her audience to book the Outer Island Hotel and Resort for
company events. Her secondary purpose will be to convince her audience members to
consider visiting the hotel on their next vacation.
Identifying Desired Outcomes

In addition to determining the purpose of a presentation, you should also consider what
you hope to achieve in giving your presentation. That means you need to determine
the desired outcomes of your presentation—what you want your listeners to know,
think, feel, or do after listening to the message. Focusing on the desired outcomes of
your presentation forces you to make it more audience-oriented. Just as when you
determined the purpose of your presentation, you might find that although you have a
primary desired outcome, secondary outcomes might be acceptable as well.
You should be able to concisely express the purpose and desired outcomes of your
presentation. Writing down the purpose and desired outcomes helps you decide what
to include in the presentation, enabling you to create a more effective presentation.
A good statement of your purpose and desired outcomes will also help when you write
the introduction and conclusion for your presentation. Consider the following examples
of specific purpose statements with specific outcomes:
• Purpose: To demonstrate a newly purchased projector that staff members can use for
giving presentations to small groups.
Outcome: Staff members will understand how to use the new equipment.
• Purpose: To inform department heads at a college about the benefits of a new

website where students can receive tutoring.
Outcome: Audience will understand the benefits of the program.
Secondary Purpose: To persuade department heads to recruit tutors for the program.
Secondary Outcome: Department heads will ask their faculty to identify potential
tutors.
The desired outcome of Theary’s presentation is that the event planners at the companies
she visits will book their companies’ events at the Outer Island Hotel and Resort.
Figure 4 shows a basic worksheet for helping determine the form, purpose, and
outcome of a presentation. This worksheet is filled out with Theary’s information.
Figure 4 Form, Purpose, and Outcome worksheet for hotel presentation
Analyzing Your Audience’s Needs

and Expectations
The more you know about your audience, the more you’ll be able to adapt your
presentation to their needs. By putting yourself in your audience’s shoes, you’ll be able
to visualize them as more than just a group of passive listeners, and you can anticipate
what they need and expect from your presentation. Anticipating the needs of your
audience also increases the chances that your audience will react favorably to your
presentation.
The first step in analyzing your audience is to determine their relationship to you. If you
are speaking to your peers, you could adopt a less formal style than if you are speaking
to your managers or people who report to you. Also, if you are speaking to people who
know you and your credentials, you might be able to present in a more informal, familiar
manner than if you are speaking to people who have never met you.
The second step in analyzing your audience is to find out about their demographics.
Demographics are characteristics that describe your audience. Some of the
demographics that affect your presentations are:
• Age—People of different age groups vary in terms of attention span and the way they
absorb information. For example, children have shorter attention spans and generally
can’t sit still as long as adults, so presentations to children should be divided into
short sessions interspersed with physical activity.
• Cultural background—Each culture has its own expectations for how to write, speak,
and communicate, including nonverbal conventions such as gestures and body
movement. It is important to remember that cultural differences can occur even in
the same country.
• Expertise—Audiences with specialized training expect examples that use terms and
concepts from their field. Audiences who are unfamiliar with a topic will require
more definitions and explanation to understand the presentation.
Insight
Understanding the Needs of an International Audience
If you’re presenting to an international audience, whether over the Internet or in
person, it is important to understand the different cultural expectations that interna-
tional audiences may have for your presentation, including expectations for nonverbal
communication. These cultural expectations are subtle but powerful, and you can
immediately create a negative impression if you don’t understand them. For example,
audiences from cultures outside the United States may expect you to speak and dress
more formally than you are used to in the United States. In addition, some cultures
may take offense at certain topics or jokes.
There are no universal guidelines that would enable you to characterize the needs
of all international audiences; however, there are some commonsense recommenda-
tions. You should analyze the hand gestures and symbols you use routinely to see if
they have different meaning for other cultures. Be cautious about using humor because
it is easy to misinterpret. Most importantly, take special care to avoid using cultural
stereotypes, even if you think they are positive or well-meaning.
Also avoid using idioms or phrases that might not be widely used outside of your
area or country, such as “the cat’s out of the bag” or “jump on the bandwagon.”
Understanding who your audience is and their needs and expectations helps you
adapt the content of your presentation to a particular audience. Figure 5 shows a
worksheet that Theary used to analyze the needs and expectations of her audience.
Figure 5 Audience Analysis worksheet for the hotel presentation
Proskills
Teamwork: Planning Collaborative Presentations
Because much of the work in business and industry is collaborative, it’s only natural
that some presentations are created and presented by a team of people. These types
of presentations are referred to as collaborative presentations and they provide many
benefits, including:
• Sharing a greater range of expertise and ideas
• Provoking more discussion due to different presentation styles and a wider range
of information being shared
• Providing more people with exposure and the rewards of a task accomplished
• Allowing more people to gain valuable experience in communicating ideas
In addition to creating compelling content, a successful collaborative presentation
depends on your group’s ability to plan thoroughly and practice together. To ensure a
successful group presentation, consider the following as you plan your presentation:
• Involve the whole team in the planning.
• Show respect for the ideas of all team members, and be sensitive to personality
and cultural differences among the team members.
• Convey clear time constraints to each speaker and ensure that all speakers are
prepared to limit themselves to the time allotted.
• Plan for the transitions between speakers.
In this session you learned how to plan a presentation and to consider the needs and
expectations of your audience. In the next session, you will learn about the steps for
creating the content of a presentation.
Review
Session 1 Quick Check
1. Describe the difference between a presentation and presentation media.
2. What are the three stages of developing a presentation?
3. List the three categories of presentation purposes.
4. Give an example of each category of presentation purpose.
5. Why is it important to focus on the desired outcomes of a presentation?
6. List three examples of audience demographics.
Session 2 Visual Overview:

A presentation’s focus can be based Information gathered from a variety
on the chronology of events, a of sources can help support your
geography or region, categories or An effective introduction should statements, as long as the information
classifications, a particular component engage the audience and state is accurate and up-to-date and the
or segment, or a point of view. the purpose for your presentation. source is reputable.
Establish a
Gather and
focus and Write an
evaluate
identify key introduction
information
points
Creating a Presentation
Comparing your conclusion to your
Presentations can be organized introduction ensures that you maintain
inductively, deductively, the focus of your presentation.
sequentially (chronologically), Restating your main points reinforces Both text and graphics
spatially, or as a problem/solution. key points for your listeners. can serve as visuals.
Organize
the
Write a Create
information
conclusion visuals
for your
presentation
Creating the Presentation

Once you determine the form of the presentation, determine your purpose and
outcome, and analyze your audience’s needs and expectations, you need to create
the content of your presentation. There are multiple steps to creating the content of a
presentation. As shown in the Session 2 Visual Overview, to create the presentation’s
content, you need to identify the main ideas and focus of your presentation, and then
develop the introduction, body, and conclusion. Then you can create visual and audio
aids that will help your audience understand your content.
Focusing Your Presentation

Tip One of the biggest challenges presenters face is focusing their presentations by limiting
the topic, concentrating on one aspect of it. You should begin by identifying the major
If your audience’s experi-
ence level is unknown
points or main ideas that are directly relevant to your listeners’ needs and interests,
to you, you can prepare and then focus on those. Some presenters worry that audiences will not understand
background slides that you the material unless every aspect of a topic is explained. If you try to cover everything,
can access during your you’ll give your audience irrelevant information and they’ll lose interest as they try
presentation as needed.
to filter out unnecessary details. Focusing on one aspect of a topic is like bringing a
picture into focus with a camera—it clarifies your subject and allows you to emphasize
interesting details.
Strategies for focusing or limiting your presentation topic are the same as those you
would use to create a focus for any written document—focus on a particular time or
chronology, geography or region, category, component or element, segment or portion
of a procedure, or point of view.
• Time or chronology—Limiting a topic by time means you focus on a segment of
time, rather than trying to cover the entire history of a topic. Unfocused: The history
of Egypt from 640 to 2000. Focused: The history of Egypt during the Nasser years
(1952–1970).
• Geography or region—Limiting a topic by geography or region means you look at a
topic as it relates to a specific location. Unfocused: Fly fishing. Focused: Fly fishing
in western Colorado.
• Category or classification—Limiting a topic by category means you focus on one
member of a group or on a limited function. Unfocused: Thermometers. Focused:
Using bimetallic-coil thermometers to control bacteria in restaurant-prepared foods.
• Component or element—Limiting a topic by component or element means you
focus on one small aspect or part of an organization or problem. Unfocused:
Business trends. Focused: Blending accounting practices and legal services, a
converging trend in large businesses.
• Segment or portion—Limiting a topic by segment or portion means you focus on
one part of a process or procedure. Unfocused: Designing, manufacturing, handling,
storing, packaging, and transporting of optical filters. Focused: Acceptance testing of
optical filters.
• Point of view—Limiting a topic by point of view means you look at a topic from
the perspective of a single group. Unfocused: Employee benefits. Focused: How
school districts can retain their teachers by providing childcare assistance and other
nontraditional benefits.
Theary plans to focus her presentation by limiting the topic to focusing on a point of
view—making sure she describes the resort so that each audience member understands
how it will meet the company’s needs.
Identifying Your Key Points

Once you have determined your focus, you need to identify the key points of your
presentation. To help you continue to design your presentation with the listener in
mind, phrase the key points as the conclusions you want your audience to draw from
the presentation.
As you identify the key points, order them in a numbered list with the most
important idea listed first and the least important point listed last. This will help
you maintain the focus and ensure that the most important points receive the most
attention. For example, the key points of Theary’s presentation about the Outer Island
Hotel and Resort are:
1. The hotel was recently completely renovated.
2. The resort has many amenities and services that will appeal to large groups.
3. The hotel will work with the company to create the perfect event.
Once you’ve established a focus and identified your key points, you need to create the
introduction, body, and conclusion of your presentation. Good presentations start with
an effective introduction, continue with a well-organized body, and end with a strong
conclusion.
Developing an Introduction
The introduction, or opening statement, of a presentation enables you to gain your
listeners’ attention, establish a relationship with your audience, and preview your
key points. The introduction sets the tone for the entire presentation. An inadequate
introduction can ruin the rest of your presentation no matter how well you’ve prepared.
Consider these guidelines to avoid common mistakes:
• Don’t begin by apologizing about any aspect of your presentation, such as how ner-
vous you are or your lack of preparation. Apologies can cause the audience to lose
faith in your credibility as a presenter or expert on your topic.
• Don’t use gimmicks to begin your presentation, such as asking the audience to repeat
a phrase, singing a song, or ringing a bell. Members of your audience may not know
how to respond or will feel uncomfortable.
• Avoid trite, flattering, or phony statements, such as, “Ladies and gentlemen, it is an
unfathomable honor to be in your presence.” Gaining respect requires treating your
audience as your equal.
• Be cautious when using humor. It’s difficult to predict how audiences will respond
to jokes and other forms of humor. Also, what one person or group finds humorous
might offend another person or group.
Gaining Your Audience’s Attention

The purpose of the introduction is to provide the listeners with an organizational overview
of your presentation; however, it is also important to remember that the introduction
provides the audience with their first impression of you and your presentation. Even if
your audience is interested in your topic, they can be easily distracted, so it’s important to
create an effective introduction that will immediately grab their attention. A truly effective
introduction captures the attention of your audience and establishes a rapport with them.
Some effective ways to gain your audience’s attention are:
• Share anecdotes.
• Discuss statistics and quantitative data.
• Mention a quotation, familiar phrase, or definition.
• Ask questions.
• Raise a current problem or issue.
• Comment about the audience or occasion.
• State the purpose of the presentation.
Share Anecdotes
Sharing anecdotes (short stories or personal experiences that demonstrate a specific
point) is a very effective method of gaining your audience’s attention. Anecdotes allow
your audience to relate to you as a person and make your topic more relevant. For
example, Theary could begin her presentation by describing a recent successful event
held at the hotel:
“Last month, Worldwide Phone Systems held their annual sales meeting at Outer
Island Hotel and Resort. They needed a room large enough to serve 800 people dinner
and with a stage for presenting awards. We were able to remove a moveable wall
between our two largest ballrooms and accommodate them. They also wanted to ensure
that attendees seated farthest from the stage would be able to clearly see the people on
the stage. We provided two 10 foot by 10 foot screens located on either side of the stage
so that even someone at the back table could clearly see the stage. Finally, they asked
us to arrange outings during the day. We arranged several activities for their attendees
including tee times at the resort, kayaking and canoeing tours, a guided tour of the J.N.
Ding Darling National Wildlife Refuge, and a tour of Sanibel Historical Museum and
Village. The events director at Worldwide told me that it was the most successful sales
meeting they had for the last 10 years.”
Discuss Statistics and Quantitative Data

Another way to engage your audience is to discuss interesting statistics and quantitative
data relating to the needs of your audience. To be effective, make sure that the statistics
and data you use are current, accurate, and easily understood.
In Theary’s presentation, she could share statistics and data about the number of sunny
days on Sanibel Island.
Mention a Quotation, Familiar Phrase, or Definition

Short quotes, familiar phrases, or definitions are another way to gain your audience’s
attention. This strategy works because your audience wants to know how the quote,
phrase, or definition relates to your topic, and this leads naturally into the rest of your
talk. Castle Hotels has been running a national marketing campaign to raise brand
awareness, and their slogan has been repeated for months in online, television, radio,
and print ads. The slogan is, “You are our number one VIP.” Theary could begin by
quoting that slogan and emphasizing that it is not just a slogan, it is the way she and
the hotel employees will treat each and every guest.
Ask Questions
Asking questions to introduce your topic can be effective if the questions are
thought-provoking and the issues are important. This can be especially effective in small
group settings or situations where you’re attempting to find new ways to approach
ideas. Asking audience members to give tentative answers to an informal quiz or
questionnaire allows you to adjust your presentation to accommodate their responses.
Tip Rhetorical questions (questions you don’t expect the audience to answer) are especially
effective. Rhetorical questions engage the audience right away because the audience
If an audience member
calls out humorous or members instinctively reply to the question internally.
otherwise unwanted In her presentation, Theary could emphasize the hotel’s dedication to making
answers to your questions, sure every guest is satisfied by asking the rhetorical question “Have you ever had a
be polite, but redirect your disappointing customer service experience?” and then following that statement with
audience to the focus of
examples of how customer service issues have been handled successfully in the past.
your presentation.
Raise a Current Problem or Issue

Another way to grab the attention of your audience is to raise a current problem or
unresolved issue. This provides you with an opportunity to suggest a change or a
solution to the problem. By defining a problem for your audience, you develop a
common ground upon which you can provide insight, examine alternatives, and make
recommendations.
In Theary’s presentation, she could address the current issue of climate change by
describing the hotel’s commitment to the environment. For example, new solar panels
provide 70% of the hotel’s electricity, the hotel has agreements with a local agency to
compost food waste, and new, automatic shut-off systems for air conditioners and lights
in guest rooms, conference rooms, and common area rest rooms were installed.
Comment About the Audience or Occasion

To show your enthusiasm about the group you’re addressing, as well as about your topic,
you can make comments about the audience or occasion. If you do this, your comments
should be brief and sincere. Referring to the occasion can be as simple as Theary saying,
“Thank you so much for allowing me to describe our newly renovated hotel and resort
and how we can meet your needs for your next sales meeting, corporate retreat, or
convention.”
State the Purpose of the Presentation

Simply announcing your purpose works well as an introduction if your audience is
already interested in your topic or if your time is limited. Most audiences, however, will
appreciate a more creative approach than simply stating, “I’m going to try to convince
you that Outer Island Hotel and Resort is the best place to schedule your next event.”
For example, in Theary’s presentation, she might say something like, “I am here to
describe our beautiful hotel and location.”
Figure 6 summarizes the ways to gain your audience’s attention.
Figure 6 Ways to gain your audience’s attention
Method Result
Share anecdotes Helps audience relate to you as a real person
Discuss statistics and quantitative data Increases audience interest in topic
Mention a quotation, familiar phrase, Leads in well to remainder of presentation
or definition
Ask questions Gets audience thinking about topic
Raise a current problem or issue Prepares audience to consider solutions or
r ecommendations for change
Comment about the audience or occasion Enables you to show your enthusiasm
State the purpose of the presentation Works well if audience is already interested
Providing an Overview of Your Presentation

Tip After you have gained the attention of your audience, you might choose to provide
You can choose to show a
them with an overview of your presentation. Overviews, sometimes called advance
visual overview or you can organizers or previews, prepare your audience for the points that will follow. They can
simply explain your plan be very effective for longer presentations or for presentations that cover complex or
or structure. technical information. Overviews help your audience remember your presentation by
providing a road map of how it is organized. Overviews should be brief and simple,
stating what you plan to do and in what order. After you’ve given your audience an
overview of your presentation, it’s important that you follow that same order.
Once you’ve created your introduction, you’re ready to develop the body of your
presentation.
Developing the Body of Your Presentation

Tip The body of your presentation is where you present pertinent information, supporting
Always consider whether
evidence, and important details. To develop the body, you need to gather information
your content is helping on your key points, determine the organizational approach, add supporting details and
you achieve the other pertinent information, and provide transitions from one point to the next.
desired outcome of the
presentation. If it doesn’t,
revise accordingly. Gathering Information
Most of the time, you’ll give presentations on topics about which you’re
knowledgeable and comfortable. Other times, you might have to give presentations on
topics that are new to you. In either case, you’ll need to explain the reasoning behind
your statements, provide support for claims, present sensible recommendations, and
anticipate objections to your statements or conclusions. This means you need to go
beyond your personal experience and do in-depth research to provide relevant and
up-to-date information, verifiable facts, truthful statistics, and expert testimony
(see Figure 7). Always remember to cite your sources for facts, quotes, and other
information.
You can find additional information on your topic by consulting the following:
• Internet sources, including blogs, Twitter feeds, recorded webinars, and podcasts—
Be sure to verify that the source is credible.
• Library resources—You can access library resources, such as books, encyclopedias,
academic journals, government publications, and other reference materials, using
the library’s computerized catalog, indexes, and professional database services.
• Corporate documents and office correspondence—Since using these materials
might violate your company’s nondisclosure policy, you might need to obtain your
company’s permission or get legal clearance to use the information.
• Popular press items from newspapers, radio, TV, the web, and magazines—This
information, geared for general audiences, provides large-scale details and personal
opinions that may need to be supplemented by additional research.
• Interviews with experts and authorities in the field or other members of your
organization—Talking to other people who are knowledgeable about your topic
will give you additional insight.
• Surveys and observations—If you do your own interviews, surveys, and observations,
be prepared with a list of specific questions, and always be respectful of other
people’s time.
Figure 7 Gathering information from a variety of sources
Duplass/Shutterstock.com
Evaluating Information
Tip Not all of the information you gather will be of equal value. You must evaluate the
Some sources have
information you gather by asking whether it is accurate, up-to-date, and reputable.
the look and feel of When evaluating Internet sources in particular, it’s important that you ascertain
authoritative, research- whether the websites you use as sources contain a bias or viewpoint that influences the
based information, but are information, such as a sales pitch.
skewed by politics, profits,
You should also evaluate whether the information is pertinent to your particular topic.
or personal opinions.
The scope of some topics is so broad, you will need to whittle down the information to
only that which serves to clarify or enhance the specific key points of your presentation.
Consider whether the information supports your purpose and focus.
For her presentation, Theary collected the following additional information: a list of
all the upgrades that were done, a complete list of the activities offered by the resort, the
number of rooms and meeting areas available, statistics from the National Oceanic and
Atmospheric Administration about the average temperature and number of sunny days on
the island, menus from the hotel and area restaurants, and a schedule of the free shuttles
to and from the airport.
Organizing Your Information

After you have fully researched your topic and evaluated the information you’ve
gathered, you’re ready to organize the information in an understandable and logical
manner so that your listeners can easily follow your ideas. You should choose an
organizational approach for your information based upon the purpose, audience, and
situation of each presentation. Sometimes your company or supervisor might ask you
to follow a specific organizational pattern or format in giving your presentations. Other
times you might be able to choose your own organizational approach. Some common
organizational options include deductive, inductive, chronological, spatial, and
problem-solution.
Deductive organization means that you present your conclusions or solutions
first, and then explain the information that led you to your conclusions. See Figure 8.
Deductive organization is the most common pattern used in business because it presents
the most important or bottom-line information first.
Figure 8 Deductive organization
Introduction/Conclusion
Body
Summary
When you begin with the individual facts and save your conclusions until the end
of your presentation, you are using inductive organization. See Figure 9. Inductive
organization is useful when your purpose is to persuade your audience to follow
an unusual plan of action, or you feel your audience might resist your conclusions.
However, inductively organized presentations can be more difficult to follow because
the most important information may come at the end of the presentation.
Figure 9 Inductive organization
Introduction
Body
Conclusion
Organizing Theary’s presentation in a deductive manner would mean that Theary

would begin by stating that the hotel is the best place in the country to hold an event,
and then describe all the amenities and facts about the hotel and the area. If Theary
organized her presentation inductively, she would do the opposite. She would start by
describing the amenities and facts about the hotel and conclude by stating the hotel is
the obvious choice for the next company event.
When you use sequential or chronological organization, you organize information
in a step-by-step fashion or according to a time sequence. See Figure 10. Sequential
organization works best when you must demonstrate a procedure, train someone to
use a piece of equipment, or explain the evolution of a concept. Failing to present
sequential information in the proper order can leave your listeners confused and might
result in wasting time and resources.
Figure 10 Sequential (chronological) organization
Step 1
Step 2
Step 3
etc.
If Theary decided to organize her presentation sequentially, she could describe a

typical guest’s experience at the hotel from the time they check in through the time they
check out.
Spatial organization is used to provide a logical and effective order for describing
the physical layout of an item or system. See Figure 11.
Figure 11 Spatial organization
Third Floor
Second Floor
First Floor
To organize her presentation spatially, Theary would describe the hotel’s various
areas, such as the guest rooms, the conference rooms, the indoor and outdoor eating
areas, the golf course, and so on.
Problem-solution organization consists of presenting a problem, outlining various
solutions to the problem, and then explaining the solution you recommend. See
Figure 12. Problem-solution presentations work best for recommending a specific
action or solution.
Figure 12 Problem‐solving organization
Possible
solution 1
Statement
Possible Possible
of
solution 4 solution 2
problem
Possible
solution 3
If Theary uses problem-solving organization in her presentation, she would present the
roblem—the company’s need for a location for their event—and then recommend her
p
solution—that they book their event at Outer Island Hotel and Resort because it will meet
all of their needs.
Figure 13 summarizes the ways you can organize a presentation.
Figure 13 Ways to organize a presentation
Organizational Pattern Explanation of Pattern

Deductive Present conclusions or solutions first
Inductive Present conclusions or solutions last
Sequential (Chronological) Order by sequence or time
Spatial Order by space or position
Problem/Solution Present problem and various solutions, then recommend solution
Developing Your Conclusion

Conclusions are valuable because they allow you to restate your key points, thus h elping
your listeners remember important information from your presentation. You can also
suggest appropriate actions and recommend further resources. The conclusion is the last
thing your audience hears and sees, and will likely stay with them longer than individual
points you made—if it’s effective. Therefore, you should give the same amount of attention
and effort to developing the conclusion as you did to your introduction.
The following suggestions will help you create an effective conclusion:
• Use a clear transition to move into your conclusion. This will signal your a udience
that you’re moving from the body of your presentation to the closing statements.
Avoid ending with a trite statement like “I see my time is up, so I’ll stop here,”
which sends a general message to your audience that you did not develop a
conclusion or prepare adequately to present all the relevant information in the
amount of time available.
• Keep your conclusion short and simple. Audiences appreciate speakers who keep
their presentations within the allotted time limit.
• Make sure the conclusion reiterates only the central points or essential message of
your presentation. Don’t introduce new ideas; simply remind your audience why
they should care about your topic. Audiences won’t appreciate a rehash of your
entire presentation.
• Relate your conclusion to your introduction. Consider writing your conclusion at the
same time you write your introduction to make sure that they both provide the same
focus. Whenever you write your conclusion, compare it to your introduction to make
sure they are complementary.
• If your purpose was to persuade your audience to take a specific action, use your
conclusion to suggest what the audience should do now.
• If possible, suggest where your audience can find additional resources by providing
website addresses, email addresses, phone numbers, or physical addresses.
Theary could conclude her presentation by stating, “You have many options when
choosing the location of your next corporate event. I hope I have convinced you that
the beautiful Outer Island Hotel and Resort on Sanibel Island is the place you should
choose.”
Figure 14 shows a worksheet Theary used to determine the focus and organization
for her presentation.
Figure 14 Focus and Organization worksheet for hotel presentation
Creating Visuals
Once you have written the content of your presentation, you can create your v isuals.
As you create your visuals, remember that they are intended to clarify your points, not
contain the full content of your presentation. The exception to this is when you are
creating a self-running or pre-recorded presentation that users can view on their own.
Even then, you need to remember that you are creating a presentation, not a document,
so the information should be communicated in a creative manner, not just via long
bulleted lists.
Using visuals to supplement your presentation does the following:
• Increases the listeners’ understanding—Visuals are especially helpful in explaining a
difficult concept, displaying data, and illustrating the steps in a process.
• Helps listeners remember information—Audiences will remember information
longer when visuals highlight or exemplify the main points, review conclusions,
and explain recommendations.
• Adds credibility to the presentation—Speakers who use visuals in their presentation
are judged by their audiences as more professional and better prepared.
• Stimulates and maintains the listeners’ attention—It’s much more interesting to see
how something functions, rather than just hear about it.
The primary thing to remember is that the visuals are supposed to enhance the
a udience’s understanding and help keep their attention. Visuals shouldn’t draw
attention to themselves in such a way as to distract from your main points.
Using Text as Visuals

When you use text as visuals, you allow your audience to absorb the information you
are conveying by reading as well as listening. This can help audience members retain
the information presented. Text can be formatted as bulleted lists or treated like a
graphic.
A common pitfall for presenters is to use too much text. You don’t want your
presentation to turn into a bedtime story with you reading all the words on your visual
as the audience falls asleep. Therefore, if you use bulleted lists, keep the bullet points
short. Bullet points should be brief descriptions of your main points, giving your
audience a broad overview of what you will be discussing and serving as reminders to
help you remember what you want to say.
Tip Instead of creating a bulleted list, one alternative is to display key words in a
Text size can indicate
decorative, large font. You could also use relevant images as the bullets, or use a photo
relative importance. Show of a person accompanied by dialog balloons, like those in a drawn comic, that contain
more important ideas or the text you want to display. Compare the four visuals shown in Figure 15. The text in
larger numbers in a larger the first visual is clear enough, but the second is visually more interesting. The third
size than less important
visual uses graphical bullets that relate to the text in each bullet point, and the fourth
ideas or smaller numbers.
eliminates text completely and just uses images.
Figure 15 A simple bulleted list and alternatives
microstock3D/Shutterstock.com; romvo/Shutterstock.com
When you use text as a visual, keep in mind the following:

• If you are creating a visual that you will display to an audience while you are
speaking in front of them, follow the 7x7 Rule, which says that when you display
bulleted lists, use no more than seven bullet points per visual, with no more than
seven words per bullet. Some presenters restrict themselves to 4x4—no more than
four bullet points per visual or page with no more than four words per bullet.
• Keep phrases parallel. For example, if one bulleted item starts with a verb (such
as “Summarize”), the other bulleted items should also start with a verb (such as
“Include,” “List,” or “Review”).
• Use basic, plain fonts in a size large enough to be read from the back of the room. Only
use decorative fonts for a single word or a few related words for maximum impact.
• Use dark-colored text on a light or white background to make it easy for the
audience to quickly read the content. Do not layer text on top of a busy background
graphic because the text will be difficult to read and the graphic will compete with
the text for the audience’s attention.
• Proofread your presentations. One sure way to reduce your credibility as a presenter
is to have typographical errors in your presentation. It is especially important to
double-check the spelling of proper names.
In her presentation, Theary could list facts about the hotel, such as the number of
guest rooms, the square footage of meeting space available, the number of restaurants
on site, and so on, in a bulleted list.
Using Graphics as Visuals

You can help your listeners comprehend and retain the ideas from your presentation
by supplementing it with effective graphics. A graphic is a picture, shape, design,
graph or chart, diagram, or video. The old adage “A picture is worth a thousand words”
especially applies to presentations because listeners understand ideas more quickly
when they can see and hear what you’re talking about.
You can choose from many types of visuals for your presentations: tables (text
and numerical), graphs and charts (such as bar, line, pie, organizational, and flow),
illustrations (such as drawings, diagrams, maps, and photographs), and video.
Selecting appropriate visuals for your purpose is a matter of knowing the strengths
and weaknesses of the types of visuals. For example, if you want your audience
to know facts and figures, a table might be sufficient; however, if you want your
audience to make a particular judgment about the data, then a bar graph, line graph,
or pie chart might be better. If you want to show processes and procedures, diagrams
are better than photographs.
In Theary’s presentation, she might want to present data describing the the average
monthly temperatures on the island and the number of rainy days they have each
month. She could read a summary of the numbers, as shown in Figure 16.
Figure 16 Temperature and rainy day data as a presenter would read it
“The average high temperature on Sanibel Island in the winter

is 79 and the average low temperature is 59. In the summer,
the average high temperature is 90 and the average low
temperature is 72. Most months, we have only three to five
days with rain. In the summer, we do have more days with
rain—about 15 per month. But it usually rains for about an hour
in the late afternoon.”
Source: National Oceanic and Atmospheric Administration
However, this is not the most interesting way of communicating the data. By using
visuals, Theary can present the same data in a format that’s easier to understand, and
more interesting. For example, she could present the data in tabular format, as shown
in Figure 17.
Figure 17 Temperature and rainy day data in tabular format
High Low Rainy Days

January 75 54 3
February 77 55 3
March 80 59 4
April 85 63 3
May 89 69 5
June 91 73 13
July 91 75 15
August 92 75 15
September 90 74 12
October 86 69 5
November 81 62 3
December 77 57 3
Although presenting the data in this manner does allow the audience members to
read and absorb the numbers as Theary is speaking, some people can’t visualize what
this means. Tables are good for showing exact numbers, but they are not as good for
showing trends or for illustrating how one number compares to another. To do this,
Theary could create a column chart to show the temperature data, as shown in
Figure 18.
Figure 18 Temperature data in a column chart
100
90
80
70
60
50
40
30
20
10
0
January February March April May June July August September October November December
High Low
Column and bar graphs (graphs that use horizontal or vertical bars to represent
specific values) are useful for comparing the value of one item to another over a
period of time or a range of dates or values. A column chart could be a good choice
to show the number of days with rain each month. But using a column chart for the
average temperature data puts more emphasis on comparing the average high and low
temperature each month.
Theary doesn’t think the column chart is the best way to communicate the
temperature data. Instead, she will use a line chart with two lines—one to show the
average high temperatures and one to show the average low temperatures. For the
number of days with rain, she will use an area chart. See Figure 19.
Figure 19 Temperature data in a line chart and rainy day data in an area chart
100
90
80
70
60
50
40
30
20
10
0
High Low
Rainy Days
16
14
12
10
0
The line chart gives a clear picture of the temperatures. The area chart coveys a
sense of volume. Theary plans to use both charts as visuals during her presentation. She
also plans to include photos showing the hotel’s private beach on a beautiful sunny
day, the golf course, the wildlife preserve on the island, and people paddleboarding
and kayaking. She is considering showing a video of very short clips of happy people
engaged in various activities at the resort.
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tell him that I'm a woman and he's a man, and so the cases is very
differential. And what is he starving himself for, now? As I says to him,
while there was a chance of righting the business and keeping his
connection together, it was all very well to be miserly; but now that he's
broke, and had to retire to this place, which others that expected it as
little, though never keeping a carriage nor having a viller at 'Ackney,
mightn't he as well make use of the comforts provided for him, and not
go on pinch, pinch, and look at a friendly neighbour as if he'd like to bid
her to mind her own business? But there! A hard man Ralph Trulock
ever was—hard to his son, and hard to all, and hard he'll be, to his dying
day."
"He does not look like a hard man, exactly," said May Cloudesley.
"Ah, but if you knew his story, ma'am, which I can tell it to you, for I know
it well. I've known him all my life."
May by no means wished to listen to gossip of this kind; but she found
she must listen to Mrs. Short, or abruptly say good-bye, and this she did
not like to do. She was not one of those who have one manner for the
rich and another for the poor; so it was as impossible for her to interrupt
Mrs. Short rudely, as if she had been my Lady Short, and the vulgar little
crowded parlour a spacious reception room; so she heard her perforce.
"Ralph and me were married in the same year, and his shop—it was a
shop then, afterwards an establishment, if you please—was in our
street. My Matthew was a baker,—I ain't ashamed of it,—Ralph Trulock
was a master tailor, what they call a milingtery tailor, uniforms and the
like, and officers always going in and out, going to India and sich. He got
on wonderful—often I said to my poor Matthew that's dead and buried,
that pride will have fall, and a 'aughty sperrit goes before bankruptcy,
which is as true a word as any other Solomon ever said. And yet it
lasted a long time, too. Mrs. Trulock had her carriage, and Fred his
pony, and afterwards his horse, and they lived in a viller like the gentry,
and Ralph looked down on Matthew and me, as if we were no more than
a couple of our own penny rolls. The boy grew up—and a fine young
man to look at—but got into fine company through knowing the officers
that came to the shop, and it was he could spend faster than Ralph
could save. And his father was terrible hard on him—Ah! A hard man
Trulock was, even then, and—"
Here the welcome sound of a knock at the door reached May's ears.
She sprang from her chair, saying, "That is Mr. Cloudesley; he promised
to come for me."
"I'll let him in, ma'am—what, you must go? Well, I must finish my story.
Fred spent everything, and then ran away because the father was so
hard on him, and left Trulock in debt awful—he's never got before the
world since, and had to pay half a crown in the pound, and the wife died
—"
"I beg your pardon, Mrs. Short, but Mr. Cloudesley must find it very
cold."
"Yes, ma'am, I must let the dear gentleman in. And Ralph, ma'am—I
have my own suspicions about the way things went at the last; but that's
neither here nor there, and certain it is his behaviour killed his wife; and
when Fred ventured back, he cursed him frightful, and has always sent
back his letters, just tore up, and—"
"I really must not keep Mr. Cloudesley waiting any longer; that is the
third time he has knocked," cried May in desperation; and going quickly
to the door, she opened it herself.
Mrs. Short followed her as fast as she could, and began at once:
"Well, sir, you must not think me unmannerly for letting your good lady
open the door for you, for we were so interested in what we were
saying, that we quite forgot that you had knocked, and then when you
knocked again she ran like a hare, and I hadn't a chance with her. Must
you go at once, sir? Well, ma'am, call again soon, and I'll tell you plenty
more about him; but you may take my word for it, he brought that boy up
very badly, and then turned on him, broke his wife's heart, and owes a
mint o' money, leastways did, but went through the courts, you know,
and got himself whitewashed; and what he's starving himself for now I
don't know, and I'd give my ears to find out, though not curious by
nater."
"Good evening, Mrs. Short," said May gravely, as she took her
husband's arm and turned away.
"Oh, Gilbert, I do not like Mrs. Short; and if what she has been telling me
is true, we shall not like Mr. Trulock either."
"What has she told you? You look half dead, May."
"Nothing tries me like having to listen to talk like that; but she told me—"
and May repeated the substance of Mrs. Short's story.
"Well, I know nothing of the man myself, but this is certain," said Mr.
Cloudesley in reply. "Mrs. Short may abandon her suspicion that he
behaved dishonourably in any way; for if he had, he would not have
been admitted here. I fancy he is very unhappy, poor old fellow; you
must make friends with him, May."
"But, Gilbert, if he really turned his son out of doors and cursed him?"
"If that is true, he must be a miserable man, May."
"You are right. Yes, Gilbert, I'll go and see him again."
May Cloudesley went several times to visit Mr. Trulock before she found
him at home; and her ineffectual knock at his door never failed to bring
Mrs. Short to hers, urging her to come in and "have a chat." Sometimes
May escaped, but more often she was obliged to go in and listen
unwillingly to much gossip, principally about poor old Ralph, but many of
the other neighbours were also discussed. Still Ralph was plainly a
mystery to her, and (of course in the most good-natured spirit) Mrs.
Short talked incessantly about him. At last Mrs. Cloudesley determined
to go quite early some day, and try if she could catch Trulock; before he
was off on his wanderings. It was not quite ten o'clock when she raised
her hand to knock at his door, and before she had reached the knocker
the door opened, and Ralph, in a worn great-coat and shabby muffler,
stood before her. He looked even more depressed than when she had
seen him last.
"Good morning, Mr. Trulock. I am a very early visitor, but later in the day
you are never at home, and I wanted so much to see you."
"You are very good, madam. I don't know why any one should trouble
themselves about such as I am now. Will you walk in, madam?—though
I fear you will find it cold."
"Oh, I am very well wrapped up; I don't mind the cold."
"I sit in the kitchen, madam, in order to keep but one fire," said Ralph,
leading the way to that very melancholy apartment, where he placed her
in a chair near the grate; she perceived that the fire was raked out, and
the dismal chill of the room was most depressing.
May looked round, and then up into the face of the old man, and
wondered if she could venture to beg him to allow himself the comforts
he so sadly needed. He was watching her with a strange, sad smile.
"I know what you are thinking, madam," he said. "My neighbour, Mrs.
Short, has been telling me that she informed you that I am starving
myself to death; and I have no doubt she told you more than that. She
would not spare me. I was a fool to come here—but truly I had little
choice. She has given me a bad name with every one."
May could not deny this, so she said:
"I wish you would make yourself a little more comfortable, Mr. Trulock. I
cannot bear to think of the life you seem to lead. This place, you know,
was meant to make those who live here comfortable."
"I am as comfortable as I—wish to be," Ralph replied.
"But—please forgive me for speaking plainly—you know this place—the

money here—was meant to be used to make you comfortable; don't you
think you ought to use it as it was intended?"
"Comfort, Mrs. Cloudesley, is a matter of feeling; if I do what I wish to

do, I am more comfortable than I should be if I were doing what I don't
wish."
He sat down as he spoke, for hitherto he had been standing, and said:
"Madam, you are very kind to me, and I should not wish you to think
worse of me than I deserve. I don't know what you may have heard from
Mrs. Short, nor even what you may conclude from my own words and
conduct. May I briefly tell you the truth concerning myself, madam, and
then at least I shall know that you are not misled about me."
"Indeed, I will listen with great interest," said May. "I fear you have had
many trials."
"I have, indeed; but people say I brought them on myself."
"That, even if true, does not lighten them."
"No," he replied, with his slow, grave smile; "that is true; but it hinders
sympathy, I find. You know, perhaps, that I began life as an apprentice in
a great military outfitting shop in London? I was hard-working and
careful, and got on well. I set up for myself when I married, as my wife
had a little money, and I had saved. I prospered greatly. My business
grew and grew; I was soon a rich man. I had the best wife, madam, that
ever man was blessed with, and a fine boy—only the one child. I said I
would make a gentleman of him. I gave him every advantage—I never
said No to him—I—"
His voice trembled, and he was silent for a minute.
"Madam, I find that I cannot speak much of him, even now. I do not
believe he ever knew what he was to me. I ruined him by over-
indulgence—letting him have too much money; and then, when I began
to fear he was going astray, I pulled him up too short. Then—I see it now
—I went as much too far the other way—would give him no money, and
wanted to part him from all his acquaintance, because I thought they
helped to make him idle. He was idle—that I know—but he was good
and affectionate until—Well, he rebelled; got into debt; borrowed money
right and left. My business went down, for I was forced to make my
customers pay up their bills, and that makes discomfort. People
naturally go where they get credit. All went wrong with me; and my poor
Annie took the boy's misdoing so much to heart that she lost her health."
"Poor thing—oh, poor mother!" whispered May.
"The boy went from bad to worse. At last—I never told this to mortal
before except my poor Annie, and she guessed it. I had a large sum of
money coming to me, and I depended on it, as I had a great payment to
make. He knew it; he went the day before I was to receive it, and got it,
saying I had a sudden need for it, and had sent him. And then he
disappeared. I concealed his—theft—from every one except my wife—
she guessed it, and it finished what his wild doings had begun. She
never held her head up again, madam. She pined away, longing for her
boy, that she might try to bring him to a sense of his faults; but he never
came. I put advertisements in the paper, begging him to come home,
and that all should be forgiven; but he never saw them. He was abroad,
I believe. At last—she died; and the night before her funeral, Fred,
knowing nothing of this, came home. He came in on me suddenly, and I
had no heart to speak. He said he had seen the advertisement at last,
and had come home to confess that he was married,—and he told me
who the girl was. A good girl, I believe; but she belonged to bad people
—low, dishonest folk, in a small way of trade—and my heart rose up
against the thought of her bearing my Annie's name, and she lying in
her coffin. I got up—" Ralph straightened himself and spoke louder, "I
opened the door; I said, 'Your mother lies dead upstairs, murdered by
you. You have brought her to the grave, and me to ruin. Go to the wife
you have chosen—never let me see your face again.'"
"Oh, Mr. Trulock! Surely he did not take you at your word? Surely he
saw that you were speaking wildly?"
"He had his faults, madam, but want of affection was never one of them.
He tried again and again—he both wrote and came to the house; but I
would neither see him nor read his letters. I was mad, I think; mad with
sorrow and anger. At last he got a friend to trick me into reading one
letter, the last he ever wrote to me. He said he saw that I could not
forgive him, although he hoped I would believe that he had not meant to
leave his mother to die without seeing him; that he was going to
emigrate, and that he would repay the money he had taken from me as
soon as he could. I have never heard of him since—not a word."
"He will come yet," said May; but Trulock shook his head.
"I think he must be dead," he said in a low voice. "Then I began to try to
pay my creditors, and retrieve my business. I struggled on alone,
madam, for twelve weary years, during which I never spent an
unnecessary penny—only to fail at last. I paid seventeen and sixpence
in the pound, and—I must pay the other half-crown before I die. That is
what I am saving for, Mrs. Cloudesley. I can allow myself no comforts
until that is done."
May was crying, and made no answer.
"God bless you, madam, for those tears!" said Trulock, earnestly. "You're
sorry for Annie;—yes, and you would have learned to love her—you
would have loved Annie."
"I'm crying for you, not for her," May said, looking up. "I'm so sorry; yours
has been a sad, sad life. Annie is at rest."
"Yes," he answered, "Annie is in heaven; she was a saint, if ever there

was one."
"Ah!" said May, smiling. "How that takes the sting out of the sorrow! But
will you let me tell my husband what you have told me? And I will try to
see you soon again, and tell you if he thinks that you are doing right
now. Gilbert is so upright—he would know."
"You may tell him, but no one else, madam, if you please. I do not care
to defend myself; let people believe Mrs. Short if they like. I care nothing
for their opinion."
"Yet you must be very lonely."
"I don't care for company; I feel as if every one was a stranger, and must
always be so—and I think I don't wish it otherwise."
"Mr. Trulock, that is not the way to grow Christmas roses."
"But I told you none would grow for me, madam."
"They won't grow except in their own soil. Good-bye,—when shall I have
a chance of seeing you again?"
"I cannot have you troubled to come out so early on my account," Ralph
answered. "If you will leave word at the gate, appointing your own time, I
will be here. You have been very kind, madam, and I feel it deeply; but
do not mistake me, I do not promise to be ruled by what you and Mr.
Cloudesley may advise."
"Yet we may talk it over with you. Good-bye then, Mr. Trulock. I will leave
a message for you."
As May hurried away, she heard Mrs. Short calling her. She stopped,
and that worthy dame actually followed her, cold as it was.
"You've sat a long time with Trulock," said she. "I hope, ma'am, that he
was civil?"
"Civil!" said May, laughing. "Oh dear, yes, Mrs. Short. I like Mr. Trulock
very much indeed. Good morning, for I have sat so long with him that I
must hurry home now."
Mrs. Short retired to her house, much disgusted.
"After all I've told her, not to tell me one word of what passed between
'em! I could see that she cried,—but the winders is so small! It's very ill-
natured of her; and if I did right I'd never tell her another thing!"
CHAPTER III.
MAY CLOUDESLEY SPEAKS HER MIND.
SEVERAL engagements prevented Mrs. Cloudesley going to Lady

Mabel's Rest as soon as she had intended, but at last she succeeded in
keeping an hour or two clear for her visit, so she sent a message to Mr.
Trulock very early, to say that she would be with him at one o'clock, if
convenient to him. She was such a punctual little body, that she ran past
Mrs. Short's windows just as that lady's gorgeous clock struck one, and
for a wonder she got by unperceived, for it was Mrs. Short's dinner hour,
and she had no eyes for the passers-by. Mr. Trulock took her at once
into the kitchen, where he had a good fire burning, and for the first time
May saw what a snug room that kitchen could be.
"Well, Mr. Trulock, did you think I had forgotten you? You don't know
how busy we have been."
"I had no fear that you would forget me," Trulock answered, quietly.
"Mr. Cloudesley would have come with me—for he is so much interested

in what you told me; but he fancied that as you had spoken to me
before, you might like to talk to me this time also."
"Well, I think Mr. Cloudesley is right," said Trulock with a smile. "I don't
know that I could talk to any one else as I did that day to you. I
wondered at myself when you were gone, for I had not meant to trouble
you with so long a story."
"But you did not trouble me, except that I was sorry for you. Well, it
seems that my husband saw a letter, written by a Mr. Arnott, and signed
by all your other creditors, which was sent to Mr. Barton when you were
named for this place; in which they say that your conduct had been so
honourable as to command their admiration; that they had had dealings
with you for many years, and felt that in spite of your failure they had lost
nothing by the connection."
"I saw the letter," said Trulock, shortly.
"And they said that they were all most anxious to secure your election;
that they could quite afford to lose the very trifling sums you had not
paid, and that they had written to you to that effect."
"So they did. But, young lady, I could not rest in my grave knowing that I
owed any one a penny."
"Your creditors were all rich men, I think?"

"All of them. Except in the way of business I never owed a penny, and I
dealt only with the best houses."
"Suppose you had not been elected to the Rest, I think they meant to
have made a subscription for you, Mr. Trulock."
"Madam!" said the old man almost fiercely, "I would have gone to the
poorhouse before I accepted their charity!"
"Ah, Mr. Trulock! That is what Gilbert bid me say to you!"
"What?" cried Ralph, with a start. "That I ought to have done that—gone
to the poorhouse?"
"No, no,—but that you must look well to it that in this matter you are not
governed by pride rather than by any better feeling."
"I have always been a proud man," Ralph answered, drawing himself
up. "Mrs. Cloudesley, in living on the barest necessaries of life—and that
I do, for bread and water are my usual food, and I roam the country to
keep myself warm, to save firing,—I am doing the only thing that can
reconcile me to life. People talk of me now as a beaten man, glad to
hide my head in an almshouse, because ill-health, sorrow, and age
made it impossible for me to begin life again. But before I die, I will
prove to these proud, successful men, that I was not so utterly beaten;
that, in spite of age, and failing health, and sorrow to boot, I fought the
battle and kept my honourable name. When I have paid the money, I
may be able to feel grateful to Arnott and the rest for what they said and
did—as it is, I can only just keep from hating them."
May looked at him with a deep sorrow in her sweet eyes.
"Oh, Mr. Trulock," she said, "do forgive me if I speak my mind—and

Gilbert's, for he thinks as I do about it. Is that a Christian spirit? Your
creditors wished to forgive you this debt, they felt kindly towards you,
and were glad that you should not be left in poverty. You are in an
asylum planned to make those who have been unfortunate forget their
difficulties and pass a peaceful life, with every comfort, even to the
power of doing something for others. But you refuse to accept anything,
either from your old friends or from poor dead Lady Mabel; you shut-up
your heart, and will admit no happiness, no kind feeling,—but just fight
on, doggedly, to do what no one wants you to do—to pay back money
which no one needs (for the sums are too small to make any difference
to prosperous men), and all because you are too proud to accept a
kindness from any one, living or dead."
"The money may make no difference to them," said Ralph; "but it makes
all the difference in the world to me."
"But only because you are proud. Why should you not allow men who
think well of you to show you a kindness? Why not submit to the failure
of your business, and try to find peace here, where there are so many
who would be friendly if you would allow them? And Lady Mabel didn't
mean her bequest to be used except for the benefit of those to whom
she left it."
"I asked Mr. Barton if there was any rule obliging me to spend the
money, and he said certainly I might do as I liked," Ralph replied.
"Madam, I warned you that I could not promise to be guided by you. You
were kind to me, and I thought I should like you to know the plain truth
from my own lips; and then you listened so kindly that I was led on to
say more than I intended. But I could not change my nature at this time
of day, madam. A proud man and a hard man I have always been;
giving nothing for nothing, accepting no favours. I've lived so, and I
could live no other way. What good would the money do me? I don't
want to sink into a mere eating machine, like Mrs. Short. I don't care to
seek the company of my neighbours. All I ask is, to be left in peace to go
my own way."
"Yet it does not make you happy."
"Happy! How could I be happy? I have lost all I ever loved,—I loved but
two, and they are gone. I don't look for happiness, madam,—not in this
world."
"Nor in the next," said May Cloudesley, in her soft, sorrowful voice; "for
you are not going the way that leads to it."
"Mrs. Cloudesley!" cried Ralph, half startled, half angry. "I am a

Christian, madam, I believe. I have never doubted the religion I learned
from my mother, the religion that my Annie loved so well."
"You have never doubted it," said May; "but you have never lived it.
'Love is the fulfilling of the law,'—'If any man have not the Spirit of
Christ, he is none of His.' I have only your own word to go upon, but you
say yourself that you have been a proud man and a hard man, keeping
far from you all the charities of life. Oh, don't fancy for a moment that
your belief is Faith. Faith means Obedience,—Obedience is Love in
action. I am not able to make my meaning plain, but my husband will if
you will talk to him. Dear Mr. Trulock, do think over what you have told
me, and then compare your own life with that of our one perfect
Example, who lived on charity, and spent His life in doing good, without
return. I have angered you, but indeed I did not mean to do so."
And poor May, overcome both by a feeling of pity and by a sense of

inability to make her meaning clear, burst into tears.
Trulock looked very much disturbed. He rose quickly and brought some
water, and watched anxiously until she was quite composed. Then he
said:
"I should prefer not to speak to Mr. Cloudesley, madam; but I will think of
what you have said. I am not vexed that you should speak plainly; I like
plain speaking. I don't see that you are right, though; and if I did, I doubt
that I could change now."
"Shall I tell you how to begin?" said May.
He shook his head; but she went on: "Help some one, be kind to some
one who needs kindness; use some of your money to relieve those who
need relief; say kind words to some one in sorrow. That's the soil in
which you must grow your Christmas roses," she concluded with a
smile.
Trulock looked argumentative.
"Madam," said he; "you will say I am no judge, but I have heard so many
sermons against that kind of thing. It seems to me that you imply that I
can be saved by works."
"There is no question here of being saved," said May, quickly. "You must
be saved by the Lord Jesus Christ, or not at all. But you say you have
faith, and I say with St. James—'Show me thy faith by thy works'; for I
think that a faith which leaves us just what nature made us, must be a
dead faith, don't you? We all have our besetting sin to conquer, and it
seems to me that pride is yours; but if you had love in your heart it would
turn out pride. And I think that though we cannot make ourselves feel
love all at once, yet we can do kind things, and then our hearts will grow
soft and warm. And I am sure that if you were doing kind things for
others, you would not dislike so much to accept kindness from others; at
least, I think so. But I am very young and ignorant, and, I'm afraid, very
presumptuous too, to talk to you like this. You'll forgive me, though,
won't you, Mr. Trulock?"
She looked up so sweetly, that he found himself assuring her that he

had nothing to forgive, which a moment before had not been his opinion
at all.
May went home and told her husband all that had passed.
"Well," said he, "you told him some plain truths, May; but you were quite
right. Now we must let him alone a bit. I fancy he will not stand too much
good advice; we'll wait and see how things go."
In May's opinion, things did not go well. Mr. Trulock changed none of his
habits, and was always out when she called. Mrs. Short assured her that
he was living like a slave or a wild Indian, just bread and water on week
days, and a morsel of meat on Sundays only, and a cup of tea once in a
way—not regular at all. Miss Jones said she had invited him to dine with
her, and that he had refused, not very courteously. And May had no
choice but to follow her husband's advice and "let him alone," for the
simple but sufficient reason that she could by no means get at him.
CHAPTER IV.
A SMALL SEAMSTRESS.
RALPH TRULOCK had never been a very happy man. Even when his
worldly affairs prospered, and his wife, whom he tenderly loved, and
who deserved his love, was with him; even before his son's behaviour
gave him cause for anxiety,—he had not been a happy man. He had
had all that the world could give him, and if you had asked him what
more he wanted, he would probably have said, "Nothing;" and yet he did
want something, and want it so badly that his heart was never at rest for
the lack of it.
The truth is, he was trying to satisfy an immortal spirit with mortal things,
and no one ever yet succeeded in doing that, excepting those who are
too dull to look beyond mere eating and drinking, warmth and comfort.
Of this class, Mrs. Short was a tolerable specimen; but Ralph cared little
for these things. His idol was of a higher order: it was his own opinion of
himself. He did not greatly care for other people's admiration, but he
must satisfy himself. His notion was, that a man should be perfectly just,
utterly truthful and upright, fulfil all his engagements honourably, and
never ask or accept a favour. He did not add, consciously, "and never
give any one anything except what they earn," but he acted on that
principle, though he never interfered with his wife's charities. He
believed that if he lived thus, perfectly righteous in all his dealings, he
should certainly go to heaven, even if he never felt any of those warmer
religious feelings of which his wife sometimes spoke. She had quite a
different kind of religion; but that was all right: she was a woman, and
humility and dependence become a woman, but men should be made of
sterner stuff.
Mrs. Trulock was a timid, gentle creature, far too humble even to think
that Ralph could need to be taught anything. She taught her boy
carefully, and when he went astray her loving heart broke, and she died,
expressing with her last breath a belief that "Fred would remember what
she had taught him, yet." I don't suppose she had ever heard the story
of the mother of St. Augustine, but she might have said with her, "He
must be saved, for he is the child of many tears and many prayers."
But if Ralph Trulock had never been a thoroughly happy man, he was
certainly a very miserable man now. He had never been idle in his life;
and here he was with nothing to do but to see on how little he could
keep body and soul together, that he might rid himself of the hated
obligation he now lay under, to men whose equal he had once been.
May Cloudesley's sweet face and sympathetic manner had thrown him
off his guard, and he had spoken to her more freely than he had ever
spoken before, even to himself, for he hardly knew that he had it in him
to feel and speak thus until he found himself doing it. And then that little
traitor, May, having stolen softly within his guard of proud silence, had
used her opportunity to stick a little dagger into his very heart!
Twenty times a day he told himself that she was only a silly young
woman, and that he knew better than she did; twenty times a day he
resolved to think no more of her words. But they kept coming back to
him, and would not be forgotten. He had always read a small portion of
the Bible on Sundays, and he found himself now, sorely against his will,
remembering that the spirit of the words he read agreed with what May
had said, more than with his own opinions. He could not keep his mind
from trying to make out a case for himself, and he could not help
knowing that he failed; that no text bore him out in his opinions. Still he
was haunted by one text which he could not remember exactly, but in
which the words, "What doth the Lord require of thee, but to do justly?"
certainly occurred; and he imagined that if he could only find that verse,
he could return to his old way of thinking comfortably, and forget May's
little dagger.
After much searching, he found the text at last; but it did not turn out a
comfort to him. "He hath showed thee, O man, what is good; and what
doth the Lord require of thee, but to do justly—" oh that it had stopped
there! But it went on—"and to love mercy, and to walk humbly with thy
God?" So not even this solitary text, on which he had built so much,
would bear the meaning he wished to find in it. Nay, might not May have
used it against him?
"To love mercy!" How could he set about that? He need not relax his
stern self-denial much,—not at all, in fact; but he might give a small
portion of what he saved, and it would only delay his hoped-for payment
a little.
Though Ralph looked so old, he was only sixty-five, so he hoped he had

time enough before him to permit of a little delay. And his conscience
would not let him go on without making some effort to walk by the new
light which May had let in upon him. He began to look about for some
one whom he might help, and one seldom looks long for that!
One afternoon in June—it was June now, for it took him a long time to
arrive at this point in his mental struggle—he went into Fairford to buy
himself some new shirts; his old ones had gone beyond even his not
unskilful repairs. There was a good shop in High Fairford. Price's, and to
that shop he betook himself. The young man at the shirt counter told him
that he had not a shirt of the particular size he asked for in the house,
but that there were a number actually in hand, and if he would sit down
and wait a few minutes, one of the workwomen had promised him four
that very day, "and she is always punctual," concluded the young man.
Not caring to return next day, Ralph took a seat and waited. Presently a
girl—a child rather, though there was a staid, responsible air about her
that was wondrous womanly—came quickly up the shop, and laying a
parcel on the counter, said to the young shopman,—
"Please, sir, I have brought home the four shirts."
"I told you she was punctual, Mr. Trulock!" said the shopman.
"Why, you don't mean to say that this child is one of your workers!" said
Ralph.
"And a very handy worker too! No need to look over these shirts—
there's never any scamped stitches in Miss Garland's work," added the
young man pleasantly, as he opened the parcel and took out the four
shirts. They were wonderfully well-made—you must remember that
Ralph's trade had made him a good judge of needlework—every part
was as well done as the girl could do it, the button-holes were well
worked, and the buttons conscientiously sewed on. It was all so clean,
too. Ralph conceived a good opinion of the girl at once. He bought the
shirts, and paid for them: he saw the girl cast a quick glance upon the
sixteen shillings he laid down, and give her head a little shake. She was
paid for her work at once—three shillings. Ralph lingered near the door:
something in the girl's face pleased and yet puzzled him, and he wanted
to see more of her. She came out in a moment, but was passing him
without notice, when he said to her,—
"Do you get only ninepence a piece for making these shirts?"
"That is all," she answered with a sigh; "but, sir, it is better than nothing."
"How long does it take you to make one?" he asked.
"One whole day and most of another. Now I have got petticoats to make
—with braid on them; like doing that, I get on quicker."
"Your mother should not let you sew so much," said Ralph. "It is bad for
a growing girl."
"I have no mother, sir, and neither has poor Ollie."
"Neither has who?"
"Ollie—Oliver, my little brother, sir."
Ralph thought she said the name oddly.
"Oliver?" he repeated. "Is that what you said?"
"That is the same name, but Ollie's mother was French, and we have
lived in France, where they say it as I do."
"You and Ollie lived in France?" Mr. Trulock said. He felt strangely
interested in the child. She was a rather pretty little girl, with a pale
round face and very soft dark eyes: she wore her short dark hair tucked
away behind her little ears, and she was dressed in a plain and scanty
black cotton frock, her straw hat being trimmed with a morsel of fresh
black crape. Something in her look, her voice, and above all her smile,
interested him: they reminded him of some one, he could not think of
whom—the slight foreign accent puzzled him, perhaps.
She answered his question after a momentary hesitation,—
"Yes; me and Ollie and our father."
Two great tears slowly welled up and then ran down her cheeks: she put
up her small right hand to rub them away, and he saw how the forefinger
was seamed with needle marks.
"And now there are only me and Ollie," she added quietly.
"You are here with friends I suppose?"
"No, sir; we have no friends here. Father was on his way here when his
illness came on—he bid me come here. I expected to find his people
here, but no one even knows the name. I suppose they lived here long
ago, and are all gone away now."
"Do you mean to tell me, child," said old Ralph half angrily, "that you and
this boy are alone in the world?"
"Indeed we are—quite, quite alone," the girl answered, with that quiet
sadness which was so like some one, if he could only remember who it
was.
"But you have money?" he said, turning to look at her.
"Oh yes, I have a little money. When my father died; he had some
money,—I do not know exactly how much—they took some to pay the
doctor, and the bill at the hotel, and—for his funeral. Oh, I don't want to
speak about it, sir!" and again the big tears rolled down, and the poor
little hard-working hand went up to her face. But after a moment she
went on again: "I am keeping all I have left very carefully. I work as hard
as I can, and so does Ollie, though he can only run with messages, of
course. I want to keep the little I have until winter."
"How long have you been here?" asked Ralph.

"I forget exactly. Oh, there's Ollie!"
A beautiful boy of about seven years sprang up from his game of

marbles,—he was playing with a lot of young urchins on the pavement.
They were about half-way down the steep hill now, and Ollie had not
seen his sister until she called out his name; how his black eyes danced
when he saw her! And with what glee he held up a fourpenny piece,
crying,—
"See what I have here! A monsieur gave me this for picking up his
whip!"
"Why, you've been very fortunate to-day, Ollie—twopence in the morning

for carrying a parcel, and now this; how much is it—fourpence? Well
done, Ollie!"
"Take it, Ruthie; I may lose it," the boy said gravely, and then returned to
his marbles.
"We live here, sir," said Ruth, stopping at the door of a small bakery.
"Good-bye, and I hope you will like your shirts."
Mr. Trulock shook hands with her—a mode of saying good-bye which
seemed to puzzle her not a little. He lingered until she had passed
through the shop. She paused and bought a fourpenny loaf, and he
heard her ask for:
"A stale one, if you please, ma'am;" then she vanished through a door
behind the counter, and Ralph entered the shop.
"Plain or fancy, sir?" said the old woman who stood behind the counter.
"I don't want any bread, thank you," Ralph answered; "I want to ask a
question about the child who has just passed through your shop."
"Do you know anything about her, sir?" asked the woman eagerly.
"Why, I wanted to know if you do?" replied Ralph.

"Not much, sir; she and the boy, Ollie she calls him, came here more
than a month ago. I had been to Derby on business, and they came in
the same train, and came on by the omnibus from the Forest station,
and Ruth began to talk to me. She asked me if I knew people of the
name of Garland in Fairford; and I said there never was a Garland in the
place since I could remember, and that is sixty years and more. It isn't a
Fairford name at all, as I told her. She looked so frightened and
downcast, that I began to ask questions; then she told me that her
father, who had brought the two children from France to Southampton,
had died there, sudden-like; and that he had told her his father lived in
Fairford, and she was to come here to him; he'd been coming here
himself, poor man. I took the children in for the night, and made inquiry
next day; but it was as I thought, no Garland was ever known here."
"It would be some other Fairford, perhaps—there are places of the same
name in other counties," suggested Ralph, much interested.
"No, sir; Fairford, —shire was written on the box the children brought
with them, in the poor man's own writing."
"But have they no means of living, ma'am, except by what they can
earn?"
"None; there's a box with good, comfortable clothes for both of them,
and the same belonging to the poor father; and Ruth has a little money
laid by, but only a few pounds. And that's all. I advised Ruth to save it up
and work hard, and she's a wise little creature, used to manage things
and to be busy. She pays me nothing for the little room they sleep in,
and I am glad to help them so far; but I'm too poor to do more. My
business is not what it used to be, nor what it ought to be," she added
with a sigh, and a look round the dingy little shop, into which indeed no
one had come since Ralph's own arrival. "I got her work from Price's;
she's a handy worker."
"Will you give the child this, ma'am, and tell her it is from the old man to
whom she was talking?" said Ralph, giving her half a crown.
"Indeed I will, sir, gladly, and very kind it is of you sir. Good evening."

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Microsoft 365 & PowerPoint 2021:

Comprehensive Jennifer T. Campbell

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Printed in the United States of America

PowerPoint Presentation Concepts: Planning, Developing, and Giving a Presentation . . . . PRES 1

Module 1 Creating a Presentation Printing a Presentation . . . . . . . . . . . . . . . . . . . PPT 1-63

Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 1-34 Formatting a Table . . . . . . . . . . . . . . . . . . . . PPT 2-20

Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 5-13 Modifying a Slide Layout . . . . . . . . . . . . . . . PPT 6-24

Working with Layers . . . . . . . . . . . . . . . . . . . . . PPT 5-27 Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 6-36

Session 6.2 Visual Overview: Advanced Presenting Online . . . . . . . . . . . . . . . . . . . . . . . PPT 6-51

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Using SAM Projects and Textbook Projects SAM-1

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SAM-2 Using SAM Projects and Textbook Projects

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Using SAM Projects and Textbook Projects SAM-3

Starting Data Files

There are no starting Data Files needed for this module.

Session 1 Visual Overview:

Figure 1 A bored audience member

Figure 2 An interested, engaged audience

Determining the Form of the Presentation

to require using a microphone, or over the Internet in webinar format. A webinar is a

Determining the Presentation’s Purposes and

Determining the Purposes

Figure 3 Purposes for giving presentations

Purpose Goal Examples

Identifying Desired Outcomes

• Purpose: To inform department heads at a college about the benefits of a new

Figure 4 Form, Purpose, and Outcome worksheet for hotel presentation

Analyzing Your Audience’s Needs

Figure 5 Audience Analysis worksheet for the hotel presentation

Session 2 Visual Overview:

Creating the Presentation

Focusing Your Presentation

Identifying Your Key Points

Gaining Your Audience’s Attention

Discuss Statistics and Quantitative Data

Mention a Quotation, Familiar Phrase, or Definition

Raise a Current Problem or Issue

Comment About the Audience or Occasion

State the Purpose of the Presentation

Figure 6 Ways to gain your audience’s attention

Providing an Overview of Your Presentation

Developing the Body of Your Presentation

Figure 7 Gathering information from a variety of sources

Organizing Your Information

Figure 8 Deductive organization

Figure 9 Inductive organization

Organizing Theary’s presentation in a deductive manner would mean that Theary

Figure 10 Sequential (chronological) organization

If Theary decided to organize her presentation sequentially, she could describe a

Figure 11 Spatial organization

Figure 12 Problem‐solving organization

Figure 13 Ways to organize a presentation

Organizational Pattern Explanation of Pattern

Developing Your Conclusion

Figure 14 Focus and Organization worksheet for hotel presentation

Using Text as Visuals