All posts by Stanley K. Ridgley

Stanley K. Ridgley, PhD is one of the country’s foremost experts on delivering Business School Presentations and is the author of the award-winning 2012 book, “The Complete Guide to Business School Presenting,” the authoritative guide to delivering powerful business presentations in the nation’s business schools. He is also the faculty instructor for the course “Strategic Thinking” in the DVD series TheGreatCourses.com. Dr. Ridgley brings to bear the most powerful instructional techniques from one of America’s great business schools and combines them with the lessons of military leadership and high strategy learned on the front lines of the Cold War as a Military Intelligence Officer.

General, Personal Competitive Advantage, Technique, Tips

Super-Size those McTips?

March 25, 2012 Stanley K. Ridgley

McTips – Presentation Fast Food that denies you personal competitive advantage

Presentation tips are about as valuable as “tips” to become a rocket scientist.

Let’s look hard at the phenomenon of presentation tips . . . what I call McTips.

And then discover the actual path to personal competitive advantage to deliver a powerful business presentation every time.

The Two Groups?

With regard to presentations, I deal with two large groups of people.

For sake of descriptive simplicity, let’s call these two groups “Natural Born” and “McTips!”

“Natural Born” and “McTips!” represent two extreme views of what it takes to become an especially powerful and superior business presenter.

Neither is remotely accurate.

And neither group is what might be called enlightened in these matters. Members of both groups are frustrating and irritating in their own ways and completely self-serving.

Here is why . . .

We often look for folks to excuse us from what, deep down, we know we ought to do, or what we can do.

If we look hard enough, we find what we search for, and excuses are extremely easy to find. Let’s look at these two excuses that hold us back from fulfilling our potential as especially powerful presenters.

The First View

The first view would have us believe that great speakers are born with some arcane and unfathomable gift, combining talent and natural stage facility.

That Bill Clinton sprang from the womb declaiming that he feels our pain.

That Ronald Reagan was born orating on lower capital gains taxes.

That Oprah Winfrey began her talk show career in kindergarten.

If the first view holds that great speakers are born with a gift, then quite logically this view leaves the rest of us to strive with middling presentation skills.

It’s an excuse for us not to persevere. Why bother to try?

Why not, instead, hire some of these natural born speaker types to do the heavy presentation lifting? The rest of us can skate along and pretend that we’re not actually lazy . . . or frightened . . . or disinterested . . . or unambitious.

The Second View: Presentation Tips

The second view is the opposite of the first.

This “McTips!” perspective would have us believe that delivering effective presentations is a snap.

So easy, in fact, that one of my colleagues assured me confidently and with not a little hubris that he could teach his undergraduates “everything they need to know about presenting in 30 minutes.”

He also assured me that “all that other stuff you talk about is B.S.”

Teddy Roosevelt: Personal competitive advantage for a President

Has the presentation landscape changed so much that what was once taught as a fine skill is now mass-produced in 30-minute quickie sessions of presentation tips?

I actually saw a headline on an article that offered 12 Tips to Become a Presentation God!

Have the standards of the presentation become so weak that great presenting can be served up in McDonald’s-style kid meals . . . “You want to super-size your speaking McTips?”

Hardly.

In the 1800s, public speaking was refined to an almost-art; “elocution” was the new science/art, and departments of elocution and public speaking flourished in universities throughout the land.

In Philadelphia, on Walnut Street in fact, the National School for Elocution and Oratory became a Mecca for would-be stars of the pulpit, the stage, the bar, and the political wars in the 1890s.

On into the first decades of next century, public speech was regarded with respect and a high-skill to be mastered with much study and practice.

The fact is that despite however much we might wish otherwise, today’s PowerPoint high-tech software multi-media offerings cannot change the fundamental truth that it is still you who must deliver the presentation.

So no . . . you cannot learn “everything you need to know about presenting in 30 minutes” with a handful of presentation tips.

You cannot become an especially powerful presenter at the fastfood drive-in window, unless you want to ply presenting at the lowest common denominator of mundane slide-readers that populate every business and law firm from New York to Nashville, from Boston to Baton Rouge, from Savannah to San Diego.

Ask yourself this. If learning to deliver top-notch presentations is so doggoned easy, then why are 9 out of 10 presentations such awful forgettable bore-fests?

The Third View – The Power Zone

There is a third group, and it is destined to remain small.

This group is privy to the truth, and once you learn the truth about presenting, you can never go back to viewing presentations the same way.

And you can acquire especially powerful personal competitive advantage that is denied to others.

Consider this pop culture analogy from the 1999 film The Matrix.

In The Matrix, humans live in a world that is not what it seems. In fact, everything they believe about the world is false. Morpheus (Lawrence Fishburn) offers to reveal the truth to Neo (Keanu Reeves) about his existence.

Morpheus offers Neo a Blue Pill and a Red Pill. The Blue Pill returns him to his old state of ignorance. The Red Pill reveals the secret, and once he learns it, Neo cannot return to his old life.

The process of presentation discovery is much like the red-pill/blue-pill choice that Morpheus offers to the young computer hacker Neo . . .

You take the blue pill, the story ends, you wake up in your bed and believe whatever you want to believe. You take the red pill, you stay in Wonderland, and I show you how deep the rabbit hole goes.

Likewise, you can stop reading this article this instant – the blue pill – and return to the righteous and relaxing world of “Natural Born” or “McTips!” Both viewpoints allow the average presenter to remain mired in mediocrity with an excuse that sounds plausible.

One perspective means you don’t try at all, other means you offer token effort as befits a low-level pedestrian task.

So, if you decide to take the Blue Pill, close this site and go your own way. Bon voyage! I wish you a hearty good-luck and Godspeed, and perhaps you will be happier for your choice.

But if you are one of the few who thinks for a moment . . . “Hmm. What if the Professor is right?”

Then . . . Take the Red Pill

Take the red pill for especially powerful personal competitive advantage.

Then you can read on to the next brief paragraph – the red pill – and be forever shorn of the excuse for mediocrity.

For the truth is in the Power Zone, and once there, you will never be satisfied with your old presentation life again.

You cannot go back.

You can only go forward to personal competitive advantage.

That’s the paradox, the Curse of Freedom. It is completely within your power to seize the fruits of great presenting. It’s your choice.

You can launch an auspicious presentation career right now, right this minute.

Or you can dismiss this site as yet another fraudulent claim to revealing secrets to you . . . only to have it exposed as a method that requires you to actually do something.

A method that transforms you.

Choose the Red Pill. Step boldy into the Power Zone.

The Power Zone is the province of the privileged few who understand the truth that anyone can become a great presenter, with the right kind of hard work and the willingness to become a great presenter.

To join this third group requires you to take on a new state of mind.

If you already carry this view, that’s superb. If you don’t . . . you can decide now to adopt it or forever be relegated to the other two groups – believing you’re not good enough, or believing you are good enough when you’re actually not.

Public presentations – great presentations – require study and practice and preparation and technique. A deep philosophical, academic, and professional history undergirds public speaking. This history informs the very best presenters and their work. You dismiss it only to your great loss.

No, you need not become a scholar of public speaking. In fact, few people have that deep an interest in the subject and even fewer can claim that kind of knowledge today.

But what you can and should do is this: Open your mind and heart to the possibilities of found treasure.

You actually can become a capable presenter. You can become a great presenter.

When you enter the Power Zone, you are both cursed and blessed with knowledge. This knowledge represents two sides of the same coin.

You are cursed with the knowledge that the only limitation you have is you. You are blessed with the knowledge that you can become a good – even great – speaker.

An especially powerful presenter.

Now, you have no other real excuse. It’s up to you.

For the ultimate guide to developing your personal brand as an especially powerful business presenter, CLICK HERE.

Movement, Personal Competitive Advantage, Professional Presence, Technique

Move Like Jagger in Your Business Presentation?

March 21, 2012 Stanley K. Ridgley

Do you “move” during your business presentation so to maximize your personal competitive advantage?

Listen to this story . . .

After I delivered an incredibly inspiring lecture in a class last year – one of many, I am certain – a student approached me and shared this:

“I stand in one spot for the most part during my presentations,” he said. “But another professor told me to move around when I talk.”

Hmmm.

Move around when you talk.

“Did he tell you how?” I asked.

“Tell me what?”

“Did he tell you how to ‘move around?’ Did he tell you what it would accomplish?”

“No, he just said to ‘move around’ when you talk.”

“Just ‘move around?’”

“Yes.”

Ponder that piece of advice a moment.

Ponder that advice and then reject it utterly, completely. Forget you ever read it.

What rotten advice.

Never just “move around”

Never just “move around” the stage.

Everything you do should contribute to your message. Movement on-stage is an important component to your message. It’s a powerful weapon in your arsenal of communication.

Movements can and should contribute force and emphasis to your show.

But some people move too much. Like the professor urged, they just “move around” because they don’t know better.

And why should they know better, when some professor urged them to start prowling the stage for the sake of it.

Just as there are those who are rooted to one spot and cannot move while they speak, some folks just can’t stop moving. They stalk about the stage like a jungle cat, constantly moving, as if dodging imaginary bullets.

They are afraid to cease pacing lest their feet put down roots.

This kind of agitated movement is awful.

Aimless pacing around the stage is worse than no movement at all.

Aimless movement usually indicates indecision, the sign of a disorganized mind. It’s usually accompanied by aimless thoughts and thoughtless words.

“Move around when you talk.”

It’s not the worst piece of advice a professor has ever given a student, but it’s incredibly naive.

At first, the advice seems innocent enough. Even sage. Aren’t we supposed to move around when we talk?

Don’t we see powerful presenters “move around” when they talk? Didn’t Steve Jobs “move around” when he presented at those big Apple Fests?

Yes, we see them “move around” quite well.

But do you know why they “move” and to what end?

Do you understand how they orchestrate their words and gestures to achieve maximum effect? Do you recognize their skilled use of the stage as they appeal to first one segment of the audience, and then another?

Do you think that Bill Clinton or Barack Obama just “move around” when they talk?

If I tell you to “move around when you talk,” what will you actually do? Think about it for a moment, how you might actually follow-through with that sort of vague advice. Will you flap your arms? Do Michael Jackson isolations with your shoulders? Shake your fist at the crowd?

Move, You Say? What great advice!

How? Where? When? Why? How much?

Awful advice.

We will never know how much damage such well-meaning naiveté has done to our presentation discourse. Like much of what is said, it carries a kernel of truth, but it is really worse than no advice at all. Centuries of practice and delivery advise us on this question. Edwin Shurter said in 1903 . . .

Every movement that a speaker makes means – or should mean – something. Hence avoid indulging in movements which are purely habit and which mean nothing. Do not constantly be moving; it makes the audience also restless. Do not walk back and forth along the edge of the platform like a caged lion. Do not shrug your shoulders, or twist your mouth, or make faces.

You are well on your to mastering your voice and to speaking like a powerful motivator. Now it’s time to incorporate essential movement.

What must you actually do during your talk? Where to do it? How to do it? Why should you do it . . . and when?

In tomorrow’s post, I’ll answer those questions and show you how to incorporate meaningful movement into your presentation – exactly the types of movement that add power and gain you personal competitive advantage.

Interested in more especially powerful techniques for your business presentation? Click here and discover the world of business presentations.

Confidence, Expression, Practice

Grotesque Presentation Practice Errors!

March 16, 2012 Stanley K. Ridgley

One of the keys to successful and confident performance of your business presentation is practice . . . and avoiding presentation practice errors.

The right kind of practice.

This is even more the case with a team presentation with more moving parts and variables in the mix.

The good effects of the right kind of diligent rehearsal is twofold:

1) your material is delivered in a logical, cogent fashion without stumble . . . and,

2) the practice imbues you and your team with confidence so that stage fright is reduced to a minimum and your team’s credibility is enhanced.

Practice strips away the symptoms of stage fright as you concentrate on your message and its delivery rather than extraneous audience reaction to your appearance.

But you reap the benefits of practice if your practice makes sense. This means that you practice the way you perform and avoid the two biggest rehearsal mistakes.

Presentation Practice Error #1

First, do not start your presentation repeatedly, as almost all of us have done at points in our presentation careers.

There is something in our psyche that seems to urge us to “start over” when we make a mistake. When we stumble, we want a “do-over” so that we can put together a perfect rehearsal from start to finish.

But when we do this, what we are actually practicing is the “starting over.” We become very good at “starting over” when we make a mistake.

But is that what we plan to do when we err in our actual presentation? Start over?

No, of course not. We don’t get to start over after evey blunder. But that is exactly what you have practiced.

If you’ve practiced that way, what will you do when you stumble? You won’t know what to do or how to handle the situation, since you have never practiced fighting through an error and continuing on.

You’ve practiced only one thing – starting over.

Instead of starting over when you err, practice the gliding over of “errors,” never calling attention to them. Practice recovering from your error and minimizing it. Perform according to the principle that regardless of what happens, you planned it.

Presentation Practice Error #2

The second big mistake is practicing in front of a mirror.

Don’t practice in front of a mirror unless you plan to deliver your talk to a mirror. It’s plain creepy to watch yourself in the mirror while talking for an extended period of time. There is nothing to be gained by rehearsing one way . . . only to do something entirely different for the actual event.

Of course, you will observe yourself in the mirror as you adjust your stance and appearance to ensure that what you feel is what people see while you present on all occasions. But you do not practice your finished talk in front of a mirror.

Why would you want to grow accustomed to looking at yourself present, only to be faced with an entirely different situation for the actual presentation?

That’s just bizarre. Instead, practice in front of your roommate . . . or go to the classroom or auditorium where you’re scheduled to present.

In short, create as much of the real situation as possible ahead of time.

To ensure an especially powerful presentation every time, practice hard and repeatedly . . . but practice the right way.

For more on avoiding business presentation practice errors, consult The Complete Guide to Business School Presenting.

Story

Your Business Presentation Story

March 11, 2012 Stanley K. Ridgley

Tell a Business Presentation Story for Power and Impact

We all believe that we should weave stories into our business presentations, and who wouldn’t want to weave a compelling Business Presentation story?

But most of us rarely do. This might be a result of simply not knowing how.

Admit it . . . most of us think we’re pretty sharp – we all think we know what a story is, don’t we?

But do we really?

What is a Business Presentation Story?

Here’s my definition of a business presentation story, and it’s honed from a series of definitions that by their nature are slippery. It’s like trying to define “culture.” Most folks offer up definitions to suit the points they try to make.

A story is a narrative of events, either true or untrue, that appeals to the emotions more-so than the intellect and which features a character’s struggles to overcome obstacles and reach an important goal.

A business presentation story is . . . well, it’s no different.

Now, why is this important? Don’t we all somewhat believe, maybe, that stories are important in presenting?

Sure, but when it comes to “serious” presenting, many folks back off what they profess and offer up the usual tofu. Who knows why, but that’s usually what happens.

Maybe it’s the fraud that many perpetuate that business presentations are a “soft skill” that must yield to . . . something else.

You choose that something else: “facts,” “numbers,” “hard data.”

These substitutes for a compelling business presentations story offer false precision and faux comfort.

The Presentation Masquerade is Perpetuated

Now, science has come to the rescue.

Social science, at least.

Have a look at this 2007 book by Kendall Haven called Story Proof: The Science Behind the Startling Power of Story.

In this book, Haven compiles a wealth of sociological stories that inform us exactly what is meant by “story” and the source of its power. He contends that stories work so well because our brains are hardwired to learn most effectively from story-based narratives. “The mind-boggling and extraordinary truth is that each and every one of thousands of original sources agrees that stories are an effective teaching and learning tool.”

The results of this research are compelling and difficult to believe. Here is a small sample of findings:

“Story is the best vehicle for passing on valuable information . . . . Story structure proved equally more effective for teaching theorems, facts, concepts, and tacit information all across the curriculum and the spectrum of human communications.”

The bad news is that most folks remain ignorant of this power. Not through any fault of their own, but because of the impetus in modern business thought that has erected barriers against story narrative.

The good news is the same point. You can gain incredible power and advantage by embracing the power of a great business presentation story.

Have a look at Kendall Haven’s book, and be convinced.

For more on the power of telling a good business presentation story, consult The Complete Guide to Business School Presenting.

Passion

“Earnestness” Can be Especially Powerful

March 4, 2012 Stanley K. Ridgley

The Earnest Presenter is an Especially Powerful Presenter

“Earnestness” is a word that we neither hear much nor use much these days.

That’s a shame, because the word captures much of what makes for an especially powerful presentation.

Edwin Dubois Shurter was a presenting master in the early 20th Century, and he said way back in 1903 that “Earnestness is the soul of oratory. It manifests itself in speech by animation, wide-awakeness, strength, force, power, as opposed to listlessness, timidity, half-heartedness, uncertainty, feebleness.”

What was true then is surely true today.

Without Earnestness, Only Small Victories

And yet, “earnestness” is frowned upon, perhaps, as somehow “uncool.”

If you appear too interested in something, and then you somehow are perceived as having failed, then your presentation “defeat” is doubly ignominious. Better to pretend you don’t care.

Predictably, the default student attitude is to affect an air of cool nonchalance, so that no defeat is too damaging. And you save your best – your earnestness – for something else. For your friends, for your sports contests, for your pizza discussions, for your intramural softball team . . .

But this also means that all of your presentation victories, should ever you score one or two, are necessarily small victories. Meager effort yields acceptable results in areas where only meager effort is required.

Mediocrity is the province of the lazy and nonchalant. Shurter was a keen observer of presentations and he recognized the key role played by earnestness in a successful presentation: “When communicated to the audience, earnestness is, after all is said and done, the touchstone of success in public speaking, as it is in other things in life.”

Wrap your material in you.

This means giving a presentation that no one else can give, that no one else can copy . . . because it arises from your essence, your core. It means demonstrating genuine enthusiasm for your subject.

It means recognizing that the subject of your presentation could be the love of someone else’s life, whether it be their business or their product or their service – you should make it yours when you present.

Embrace your topic and you will shine in an especially powerful presentation. Earnestness becomes second nature.

For more on the secrets to delivering especially powerful presentations, consult The Complete Guide to Business School Presenting.

Appearance, Story

What’s What

March 2, 2012 Stanley K. Ridgley

CAVEAT: I do not ordinarily use profanity in my writing, even as I am a former soldier who well-understands that in certain coarse segments of society, the F-bomb is considered the most versatile tool in the English language, capably performing the functions of almost every part of speech. Nor do I intentionally offend any group. Having said that, far below I recount parts of an actual conversation that, without its inherent offensiveness, would lose much of its meaning and impact. You are fair-warned.

Here I sit, afflicted with acute self-awareness such that I write about that very self-awareness and its sometime creative vacuum.

It’s not that I am at a loss for words . . . it’s just that I am uncertain which words might do justice this odd notion that came to me on a subject that has fascinated me for years.

Would I want to waste precious words on it?

This subject is the notion of fitness. The kind of good, general fitness that leads to a physical appearance that is, in my view, an asset in presenting.

Surely this is something to strive for, and there is nary a downside to it. But in its extreme form, it is a sub-culture in many countries.

And it is uni-dimensional, at least in my opinion. It is limiting, and in its most extreme forms it is anti-intellectual and can be physically harmful. Yet it holds fascination for me because of the extreme discipline that it requires to live such a “lifestyle.”

I do not refer to the life of an ascetic monk. Is that really so debilitating? Or is that an easy way out, to isolate oneself from the tribulations most humans face in an increasingly complex and baffling modern society?

The Physical Culture Lifestyle

No. This sub-culture is euphemistically called “Physical Culture” by its aficionados. Years ago, I was peripherally involved in this sub-culture.

What is physical culture?

Bodybuilding.

Bodybuilding and the accompanying “lifestyle.”

Sculpting the body, straining with lead weights for hours on end each day, crafting one’s diet to weird and untried specifications (tuna, supplements, apple juice), and of course the inevitable injections of various illegal growth hormones and steroids.

And that’s about it.

That’s the entire lifestyle, as far as I can make out.

Now in this day and age of egg-walking, you criticize at your risk. And this bodybuilding community, after all, is a clearly identifiable minority in our society. But having been a peripheral member of that minority, oh-so-briefly (I actually won a contest in 1983—Mr. Physique in the city of what was then West Berlin), it may give me cover to offer up a few stray opinions that someone may find interesting.

Actually, I am a person who believes in the nexus between body and mind, and I cardio-up 2-8 miles each day for the beneficial health effects, but also for the endorphin release it provides. It helps my writing.

I think it does. It strikes me that it could be entirely unnecessary to suffer physically, drink oneself into stupefaction, or to claim a damaged past to write well.

But what about this extreme Physical Culture thing? Are there any novel ideas lurking in the gym, hidden ’twixt the weight plates or behind the Pilates stability ball?

Think of the wealth of possibilities for an entire series of novels on this bodybuilding lifestyle.

When you come up with any, please let me know.

But let’s pause a moment and go through the exercise. Of what might a novel about bodybuilders consist? What sort of dialog might we be compelled to craft? What possible plot could one contrive?

Steroid theft?

Fixed contests?

Love in the gym?

Conflict between the “good” bodybuilders and the “bad.”

Contrived Conflict

This last one is staple of film, particularly vintage martial arts films in which the conflict is between one school and another rival school (“I fight white-stomping-horse!”), one of which is invariably “evil.”

But this contrivance isn’t limited to foreign films. I am reminded of the movie Twister in which there were “good” stormchasers and “bad” stormchasers. Remember that somersault?

In Twister, it wasn’t sufficient to have man and woman aligned against a powerful force of nature, so a scriptwriter came up with the subplot of “competing Stormchasers.”

The bad stormchasers were well-funded by nameless corporations, and they drove black, nazi-like vehicles in a tight little convoy. They were motivated by money, fame, and greed. The good stormchasers were an underfunded rag-tag outfit in a little van with makeshift equipment and the usual motley collection of good souls (at least one beard) doing it for the betterment of mankind.

Never mind that both Twister groups were engaged in studying the behavior of tornadoes so to better understand and survive them. The film required the conflict, and it gave it to us in the form of a contrived good and bad dichotomy.

But back to the gym and our bodybuilding novel:

“You look pumped, today, Jim.”

“You, too, Apollo.”

“Where you going later?”

“Home to pop a can of tuna and rest up for my next workout.”

“Very cool. What’s on tap?”

“Quads and hams. Maybe some glutes.”

“I’m working on bis and tris.”

Apollo flexes his arms, admiring the vascularity and bulk in his forearms achieved through weeks of contest preparation, during which he restricted his diet to protein served in five meals per day along with handfuls of supplements and various illegal substances.

“I’m over the border to Tijuana, Jim. Wanna come with?”

“Juice?”

“Yeah, heard about a new cocktail of Human Growth Hormone and Dianabol.”

“Man, I don’t know about those injectibles,” Jim said with a shake of his head sitting atop his overdeveloped trap muscles like an orange atop Pharaoh’s pyramid. “Oral’s good enough for me.”

“Poor results, dude. No cut, no bulk, no vascularity. Just piss-poor all around.”

“But no acne or ball shrinkage.”

Writer’s block kicks in, and I’m grateful for that.

That’s all I can come up with at the moment, and given my languor on the subject, not much else is forthcoming.

Let me go to my gym for some primary research on a Saturday late afternoon.

So I do.

I go to my gym in mid-town Philadelphia for a Saturday evening workout and maybe a story idea or two.

Not much drama taking place along the row of treadmills—just a lone walker in spandex, arms pumping, sweat flying, her eyes riveted on the monitor overhead broadcasting CNN.

Nor is there much conflict on the hard rubber mats in front of regimented racks of various sizes and weights of dumbbells. One tattooed African-American giant is squatting with what looks like a railroad axle on his shoulders. Whoa, now.

He does not look conversational.

The music throbs loudly, and even as this pulsing techno beat fills the gym with false energy, I find no true spirit of the steel, no bonafide discipline of the iron.

I’m out of literary luck in this venue.

I leave. Pumped, blood flooding the muscles, endorphins raging . . . but still out of literary luck.

But then a mere 30 minutes later . . .

I stop off at Ruby Tuesday’s on the way back to my studio apartment. Just for a single libation in the early evening, mind you. Replenishing those carbs.

It was there I became trapped in a social situation not of my choosing. Believe me.

The bar area was crowded with transients, located as it is near the airport hotels. I had sat down alone, wearing my underarmor compression tee and carrying a book on Fundamentals of Strategic Management that I planned to skim for its section on ‘case analysis.’

A buzz-cut fellow at the bar kept eyeing me. He invited himself over. He sat down and offered his hand.

“Brad.”

Our encounter began evenly enough, even as I tried to conduct a delicate self-intervention to prevent it.

You see, Brad wore a checkered short sleeve shirt, unbuttoned to reveal an undershirt. And tattoos. Lots of tattoos.

Arms. Chest. Ugly ominous black tattoos. No hearts or cupids or flowers in sight.

Tattoos send a message, and in my experience it is rarely a good one.

After Brad pulled off his shirt in the bar, I saw that he had tattoos around his neck as well. Chains, skulls, knives, claws . . . dark things, dead things.

Swallowing Tobacco Juice

Brad’s message was definitely not one of sweetness and light.

He was chewing tobacco. The wad of Copenhagen dip tobacco caused Brad’s lower lip to bulge, and it left flecks of black about his lips.

“Where’s your spit cup, Brad?”

“I swallow it.”

“You swallow tobacco juice? Isn’t that unhealthy? I mean, aside from the cancer risk.”

“Yeah, it might give me stomach cancer but what the hell.”

Brad waved at the bartender.

“Drink up! Beers for my man here! On me!”

He put my Yeungling on his tab.

“Um, thanks Brad. Why the tattoos?”

He sipped his vodka tonic, obviously the latest in a long sequence of vodka tonics stretching back into the afternoon.

“I was in a gang,” Brad said. “The AB.”

“In prison, you mean?”

“Where the fuck else? I been in for 20 years. I just got out eight hours ago, mother-fucker.”

“Well, I thought it might be some street gang or fraternal group.”

Brad’s eyes narrowed and he tilted his head at a funny angle.

“Whaddaya mean by that?” Brad said. “What the fuck’s a ‘fraternal group’? That a fag outfit?”

Descent into Madness

“It’s just a club,” I said, with an involuntary throat clearing.

“No . . . AB ain’t no club.”

“What’s AB?”

“Aryan Brotherhood.”

“I see.”

“Without your brothers, you die.”

Yes, Brad’s an ex-con.

“I just got out,” Brad said. “Did I tell you that? Eight hours ago. And I’m trying to get to the West coast but got stuck here ’til Monday. Stayin’ in that ratty motel right over there.”

Brad’s got a job lined up.

He’s going to be a rep for some kind of bodybuilding supplement company, the name of which I won’t divulge. He claims that I, too, can be a rep and receive $3,000 of free stuff each year.

Brad keeps looking at my arms and chest. Am I nervous?

“Hey, I ain’t no fag or nothin’, man, but I see you walk in and you know what’s what. It’s obvious you know what’s what, right? Dontcha?”

“Huh?”

“You know what’s what! You ain’t dumb!”

“Yeah,” I said. What is he talking about? “You better believe I know what’s what.”

“I thought you did! I knew it!”

I grin stupidly and raise my beer, and I drink that beer as fast as I can.

“Brad, what can I say? You know what’s what, too.”

“Damn right, I do!” he said, and he smacked the table.

“What you got? Nineteen?” He nodded at my arms.

“Beg pardon?”

“Come on, man, you know what’s what! Nineteen inches?”

“Almost seventeen.” I said.

Brad nodded approvingly. He held up a hand.

“Hey, I ain’t no fag or nothin’, but I’m just sayin’ you got what’s what. Just admirin’ the truth, y’know.”

“Thank you.”

Brad keeps claiming that I’m “on the juice.” That’s bodybuilder talk for steroids. Deca, Dianabol, Equipose. That kind of thing.

“You tellin’ me the truth, Stan? You’re natural? What the fuck, man! You know what’s what!”

“All natural! I know what’s what!”

“I thought so!”

Hepatitis Can Slow a Man Down

Another long sip on his vodka tonic. Brad grabbed his side.

“Can’t drink too much of this with this Hepatitis C. Bad for the liver. Tomorrow I’m gonna feel like a fuckin’ brick right there. Hey, you know I just got out of the pen.”

Long pause during which I know I better say something or this fellow might get nervous. What do they say in the movies?

“I guess that’s why you know what’s what.”

“Damn right.”

“So, what were you in for?”

Brad leaned in close.

“I was in their highest level of custody,” he said, leaning closer and showing me his bureau of prisons inmate card. A red and white plastic card with Bureau of Prisons on it, I think. That’s what it said on the card: “Inmate.” With a number.

“I used to have one of my brothers guard me when I went to the john,” he said. “A man outside the stall. A man guardin’ me when I took a shower. It’s hard in there, man. You got to be hard. Got to watch your back all the time.”

He nodded over his shoulder.

“See that guy there? If he puts his hand on my shoulder, I’ll break the fucker. I’ll snap that fucker’s arm. I’ll put this in his fucking neck.” He held up a pen he was using to write down the name of his supplement company for me. He shakes it at me. “I’ll put this in his neck right into his brain stem.”

“You just bought that guy a drink, Brad. I don’t think he wants trouble with you.”

“I don’t care man, you gotta take care of yourself.” He looked around. “See these people in here, I mean I could kill anyone in this place.”

I nod.

“I believe you could, Brad.”

Brad’s Rap Sheet

I raise my glass and give a tight little grin. What else can I do while listening to a man just out of the pen, locked up for bank robbery and boasting of three murders while in lock-up? Challenge him? Set him straight?

“Well, what were you in for?”

Brad sat back.

“I was in for bank robbery. Twenty years.”

“Were you framed?” Isn’t that what you always ask these folks?

“Nah, man, I did it! I just got caught. Twenty years on the inside. Man I’m forty-four now.”

He wiped his mouth and lowered his voice.

“I did three murders, too, but that was on the inside, so they don’t count. They were inside jobs and they don’t care nothing ’bout that. Don’t give a shit ’bout that. Those murders don’t count.”

I drained my beer.

“Uh, I have to go now, Brad . . . lots of work to catch up on. Thank you for the beers.”

“Don’t let me hold you up.”

“Is that a joke, Brad? Hold me up?’”

Brad points at me and offers, I think, a smile.

“Ha, ha—you’re a funny man.”

I offer my hand, and he takes it, his little finger jutting at an odd angle from a break doubtless suffered in a long-ago fight over stakes that didn’t matter. Save survival.

“I wish you luck, Brad. You might want to stay mellow tonight. I don’t think anyone here will jump you, so please don’t break any arms or stick that pen into anyone.”

Brad looked at me.

“You know what’s what, man! They arrest you for fighting, not loving. I’m gonna be a lover from now on.”

I pointed at him and nodded.

And, blessedly, I left.

And I do not feel good having dipped my toe into that morass that grips much of humanity and turns it inhuman. Three murders that don’t count? Aryan Brotherhood? In my apartment, I felt like I wanted to take a hot psychic shower to rid myself of certain images.

But there is dramatic grist here.

That man has a story. Brad is out of the pen, he’s hawking bodybuilding supplements between vodka and tonics and is living a lifestyle now that I cannot begin to fathom. Lord only knows how this man will spend his day tomorrow . . . and the next . . . and the one after that.

He has a story, but I just don’t know if I could stand to hear it.

Could you?

I mean . . . do you know what’s what? Because I surely do not.

General

On Site . . .

February 24, 2012 Stanley K. Ridgley

My efforts on the presentation front now extend to preparing a DVD course on Strategic Thinking for The Great Courses.

My ability to offer timely and valuable presentation advice in carefully prepared posts has been impaired, so in lieu of a regular post, brimming with the nectar of wisdom, I offer instead several happy snaps of our filming days.

I also offer the admonition that presenting well requires constant attention to detail and attention to the proverbial big picture.

It’s tough. But worth the effort.

Slides

The only PowerPoint Guide you’ll ever need

February 18, 2012 Stanley K. Ridgley

The business presentation is an entirely different form of communication than a written document, and thats why you need a reliable PowerPoint Guide to get you through the rough waters of slide preparation.

For your presentation, do you ever throw together a half-dozen makeshift slides cut-and-pasted from a written report, with dozens of bullet points peppered throughout?

Guilty as charged? Most of us are at one point or another. The results can be heinous.

A PowerPoint Guide for You

The results are slides that confuse the audience rather than reinforce your major points delivered in awful, mind-numbing presentations. You bear a cost for serving up what designer Nancy Duarte calls “bad slides.” Nancy says in her book Slideology: The Art and Science of Creating Great Presentations:

“Making bad slides is easy, and it will negatively impact your career. Invest in your slides, but invest in your own visual skills as well. The alternative is to inadvertently commit career suicide.”

Absent specific instruction, you might believe that it’s acceptable to simply cut and paste graphics from a written report directly onto a slide.

Why not?

Who says this is a bad idea? After all, the professor wants to see certain material on the screen, doesn’t he? Well, I’m giving it to him. ’nuff said.

This is awful for the reason that the slide presentation sometimes doubles for a written document, and this is an incredibly stupid mistake.

One . . . or the Other

Your PowerPoint can serve admirably one or the other purpose . . . but not both.

The presentation – or show – is dramatically different than the written document that is meant to be reviewed later. Never let one serve in place of the other.

Prepare two separate documents if necessary, one to serve as your detailed written document, the other to serve as the basis for your show.

When you commit the error of letting a written document serve as your public presentation, here’s what usually happens: You project a parade of abominably cluttered slides onto the screen while you talk about them. Usually prefacing what you say with the words “As you can see . . . .” [this is called As You Can See Syndrome, or AYCSS]

The results are often poor, if not downright ugly and embarassing. It is a roadmap to disaster.

But the insidious part is that no one tells you the results are disastrous. They don’t tell you what makes your creation an abomination. So let’s discuss the types of issues you face in assembling your show.

No Magic Pills

Start by recognizing that no slide show can substitute for a lack of ideas, a lack of preparation, and lack of a story to tell. PowerPoint cannot rescue you with its colors, sound, and animation.

This is akin to Hollywood filmmakers who spend millions of dollars on dazzling special effects and neglect the story. They bomb miserably.

On the other hand, you can craft a winning film with a superb story and drama, but with minimal special effects: See the classic Henry Fonda film 12 Angry Men. You cannot craft a winning film with no story or a bad story populated with people you don’t care about.

Forget the notion that slides are somehow the backbone of your show. They have no special properties.

Slides can enhance your show . . . and they can most assuredly help destroy it. Presenting coach Aileen Pincus makes this point in her 2008 book Presenting:

“Slides are not a magic pill; they won’t organize a disorganized presentation; they won’t give a point to a presentation that doesn’t really have one; and they never make a convincing presentation on their own.”

So is there a reasonably easy way to get around this busy-slide pathology?

Of course, and this leads us to one solution to the problem of overburdened slides. Remember three words when you prepare your slides, and you can eliminate 90 percent of your PowerPoint pathologies.

Orient . . . Eliminate . . . Emphasize

First, orient your audience to the overall financial context. If you take information from a balance sheet or want to display company profit growth for a period of years, then display the sheet in its entirety to orient the audience. Tell the audience they view a balance sheet. Walk to the screen and point to the information categories. Say “Here we have this number” . . . “Here we have this category.”

Second, eliminate everything on the screen that you do not talk about. If you do not refer to it, it should not appear on your slide. Strip the visual down to the basic numbers and categories you use to make your point.

Third, emphasize the important points by increasing the size, coloring them, or bolding the numbers. You can illustrate the meaning of the numbers by utilizing a chart or graph.

When you orient, eliminate, and emphasize, you polish your meaning to a high sheen. You dump distractors that leech the strength and power from your presentation.

Consequently, by substraction you infuse your presentation with the zest that make it especially powerful.

To learn how to craft masterful Business Presentations and deliver them with power and brio, reference my PowerPoint Guide, The Complete Guide to Business School Presenting.

Audience, General, Passion, Practice

Prepare your Presentation . . . Don’t Wing it!

February 12, 2012 Stanley K. Ridgley

Prepare Your Presentations . . . Don’t “Wing” Them.

Always prepare your presentation for your audience in ways that move them.

Offer them something that speaks to them in the language they understand and to the needs they have.

Always offer them your respect and your heart.

Does this seem obvious?

That’s the paradox. We often forget that our audience is the other player in our two-player cooperative game. We mistakenly contrive our message in our terms. We say what we want to say and what we think our audience needs to hear in language that gives us comfort.

Then we blame the audience if they don’t “get it.”

Too many speakers across the spectrum of abilities never consider the needs of their audience or why they have gathered to hear the message. Often, a presenter may simply offer an off-the-shelf solution message.

A message that isn’t even remotely tailored to the needs of the folks gathered to hear it.

Why Prepare Your Presentation?

Paradoxically, this occurs quite often when men and women of power and accomplishment address large groups of employees or conference attendees. Infused with the power, arrogance and hubris that comes with great success, they believe this success translates into powerful presenting.

They don’t prepare. They offer standard tropes.

They rattle off cliches, and they pull out shopworn blandishments . . . and they receive ovations, because those assembled believe that, well, this fellow is successful, so he must know what he’s doing. What he says and the way he says it, whatever it was, becomes gospel.

But what we actually witness from presenters of this type is actually a form of contempt. Presenters from 16 to 60 offer this up too often. The lack of preparation by any speaker communicates a kind contempt for the audience and for the time of people gathered to listen.

For instance, last year a successful young entrepreneur spoke to our assembled students about his own accomplishments in crafting a business plan for his unique idea and then pitching that idea to venture capitalists. His idea was tremendously successful and, as I understood him, he sold it for millions.

Now, he stood in front of our students wearing a ragged outfit of jeans and flannel shirt and sipping coffee from a styrofoam cup. He was ill-prepared to speak and offered-up toss-off lines. What was his sage advice to our budding entrepreneurs for their own presentations?

You Call That Good Advice?

“Make really good slides.”

That was it.

Just a few moments’ thought makes clear how pedestrian this is. What does it truly mean? You need a millionaire entrepreneur to tell you this?

“Really good slides” means nothing and promises even less.

I guarantee that this youngster did not appear in his own presentations wearing his “cool slob” outfit. Likely as not, he developed a great idea, defined it sharply, and practiced many times. It was presented knowledgeably by well-dressed entrepreneurs, and this is what won the day.

And this is the lesson that our young presenters should internalize, not toss-offs from a character just dropping by. He obviously did not prepare, but you should prepare your presentation.

So many of the dull and emotionless automatons we listen to could be powerful presenters if they shed their hard defensive carapaces and accepted that there is much to be learned. We can gain much by respecting the audience enough to speak to them as fellow hopeful human beings in their own language of desires, ambition, fears, and anticipation.

Conversely, we all can learn from the people we meet and the speakers we listen to, even the bad ones.

Don’t Prepare Your Presentation?

In business school, you sometimes espy classmates who demonstrate this pathology of unpreparedness. It’s called “winging it.”

Many students tend to approach presentations with either fear or faux nonchalance. Or real nonchalance. It’s a form of defensiveness. This results in “winging it,” where contrived spontaneity and a world-weary attitude carries the day.

No preparation, no practice, no self-respect. Just embarrassment. Almost a defiant contempt for the assignment and the audience.

This kind of presentation abomination leaves the easy-out that the student “didn’t really try.”

It is obvious to everyone watching that you are “winging it.” Why would you waste our time this way? Why would you waste your own? You have as much chance of achieving success “winging it” as a penguin has of flying.

Winging it leads to a crash landing of obvious failure, and whether you care or not is a measure of character.

The chief lesson to digest here is to always respect your audience and strive to give them your heart. Prepare your presentation, and you will always gain a measure of success.

You never will if you “wing it.”

For more on how to prepare your presentation, consult The Complete Guide to Business School Presenting.

Technique

To the Rescue! . . . a Classic Life Preserver

February 5, 2012 Stanley K. Ridgley

personal competitive advantage — “In conclusion” are the magic words to rescue any business presentation that threatens to spiral out of control and end in ignominy

Every person needs a life-preserver at some point during a speaking career, and this is where your conclusion is crucial.

At times, even the finest presenters get themselves in trouble, and having this rescue device near to hand can salvage a speech that is careening off-course, that is flirting with disaster.

Seize these Two Words

It’s a simple device that serves us well near the end of our talk.

When your talk is winding down and you feel yourself suddenly spent . . .

When you begin to spiral out of control and cannot remember your train of thought . . .

When your pulse quickens and your mind goes blank . . .

Grasp for two words.

Your life-preserver.

“In conclusion . . .”

That’s it. Just two words.

I’ve tossed this rescue device out many times to students in trouble during a crumbling presentation.

These two words have rescued thousands of presenters before you, and they’ll rescue you as well. These two words work a magic on your psyche that is almost inexplicable in terms that a logical, reasonable person would believe.

As soon as you speak them, the path to the end of your talk becomes clear.

Speak them, and suddenly you know what to say and do.

You’re imbued with power . . . and one step closer to achieving personal competitive advantage.

You Know the Magic Words

You confidently tack on another phrase . . .

“In conclusion, we can see that . . .”

“In conclusion, our recommendation makes sense for reasons just given . . .”

“In conclusion, this means that . . .”

See how it works? How incredibly easy it is to get out of the sticky wicket of a talk spiraling out of control?

“In conclusion” leads you out of the wilderness and back onto your prepared path. It leads you to restate your thesis in concise manner and then . . .

. . . stop!

You’re done.

For more techniques like these, consult the Complete Guide to Business School Presentations.

Finance, General

The False Gods of Finance Business Presentations

January 24, 2012 Stanley K. Ridgley

Finance business presentations can be a source of competitive advantage — Finance business presentations can be challenging, for executives as well as business school students

Whether the finance business presentations class is in Philadelphia . . . or Mumbai . . . or Cali . . . or Chennai . . . or Singapore . . . I hear the same universal and eerie refrain from finance students everywhere—

“Finance is different.”

“We don’t do all of that soft-skill kumbaya presentations stuff.”

“For us, the numbers tell the story.”

The Talisman of Numbers

Numbers seem to enchant business-people in deep and mysterious ways. It’s as if numerical constructs are somehow less malleable than the English language, less subject to manipulation.

In a chaotic world, a spreadsheet exudes familiarity, a firm valuation offers comfort, an income statement serves as anchor.

For some, numbers convey a certitude and precision unavailable to mere rhetoric. This illusion of certitude exerts influence on finance folks to believe that, that the laws of human nature that stymie the rest of us do not apply to them. They see themselves as purveyors of cold hard objective numerical analysis.

Finance presentations are somehow harder, more firmly rooted in . . . well, rooted in the very stuff of business.

The Finance Business Presentation Myth Exploded

But this is an illusion. The result is 2D presenting, full of voodoo and bereft of nuance and subtle analysis.

Where business presentations are concerned, finance folks are not different, special, unique or otherwise gifted with special powers or incantations denied the mere mortals who toil in marketing or human resources.

We all are subject to the same demands placed upon us by the presentations beast, demands that nettle us equally and indiscriminately during the finance business presentation process.

As with most things, there is bad news and good news in this slice of life provided here.

The bad news is that modern finance presentations are a vast wasteland of unreadable spreadsheets and monotonous, toneless recitations of finance esoterica. It seems that there must be a requirement for this in finance.

Finance Business Presentation Hell

In fact, many finance business presentations crumble into little more than meeting “discussions” about a printed analysis distributed beforehand, picked apart by jackals with nothing on their minds except proving themselves worthier than who might be unlucky enough to be the presenter du jour.

A presenter or group of presenters stands and shifts uncomfortably while everyone else sits and interrupts with strings of gotcha questions, usually couched to demonstrate the mastery of the questioner rather than to elicit any worthy piece of information.

Several finance business presentation cliches guarantee this sorry state of affairs a long life . . .

“Just the facts”

Exhortations of “Just the facts” serve as little more than a license to be unoriginal, uninteresting, and unfocused.

“Just the facts”

Folks believe that this phrase gives the impression that they are no-nonsense and hard-core. But there is probably no more parsimoniously pompous and simultaneously meaningless phrase yet to be devised. It achieves incredible bombast in just three syllables.

What does it mean, “Just the facts?” Which facts? Why these facts and not those facts?

Events are three-dimensional and filled with people. They require explanation and analysis. Mere “facts” are flat, unemotional, and unsatisfactory proxies for what happens in the real world. “Just the facts” masks much more than it reveals.

“The numbers tell the story.”

This is a favorite of folks who seem to believe that the ironclad rules of presentations do not apply to them. “We don’t deal with all of that soft storytelling,” finance majors often tell me. “We deal in hard numbers.”

There’s so much wrong with this that it’s difficult to find a reasonable starting-point. Not only do numbers, alone, tell no story at all . . . if numbers were conceivably capable of telling a story, it would be an incomplete story. A story with distorted reality.

The end result of these presentation shenanigans is mediocrity and outright bad presentations. If firms want nothing more than a group discussion about a handout, with the only thing distinguishing the “presenters” from the audience is that they are standing, then so be it.

It may be useful. It may be boring. It may be morale-building. It may be team-destroying. It may be time-wasting.

But whatever else it is, it is not a presentation.

“Cut ’n’ Paste”

This is the heinous data dump that all of us see at some unfortunate time in our careers. PowerPoint slides crammed with data in tiny, unreadable font. The display of these heinous slides is accompanied by a sweep of the arm and the awful phrase: “As you can see . . . ”

The cause of this pathology is the rote transfer of your written report to a PowerPoint display, with no modification to suit the completely different medium. The result?

Slides from Hell.

The Presentation Good News!

In every obstacle exists an opportunity. Because the bar for finance business presentations is so low, if you invest your presentations with the powerful principles that apply to all business presentations, your own shows will outstrip the competition by an order of magnitude.

This, of course, implies that your content is rock-solid. It should be. Your ratio analysis, your projected earnings, your sophisticated modeling should all reflect the superb finance education you have received.

Business School Presenting can improve your finance business presentations — Swim against the tide of bad finance business presentations and imbue your presentations with power and brio

But how you present that content is the key to presentation victory.

All of the presentation principles that we discuss here apply to finance business presentations. Particularly the parsimonious display of numbers and the necessity for their visual clarity. If anything, finance business presentations must be more attentive to how masses of data are distilled and displayed.

A situation statement must be given.

A story still must be told.

Your analysis presented.

Conclusions must be drawn.

Recommendations must be made.

And external factors must be melded with the numbers so that the numbers assume clarity and meaning in an especially powerful 3D presentation.

If you do the above, and nothing more, then your finance business presentations will outshine the hoi polloi with ease.

But you can push even further, delving even more deeply into the masterful techniques and principles available to you, learning to use your tools skillfully. You can rise to the zenith of the finance business presentations world because you are part of the tiny minority who seizes the chance to deliver an especially powerful presentation.

Your best source for deeper insight on delivering especially powerful finance business presentations is my book, The Complete Guide to Business School Presenting.

Charisma, Confidence, Expression, General, Passion, Preparation, Technique

Don’t Lower the Presentation Bar . . . Jump Higher

January 20, 2012 Stanley K. Ridgley

Practice and Preparation for personal competitive advantage — Training and Preparation help you clear a high presentation bar

You know the lament of those folks who will never clear the presentation bar.

“I’m just not comfortable doing that. It’s just not me.”

This is what passes for sage wisdom in some quarters in reaction to new ideas, new methods, different techniques, and sometimes just good advice.

What hokum.

For example, look at the big offensive lineman, who could end up starting for the football team, perhaps even take his performance to the next level of competition. Coaches schedule his training regimen. He responds:

“I’m just not comfortable with all these exercises. It’s just not me.”

Hokum, yes . . .

You won’t hear that comment often in the locker room or on the battlefield, but we hear it all the time in other venues of life.

You hear it from would-be business people. Students, in particular.

I think you know that the future isn’t bright for the player or soldier or businessman with this kind of precious attitude.

Of course not.

Developing new skills, new abilities, new strengths is uncomfortable. It means changing our behavior in sometimes unfamiliar ways.

And instead of meeting the challenge, we can find ourselves taking a short cut.

Personal Competitive Advantage means working hard to clear a high presentation bar — Quiet Charisma . . . the Oxymoron

We attempt to redefine our goals to encompass what we already do, so that we no longer have to stretch or strive to meet the original tough goals.

We may find ourselves redefining what it means to excel, we lower the bar so as to meet our lower expectations . . . rather than continue to strive to excel to achieve a lofty and worthy goal.

We move the goal posts closer.

Several years ago, I was delivering a lecture on how to develop charisma. A young woman, who was surely not a charismatic speaker offered this gem “What about people who have quiet charisma?”

“I’m sorry. What did you say?”

“I mean people who don’t exhibit these characteristics you’ve been talking about, but show a quiet charisma.”

Those characteristics that I had referred to are personal magnetism, a seeming aura that radiates enthusiastic goodwill, a mesmerizing speaking style, and a kind of restrained hyper-kinetic internal fuel cell that you sense could move mountains if unleashed [here, of course, I exaggerate . . . but the point is made].

This person expressed that she was extremely “uncomfortable” with the techniques that, in fact, would help her become more charismatic in delivering her presentations.

But rather than experience that discomfort, rather than strive to clear a high presentation bar, she chose instead to appeal to me to redefine charisma to include her own behavior.

Unambitious . . . a Lower Presentation Bar

Behavior that was the exact opposite of charismatic. She wanted to move the goalposts closer. She wanted to lower the bar.

Oxymoronic “quiet charisma.” Charisma on the cheap. Easy charisma.

There’s no such thing

To reach a worthy goal, we may have to step outside of what is sometimes called our “comfort zone.” I prefer to think of it as enlarging our comfort zone rather than stepping outside of it.

Any time we begin to rationalize and redefine our goals, it is time to pause and reflect. Are we selling ourselves short? Are we fooling ourselves? Are we forfeiting personal competitive advantage?

Are we telling ourselves that we possess “quiet charisma” instead of doing the hard work and practice necessary to achieve the real thing?

Think about it.

For more on developing an especially powerful professional presence to clear a high presentation bar, consult The Complete Guide to Business School Presenting.

Appearance, Audience, Charisma, Confidence, Stance, Technique

Bad Business Presenting . . . CLASSIC COKE

January 15, 2012 Stanley K. Ridgley

Even the largest and most respected corporations have speaking pathologies running rampant in the senior leadership

A wholly unsatisfactory stance infests the business landscape, and you’ve seen it dozens of times.

You see it in the average corporate meeting, after-dinner talk, finance brief, or networking breakfast address.

While unrelenting positivity is probably the best approach to presentation improvement, it helps at times to see examples of what not to do, particularly when the examples involve folks of lofty stature who probably ought to know better.

If they don’t know better, this is likely a result of the familiar syndrome of those closest to the boss professionally not having the guts to tell the boss he needs improvement.

The speaker stands behind a lectern. The speaker grips the lectern on either side. The speaker either reads from notes or reads verbatim from crowded busy slides projected behind him.

The lectern serves as a crutch, and the average speaker, whether student or corporate VP, appears afraid that someone might snatch the lectern away.

This Video rated PG-13 for excessive violence done to good speaking skills

Many business examples illustrate this, and you’ve probably witnessed lots of them yourself. Let’s take, for instance, Mr. Muhtar Kent, the Chairman of the Board and CEO of Coca-Cola.

Mr. Kent appears to be a genuinely engaging person on occasions where he is not speaking to a group. But when he addresses a crowd of any size, something seizes Mr. Kent and he reverts to delivering drone-like talks that commit virtually every public speaking sin.

He leans on the lectern. He hunches uncomfortably. He squints and reads his speech from a text in front of him and, when he does diverge from his speech, he rambles aimlessly. He wears glasses with little chains hanging from either side of the frame, and these dangle and sway and attract our attention in hypnotic fashion.

In the video below, Mr. Kent delivers an October 2010 address at Yale University in which he begins badly with a discursive apology, grips the lectern as if it might run away, does not even mention the topic of his talk until the 4-minute mark, and hunches uncomfortably for the entire 38-minute speech. Have a look . . .

Successful C-Suite businessmen and businesswomen, such as Mr. Kent, are caught in a dilemma – many of them are terrible presenters, but no one tells them so. No one will tell them so, because there’s no upside in doing it.

Why would you tell your boss, let-alone the CEO, that he needs improvement in presenting? Such criticism cuts perilously close to the ego.

Many business leaders believe their own press clippings, and they invest their egos into whatever they do so that it becomes impossible for them to see and think clearly about themselves. They tend to believe that their success in managing a conglomerate, in steering the corporate elephant of multinational business to profitability, means that their skills and judgment are infallible across a range of unrelated issues and tasks.

Such as business presenting.

Mr. Kent is by all accounts a shrewd corporate leader and for his expertise received in 2010 almost $25 million in total compensation as Coca-Cola CEO and Board Chairman. But he is a poor speaker. He is a poor speaker with great potential.

And this is tragic, because many business leaders like Mr. Kent could become outstanding speakers and even especially powerful advocates for their businesses.

Spreading Mediocrity

But as it stands now, executives such as Mr. Kent exert an incredibly insidious influence in our schools and in the corporate world generally. Let’s call it the “hem-of-garment” effect, where those of us who aspire to scale the corporate heights imitate what we believe to be winning behaviors. We want to touch the hem of the garment, so-to-speak, of those whom we wish to emulate.

Because our heroes are so successful, their “style” of speaking is mimicked by thousands of young people who believe that, well, this must be how it’s done: “He is successful, therefore I should deliver my own presentations this way.”

You see examples of this at your own B-School, as in when a VP from a local insurance company shows up unprepared, reads from barely relevant slides, then takes your questions in chaotic and perhaps haughty form. Who could blame you if you believe that this is how it should be done? This is, after all, the unfortunate standard.

But this abysmal level of corporate business presenting offers you an opportunity . . .

You need only become an above-average speaker to be considered an especially powerful presenter.

A presenter far more powerful than Mr. Muhtar Kent or any of 500 other CEOs.

Embrace the notion that you can become an especially powerful business presenter . . . you might find help in this book, The Complete Guide to Business School Presenting.

Group Presentations, People, Personal Competitive Advantage, Technique

Surviving the Group Presentation . . . PART 2

January 10, 2012 Stanley K. Ridgley

especially powerful Personal Competitive Advantage — Group Presentations can be a source of your Personal Competitive Advantage

“How come I never get a good group?”

Recognize that your group has been assembled with a professional purpose in mind, not to make your life miserable.

You will disagree with each other on aspects of the group presentation.

How you disagree and how you resolve those disagreements for the good of the team and of your group presentation is as important as the presentation itself.

It’s essential that you maintain civil relations, if not cordial relations, with others in the group – don’t burn bridges. You don’t want to engender dislike for people. Perhaps for the rest of your life.

The people in the various group projects will form an important part of your network in years to come.

Remember that the relationship is paramount, the presentation itself is secondary.

The Arrogance of “I don’t have time for this.”

Your job is to craft a group experience, assign responsibilities, develop a reasonable schedule.

Some members of your group will make time commitment choices that do not appear aligned with the objectives of the group.

You hear phrases such as “I can’t make the meeting.” You may hear the outright arrogance of “I don’t have time for this.”

This, of course, is simply a choice to be somewhere else to spend time in other pursuits.

Because everyone has the same amount of time, no more and no less.

Different people make different choices about the use of their time.

Recognize that this will happen and that it is neither good nor bad – it is simply the hand that you are dealt.

How you react to it will in large part determine the success of your group. One part of your job to properly motivate others to contribute to the group goal.

I always communicate to my students what to expect in a 5-person group. The 2-2-1 rule will usually hold.

Two people work hard, two cooperate and are damned happy to be there for the group presentation, and one rarely shows up, because he or she has a “busy schedule.”

Another popular take on it is to apply the Pareto 80-20 rule: Eighty percent of the work is done by twenty percent of the people.

The corollary, of course, is that 80 percent of problems are caused by 20 percent of the people. A different 20 percent.

“But that’s not fair!”

That’s reality.

Is it “fair?”

Maybe or maybe not in some cosmic sense, but that’s a question for philosophers of distributive justice and irrelevant to the imperatives of group work.

Regardless of how you couch it, do not take your group woes to the professor for solution. Your professor knows well what you face. He wants you to sort it out.

You must sort it out, because your prof is not your parent.

Your professor won’t appreciate it any more than your CEO or VP superior at your company appreciates solving your personnel issues . . . repeatedly. It reflects badly on you and gives an impression of weakness.

Moreover, if you begin to focus heavily on who’s not carrying their “fair share,” then that becomes the dominant theme of your group dynamic. Rather than that of accomplishing your group goal.

And such misplaced focus and animosity reflects badly in the final product, and you may forfeit valuable personal competitive advantage.

Keep these guiding principles in mind as you chart your course through the labyrinth of group work. Every group is different, temporary, and frustrating in it’s own way.

Don’t allow the briers of this ephemeral activity catch your clothing and slow you down from your ultimate goal – an especially powerful presentation.

Case Competitions, Group Presentations, Structure, Technique

Surviving the Group Presentation . . . PART 1

January 8, 2012 Stanley K. Ridgley

You find all sorts of problems in group work.

Anyone who has participated in even one group project in college knows this.

Perhaps you believe these challenges are external to you? Others cause problems, because surely you must not be contributing to the challenges facing your group?

Let’s examine, understand, and overcome these challenges before they get out-of-hand.

First . . . Unpredictability

The first major reason is the unpredictability of your situation.

One key characteristic of your group presentation is its rampant unpredictability. The project appears submerged in ambiguity that we seem powerless to affect.

It’s bad enough to face the unknown variables of case analysis and its attendant presentation, but then several other variables are added to the mix in the form of . . . those pesky other people.

We all prefer to control our own destinies.

Most all of us want to be judged on our own work. We like to work alone. This is very much the craftsman’s view. Our labors are important to us. We take pride in our work.

But with group work, the waters muddy. It becomes difficult to identify who is doing what, and consequently, we worry about who will get the credit.

We worry if there will even be any credit to distribute if our presentation collapses under the burden of multiple minds and differing opinions and people who seem not to care.

The group presentation offers challenges in our business presenting — Collaboration is a fact of life in business presentations . . . if you can master it, you add to your personal competitive advantage

We begin to worry that our contribution will be overlooked.

We worry that someone else will take credit for our work and we’ll be left with the crumbs.

We see ourselves becoming submerged, and as we sink into a kind of group ethos, our individual identity is threatened. How will the boss, the professor, or anyone else, know what I do?

How will they know our contribution?

With every additional person, the unknown variables multiply.

Worse, what if we get saddled with a reputation for poor work because someone else screwed up?

The second major reason for group failure is the ordeal of time management and schedule coordination.

Six different students, each with differing class schedules and who often are working part-time, must somehow work together. Moreover, you may be involved in several classes that require group projects.

And you invariably are faced with the pathology of one or two team members who “don’t have time for this.”

So the difficulties mentioned here multiply.

Why the Group Presentation?

The group presentation is not easy.

It can be downright painful.

Infuriating.

It can turn student-against-student faster than anything else in college outside of Greek rush.

So why do your professors require them? Why do all of your B-school professors seem determined to put you through this misery?

You’ve probably heard the spurious reasons. One pervasive student myth is that professors assign group work so they can cut their own grading work load.

The reasoning goes something like this: it is much easier for a professor to grade six presentations or papers than to grade 30 individual papers.

This myth is so pervasive that it has become conventional wisdom among students.

We see three big problems with this.

First, by definition, individual work is not group work.

If group work is an essential part of the workplace experience, then individual papers or other assignments do not contribute to the learning experience that is specifically designed to prepare you for the workplace.

Second, professors often are required to assign some form of group work in their courses.

The prevailing pedagogy in most business schools advocates the group work experience as essential to prepare students for the 21st Century workplace. Frankly, this is the way it should be.

Third, this myth assumes that professors enjoy watching students stumble their way through awkward presentations, poorly prepared and half-heartedly delivered.

While you, as a student, prepare for only one or two presentations, the professor oftentimes must watch 25 presentations or more during a semester and then evaluate them.

I assure you that this can be an unpleasant experience.

Embrace Group Work

The proverbial bottom line that we all talk about in business school is this: You do “group work” because it is essential to the 21st Century business world.

In fact, corporate recruiters list it as the second-most-desired skill in the job candidates they consider. So why not embrace the group presentation as a necessary component of your school experience?

The days of the business generalist are all but dead in corporate America.

Specialization rules the business workplace, and the manipulation of knowledge is ascendant.

This means, from a practical standpoint, that we cannot produce major products by ourselves. There is little doubt that you will become one of these knowledge-workers upon graduation.

You also will begin to specialize in certain work, especially if you join a large firm. This is because business operations today are incredibly complex and fast-paced.

These two factors make it almost impossible for any one person to isolate himself or herself from the combined operations of the firm. Major tasks are divided and divided again.

Think of it as an extreme form of division of labor.

So we must work with others. The globalized and complex business context demands it, and you can gain incredible personal competitive advantage if you embrace it.

In Part II, I show you how to not only survive the Group Presentation, but how to thrive and turn it into the cornerstone experience for your first job out of school . . . or your next job after getting your MBA.

People, Technique

Quintilian

January 2, 2012 Stanley K. Ridgley

Quintilian was the greatest presentation coach to ever stride the streets of Rome during the reigns of Nero, Vespasian, Titus, Domitian.

And Rome had quite a few presentation coaches at the time, because public speaking – oratory – was considered an art.

But Quintilian was the undisputed master of the 1st Century, and he penned one of the most important presentation works in all of history. It was published in approximately 95 AD and was called . . .

The Institutes of Oratory.

But like so many literary works in the ancient world, it all but disappeared in subsequent centuries as the dark ages engulfed Europe. Only fragments remained . . . and the legend of Quintilian.

Lost to History?

It was thought lost forever . . . but a Benedictine monk by the name of Poggio Bracciolini discovered a complete manuscript of Quintilian in a dungeon at the Abbey of St. Gall 13 centuries later in present-day Switzerland.

Bracciolini had established a reputation as a master copyist. He was elated to have discovered the ancient manuscript, and he wrote to a friend about his find in the year 1416.

There amid a tremendous quantity of books which it would take too long to describe, we found Quintilian still safe and sound, though filthy with mold and dust. For these books were not in the Library, as befitted their worth, but in a sort of foul and gloomy dungeon at the bottom of one of the towers, where not even men convicted of a capital offense would have been stuck away . . . . Beside Quintilian we found the first three books and half of the fourth of C. Valerius Flaccus’ Argonauticon, and commentaries or analyses on eight of Cicero’s orations by Q. Asconius Pedianus, a very clever man whom Quintilian himself mentions. These I copied with my own hand and very quickly, so that I might send them to Leonardus Aretinus and to Nicolaus of Florence; and when they had heard from me of my discovery of this treasure they urged me at great length in their letters to send them Quintilian as soon as possible.

Today, the manuscript that Poggio found still exists and is housed in Zürich’s Central Library.

Why should we care about Quintilian except as an historical figure? What could he possibly say to us of worth?

Timeless Secrets

Presenting hasn’t changed in 2000 years. Not really. It’s still a presenter before an audience. The good news is that Quintilian solved for us almost every pathology that plagues the modern speaker.

His work influenced orators for centuries and, through the adoption by the great rhetorician Hugh Blair in the 19th Century, continues to influence us today in ways we are completely unaware of.

Here is a small sample of the wisdom of Quintilian, this from Book 7.

Let him who would be an orator be assured that he must study early and late; that he must reiterate his efforts; that he must grow pale with toil; he must exert his own powers, and acquire his own method; he must not merely look to principles, but must have them in readiness to act upon them; not as if they had been taught him, but as if they had been born in him. For art can easily show a way, if there be one; but art has done its duty when it sets the resources of eloquence before us; it is for us to know how to use them.

The treasures housed in the Institutes of Oratory are vast. It remains only for us to delve into this trove of wisdom to pluck the nuggets that can transform us into . . . well, into much better presenters than we are today.

In fact, if Quintilian would have his way, he would transform you into an especially powerful presenter, worthy of pleading from the law courts of ancient Rome to the boardrooms of modern New York City.

For more on the powerful history and techniques of presenting, consult The Complete Guide to Business School Presenting.

Passion, Power

How to put Passion in Presentations

December 31, 2011 Stanley K. Ridgley

The passionate presentation can win the day over the staid and uninteresting

Do you put passion in presentations, or do you settle for being an emotionless automaton?

Do you save your passion for other things? Meaningless things?

Do you even know what infuses you with passion?

Think about it.

What is it you long to do?

What is it that fills you with the thrill of discovery, the adrenaline of newness?

What can compare with the natural high of applying yourself to a task that excites you?

What’s Your Passion?

What generates those endorphins? What brings a smile to your face involuntarily? What furrows your brow?

Is it “world hunger?”

Or European football?

Is it social injustice?

Passion can be a source of personal competitive advantage

Is it political theory?

Is it comic book collecting?

Is it Chess? Numismatics?

Tennis?

Travel to exotic locations? Helping others solve problems? Writing essays? Fashion design? Financial manipulations?

Reading a good book?

What’s your passion? Do you even have one?

Yes, you do have a passion. But likely as not, it’s been buried under a ton of necessity, the debris we call the business of life.

Is your Passion buried?

If you find that your passion is buried, then this is the time to rescue it as one of the most potent factors in delivering your most powerful presentations.

Once you explore your own visceral feelings, your passion, it becomes that much easier to invoke passion in presentations. To actually feel passion for the subjects of your shows.

Can you generate passion? Of course you can. Will it be “artificial” passion? Of course not.

With a tip o’ the hat to Gertrude Stein . . . passion is passion is passion.

Passion can help you build professional presence as well as convey your presentation message in a powerful way

Unless you have passion for a subject and demonstrate that passion, you will always be at a disadvantage with respect to those who passionately embrace their subject.

If you are in competition with several other teams pitching a product or service to a company for millions of dollars – and there is no noteworthy difference in the quality or price of the service – then how does the potential customer decide?

On passion.

Put Passion in Presentations!

If he sees a real passion for the work in one team, if he feels the energy of a team driven to success and truly excited about the offering, don’t you think he’ll be inclined to the team that stirs his emotions?

The team that makes him see possibilities?

The team that demonstrates passion in presentation?

The team that helps him visualize a glorious future?

The team that shares his own love and passion for his product or service and sees in you a shared passion for achieving something special in partnership?

Reread the previous paragraph, because it encapsulates so much of what is absent in presentations today, and so much of what is needed.

Passion cannot substitute for substance . . . but when it augments substance, it wins every time. And you gain personal competitive advantage by virtue of it.

Passion has served as a crucial element in verbal communication for centuries. Two of my favorite quotations on its power follow:

“True emotional freedom is the only door by which you may enter the hearts of your hearers.”

Brees and Kelley, 1931

“Earnestness is the secret of success in any department of life. It is only the earnest man who wins his cause.”

S.S. Curry, 1895

Recognize in yourself the capacity for passion and the necessity of putting passion in presentations for power and impact.

Recognize that you have the wherewithal to embrace even the most staid material, the “dullest” project.

Remember always that it is you who make it better. You who invest it with excitement.

You are the alchemist.

It’s your job to make it interesting

Many times you hear an “interesting” presentation about an “interesting” topic. It is well-done, and it engaged you.

And you wonder why you never seem to get the “interesting” projects.

Have you ever admitted to yourself that you might be the missing ingredient? That perhaps it is your task to invest a project with interest and zest? That what makes a project “interesting” is not the topic . . . but rather the interaction between material and presenter.

Ultimately, it is your task to transform a “case” or business situation into an interesting and cogent presentation. It is your task to find the key elements of strategic significance and then to dramatize those elements in such a way that the audience is moved in powerful and significant ways.

Yes, you can do this. You don’t need an “interesting” case to do it.

You just need passion.

More on passion in presentations in The Complete Guide to Business School Presenting.

Appearance

Secret #6 – “Slob cool” . . . isn’t

December 28, 2011 Stanley K. Ridgley

Let’s move from the realm of what you do and say in front of your audience to the realm of how you appear to your audience.

Likewise, let’s immediately dismiss the notion that “it doesn’t matter what I look like – it’s the message that counts.”

In a word . . . no.

This is so wrong-headed and juvenile that you can turn this to immediate advantage by adopting the exact opposite perspective right now. I’d wager that most folks your age won’t, particularly those stuck in liberal arts, for better or worse.

Much more dramatic to strike a pose and deliver a mythic blow for “individuality” than to conform to society’s diktats, eh?

Well, let those folks strike their blows while you spiff yourself up for your presentations, both in public and in private job interviews, and gain a superior competitive advantage.

The Upshot

Here is the bottom line. Your appearance matters a great deal, like it or not, and it is up to us to dress and groom appropriate to the occasion and appropriate to our personal brand and the message we want to send.

“Slob cool” may fly in college – and I stress may – but it garners only contempt outside the friendly confines of the local student activities center and fraternity house.

Is that “fair?”

It certainly is fair. You may not like it. It may clang upon your youthful sensibilities.

Tough.

You’re on display in front of a group of buyers. They want to know if your message is credible. Your appearance conveys important cues to your audience. It conveys one of two chief messages, with very little room to maneuver between them.

First, your appearance telegraphs to your audience that you are: sharp, focused, detailed, careful, bold, competent, prudent, innovative, loyal, energetic . . .

or . . .

Your appearance telegraphs to your audience that you are: slow, sloppy, careless, inefficient, incompetent, weak, mercenary, stupid.

Moreover, you may never know when you are actually auditioning for your next job. That presentation you decided to “wing” with half-baked preparation and delivered in a wrinkled suit might have held in the audience a human resource professional recommended to you by a friend. But you blew the deal. Without even knowing it.

Think. How many powerful people mentally cross you off their list because of your haphazard, careless appearance? How many opportunities pass you by? How many great connections do you forfeit?

Granted, it’s up to your discretion to dress in the first wrinkled shirt you pull from the laundry basket, but recognize that you may be paying a price without even knowing it.

Your appearance on the stage contributes or detracts from your message. So, as a general rule, you should dress one half-step above the audience to convey a seriousness of purpose. For instance, if the audience is dressed in business casual (sports coat and tie), you dress in a suit. Simple.

But beyond your presentation, you are always on-stage. You are always auditioning. And you are creating your personal brand one wrinkled shirt at a time, one exposed pair of boxers at a time. Or . . . clean, professional, sober, serious, decisive, thoughtful, and bold.

Personal appearance overlaps into the area of personal branding, which is beyond the scope of this space, but two books I recommend to aid you in your quest for appearance enhancement are You, Inc. and The Brand Called You.

Both of these books are worth the price and filled with stellar advice to propel you into delivering Powerful Presentations enhanced by a superb professional appearance.

Movement

Secret #5 – Avoiding the Kiss of Sleep . . . With This

December 25, 2011 Stanley K. Ridgley

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.

In like fashion, you can be visually monotonous.

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.

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.

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.

General

Not so Humbug . . .

December 23, 2011 Stanley K. Ridgley

When asked if the university stifles writers, Flannery O’Conner quipped that the university unfortunately doesn’t stifle enough of them.

Indeed.

My naturally autocratic tendencies, which have held me back in the literary world for years, compel me to cast a pall on the enthusiasms of my young charges. At this time of year, such endeavor could be considered . . . Scrooge-like.

This is about shaking off the bad habits learned over in the liberal arts college . . . about clearing the mind . . . scattering gnat-like notions to the winds. . .

Accordingly, as a business school professor, I urge my students to dispense with their fanciful flights picked up in undisciplined liberal arts courses. To dispense with the bad and the ugly . . . and to embrace the good.

In class, half of my students are from foreign countries. They look at me, expectantly. Yes, we’re there – in class – now:

“You remember those idyllic scenes conjured by your imagination, back when you were young and unjaded? High school seniors . . . or even freshmen? When college still had its sheen?”

I roam the floor, the space in front of the rows of desks with their internet connections. It is my stage.

“Remember those scenes of professors and students out on the lawn under a late summer sun, students sitting cross-legged, perhaps chewing on blades of grass? Your kindly bearded professor, a tam resting upon his head, gesturing grandly while reciting something beautiful? Perhaps a passage from Faulkner? Perhaps a trope from Aristotelian philosophy or verse from an angry beat poet?”

One student speaks up.

“I saw a group out there today! Why can’t we do that?”

“Wouldn’t that be nice,” I respond.

Nods around the room. Broad smiles.

“No, it would not be nice,” I say. “That’s not genuine. It’s not authentic. Just actors performing for touring visitors and posing for publicity shots. College isn’t like that. There is no authentic college of your dreams waiting for you to discover. Remember the lesson of Oliver Wendell Douglas.”

“Who?”

“Oliver . . . Wendell . . . Douglas.”

I’m concerned at this lack of essential preparatory knowledge of the modern college student at a major university.

Search for the Authentic

“The star of Green Acres, the greatest television show of all time. Don’t you watch Nickelodeon or TV Land?”

Green Acres. I explain.

It was really an allegory, a metaphor for our time. Mr. Douglas was forever in search of the authentic. He had an idyllic conception of rural life. He abandoned his big city lawyer’s life in a quest for authentic Americana.

Instead, Mr. Douglas found a bizarre world populated by characters that could have been confected by Rod Serling or Stephen King.

Hank Kimball.

Mr. Haney.

Sam Drucker.

Eb.

Frank Ziffle.

Everyone was an actor in a surreal drama staged for the benefit of Mr. Douglas’s dreams of the authentic rural life.

The unifying theme of the show was Sam Drucker’s general store, where many of the crucial insights were revealed. Rural folk did not use oil lamps, “’cause we all got ’lectricity.” The barrel in Sam Drucker’s general store was filled with plastic pickles.

The store was a magical place for Mr. Douglas, a crossroads for many of the strange characters who annoyed him so naughtily. For the most part, they gave Mr. Douglas exactly what he wanted to see, because in the immortal words of Sam Drucker: “City folks seem to expect it.”

The idyllic outdoor-on-the-grass-communing-with-nature-scene.

Students seem to expect it.

High Expectations

Expectations I feel compelled to deflate.

“I suppose that no one in this classroom has seen Star Trek II: Wrath of Khan? And if you have, I’m betting you completely missed the theme of Jeremy Bentham’s philosophy of Utilitarianism expressed by Spock throughout the film. Never mind the obvious references to Melville’s Moby Dick?”

“Is this class Global Strategic Management, Professor?”

Again, those naturally autocratic tendencies assert themselves.

“This class is what I want it to be. And it is not going to be about outdoor-on-the-grass-communing-with-nature instruction. It’s going to be . . . authentic.”

I snap my fingers.

“How many people here believe in this . . . this muse?”

There is silence. No movement.

“You know. This writing trope. This muse. Anyone ever heard of this muse? Don’t hide from me. I know you were exposed to this . . . this muse over in that heinous liberal arts college.”

Hands begin to go up. Cautious hands. More hands than I expect. More hands than are comfortable.

Time to disabuse them, time to explode their fantasies.

“There is no muse.”

A simple declarative sentence, but with the unsentimental power and imperious grandeur of a Thomas Carlyle proclamation.

Puzzled looks. A few of them distraught. Then, anger.

“But there is. There’s a muse . . . there is!”

“Humbug! There is no muse! Get that Birkenstock notion out of your callow head.”

“But my English prof said—”

“Your English prof is teaching because she cannot earn a living foisting this muse-myth on folks who live and breathe and work and play in the real world. People who build bridges, crop tobacco, feed hormones to beef, fly you home over holiday break, and who serve you every day at the 7-ll. People who pay taxes and die.”

Gasp.

“You must know only one thing.”

My voice drops low, just above a whisper, and I lean forward. Pause.

“You must know only one thing.”

The students sense something profound coming. They won’t be disappointed.

“Yes, there is a muse . . . I am your muse.”

I smile a benevolent smile. I see several people actually taking notes, writing this down.

“I am on your shoulder whispering to you in those moments when you lack inspiration. I am your solution to the blank computer screen.”

My voice rises, I lean back and spread my hands wide, just as I have seen evangelicals do when working a crowd.

“I am the muse, the answer to your writer’s block and the source of your inspiration.”

Titters of laughter ripple through the room, and I scowl.

“You think I’m joking . . . that this is a joke?”

I pace like a panther, my hands clasped behind my back. I stalk the room, the entire space in front of the classroom and right in front of the giant PowerPoint projection screen.

I stop and face them, squaring my hips and flexing my jaw.

“I want you to remember that one thing when you’re up at night and time is trickling by, and you have an assignment but no ideas and no hope . . . .”

They are silent, and they watch me.

The Incantation . . .

“I will perch on your shoulder, and I will whisper to you just four words. I want you to remember those four words. Just four little words – just five little syllables. They are magic words! An incantation! A mantra to warm you on those cold nights bereft of imagination, as you trek that barren wasteland of words without order, without discipline, without a point.”

I have their attention now. They are rapt.

Will I win them over this time? Can I break through? Can I help them make the leap from soaring idealism to mundane responsibility?

“Remember these words: Love … the … Value … Chain!”

Groans. They’ve heard this before. They sound disappointed. Cheated.

So many fail to see the beauty of disaggregating the firm into its functional components. The analytical precision it provides, the world of discovery that it opens up! So many stop short of making that final connection . . . except this time . . .

“I love the value chain, Professor!”

“Really?”

I’m skeptical, jaded. I search for signs of duplicity. But detect nothing but enthusiasm. “Which part of the value chain do you feel the most affinity for?”

“Since I’m chronologically oriented, Professor, I’m partial to Inbound Logistics!”

There is a general murmuring and uneasiness in the class. Inbound logistics?

I nod sagely. “That’s fine, Ms. Zapata. It’s okay to privilege one segment of the value chain over another, if it gives you the key to identifying competitive advantage!”

A hand shoots up and a voice cries out before I can acknowledge it.

“Operations! That’s the ticket for me.”

And yet another!

“After sale Service!” a voice in the back calls out. “Professor, Customer Relationship Management has a symmetry and logic about it that outstrips anything we touched on in my basic philosophy courses!”

The dam had finally burst, and the classroom buzzed with talk of core competencies, competitive analysis, environmental scans, core products, strategy formulation processes, Five Forces analysis, and comparative advantage! They are convinced that strategy and value chain analysis can be an art. I even say positive things about accounting and accountants, observing that there is a bit of art and flair and imagination necessary to produce a product desired by the employer . . . or patron. Think of Michelangelo painting the Sistine Chapel for his patron.

The Value Chain! Inbound logistics, Operations, Outbound logistics, Sales and Marketing, and Service.

If ever there were a time for sentimentality and outright weeping, this was it!

But then . . .

But then, one of the most staid literary conventions of all time reared its ugly head.

I woke up.

I awoke from a dream.

A Sweet, Impossible Dream

It was nothing but a sweet dream. Students excited at the prospect of writing a paper on value chain analysis . . . on identifying a company’s core competency and developing a strategic plan to gain sustained competitive advantage based on that competency . . . students who loved the value chain . . . who could see the art and creativity demanded of the accountant and financial manager.

Who could see the beauty in efficient operations management.

Who would strive for efficiency because it was the right thing to do!

It was all a sweet dream.

A cruel dream.

I awoke to a cold, winter world where idealistic students still dream and irresponsible students still party and wiseacre students still wisecrack with a tiresome world-weariness. Who write with an undisciplined lackadaisical casualness that drives me to distraction.

It is the little things that do this.

I close my eyes and maybe . . . perhaps I can recapture a bit of the magic. Recapture the dream.

I look up, startled to find a group of students gathered round my desk after I have dismissed class. They are heading home in the cold for their winter break.

“What’s this?”

“A gift, Professor.”

“Thank you.”

“Aren’t you going to open it?”

I peel the wrap away in a crinkle of coated Christmas paper. It’s a book. A copy of Peter Drucker’s Management.

It’s a first edition, and I feel my eyes tearing up.

“We know how much you like Green Acres. And Drucker’s general store.”

Smiles abound. I cock one eyebrow, as I am wont to do.

“You do know that it wasn’t Peter Drucker’s store? It was Sam Drucker’s general store.”

“Does it really matter, Professor?”

“In the grand scheme of things, I suppose that it does not. Merry Christmas.”

“Merry Christmas!”

Why do I offer a hearty Merry Christmas instead of something ecumenically blasé? Well, because I can. Because I’m authentic. Because I have authoritarian tendencies. Because I offer others a piece of my world.

And I heartily accept Chanukah and Kwanzaa and Season’s Greetings from anyone and everyone else who cares to send ’em my way.

Now, let me go read Sam Drucker’s book on managing a general store in Hooterville.

I’m such an idealist.

The Two Groups?

The First View

The Second View: Presentation Tips

The Third View – The Power Zone

Then . . . Take the Red Pill

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Never just “move around”

Move, You Say? What great advice!

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Presentation Practice Error #1

Presentation Practice Error #2

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What is a Business Presentation Story?

The Presentation Masquerade is Perpetuated

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Without Earnestness, Only Small Victories

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The Physical Culture Lifestyle

Contrived Conflict

Writer’s block kicks in, and I’m grateful for that.

Swallowing Tobacco Juice

Descent into Madness

Hepatitis Can Slow a Man Down

Brad’s Rap Sheet

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A PowerPoint Guide for You

One . . . or the Other

No Magic Pills

Orient . . . Eliminate . . . Emphasize

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Why Prepare Your Presentation?

You Call That Good Advice?

Don’t Prepare Your Presentation?

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Seize these Two Words

You Know the Magic Words

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The Talisman of Numbers

The Finance Business Presentation Myth Exploded

Finance Business Presentation Hell

The Presentation Good News!

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Hokum, yes . . .

Unambitious . . . a Lower Presentation Bar

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This Video rated PG-13 for excessive violence done to good speaking skills

Spreading Mediocrity

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The Arrogance of “I don’t have time for this.”

“But that’s not fair!”

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First . . . Unpredictability

Why the Group Presentation?

Embrace Group Work

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Lost to History?

Timeless Secrets

For more on the powerful history and techniques of presenting, consult The Complete Guide to Business School Presenting.

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What’s Your Passion?

Is your Passion buried?

Put Passion in Presentations!

It’s your job to make it interesting

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The Upshot

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The Right Movement

The Kiss of Sleep

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Search for the Authentic

High Expectations

The Incantation . . .

A Sweet, Impossible Dream

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For Especially Powerful Business Presentations