Making-Original-Products-presentationzen

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If we are wired to feel what others feel, is it any wonder that people get bored and disinterested when listening to someone who seems bored and disinterested, even though the content may be useful? Is it any wonder we feel stiff and uncomfortable while watching someone on stage barely move a muscle except for the muscles that make the mouth open and close? Too many presentations today are still given in an overly formal, static, and didactic style that removes the visual component, including the visual messages expressed through movement and displays of emotion. An animated, natural display of emotions enriches our narrative as it stimulates others to unconsciously feel what we feel. When you are passionate, for example, so long as it is perceived as genuine, most people will mirror that emotion back. Our data and our evidence matter, but the genuine emotions we project have a direct and strong influence—for good and for bad—on the message our audience ultimately receives and remembers. Power of the Smile Smiles are contagious, yet they must be real. You can try to fake a smile, but people can tell when you don’t mean it. In fact, some studies show that if you give an insincere smile, audiences may perceive you as projecting an untrustworthy or hypocritical image. Martin Seligman, author of Authentic Happiness, says there are essentially two types of smiles, the “Duchenne smile” and the “Pan American smile.” The Duchenne smile is the genuine smile, characterized by movement of the muscles around the mouth and also the eyes. You can tell a real smile by how the skin around the eyes wrinkles up a bit. The Pan American smile is the fake smile that involves voluntary movement around the mouth only. This is the polite smile you see from people in the service industry who are doing their best but not having a great day. We can all recognize an insincere smile. But a presenter or entertainer who actually looks happy to be there (because he or she really is) is well on the way to engaging the audience naturally. Genuine smiles show that we are happy to be there. And since people in our audience can feel what we feel, why wouldn’t we want them to feel at ease? While you may think it’s only your words that people should remember, your audience will actually recall much of what they saw, including your facial expressions, and what they felt. 256 Presentation Zen
Photo in slide: Jiji The slide above (16:9 aspect ratio) features a full-screen image of Miwa Yoshida and Masa Nakamura from the legendary Japanese pop group Dreams Come True. I mention them often in Japanese seminars because I have never seen a duo display more energy and infectious, genuine smiles on stage than these two. Performing music for three hours in front of 60,000 people is different than making a presentation, of course, but these activities share the same essence. We must engage by being completely in the moment, connected, and engaged with this particular audience. The interest and passion we show though our genuine smiles and laughter will go a long way toward that meaningful engagement. (The text on the slide translates to the “Power of a genuine smile.”) Chapter 10 The Need for Engagement 257
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Praise for Presentation Zen: Simple
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Presentation Zen: Simple Ideas on P
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Table of Contents Acknowledgments,
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Acknowledgments This book would not
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xi
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introduction Chapter 1 Presenting i
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1 Presenting in Today’s World Wit
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The Presentation Zen Approach This
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Each Case Is Different Not all pres
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Still a Long Way to Go While presen
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Raising the Bar and Making a Differ
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The six aptitudes are: design, stor
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Symphony Focus, specialization, and
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Meaning Making a presentation is an
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Fourth, create a written document.
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Letting Go Part of the Presentation
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In Sum • Like a Japanese bento, g
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preparation Chapter 2 Creativity, L
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2 Creativity, Limitations, and Cons
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Start with the Beginner’s Mind Ze
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You Are Creative Creative power and
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Be a Pirate! Inspiration. Where can
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The Art of Working with Restriction
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Pecha Kucha: A Sign of the Changing
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In Sum • Preparing, designing, an
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3 Planning Analog One of the most i
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During the planning stages of a pre
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“If you have the ideas, you can d
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You may be thinking that this is a
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Chapter 3 Planning Analog 53
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Slowing Down to See Slowing down is
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The Need for Solitude Many believe
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It is only in still water that we c
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Asking the Right Questions It is sa
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Questions We Should Be Asking OK, s
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To get back to my wasted hour, the
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So what? (Image in slide from iStoc
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Three Parts of a Presentation If yo
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esulting in poor supporting visuals
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The Benefit of Planning Well If you
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In Sum • Slow down your busy mind
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4 Crafting the Story During your ti
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The first message sounds similar to
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• Stories. We tell stories all da
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Chapter 4 Crafting the Story 83
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In an interview with the Harvard Bu
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Essentially, that’s it: Introduce
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Stories and Authenticity I have see
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It’s Not Just About Information P
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Dana Atchley (1941-2000) A Digital
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Step 1 Brainstorming. Step back, go
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Step 4 Sketch your visuals. Now tha
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Shown here are the title slide, the
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Nancy Duarte CEO of Duarte, Inc., t
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Moxie Software www.moxiesoftware.co
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If you feel tempted to use a pictur
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108 Presentation Zen Many people ar
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110 Presentation Zen
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Our lives are frittered away by det
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as interaction designers, are const
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ack on the audience. Jobs used the
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Shibumi (Elegance) Shibumi is a pri
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superfluous or decorative. They wil
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By stripping down an image to essen
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However, if you visit coffee shops
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Redux: Simplicity Is Not Easy Usual
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Presentation Design A common misund
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Signal-to-Noise Ratio The signal-to
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BEFORE AFTER 136 Presentation Zen
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Is the Nonessential Always “Noise
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2D or Not 2D? (That Is the Question
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A Few Points About Bullet Points Th
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Picture Superiority Effect Accordin
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Using images is an efficient way to
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The original slide showcases variou
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All the slides on this page use ima
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Where Can You Get Good Images? Gett
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Text Within Images I almost always
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A white background is placed behind
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Creating Bilingual Visuals Combinin
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Emptiness which is conceptually lia
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Using Empty Space The blue slide at
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Whether you use images of people or
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Balance Balance is important in a d
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One way to activate empty space and
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The image on the right is not a sli
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Create your own visual style. Let i
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WEAK CONTRAST BETTER CONTRAST 174 P
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This title slide lacks a design pri
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The slide on the left looks busier
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This kind of slide is not unusual b
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The more strikingly visual your pre
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7 Sample Visuals: Images & Text In
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Chapter 7 Sample Visuals: Images &
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Think Like a Designer I created the
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These two visuals are from early in
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Page 221 and 222: In Sum A good visual enhances the s
Page 223 and 224: delivery Chapter 8 The Art of Being
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Page 227 and 228: The Art of Being Completely Present
Page 229 and 230: Steve Jobs and the Art of the Sword
Page 231 and 232: You need technique and proper form,
Page 233 and 234: Chapter 8 The Art of Being Complete
Page 235 and 236: Learning from the Art of Judo You c
Page 237 and 238: Contribution and Being in the Momen
Page 239 and 240: swayed from side to side. Zander, t
Page 241 and 242: In Sum • Like a conversation, pre
Page 243 and 244: 9 Connecting with an Audience Most
Page 245 and 246: “There is a Japanese visual art i
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Page 249 and 250: NOVEL Show or tell something novel.
Page 251 and 252: say it—because saying it out loud
Page 253 and 254: a good idea to walk into the audien
Page 255 and 256: in volume through the use of a micr
Page 257 and 258: Avoid reading a speech. Never read
Page 259 and 260: Stand, Deliver, Connect Hans Roslin
Page 261 and 262: This principle does not encourage w
Page 263 and 264: In Sum • You need solid content a
Page 265 and 266: 10 The Need for Engagement We say t
Page 267: It’s not the thing... It’s the
Page 271 and 272: Kenichiro Mogi, a famous brain scie
Page 273 and 274: No matter what the digital toolmake
Page 275 and 276: 5. Get them active. Make your webin
Page 277: A very common scene is shown above.
Page 280 and 281: Be very clear and very focused. In
Page 282 and 283: to what? When Steve Jobs talked abo
Page 284 and 285: Get Close to the Audience My experi
Page 286 and 287: Use a Small Remote to Advance Visua
Page 288 and 289: Leave the Lights On If you are goin
Page 290 and 291: How Do You Know When You Are Engagi
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Page 294 and 295: What we think, we become. —Buddha
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Page 298 and 299: How to Improve There are many thing
Page 300 and 301: Lessons Are All Around You We can f
Page 302: A journey of a thousand miles begin
Page 305 and 306: Chapter 7 Chapter 8 istockphoto.com
Page 307 and 308: K-L Kaku, Michio, 258 kamishibai, 8
Page 309 and 310: Garr Reynolds travels the world giv
Page 311 and 312: Ideally suited to use alongside one
Page 313: Join the PeachPit AffiliAte teAm! Y
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