Questions Storytellers Need To Ask Themselves

    • Who am I and why would someone hire me?
    • Can I work a crowd?
    • Can I work in any weather environment?
    • What do I have to offer a festival or event?
    • Can I be flexible enough to fit the needs of the audience?
    • Can I be a team player? Will I be our partner to the producer?
    • Will I promote the festival or event?
    • Do I have any "non negotiable" points?
    • Am I fun and enjoyable to be around?
    • Am I comfortable around kids, animals, the elderly, etc.?
    • Am you available for picture taking with audience? Autographs?
    • Above all, can I be at the festival or event on time!!!?

    Asking yourself these 12 simple questions can help you to decide if you want to perform at certain events or if you are what someone is looking for.

    To make these questions work, first answer them in writing. Don’t worry about the way it is laid out, just put the words down. Most of them are simple yes or no answers. Sure there will be some that you need to explain for example: Can you work in any weather environment? You might answer no with an explanation; I’ m allergic to the sun. I can only do indoor or shaded events.

    Some of the questions can be hard to answer. Am I fun and enjoyable to be around? Some folks might answer that one differently than you would! Be honest and once you’ve answered these questions you will be able to offer a quality program.

    Remember if you don’t ask yourself these questions event producers will!

    Article Source: http://www.articledashboard.com


    Mike Miller is a Full Contact Speaker and Storyteller based in Charleston, South Carolina. His fresh, unique and exciting brand of speaking and storytelling has impacted thousands of groups ranging from major industry and health care to youth and education. He can be found at www.greatstoryteller.com


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    Questions Storytellers Are Often Asked and How They Answer

    When I tell people that I am a “storyteller” right away they fire back a slew of questions. In this article I am going to share some questions and answers from two of my favorite storytelling friends. These mini-articles appeared originally as posts on the StoryTell List. Whether or not you are a storyteller and/or a listener, you will find them insightful, entertaining and illuminating.

    From Karen Chace:

    For me, first and foremost I seem to always have to explain “what” a storyteller is as most people assume I read. I know many of you have the same problem. Sometimes that leads into a longer discussion about what the differences are and it is always nice to make another storytelling convert.

    Then, of course, comes the question “What kind of stories do you tell?” My answer is that I share a variety of stories from different genres, folktales, fairytales, myths…at this point they are usually shaking their heads in affirmative…ahhh they get it. :)

    Other questions that follow are:

    • Where do you find your stories?

    • Do you memorize them?

    • Do you write your own stories?

    • Do you tell just to children or to adults as well?

    Wouldn’t it be nice if all of those questions and answers could fit on a business card? I seem to remember that there is a new type of digital business card that is in the market. It contains a computer chip which stores a lot more information; the wave of the future to be sure.

    I want to throw three more questions into the mix. I tend to tell more to children. Although I have told at some adult venues, by far, the majority of my shows are for children. Granted, when telling to children, I often find adults in the audience, but it is different from an entire adult audience. I used to feel that I should spread myself out more, move into the adult telling arena. However, lately I have come to realize that I really enjoy working with the children more. I am in my element, comfortable and happy so why apologize for it? So here are my three questions:

    1) As storytellers, do you instinctively know what audiences you are more comfortable telling to?

    2) As storytellers, do think/feel it is perfectly acceptable to stay within one age group, i.e. children vs. adults when choosing storytelling venues?

    3) Do you think it is absolutely necessary to tell to all age groups?

    [Editor’s Note: Please look in the Resource box for information about Karen Chace]


    Tim Jennings answers Karen’s questions:

    1) As storytellers, do you instinctively know what audiences you are more comfortable telling to?

    I started telling to troubled kids, refined my work in front of juvenile delinquents. I was too aggressive for very young kids, and too – I don’t know – loud, maybe, for older audiences.

    2) As storytellers, do think/feel it is perfectly acceptable to stay within one age group, i.e. children vs. adults when choosing storytelling venues?

    It’s always easier to tell to people younger than you are. This is one of the great advantages of being a storyteller – as I creep (or, increasingly, plummet) into geezerhood, I find fewer and fewer audiences that buffalo me in that particular way. Picking a particular audience and sticking to it is perfectly acceptable, and, indeed, from a marketing point of view, even desirable. Certainly better than alienating potential audiences for others who enjoy them. But. You do grow more, as an artist, if you can figure out how to work with a variety of ages. And, it is helpful to be prepared with material that will help you adapt to a wide variety of situations, because, well, that’s the way life is.

    You know, “children” is not one kind of audience – there are at least three or four in there. And if you can handle all of them, then any problem you might have with performing for adults might be a function of either the particular set of adults you are performing for (they are looking for something – spiritual uplift, say, or stand-up comedy – that you aren’t interested in providing), or could be something that you could probably fix with some experimentation and feedback.

    Here at random are some personal, hard-won discoveries I made over the years by analyzing what went wrong – or, worse, what kept going wrong – when working in front of a new kind of audience.

    • The same sweet voice that offends many fifth graders and most any worthwhile 7th grader, and positively horrified my father (library lady reading “millions of cats”) – this same voice relaxes and reassures young children.

    • Small groups require (and I do mean require) much less movement and volume than large groups.

    • Most traditional folk material that works at all for you can work in front of any age or degree of sophistication, but the style of presentation should be modified to suit.

    • Adults are made comfortable by your own comfort.

    • But the basics work for everybody – you need to demonstrate fairly soon that you are entertaining, that you have no hidden agenda, and that you are comfortable in front of that group. And you need to stay entertaining, giving them something good at least every twenty seconds – if not a laugh, something as good as a laugh.

    3) Do you think it is absolutely necessary to tell to all age groups?

    No. But I would miss any that I lost.


    Karen Chace lives in East Freetown, Massachusetts. She is a professional storyteller, co-publisher of Working smARTS - An e-Publication for Professional Children's Artists, and author of _Researching Stories on the Internet: A Webliography of Storytelling Resources_ Storytellers' Products-Karen Chace. Karen may be reached at This email address is being protected from spambots. You need JavaScript enabled to view it. Tim Jennings of Jennings & Ponder from Burlington, Vermont, may be reached at This email address is being protected from spambots. You need JavaScript enabled to view it., or visited at http://www.folktale.net. Tim is also involved with The StoryTellingWiki found at http://www.onegecko.com/wikigecko/index.php. Take a few minutes to visit.


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    Query Writing Mistakes to Avoid

    You know that you’re not supposed to start your letters with “Dear Editor,” need to follow proper formatting protocol, and should always send your queries to the correct person, right? You’ve no doubt also mastered the art of kicking out embarrassing grammar goof-ups, know more about your word processing software than you do about your fiancé, and have learnt the dangers of the begging routine (also known as the my-mom-thinks-it’s-fantabulous syndrome).

    Why then, do most of your neatly-crafted, SASE-containing queries come boomeranging back? Maybe you’re making the mistakes no one’s telling you about. Here’s a rundown.

    Not Moving Beyond the Bible

    Writer’s Market is pretty much the most referred-to book in the history of writing. Yet, it’s probably the most incorrect. Don’t get me wrong. I’m not saying I don’t like WM. The fact is I do. I religiously run over (okay, log on to) the bookstore every year and pay $35 plus an obnoxious $30 in shipping to get the darn thing, all-inclusive with its online version. Converted to my Indian rupees that’s almost a month’s rent, and converted to normal, non-writer, Indian standards, some would consider me a freak. I then read every inch of every chapter, earmark every second page, and underline every e-mail address until I’m positive I haven’t missed a single entry.

    Yet, I know from my own experience, coupled with the experience of others that while a fantastic resource worth investing in, you can’t afford to make it your only resource. I learned this the hard way, when I finally came up with what I thought would be my breaking-in idea for Family Circle. I’d almost given up on them, so this time I decided to contact another editor who might be a little more receptive to my pearls of wisdom. But when I logged on, I found that– surprise– Family Circle was no longer accepting submissions. Darn, just when I almost had them!

    Two months later, I logged on to a writing message board to get another unwelcome shock. WritersMarket.com was incorrect. Turns out, Family Circle never did stop accepting submissions. They were happily looking at queries, which would turn into $1- per-word articles, while mine lay in a 1-cent-per-word editor’s inbox somewhere in cyberspace. I was not pleased.

    Now, I adopt a smarter route. I find the name of the markets that I’ve never heard of from Writer’s Market and look up their guidelines by searching online or checking out the market resources mentioned in Chapter 3. WM is in no way current; the listings are at least a couple of months old, and in publishing, many editors just don’t last that long. They get promoted, fired, retired– any possible scenario. You need to be up-to-date in this business. So don’t make a fool of yourself by relying on an outdated listing and addressing your query to the wrong editor.

    Putting Too Much on Offer

    Many of us are so desperate when we’re starting out, we’ll promise the world for a non-paid byline in a local newspaper with a circulation of fifty. I’ve been guilty of over-hyping my queries, too. One of my first queries to Woman’s Day (via e-mail, no less) promised a brilliant new twist on cancer prevention.

    Foolish, I know.

    I researched online, located some high-profile experts, and sent off my neatly crafted query with the promise of interviewing a prominent author (who never responded to my four e-mails), tips that had never been featured in the magazine before (I’d never laid eyes on the magazine), and quotes from real people who’d used these techniques. Okay, you can laugh now.

    Boy, was I glad that query never pulled through.

    The first sign of danger is when you’re extremely anxious and praying that the assignment doesn’t come your way rather than the other way around. But more importantly, here’s why mine didn’t: the editor probably knew right away that I was new to the game. I had no similar clips, no major publications in my resume and yet, here I was proposing not only a tough article, but one with all the bells and whistles. Ambitious, maybe. But I wasn’t giving any evidence that I was actually equipped to be handling such a well-researched idea. The editor was wise. She never responded.

    That’s not to say that I’m unprofessional. If that editor had taken her chances, she’d have gotten an impeccable article with quotes and tips on her desk at 9:00 a.m. sharp two days before deadline, even if I had to travel to the other end of the world to get them. But she had no reason to believe that just based on my query letter.

    Editors know how to distinguish hype from fact. If she’s working in a health magazine, there’s no way you’re going to give her health advice she hasn’t heard before. If you’ve just received a press release on the best foods to be eating to prevent cancer, she probably got it a week before you did. Keep the over-sell out. Pitch your topic and your idea, but don’t promise the world. You sure as heck can’t deliver it.

    Making it a Grocery List

    Being enthusiastic and having a notebook full of wonderful ideas is one thing. Irritating the crap out of an editor by sending her a laundry list of thirty is quite another. While you may think that you’re giving the editor a good choice of articles that she can file away for later use, she’s probably thinking that you have no clue which ideas will fit into her publication. While you may be happily assuming that she’s going to think that you’re capable of coming up with not just one, but many, many good ideas, she’s probably wondering, “Why is this writer wasting my time?”

    Not good.

    In fact, even if an editor does like most of your ideas, chances are, she can’t assign all of them right away. She’ll probably pick her favorite, reject the rest and send them back to you. The next time you’re querying, you’ll need to come up with more ideas because you don’t know whether she rejected them because she didn’t like them or because she couldn’t afford to buy them. What a waste of effort!
    I advocate sending one, maximum two ideas at a time. Exceptions to this rule however, would be when the editor has requested that you send her a list or if you have a regular working relationship with her.

    Unless you’ve worked with someone before, they have no way of knowing whether you’re really capable of writing the article, or you’ve just bought a freelance writing book and copied query formats from that. Sure, you have some good ideas, and yes, you’ve even managed to write two coherent paragraphs. But will you stick to the deadline? Will you provide references and phone numbers for the fact-checker? How much editing will your piece need? An editor might take a chance on a new writer with one assignment, but she’s unlikely to give you another one until you’ve proven beyond doubt that you’ll be an asset and not a pain in the ass-et.

    Not Following Up

    It isn’t enough that we get rejected a gazillion times before an acceptance, write and rewrite articles and essays to perfection, deal with the loneliness of the profession, and work with editors who can’t string a straight sentence together. But now we have to send e-mail after e-mail to stingy editors to remind them of our queries when they don’t have the decency to send a simple “No, thank you”? Why should you be bothered?

    Because you’re the one trying to make the sale.

    Sorry, but that’s just the way it works. You’re providing a service, you’re trying to make a sale, so you’re the one who needs to follow-up. If it increases the chances of making a sale by even 0.5%, do you really want to miss out?

    I’ve received word on a number of queries simply by e-mailing and asking their status. I’d rather have the satisfaction of knowing whether my proposal is in or out. Even if it’s a rejection, at least I know. Or it might actually bring a quicker acceptance. Just yesterday, I wrote to an editor asking him about the status of my piece. Within minutes, I had a response. They wanted to buy it.

    Would this editor have written to me had I not e-mailed? Yes, probably. Maybe that’s the reason it took so long in the first place– they were pushing it through the senior editors. But by being proactive, I knew right away. Had the editor rejected it, I could have sent it off to a competing publication, guilt-free.

    Maybe the editor just misplaced your letter or lost your e-mail in transit and has no way of contacting you. By following up, you’ll get another shot at acceptance. It takes a minute to do, so just why wouldn’t you do it?

    Not Making it Personal

    In my first year of freelancing, my querying habits went a little like this: send a query, do the assignment, query another magazine, do the assignment, and so on. When the assignment for the first magazine would be finished I’d neatly wrap it up, complete with thank you notes and meticulous records, and then concentrate on the next assignments I had in line. Next time an idea struck for the same magazine, I’d query them again.

    But in my first year of freelancing, while I did write over a hundred articles, I also lost out on getting personal with my editors and in turn, commanding more assignments. Once you finish an assignment for an editor, you stand double the chance of landing another one immediately. Since I’d keep on waiting for another hot idea to strike, I was beginning each new assignment on a fresh note. Too much time would be gone by and I would then have to re-build each relationship, re-create the trust, and re-negotiate each contract. I was getting frustrated.

    Had I chucked that “an editor’s the boss” advice right down the drain where it belonged, I’d be getting more assignments with less effort. Now, I finish each assignment with an informal, “Great working with you! Is there anything else you might need for upcoming issues?” or I’ll just send another query. Every time I get my contributor’s copies, I’ll write to the editor to thank her for sending them and quickly mention something like, “I really enjoyed the piece on studying techniques. Here’s another idea that might work well in that section.”

    This way, my name is constantly in front of the editor, and the next time I send a query, I won’t have to remind her that I’m the writer who wrote the cover story last year. She’ll already know.


    Mridu Khullar is a full-time freelance writer from New Delhi, India and has written for almost 70 publications, recently including Chicken Soup for the Soul, Writer's Digest, Women's Health & Fitness, Girls' Life, Wedding Dresses and ePregnancy. Visit her at http://www.MriduKhullar.com


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    Publishing Child Book? Top Ten Tips for Writing Book Pitches That Get Your Manuscript Read

    Publishing child book? No matter how well-written your child story is, if you want to get published, you need to grab and hold the attention of publishers.

    #1 Grab their attention in 10 seconds or less

    10 seconds. That’s how much time many editors say they spend per submission when they’re screening.

    The first sentence of your pitch is the first thing that an editor will read, and if it doesn’t grab their attention, it will be the last thing the editor reads. Make sure to stimulate their curiosity (without being “cute” or “evasive”) so that they want to read the rest of your pitch and then your manuscript. Remember that your letter may be vying with a huge stack of other such letters in the harried editor’s “slush” pile. Don’t be boring!

    #2 What’s in a name?

    Make the extra effort to find the name of the person to whom you should address your correspondence. Don’t just use the names listed in resource books. Actually call up the publishing house to make sure that you have the right name (and check the spelling, too). Writing to a real person makes your chances of success much higher and follow-up easier, too.

    #3 Be appropriate

    Research has shown that your submission can get into the top 5% simply by being appropriate. Being appropriate means you’re appropriate in genre, subject, style, etc. Having a good feel for the types of books the company publishes also helps you write a better pitch.

    It all comes down to researching the various publishing companies. You can use the resources listed at the back of this report, do an informal survey at your local bookstore, library, or on Amazon.com, or ask your librarian if you can access the publisher’s catalogs that are often kept in the back office of libraries.

    #4 A pretty face

    Presentation makes the life of the harried editor a little bit easier and more pleasant. Leave a lot of white space, use an easy-on-the-eyes font and make sure that no words are misspelled. Paragraphs should generally be no longer than 5-6 lines max.

    #5 Submission format

    Make sure to follow the publisher’s submission format guidelines to the letter. These can generally be found on their website and in some of the reference books listed at the end of this report. You can also usually obtain catalogs and author or illustrator guidelines by sending a written request with a self-addressed stamped envelope to the publisher.

    #6 Make replying easy

    Always include a self-addressed stamped postcard with boxes to be checked off by the editor (e.g. with a query letter, one box would be: “YES, please send me your manuscript”). You want to lower any obstacles to the editor responding to your inquiry.

    #7 Don’t take “NO” for an answer

    More and more publishing houses are hanging out the “no unsolicited manuscripts sign”. But contrary to what many authors think, this doesn’t mean that the door is closed to your submission. You can still submit a query letter to ask the editor whether he or she is interested in seeing your project. If the answer is “yes”, you can now send your manuscript marked “requested material”, and the chances of it being opened and read go up dramatically.

    #8 Follow-up

    Follow-up 3-4 months after sending your initial inquiry, unless the publisher’s guidelines say that you shouldn’t expect to hear from them for a longer period of time.

    #9 Track and Test

    In the direct marketing world, sales letters are continually tested and their response rate/success rate is tracked. The letter with the best results becomes the “control”. You can do much the same. Try different variations in your pitch and see what kind of results they give.

    #10 “P.S.”…

    This tip is from the direct marketing world. You won’t find it in any books about publishing children’s books.

    After the headline or lead, the “P.S.” or “post-script” is the most read part of any sales letter. So, make sure to include a P.S. What do you say in a P.S.? You can restate why your book should be published or introduce an additional reason, provide more credibility or communicate urgency (to motivate the editor to take immediate action).

    Conclusion

    Follow these tips and consult the resource books listed below, and you’ll be well on your way to getting your child book published.

    Resource Books

    2006 Children’s Writers & Illustrator’s Market, by Alice Pope (Editor), ISBN: 1582974020

    The Complete Idiot’s Guide to Publishing Children’s Books, Second Edition (Paperback) by Harold D. Underdown, ISBN: 1592571433

    Writer’s & Illustrator’s Guide to Children’s Book Publishers and Agents (Paperback), by Ellen R. Shapiro, ISBN: 0761525157

    Article source: http://www.superfeature.com


    Paul Arinaga is founder of the Child Stories Bank (www.child-stories-bank.com). The Child Stories Bank provides FREE original children's stories as well as resources to help writers create and get their stories published, and a directory of child storybook illustrators. © 2005=06 Paul Arinaga. All Rights Reserved.


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    Proofreading Your Own Document

    You’ve just written an important paper, business communique, or other document that will be read by others and perhaps will be the basis for a classroom grade, a prospective business arrangement, or provide necessary information for a specific situation. Regardless of the end use of this document, it is important to you that it not contain any errors or embarrassing grammar and punctuation mistakes. You’ve run spellcheck, but you understand that spellcheck isn’t foolproof. Your document needs to be proofread.

    Ideally, you need a professional proofreader (or some other objective person) to read your document and correct whatever errors there might be in it. However, time and circumstance are not always conducive to using a proofreader. When this happens, you have to proofread it yourself.

    Self-proofreading is fraught with pitfalls, the biggest of which is that you are “too close” to the text. That is, you know what you meant to write, even if that’s not exactly what you did write. Your brain can easily fill in the gaps and skim over simple errors like an incorrect wrong verb tense or a missed word in a well-used phrase. The mechanism in your brain that does this is called your “short-term memory”—and it can be very strong. Before you self-proofread, you need to allow your short-term memory (STM) to “dump” (that is, to allow what is stored in your STM to be deleted).

    After you have finished your document—WALK AWAY. You need a minimum of 30 minutes between having finished the document and proofreading it. It is best if you do something that is completely disassociated with that document: work on something else that has no connection to the text in your document, go for a walk, make a few phone calls, or clean the cobwebs out of the corners of the ceiling. Clear your head in any manner you wish, but be sure to do it.

    When you are ready to proofread your own document, do not read it from start to finish. It is best if you can print it; this will allow you to read it in non-sequential order. Read the middle two pages first, go back and read the beginning, and then read the last pages. Reading your text out of order will make it easier for you to see what is really there instead of what you want to see.

    As you read along, if you “stumble” on any particular sentence, then go back and read it aloud. Yes—say the words. Better yet, put your finger under each word as you say it. This technique will help you to “hear” the error (maybe a wrong verb tense or a word that is missing). When you find an error (spelling, missing word, wrong word, missing punctuation), mark it on the printed page. You don’t have to know proofreading marks—just use whatever shorthand you’ll understand.

    After you have read your paper, out of order, make all the corrections that you have marked. Be careful! It is really easy to insert that comma in the wrong place (and I’m speaking from experience here!). Key in the correction, and then review it on screen. Continue through your entire document, making all the corrections needed.

    At this point, you should use “Find” to locate your trouble words. Perhaps you always waffle about whether to use affect or effect. Maybe you know that you often use it’s when you should use its. Enter your trouble word(s) into the Find field, and click on Find Next until you have gone through the entire document.

    Now you need to rerun spellcheck. For a tip on how to reset spellcheck (so that spellcheck will actually re-check the entire document, not just the changes that you made), go to “How to Re-Set Spellchecker,” at: (http://freecontent.janktheproofer.com/ResetSpellcheck.htm).

    If time permits, walk away from this document again for 30 minutes. Since you’ve already cleaned out the cobwebs, maybe it’s time to rearrange your sock drawer. Come back to the document and skim through it one more time. If your brain stumbles over anything, read it aloud, put your finger under each word, and check for wrong verb tense, missing word, wrong word, etc. If you change even one thing, then you need to re-set your spellcheck and run it one last time.

    Here’s a final word of caution about spellcheck: Spellcheck does not always suggest the right thing. That is, spellcheck might stop at its and suggest that it is a commonly mis-used word, do you want to change its to it’s. Don’t get “Change” happy. When spellcheck beeps, look at the correction it is suggesting and then re-read the sentence in its entirety. If, in fact, you want to make the change suggested, then do so. If not, then hit Ignore and continue on. Likewise, don’t get “Ignore” happy—every time spellcheck hiccups, review the change being suggested, re-read the sentence in its entirety, and make a decision to make the change or to ignore it.

    There are many other ways that your computer can help you to produce a document that is free of error. For other helpful articles, please go to my index of Writing and Grammar articles at: http://freecontent.janktheproofer.com/#Grammar_and_Writing:.

    Through intelligent use of your computer’s word processing software, spellcheck, and your brain, you can produce an [almost] error-free document.

    Article source: http://www.superfeature.com


    Jan Kovarik, The Proofer is a freelance proofreader and copyeditor. Visit http://www.jansportal.com for more information about Jan’s proofreading and copyediting services and Jan's other free resources. Please visit Mom's Break (http://www.momsbreak.com/) for free printable crafts and projects. © Copyright 2005. All rights reserved.


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    Presentation Skills – The 7 Rules of Visual Design

    The following comprise the rules of presentation visual design that, if heeded, will almost always assure that your audiences will be able to follow your ideas every step of the way. Of course, you must keep in mind that visual design is only one-third of the package required for a successful presentation, the other two being content and delivery.

    Like a fine dining experience that requires equal parts food, service and atmosphere to really work, the visual design part of the presentation process is every bit as necessary as the others to achieve the desired result – in this case, true knowledge transfer.

    So without further ado:

    7. Maintain paragraph integrity.

    First, all 1st Level Paragraph text must be the same size in every slide. Likewise, all 2nd Level Paragraph text must be smaller and of a different color. Lastly, don’t go beyond the 3rd Level, and this text should not be smaller than 20 points.

    If all information of the same importance is of the same size throughout your presentation, your audience won’t be raising question marks as to just how important this information is with each click of the slide. Take this concept one step further by ensuring that all material of the same nature is the same color. If, for instance, you use a lot of numbers in your bullet points, make them all one color, different from the text. Once your audience recognizes this pattern, they’ll spend less time digging through the text to find their figures.

    6. No boring fonts.

    Rarely is there a need to use more than two different fonts in any presentation. However, there is a HUGE need to use any two fonts other than the PowerPoint defaults Times New Roman and Arial!

    The problem is that because everybody else uses these two fonts 99% of the time, if yours is the fifth presentation your audience is seeing that day, pretty soon all the text starts to look the same, and you lose much of your meaning and impact. We often hear from clients who have to sit through presentations themselves that after a while, they can’t remember which vendor said what – it all becomes a big blur. Make sure you’re not part of the blur.

    5. Use proper builds.

    Without a sense of good design, which in most cases means simply showing restraint, animations can quickly overwhelm an otherwise well laid-out presentation. The trick then is to introduce concepts one at a time in a way that doesn’t draw more attention than the concepts themselves.

    Builds are essential elements in turning slides that would otherwise have TMI into ones that audiences can follow; but like other elements of good design, a proper build should never announce itself. Rather, a well animated presentation should simply appear to “happen”, without a clue as to why it seems so easy to follow.

    4. Be colorful – Light on dark.

    Watch much black-and-white television these days? Although black-and-white works as an art form in many ways, humans tend to like color. Even old-guard newspapers like the New York Times and the Wall Street Journal finally concluded that to avoid losing readers to more modern media, they had to go to color.

    While humans can discern a dozen or so shades of gray, they can see millions of different colors. We’ve evolved to use our sense of color to survive – help your audiences survive your presentation by not blinding them with black on white.

    3. Less is More.

    This rule is central to good presentation design, but absolutely essential for graphs or charts. We often see pie charts come across our review desk with over a dozen slices, many so small they need to be annotated with lines and arrows far from the graph itself.

    Do you really think anyone will remember all 25 competing products in your market and their percentage share? Might be good information for a handout, but in a presentation few people can absorb more than six elements in any graph. You make your point much more effectively when you limit your displayed data to the stuff the audience is likely to remember. Less information becomes more retention of the stuff you really want them to go home with.

    2. One concept per visual.

    Here’s another really common problem we see in the majority of business presentations, and the solution flows from rule number 3.

    When more than one concept appear at the same time, your audience not only tries to figure out the concepts, they also try to determine which one deserves most of their attention, how the two or more are related, whether one is the “right” one or the “good” one, and so on and so forth – all having nothing to do with your actual message itself. This extra time and effort acts as a drag on presentation flow, and explains why a 45-slide presentation, properly broken down into one concept per, takes less time to present than the same information packed into 15.

    1. Favor Right-Brain information.

    We humans have evolved with two different ways to deal with stimuli from the outside world so that we can react to it in the way most likely to keep us alive.

    Our right brain reacts to input such as colors, graphics, shapes and patterns instantly, without stopping to process the information first. Our left brain kicks in when presented with speech, text or numbers; however with this kind of information we first pause to analyze it before storing or reacting to it. We have filters on the left side on the brain, and not everything gets through.

    If you want your ideas to strike fast and be readily absorbed, then every time you can, figure out how to turn your left-brain type data into shapely and colorful right-brain images.

    Article Source: http://www.redsofts.com/articles/


    J. Douglas Jefferys is a principal at http://PublicSpeakingSkills.com, a national consulting firm specializing in training businesses of all sizes to communicate for maximum efficiency. On-site classes, public seminars, and high-impact videos


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    Presentation Skills – Proper Slide Delivery

    The only way to assure your presentation audience will stay with you every step of the way is to maintain proper eye contact throughout your presentation. Proper eye contact involves delivering your presentation as a series of one-on-one conversations with each member of the audience, and holding eye-contact with members through to the end of a thought or complete sentence. Most presenters hold eye contact with any one person no more than one second – to effectively bond with your audience, you need to pump that up to a range more like three to eight.

    The image to keep in mind here is that you are never delivering to a group of individuals, but rather to individuals in a group. (When people ask me what’s the largest number of people I’ve ever spoken to, I always answer, “one”.)

    When delivering a PowerPoint presentation, maintaining proper eye contact becomes difficult if your slides are structured like most we see in the corporate world today – with way more information than the audience can digest before the speaker feels compels to start speaking. In order to maintain constant eye contact with members of the audience, you must restrict the volume of information that you toss up on the screen at any one time. Otherwise, you will do what most presenters do, which is to spend much of the presentation looking at the screen. In fact, you must restrict each new parcel of information to that which can be absorbed by both you and the audience in just a few seconds – ten at the very most.

    That will set you up to then smoothly and coherently transfer the information from the screen to the audience. We call the procedure for doing this “Absorb, Align, and Address.”

    Absorb

    When new information appears on the screen, all eyes will follow it, and at this point it is OK, and desirable, for you, too, to look to the screen. By doing so, you “give permission” to the audience to get prepared for what’s coming next. That’s all the screen info should include, too: just enough information to set the stage for what you are going to discuss. At this point, because you are not looking at any individual in the group, you must be silent.

    Rule Number 9: If your eyes aren’t locked, your jaw must be.

    When you have absorbed the data bite, you can now think for a moment on how to phrase what you want to say to start off. This would not include expounding on the point, but merely filling out the talking points to make a grammatically correct statement.

    Align

    Once you and your audience have had the opportunity to take in this info, you then need to turn your attention away from the screen, and lock eyes (align) with a member of the audience. This is the most difficult part, physically, to perform, as the natural tendency is to begin speaking as soon as you have formulated your statement.

    Address

    Locked on, you finally can address your selected member of the audience with your version of the talking point.

    Understand that if what you’re addressing is a bullet point, this address should not be the actual words. You may always say more than the line on the screen, but never, never any less. Keep in mind that the group will read everything that’s on the screen, so if you put words up there but don’t speak to them, you are actually insulting your audience: These words aren’t important enough for me to bother with but I wanted to take up your brain’s time and effort just the same.

    How many times has this happened to you: You go to a presentation and see slide after slide with all kinds of footnotes and small type, or graphs with legends and data to which the presenter never refers? You’re looking at all the elements on the slide trying to figure out which stuff is most important, and then the presenter never even mentions half the stuff you’ve read. How does that make you feel? For most people, the first slide that contains more information than the presenter chooses not to discuss is the point at which they check out, deciding to figure it all out later from the handout, which, of course, they trash at the first can they see outside the presentation room.

    Once learned, the Absorb, Align and Address system is a beautiful thing to behold. Slides designed with this system never suffer from TMI, and thus never have too much for the presenter to deal with. Presenter confidence is high, and the audience feels this big time. The audience is forced to turn their attention to you, because there’s not enough information to allow them to jump to their own conclusions. By the same token, you are now able to direct all of your speaking to the audience and not the screen.

    But here’s the really fun part: When you follow this simple plan for both design and delivery, almost anyone can look and sound like an expert on their subject, regardless of how much prep time they’ve put into rehearsing the presentation! We prove this in our corporate training classes by having participants deliver other participant’s presentations that we have edited and revised to comply with the “rules” (next chapter). Preferably, off course, you would have a good background in the subject matter, so that you can deliver the “meat on the bones” part effectively. But if you know to what the talking points refer, and you also know that no more material than you can deliver in just a few seconds will appear, you can actually give a presentation for the very first time and sound like you know what you’re talking about!

    Article Source: http://www.redsofts.com/articles/


    J. Douglas Jefferys is a principal at http://PublicSpeakingSkills.com, a national consulting firm specializing in training businesses of all sizes to communicate for maximum efficiency. On-site classes, public seminars, and high-impact videos


    Click here to return to the index of Articles



    Presentation Design – The Good, The Bad, & The Mediocre

    Your job as a presentation designer is to make ideas into visual images. For your presentations to work, the visual images must convey exactly what you want to say and require the least possible effort on the part of your audience to “get it”. The difference between a visual that works and one that fails is good design.

    To appreciate of how good design adds to the quality of our lives, it helps to look at some examples of truly bad design that we all deal with on an everyday basis. Bad design abounds, and everyday our lives are a little less pleasant for it.

    The really unfortunate thing about poorly designed objects is that countless unpleasant times might have been spared if only the designer had thought through his or her approach a little more thoroughly. The line between good and bad design is often fine. It can be no more than positioning a button in a spot not easily accessed by mistake; a label placed where it could actually be seen before the wrong action is taken; a multi-step process where you don’t have to get to step seven before you realize you did step three wrong; or a lever or handle shaped more like the movement it wants you to make.

    When you acquire a more developed sensitivity to design, you begin to look at all things with questions such as, “Might it have been better to do it this way?”, or “What would it have taken to make it work like this?”

    Then take a look at the last presentation you delivered. Do you suppose there were elements that caused even temporary confusion? And then when you explained the element, did they say, “Oh I get it – but why didn’t you just say it this way?”?

    All bad designs cause the expenditure of more effort to produce the same result. The more effort it takes to absorb your message the less energy is available for processing the message itself. Effort causes discomfort. In the presentation environment, that can mean disaster because -for the very same reason- discomfort leads to disassociation from the message. That’s why professional trainers make certain the learning environment is as comfortable as possible – fresh water, good seats, frequent breaks. “The mind can only absorb what the buttocks can endure” is old but still relevant. Bad presentation design is a pain in the ass, and it stops message uptake just as quickly.

    Now let’s step back from presentations for a few moments.

    Think about the various devices – electrical, mechanical, architectural, digital, whatever – that you use or come in contact with on a daily or weekly basis. Keep in mind that anything manufactured for human consumption was first designed by a human. You know that some humans are more talented than others. If you’re like most people, you have probably been annoyed or frustrated with a device than was designed by one from the less talented group.

    Next time you use your hair-dryer, notice whether the high-low switch works the way you would expect, or to affect a High setting you need to push the switch to its Lower position. Can you get water into and coffee out of your drip-style coffee-maker without dripping any of either? Where does your refrigerator spew more ice – into your glass or onto the floor? Can your friends operate your microwave without your showing them how?

    Discussing how design affects our everyday lives is purposeful in getting you to think very hard about how your presentation designs affect the people you subject them too, and why it is worth the effort to do them well. And although it is kind and thoughtful to design in ways that enhance, rather than detract from, the quality of your audience’s experience, the bottom line is simple: good design goes down easier. You need every opportunity to get your audience on your side, and you must allow nothing in your control to discomfort the people you’re trying to persuade. As Edward Tufte says, “audiences are fragile; respect them”.

    One last sad truth about bad design is that so many people who are frustrated by things that don’t work think it’s their fault! When people don’t understand what they’re told, or audiences don’t understand what they see on the screen, they often blame themselves – they believe that they’re either stupid or slow or perhaps they simply learn in other ways.

    Ask yourself: Do your presentations have a less-than-evident “operating system?” Before someone can get your message (the function of your presentation) do they first have to learn and comprehend your design?

    Your main goal when designing a presentation should be to keep your audience’s attention on your idea, your pitch, your proposal—your message. They should never be distracted by, or even really aware of, your design. Dazzling them with bells and whistles will help them remember the bells and whistles, not your message. You need to make your message the star so that nothing takes their minds away from it.

    Your audience has gone to some effort to let you speak your piece. Thank them for showing up by rewarding them with good design.

    Article Source: http://www.redsofts.com/articles/


    J. Douglas Jefferys is a principal at http://PublicSpeakingSkills.com, a national consulting firm specializing in training businesses of all sizes to communicate for maximum efficiency. On-site classes, public seminars, and high-impact videos


    Click here to return to the index of Articles



    Press Release Writing Tips

    A press release is an announcement of a newsworthy item that is issued to journalists and other media representatives. And it is a document that is generally formatted in a basic manner across the publishing industry for quick, efficient handing across the board of your news by media professionals.

    With regards to the basics of press release writing, here are seven basic elements that every press release should contain:

    * FOR IMMEDIATE RELEASE: These words should appear in the upper left-hand margin and you should capitalize every letter.

    * Contact Information: Insert this after the release statement above and list the contact information of the company spokesperson.

    * Headline: This should be written after the contact information.

    * Dateline: List the city of origin for your press release.

    * Lead Paragraph: The first paragraph needs to grab the reader’s attention and should contain the relevant information to your message such as the five W’s (who, what, when, where, why).

    * Text: Next comes the main body of your press release where your message should develop fully.

    * Last Paragraph: Make sure to alert the reading audience where to turn for more information; i.e. a postal address, phone number and website link. Plus offer something free for them; a report, newsletter or other gift.

    To learn what’s hot and what’s not in your particular industry, check out PRWeb(r) at PRWeb.com for current press releases. No need to re-invent the wheel. See what’s working there and treat the information as a general guideline for your own news format and presentation.

    You can also head to Content Propulsion Lab. It’s the place for “Do It Yourself” companies who would love the benefits of a high-end Public Relations firm but lack the budgets, online at http://www.ContentLabInfo.com, a Division of Content Desk, available at http://www.ContentDeskInfo.com


    By Diana Barnum, president of Moving Ahead Communications. Get tons of freebies, tips and help at http://OhioHelpGroup.com or call: (614) 529-9459. Freebies section at http://presssuccess.com/bookstore


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