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The power of a “Power Pose”

29 Mar

How much space do you take up? No, we’re not talking about oxygen or your belongings. Literally, when you stand or sit, or enter a room, how much space do you take up and how do you convey that to others?

This is one of the tenants of “Status” – a tool Improvisers use to communicate, influence, empathize, and… play. Status is present in our every day lives and asks us to consider how we act, talk, and feel along a continuum of submission to dominance.

We can choose our status. It is ever in flux. Choosing our status can help us gain the confidence to own the stage.

Amy Cuddy of Harvard Business School does a wonderful job of teaching us how to play with status, how being more mindful of status and body language helps shift us neurologically to act the way we want to feel.

Want to learn how? 

Or watch her TED talk, here.

A power pose is one way. What else triggers you and helps you act the way you want to feel?

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What’s the drill – February 22: Know your objective

22 Feb

‎”Whenever someone comes to me for help, I listen very hard and ask myself, ‘What does this person really want? And what will they do to keep from getting it?” – William Perry, Harvard Professor of Education

Navigating life without a script means finding the balance between freedom and structure. For Improvisers, it means getting clear on the basics of the scene, feeling grounded in the structure so that we can move and build new ideas with complete freedom.

A trick we use to keep us centered, motivated, and able to navigate ambiguity is to know our objective in the scene. What is it that my character wants, and why?

Once we get clear on these answers, a scene can really flow.

But, how often do we go into a scene, a meeting, a phone call, a class, an opportunity and truly know what our objective is?

Getting clear on our objective does more than just help you – it helps your partner in crime. If I don’t know what it is you want, how can I support you?

For me, the most memorable Improv scenes to watch and to play in are those where characters have a clear objective that comes from a very truthful, sometimes vulnerable place. For example, they don’t just want to win the science fair, but they want someone to tell them how great they are… for the very first time.

Having a clear objective is a way to measure change. Did we get what we wanted? Did it mean something to us? What’s my temperature reading before and after? How am I progressing?

When I’m coaching Improvisers or those in a professional development setting, it’s common for people to either not have an objective or to not verbalize it.

We can’t always think of the objective spontaneously, but we can tune into the character, or ourselves to think about what is it that I really want? Sometimes it takes some work, and some encouragement:

  1. Know the “why”, not only the “what” – figure out why your objective matters to you. Sometimes asking “The Five Why’s” can help with this. 
  2. Be open to your objective changing. Don’t hold so fast to it that you close yourself off.
  3. Finally – don’t be afraid to ask for help.

 

 

 

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The Presentation Mistake You Don’t Know You’re Making, via HBR

7 Jan

If your New Years resolutions include improving your presentation skills, you’ll want to check out this recent study and article from Harvard Business Review. Has this happened to you…?

“During an interview, your potential new boss asks you to briefly describe your qualifications. At this moment, you have a single objective: be impressive. So you begin to rattle off your list of accomplishments…”

…and before you know it, 5 minutes have gone by. Fear kicks in, the clock is running, and we resort to lists instead of the big picture.

Getting clear, concise and specific in an interview, presentation, or meeting isn’t always easy, especially if we are focusing on the quantity of our material as opposed to the quality.

Naturally, our instincts tell us so because of a phenomenon called “Presenter’s Paradox”… the assumption that more is better.

“More is actually not better, if what you are adding is of lesser quality than the rest of your offerings. Highly favorable or positive things are diminished or diluted in the eye of the beholder when they are presented in the company of only moderately favorable or positive things.”

So if more is not the answer, what do we do? 

  1. Consider choosing a new objective – “be impressive” sounds fine, but we owe it ourselves to really understand and get clear on our objective, and work backwards from there. Improvisers choose every action based on their character’s objective and it does wonders to help them inform the scene and navigate the unknown.
  2. Less lists, more stories – use storytelling to help focus on the big picture. Turn your bullet-point accomplishments into key story points with a beginning, middle and end. Look to the Story Spine for help on this one.
  3. Ask yourself “The 5 Why’s” to help you get clear and specific.
  4. Remember that even though you’re in the hot seat, the interview or presentation isn’t all about you. Follow the improviser guideline of “making your partner look good” by finding opportunities for connection, commonality and interaction.

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What matters to you? Seth Godin’s 140-second challenge

3 Jan

What do you care about? You have 140 seconds to share it with a room full of strangers. Ready, go!

Last night in NYC I took part in a noble experiment by marketing and creativity author and guru Seth Godin.

As part of the release effort for his latest book, he let out a rally cry for individuals to get together and share their passion.

The event provided a unique and thrilling opportunity to be vulnerable, courageous, succinct, clear, and focused…in 140 seconds. This may sound difficult to some of us, but we’re each given numerous opportunities throughout the year, week or even day to present what matters to us in a clear and hopefully, authentic way. Why not practice?

 

I’m curious to know what you would talk about in your 140 seconds?

I challenged myself to improvise much of my talk but here’s what I ended up saying:

My name is Lindsey, and I am an Improviser. Usually when I tell people this, especially if I am outside of New York, I hear one of three reactions:

“Oh, you must be funny, then”, or “Is that like, ‘Whose Line is It Anyway?’”, or “I could never do that”.

Here’s a secret. Everyone is an Improviser. Everyone in this room is an Improviser. No one has a script when they get up in the morning.

But here’s how I really know that everyone in this room tonight is an Improviser. Improvisers are really good at doing these 3 things:

  1. Taking Risks
  2. Embracing Failure
  3. Saying YES to opportunities 

Everyone in this room took a risk to come here tonight. Everyone who got up here and shared their art is embracing failure, and everyone said yes to an opportunity even if they were unsure of what this was. 

5 years ago, almost to this day, I took my first Improv class. Now I work with corporations, teams, and individuals to help them cultivate their inner improviser because I believe that these skills matter. Imagine what the world would look like if everyone learned these skills? Well, I imagine it would be similar to this room here tonight, a room full of people who took risks, embraced failure or re-defined what ‘failure’ meant, and said yes to opportunities. I’m really excited about that world.

My hope for today is that when you leave this room tonight you’ll help someone else unleash and embrace their inner improviser, that you’ll keep taking risks and saying yes to new things, and exercising the muscle that brought you here tonight – then maybe someday we’ll have the courage to throw away the script. 

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What’s the drill – August 21: Find the ending

21 Aug

And, in conclusion…

Sometimes as presenters, communicators and improvisers we spend so much time learning how to start our speech, conversation, or scene that we forget to brush up on how to finish them.

Here are some tips, pulled straight from the world of Improvisation and storytelling to help you find the elusive ending.

1. Know your objective – What do you want your speech to accomplish? Build in tie-back to your objective, and once you’ve achieved it, it’s a key sign it’s time to end.

2. What has changed? - Kenn Adams’ story spine gives us a wonderful framework to think about communication and storytelling. “And ever since that day…”, what changed, for the character or for the world you described? Help paint the picture with emotional resolution.

3.  Re-incorporation - Reincorporation is comedy gold. To help find your ending, look to the beginning. What can you reincorporate?

4.  Button it up - Improvisers tend to end scenes on the biggest laugh – they like to go out on top. Once their objective has been achieved, and they have been changed, ending on a big laugh (otherwise known as a “button”) is always a good feeling.

5.  Have you solved the problem? If the problem you’ve established has been solved, your work is done. Be careful not to introduce new problems, or re-hash the same one. Simplicity is key.

6.  Did you answer the audiences questions? The audience has a circle of expectations: with the information you’ve given them, they have questions they expect to answered. Once you’ve done that for them, you can expect to have come to the end. 

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A new way to think of change

26 Jul

In an Improv scene, a movie, a story, or a great presentation we find resolution by completing this sentence,

 “and ever since that day”…

What changed?

This change is brought about by what we call a tilt. Something a character says, does, expresses, and admits to, etc in a scene.

It is our goal in an Improv scene to be open to change and to actively seek it. This change then answers the question, “what was different about this day”.

As innovators, creative problem-solvers, leadership coaches, managers, trainers, and facilitators we push positive change.

“And ever since that day”….

The tilt, the catalyst for change, comes from being hyper-aware to what offers and ideas have already been expressed. What is around us that we can use? What are our characters feeling, expressing, and wanting and what honest reactions and desires can we pull from to help our characters organically grow and evolve?

We can think of it this way:

Once there was…
And every day…
Until one day…
And because of that…
And because of that…
And because of that…
Until finally…
And ever since that day…

Improvisers want to be changed. The static scene and character that stays the same from beginning to end is not our friend.

To embrace change is to ask… “and ever since that day”… and to see the world of possibilities that appear when we making even one small tilt pushes us in a direction we couldn’t have predicted.

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5 Things Great Presenters Know About People (Video)

9 Jul

Great presenters know how to inform, inspire, and motivate – they know how to reach an audience because they focus on their audience during all steps of the presentation process.

What makes a presentation resonate with you?

Here’s what we know:

  1. Research shows an audience enjoys, learns more and retains more of your presentation when it’s bite-sized. Keep your presentation to 20 minutes or less (TED talks, anyone?!) – or if it’s longer, be sure to change it up every 20 minutes.
  2. Take away the sensory channel  competition – an audience is learning and listening with their eyes and ears. A presentation with text-heavy slides distracts from your talk.  If the audience is reading they aren’t listening. A trick – prepare your presentation first without the help of slides – if you still need visuals, then opt for some power point back up. Slides should complement your talk, not replace it or mimic it.
  3. What you say is only part of your message – we unconsciously make 1 second or less decisions about others. Beware of your body language and tone. Non-verbal communication matters.
  4. You’ve motivated, inspired, and informed your audience to do … what again? Don’t forget a call to action. Get specific about what you want your audience to do next.
  5. Monkey see, monkey do – audiences imitate emotions and feel what you feel – so, lead with passion! Your body language will be a big give-away if you’re not feeling your topic.

For more tips, in fun-to-watch illustrated form, check out this video!

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May I have a suggestion for….presentation tips from an Improviser

27 Jun

Practicing how we say one small phrase can do wonders for enhancing presentation skills.

“May I have a suggestion for… ” is something we hear at Improv shows. In fact, it fuels audience participation and reminds us (lest we forget!) that everything is fully Improvised.

Beginning Improvisers practice this opening and many of their learned habits spill over into presentation skills and confidence building. Here are some tips:

1. Ask for what you want

  • May I have a suggestion for a location – is straightforward and clear. Ask for what you want – be specific and commit as much as possible.

2. Pay attention to status 

  • How much space are you taking up when you ask for a suggestion? Are you focusing your energy inward, or outward?
  • Non-verbal communication – engage the audience, smile, make eye contact, use your non-verbal communication to exude confidence and presence even though you may be shaking on the inside.
  • Volume – more important than we remember. The back of the house needs to hear you, so, sing out, Louise!

3. Make your partner look good

  • In this case, your partner may be the audience, and/or your fellow players – you can make them look good by complimenting their suggestions, ideas and when a suggestion doesn’t inspire you, go back to asking for what you want. Of course no one wants to see someone linger for 3 minutes deciding which suggestion to take.
  • There is a delicate art to saying “yes, and” to an idea that you’re not on board with. Don’t let it mess up your mojo.
  • Use what’s in the room – if the only suggestion you receive is one you really want to avoid (i.e something blue) how can you politely accept the offer without sacrificing the quality of the scene and your presentation?

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How to act the way you want to feel – a lesson in status

19 Jun

Act the way you want to feel. Fake it til you make it. Maybe you’ve heard these phrases before and shook your head with skepticism.

I’ve been coaching a new client on bringing more conscious awareness to his everyday behaviors – teaching him new tools that align mind and body to increase confidence.

Acting the way you want to feel, can start with awareness of your non-verbal behaviors. To improvisers, and comedians we often come back to STATUS.

Status is a combination of body language, reaction, tone of voice, and intent. Our status is in constant flux – and can be lowered or raised by other people, places, or even objects.

We all have a default status. But to be flexible, adaptable, and growth-oriented is to realize that status is a choice, it’s a performance, and a learnable skill – and we can work to make these performance choices more conscious to help us achieve our goals whether it’s a sale, a job interview or even a date.

In this great presentation from Pop Tech, Professor and researcher Amy Cuddy breaks down scientific research on status power poses. How much space do you take up? And what if there was a simple trick you could do before interviews or important presentations that would help you act the way you want to feel.

Take a look:

http://www.anderson-sabourin.com/leadership/wp-content/uploads/Amy_Cuddy_Power_Poses_PopTech.mp4

 

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What’s the drill – June 11: Silence is golden

11 Jun

Often, one of the most difficult presentation tools to master is one involving no words at all:

Silence.

In a heightened situation – whether on an improv stage or in a job interview, silence can feel dangerous, vulnerable, uncomfortable and intimidating.

What if we could magically alter our view of silence into something that made us feel powerful, confident, relaxed and observant?

Learning how to become comfortable with silence can add a powerful tool to your communication toolbox.

The truth is, we don’t always need to fill in the space – but we often do so anyway with non-words (the um’s or ah’s, or ands) – what we can call verbal clutter. Throw away the clutter and embrace the silence instead.

Silence can be effective because:

  • Brief silence cues people pay attention.
  • It raises expectation of what’s about to come.
  • Silence slows down learning, creating opportunities for active listening.
  • It guides us as presenters, encouraging clarity and brevity.

Marked by silence – we often assume the audience notices it as much as we do… when in fact, they barely notice the lack of noise. While we often have an exaggerated, or negative view of silence, an audience is much more relaxed and unaware.

One of the most challenging Improv exercises for me is to start a scene with 30 seconds of silence. It can be incredibly vulnerable to stand on a stage with nothing, no words or noises.

The more you practice brief pauses of silence, the easier it will get. How can you practice using this tool in your everyday conversations?

 

 

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Once upon a time…Integrating story tips into your organization

8 Jun

“But one day”… is what’s known in storytelling as the tilt. The moment everything changed and our characters, world, and story transformed.

It’s just one part of what’s known as The story spine, by Ken Adams.

As someone who studied screenwriting in college, I have always been fascinated by how the worlds of storytelling and human behavior collide — essentially, studying how screenwriters craft powerful narratives built on human emotion, connection and transformation, and using some of those same secrets to positively affect human and organizational development.

Today I came across this blog, which shares some story rules pulled directly from Pixar Animation. I’ve posted them below. Which ones resonate and connect most with you – whether it pertains to leadership, transformation, presentation skills, or more?

http://www.pixartouchbook.com/blog/2011/5/15/pixar-story-rules-one-version.html

#1: You admire a character for trying more than for their successes.

#2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.

#3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.

#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

#5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.

#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

#8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.

#9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.

#10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.

#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.

#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.

#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.

#14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.

#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

#16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.

#17: No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.

#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

#20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?

#21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?

#22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

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What’s the drill – June 5: To push or to yield?

5 Jun

Last night I enjoyed a get together with the wonderful community of Bay Area Improvisers that feels like home to me, and in conversation with one good friend I asked:

What is the one most important thing Improv has taught you?

Her answer was short and sweet: It taught her to push and to yield.

Pushing and yielding may also be defined as give and take, dominance and submission, saying yes or saying no…etc.

Improv taught her, and teaches many people what it means to push and yield, what your own tendency is, and how and when to play either role.

But I’ll give you a secret – knowing when to push or to yield isn’t really about you. It’s about the other person. If you put all your attention and focus on the other person in your meeting, presentation, conversation, or improv scene – well, then you’ll pick up on how much to push or to yield.

It’s important to know how to play each role, and to have the confidence and self-awareness to do either. But the other person (your partner) will give you the clues and signs you need along the communication highway.

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What’s the drill – May 15: Give your presentation skills a boost

15 May

Are you a detail or big-picture person? Do you describe or present information with all of your senses?

One simple exercise changed the way I look at presenting information – and its applications stretch from vision planning, leadership, presentation skills, story, learning retention and more.

It’s an exercise I first learned in an Improvisation class at BATS Improv, and then continued to read about in Kat Koppet’s book, “Training to Imagine”, and then applied to my workshops at DreamWorks Animation.

It’s called, Color/Advance.

Here is a basic example of how it works: Grab a partner and pick one of you to begin describing your day.

At any point, your partner can say, color… or, advance. Color means to add more description to your story – use all of your senses. When your partner says Advance, it is your job to then go back to advancing or continuing the story. Continue to switch back and forth, with the direction given by your partner.

Give your storytelling, imagination, creativity, and presentation skills a boost.

Also use this tool to learn what inspires or interests your audience – see what they want to learn or hear more about.

Color. Or Advance? Why not add both to your toolbox.

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What’s the drill – May 9: an education soundbite worthy of debate

9 May

“Good education has got to be good entertainment” - Nicholas Negroponte, founder of MIT Media Lab

Do you agree or disagree with this statement?

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TOOL: Delight and engage your audience with reincorporation

7 May

Improvisation as a communication tool can be broken down into two steps:

Listen, then react.

Repeat.

Without being able to plan ahead in the conversation or the scene, Improvisers are skilled at being present and in the moment, fine-tuning their listening skills to yield honest reactions that keep moving the story and conversation forward.

Skilled Improvisers are also excellent at re-incorporation, or “the call-back” as it’s coined in the comedy world.

http://en.wikipedia.org/wiki/Callback_(comedy)

Reincorporating a piece of information, a line of dialogue or a small moment from earlier in the scene or story usually results in a big laugh. Reincorporation is a favorite of Improv audiences because they are amazed we remembered such details, and what is familiar usually get a laugh.

Without superb listening and awareness skills, reincorporation wouldn’t be possible.

But, reincorporation can delight more than just Improv audiences. 

Its applications stretch from presentation skills to interviews, praise, and building connections with everyday conversations.

Reincorporation really just means we’ve been listening, and it always feels nice to know you’ve been listened to. It shows that you care, and you are paying attention – imagine the delight and surprise when a small piece of information is reincorporated in an improvised story, perhaps an hour after it was first introduced. Reincorporating an idea, or an employee concern, or praise of a job well done can have the same effect.

Specificity plays a role here too. The more detailed the reincorporation, the bigger the reaction and delight you are creating.

As a presentation tool, reincorporation helps with retention, learning, and information summary. Repeating key points or key themes  in a presentation is a strategic tool.

Listen, then react… with an emphasis on the listening.

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How to foster a culture of courage and creativity – the results

3 Apr

The improv-based learning initiatives at Ask.com have received wonderful praise and publicity, and most recently this write-up in Fast Company.

Management wanted innovation and big ideas. The question was, how to jump-start it?

CEO Doug Leeds took a cue from Tina Fey’s Bossypants, which points out how improvisation can lead to more creative thinking and innovation. “[Leeds had} seen it sprinkled in other management books, but that was the tipping point to really investigate.”

He admits, there was some initial concern and fear – but quickly learned Improvisation was not about teaching people to be funny, or jump on stage a la “Whose Line is It Anyway”. Instead, Improvisation lays a foundation for a trusting, supportive, engaged and creative work environment by teaching the basic Improv principles and applying them to their specific work environment.

The result:  “Folks said it was the most impactful training session in their entire career…The bonds of trust and common skill set and language of improv allow us to come together … There’s a sense of trust and when you feel safe all kinds of amazing things emerge.”

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Rules for Improv (and Life)

24 Mar

Rules for Improv (and Life).

“It dawned on me that although the intent of the skills and games taught in these classes was to make me and my classmates better improvisers, the same rules can be applied to the real world. To paraphrase Robert Fulghum’s bestseller, “All I really need to know I learned in improv class.”

TOOL: Choosing how to play the “scene”

20 Mar

When we think about a basic framework for how and why to apply the tenants of Improvisation to life off of the Improv stage, we can start by discussing the word “performance”.

Whether or not we are used to thinking of it this way…the truth is, we are all performing every moment of our lives.

If this seems daunting or strangely unsettling, you’re not alone.

Luckily, we can use the tools of Improvisation to create more conscious performance choices, (tailored for each stage or scene) to achieve more authentic, successful and meaningful interactions.

Learning and acquiring these skills allow each of us to build a toolkit of performance choices – that we can use to become more adaptable, flexible and aware in the moment.

Here are some basic tips that can help you when thinking about the performance choices we make all the time:

  1. Be present – practicing mindfulness, and the ability to read a room and pick up on non-verbal cues allows us to tailor our performances for the appropriate stage
  2. Remember the power of “status” – be aware that the choices we make in our behavior, our tone, or words, and our non-verbal communication can elicit powerful shifts in status dynamics between people.
  3. Make your performance partner look good – remember that we are often not alone on the stage. Being able to effectively communicate and collaborate with others has an obviously large effect on the overall performance of the team. Use active listening, a “yes,and” mindset and a give-and-take approach to allow space for others to achieve their performance goals.
  4. Know your objective - in each scene, we want to know what our characters objective is. Knowing our objective, “our want”, allows us to adjust and adapt our choices on stage depending on how close we are to achieving that goal.

If this blog post was beneficial to you, who can you share it with to continue the conversation?

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The struggle to develop empathy and interpersonal communication skills in a digital world – Harvard Business Review

16 Mar

Digital Natives Are Slow to Pick Up Nonverbal Cues – John K. Mullen – Harvard Business Review.

“research suggests that excessive, long-term exposure to electronic environments is reconfiguring young people’s neural networks and possibly diminishing their ability to develop empathy, interpersonal relations, and nonverbal communication skills. One study indicates that because there’s only so much time in the day, face-to-face interaction time drops by nearly 30 minutes for every hour a person spends on a computer. With more time devoted to computers and less to in-person interactions, young people may be understimulating and underdeveloping the neural pathways necessary for honing social skills.”

 

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Sell with a story, not a lecture

14 Mar

“Stories have power. They delight, enchant, touch, teach, recall, inspire, motivate, challenge. They help us understand. They imprint a picture on our minds. Want to make a point or raise an issue? Tell a story”— Janet Litherland

It is hard to resist the power of a good story.

Imagine this scenario:  You are a member of a 500-person audience, at the very end of a long day of a conference. It’s time for your final session before dinner and socializing.

One more speaker is presenting, this time about a non-profit and a cause that’s near and dear to her heart.

Your mind is distracted though. You’re probably hungry, and a bit tired. You feel as though your brain has reached capacity.

The presenter needs you to get on board with her cause. Her objective is to get you to donate time, money, and/or energy — but first she needs you to listen.

Designing presentations is always a difficult task, but often can be made easier if we simply alter our perspective on how we view ourselves:

We are all storytellers.

As an audience, we want to be taken on a journey. Stories help give us meaning, allow us to remember facts and comprehend information.  Stories help frame material, and make connections between the content and also personal experience. Telling a story about your cause and choosing a hero for us to follow allows us to relate to what’s being said and follow a narrative with a beginning, middle and end – as opposed to a cavalcade of facts.

Without a visual aide, all the audience has to hold onto are your words. Go ahead, tell us a story. Encourage us to use our imagination. Reincorporate images and important facts within the story to help drive information.

Help make your audience an active part of your presentation.

After all, we all have a story to tell.

I am facing a similar challenge tomorrow when I am scheduled to present a talk on Improvisation and Business at a Business School function near Sacramento California. Without a visual aide (computer, projector, handouts), I will be relying on the power of story.
I can’t wait to see how this story ends.

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