“Whatever else you do, MOVE!”

especially powerful personal competitive advantage
Especially Powerful Movement yields Personal Competitive Advantage

We’re all familiar with the droning voice of the numbing speaker who rarely varies pitch, tone, or pace of a talk and who quickly loses us in monotony . . . and who does not move.

In like fashion, you can be visually monotonous . . . when you do not move.

Visual monotony – either of repetitive constant movement . . . or of no movement whatsoever.

We know well the “rocker” and the “swayer.”

We know Mr. “busy-hands” and the “Foxtrotter,” who quicksteps in a tight little dance.

Perhaps you’ve seen the occasional great Stoneface, but he is a rarity today.

The Right Movement

Movement can enhance or cripple your presentation.  But you must engage the right kind of movement.  In other words, move well.

Before you begin agitated hopping about the stage willy-nilly, recognize that you should incorporate movement into your presentation for quite specific reasons.  Your movements should contribute to your presentation by reinforcing your message.

At the risk over over-alliterating, you should mesh your movements with your message.

Personal Competitive Advantage
Conscious Movement . . . not Random Wandering

Remember that every single thing you do onstage derives its power by its contrast with every other thing you do.

If you move all the time, like a constant pacing jungle cat, it becomes the equivalent of white noise, and your movements contribute no meaning whatever to your presentation.

In fact, your movements become a distraction, leeching energy and attention from your message.  It, too, becomes a form of visual monotony.

The Kiss of Sleep

Likewise, if you remain stationary 100 percent of the time, the result is visual monotony.

You lull your audience into inattention, especially if you combine verbal and visual monotony in a single presentation – The Kiss of Sleep . . . for your audience.

Those in theater know this principle well.

In his very fine Tips for Actors, Jon Jory intones that: “Your best tool to avoid this dangerous state is variety.  Three lines of loud need soft.  Three lines of quick need slow.  A big dose of movement needs still.  Or change your tactics.”

So, think of movement as one more tool in your repertoire to evoke feeling from your audience and to convey a powerful and persuasive message.

The secret is not Movement alone . . . the secret is keen, decisive, proper, and exquisitely timed Movement.

Integrate your movement with your message for an especially powerful presentation to achieve personal competitive advantage.

Move well, my friend.

“I never get an interesting topic”

Personal Competitive Advantage
Vintage Whine: “This topic just isn’t interesting.”

“I never get an interesting topic.”

I hear this lament more often that I care to.

No more vintage whine or self-sabotage  exists than this one, uttered in ignorance of its true meaning.

Here are two scenarios.  Both are possible.

You’re assigned your case, and you skim over it.

Ugh.  It’s not “interesting.”

And you find that you must write a memo on the case, analyzing it and teasing out its implications for the strategic direction of the firm, and then you must work with a group of folks you probably don’t hang out, probably don’t know . . . or even like.

You groan as you don’t recognize the company or the people in the case.

Such an “Old” Case

The case isn’t dated last week, so you think it’s “old.”

You complain that you don’t understand why you’re assigned this “boring” case instead of a “modern” case on something hip . . . say, an Apple innovation or a product you heard mentioned in a commercial during the latest Kardashian reality TV offering.

No, you don’t understand why it doesn’t seem to speak to you and your needs.

Now.

This minute.

Roll of the eyes.

“Whatever.”

Especially Powerful
Personal Competitive Advantage does not mean focusing on “me.”

Never pausing.

Never pausing to examine the central factor that your lack of understanding is the problem.

Your framework is so cramped, your context so self-circumscribed, your interests so few that it’s impossible for you to situate the case in its proper place with the tools at your disposal.

You complain that it’s not “relevant” and so you make no attempt to understand its “relevance.”

It’s not an “interesting topic.”

You never get an “interesting topic.”

That’s one scenario of how it goes.

Another scenario is the Embrace.  Opening the heart and mind to the new.

Embrace the Un-interesting Topic

You’re assigned your case, and you skim over it.

And you must write a memo on the case, analyzing it and teasing out its implications for the strategic direction of the firm, and then you must work with a group of folks you don’t know and probably don’t hang out with . . . or even like.

You scratch your chin, metaphorically, and you roll up your sleeves (again, metaphorically) and you ask yourself  questions like these . . .

“What can I learn from this process?  How can I turn this whole process into an experience I can craft stories about to tell in my upcoming job interviews?   How can I take this case, digest it, and make it part of my growing context of business knowledge?”

And as for the inevitable public group presentation, ask yourself:

personal competitive advantage
A classic case and topic that initiates you into the business fold

“How can I work best with these folks in my group to produce a spectacular presentation that will then become part of my resume?

How can I help mask the internal disagreements and personality conflicts so that our audience does not suspect that several of us detest each other?

How can I make this presentation interesting for my audience?

Remember that there are no inherently interesting topics.  Every topic has potential for generating great interest, if you do your job right.

Because please understand . . . no one cares if the topic interests you.

As a professor, I certainly don’t.

I want to know what you plan to do with the topic and the case.

Your job is to infuse the topic with power and generate interest about it for your audience.  And if you do that, you gain tremendous personal competitive advantage.

Crown Cork and Seal is an example of such a case that many students don’t find “interesting.”  It’s a classic case that almost every MBA student must read and analyze.

The Crown Cork and Seal case is about making and selling tin cans.  And how a firm with resources identical to the other major can manufacturers managed to outperform the industry by a stretch.

That’s a mystery, and a great one to solve.

And it’s an interesting topic . . . if only you embrace the case.

For more “interesting topics” about personal competitive advantage, consult the Complete Guide to Business School Presentations.