APA Business Presentations BU 1523 Lecture PDF

APA Business Presentations BU 1523 Agenda O rg anizing Pre se ntatio ns De sig n Fo rm at APA 2 ORGANIZING PRESENTATIONS Part 1: TEXTBO O K CHAPTER 5 THE ART OF PUBLIC SPEAKING In the classical trad itio n, the art o f p ub lic sp e aking is calle d rhe to ric; the circum stance s in which yo u g iv...

APA Business Presentations BU 1523 Agenda O rg anizing Pre se ntatio ns De sig n Fo rm at APA 2 ORGANIZING PRESENTATIONS Part 1: TEXTBO O K CHAPTER 5 THE ART OF PUBLIC SPEAKING In the classical trad itio n, the art o f p ub lic sp e aking is calle d rhe to ric; the circum stance s in which yo u g ive yo ur sp e e ch o r p re se ntatio n are the rhe to rical situatio n. Just as a g ro up m ake s a le ad e r, an aud ie nce m ake s a sp e ake r. By lo o king to yo ur aud ie nce , yo u shift yo ur atte ntio n fro m an inte rnal fo cus (yo u) to an e xte rnal (the m /o the rs) e m p hasis. Se ve ral o f the first q ue stio ns any aud ie nce m e m b e r asks him se lf o r he rse lf are , “Why sho uld I liste n to yo u?” “What d o e s what yo u are saying have to d o with m e ?” and “Ho w d o e s this he lp m e ?” Ge ne rating inte re st in yo ur sp e e ch is the first ste p as yo u g uid e p e rce p tio n thro ug h se le ctio n, o rg anizatio n, and inte rp re tatio n. 4 THE RHETORICAL SITUATION 1 2 3 Co n t e xt Your presentation is given in a space that has connection to the rest of the world. The space you’re presenting in, the time of day, and even the events going on in the world around you and your audience will affect the decisions you make in preparing for your presentation. Au d ie n c e The receiver (i.e., listener or audience) is one of the basic components of communication. Your audience comes to you with expectations, prior knowledge, and experience. They have a wide range of characteristics like social class, gender, age, race and et hnicit y, cult ural background, and language that make them unique and diverse. What kind of audience will you be speaking to? What do you know about their expectations, prior knowledge or backgrounds, and how they plan to use your information? P u rp o s e Apresentation may be designed to inform, demonstrate, persuade, motivate, or even entertain. The purpose of your speech is central to its formation. You should be able to state your purpose in one sentence or less, much like an effective thesis statement in an essay. 6 COGNATE STRATEGIES PURPOSE AND CENTRAL IDEA STATEMENTS 1 Putting It To g e the r Ke e p ing the se thre e inp uts in m ind , yo u can b e g in to write a sp e cific p urp o se state m e nt, which will b e the fo und atio n fo r e ve rything yo u say in the sp e e ch and a g uid e fo r what yo u d o no t say. 2 Fo rmulating a Ce ntral Id e a State me nt While yo u will no t actually say yo ur sp e cific p urp o se state m e nt d uring yo ur sp e e ch, yo u will ne e d to cle arly state what yo ur fo cus and m ain p o ints are g o ing to b e. Chro no lo g ical Patte rn RESEARCH AND ORGANIZATIO NAL MODELS Sp atial Patte rn To p ical Patte rn/ Parts-o f-the -Who le Patte rn Re fe rs to tim e o rd e r and is use d to p ro m o te und e rstand ing o f a p ro ce ss, o r to p ro m o te actio n and instructio n. O rg anize s info rm atio n b ase d o n a p lace o r sp ace that the aud ie nce can im ag ine e asily. Use d m o st o fte n in info rm atio nal and p e rsuasive p re se ntatio ns, d ivid ing m ain p o ints into cate g o rie s o r p arts o f the who le. Atte ntio n/Ho o k State m e nt An e ng ag ing o r inte re sting state m e nt that will cause yo ur aud ie nce to sit up and take no tice. OUTLINING YOUR PRESENTATION Intro d uctio n Se tting o ut yo ur g e ne ral id e a state m e nt and g iving the aud ie nce an id e a o f what to e xp e ct. Bo d y This se ctio n co ntains yo ur re se arch, m ain p o ints and o the r re le vant info rm atio n. It will fo llo w yo ur o rg anizatio nal p atte rn. USING EXAMPLES & SCENARIOS Exam p le Sce nario The m ain d iffe re nce b e twe e n e xam p le s and sce nario s is that while b o th he lp “sho w” the aud ie nce what yo u m e an, an e xam p le is the “thing ” itse lf. Sce nario s also te nd to b e lo ng e r and m o re nuance d , includ ing m o re d e tail ab o ut the se q ue nce o r d e ve lo p m e nt o f e ve nts. TRANSITIONS In t e rn a l s u m m a rie s In t e rn a l p re vie w s Sig n p o s t s Atype of connective that Atype of connective Atype of connective emphasizes what is coming up next in the transition that emphasizes physical movement speech and what to expect through the speech with regard to the content. content and lets the audience know exactly transition that emphasizes what has come before and remind the audience of what has been covered. where they are. TRANSITIONS EXPLAINED Inte rnal sum m arie s: a typ e o f co nne ctive transitio n that e m p hasize s what has co m e b e fo re and re m ind the aud ie nce o f what has b e e n co ve re d. Exam p le s includ e ; as I have said , as we have se e n, as m e ntio ne d e arlie r, in any e ve nt, in o the r wo rd s, in sho rt, o n the who le , the re fo re , to sum m arize , as a re sult, as I’ve no te d p re vio usly, in co nclusio n. Inte rnal p re vie ws: a typ e o f co nne ctive that e m p hasize s what is co m ing up ne xt in the sp e e ch and what to e xp e ct with re g ard to the co nte nt. “If we lo o k ahe ad to, ne xt we ’ll e xam ine , no w we can fo cus o ur atte ntio n o n, first we ’ll lo o k at, the n we ’ll e xam ine …” e tc. Sig np o sts: a typ e o f co nne ctive transitio n that e m p hasize s p hysical m o ve m e nt thro ug h the sp e e ch co nte nt and le ts the aud ie nce kno w e xactly whe re the y are : sto p and co nsid e r, we can no w ad d re ss, ne xt I’d like to e xp lain, turning fro m /to, ano the r, this re m ind s m e o f, I wo uld like to e m p hasize. Tim e : fo cuse s o n the chro no lo g ical asp e cts o f yo ur sp e e ch o rd e r. Particularly use ful in a sp e e ch utilizing a sto ry, this transitio n can illustrate fo r the aud ie nce p ro g re ssio n o f tim e. Be fo re , e arlie r, im m e d iate ly, in the m e antim e , in the p ast, late ly, late r, m e anwhile , no w, p re se ntly, sho rtly, sim ultane o usly, since , so far, so o n as lo ng as, as so o n as, at last, at le ng th, at that tim e , the n, until, afte rward. Co m p are /Co ntrast: d raws a p aralle l o r d istinctio n b e twe e n two id e as, co nce p ts, o r e xam p le s. It can ind icate a co m m o n o r d ive rg e nt are a b e twe e n p o ints fo r the aud ie nce. In the sam e way, b y the sam e to ke n, e q ually, sim ilarly, just as we have se e n, in the sam e ve in. 13 TRANSITIONS EXPLAINED (continued) Cause and Effe ct o r Re sult: illustrate s a re latio nship b e twe e n two id e as, co nce p ts, o r e xam p le s and m ay fo cus o n the o utco m e o r re sult. It can illustrate a re latio nship b e twe e n p o ints fo r the aud ie nce. As a re sult, b e cause , co nse q ue ntly, fo r this p urp o se , acco rd ing ly, so, the n, the re fo re , the re up o n, thus, to this e nd , fo r this re aso n, as a re sult, b e cause , the re fo re , co nse q ue ntly, as a co nse q ue nce , and the o utco m e was… Exam p le s: illustrate s a co nne ctio n b e twe e n a p o int and an e xam p le o r e xam p le s. Yo u m ay find visual aid s wo rk we ll with this typ e o f transitio n. In fact, as we can se e , afte r all, e ve n, fo r e xam p le , fo r instance , o f co urse , sp e cifically, such as, in the fo llo wing e xam p le , to illustrate m y p o int. Place : re fe rs to a lo catio n, o fte n in a sp atially o rg anize d sp e e ch, o f o ne p o int o f e m p hasis to ano the r. Ag ain, visual aid s wo rk we ll whe n d iscussing p hysical lo catio n with an aud ie nce. O p p o site to, the re , to the le ft, to the rig ht, ab o ve , b e lo w, ad jace nt to, e lse whe re , far, farthe r o n, b e yo nd , clo se r to, he re , ne ar, ne arb y, ne xt to… Clarificatio n: A clarificatio n transitio n re state s o r furthe r d e ve lo p s a m ain id e a o r p o int. It can also se rve as a sig nal to a ke y p o int. To clarify, that is, I m e an, in o the r wo rd s, to p ut it ano the r way, that is to say, to re p hrase it, in o rd e r to e xp lain, this m e ans… Co nce ssio n: ind icate s kno wle d g e o f co ntrary info rm atio n. It can ad d re ss a p e rce p tio n the aud ie nce m ay ho ld and allo w fo r clarificatio n. We can se e that while , altho ug h it is true that, g rante d that, while it m ay ap p e ar that, naturally, o f co urse , I can se e that, I ad m it that e ve n tho ug h… 14 CRAAP METHOD (REVIEW) 15 16 DESIGN Part 2 HOW TO CREATE BETTER SLIDE DECKS De ath b y Po we rPo int (DBP) is a p hrase use d so o fte n the se d ays it’s alm o st cliche. Be fo re we co ntinue , a q ue stio n: What d o e s DBP m e an? Have yo u e ve r e xp e rie nce d it? Have yo u e ve r com m itte d it? Be cause yo u want to avo id p unishing yo ur aud ie nce fo r no g o o d re aso n, a b asic und e rstand ing o f d e sig n and layo ut fund am e ntals is use ful. Start He re : De sig n Le sso ns fro m the O scars Basic De sig n Princip le s: CRAP Exe rcise s: Le arning Fro m O the rs Slid e De sig n Challe ng e s: Use this slid e and this slid e as m o d e ls. Im itate the m b ut cre ate yo ur o wn ne w slid e. Psst. Want to Se e So m e Bad Slid e s? 18 SLIDE DESIGN ADVICE 1. Start b lank. Avo id slid e te m p late s, e sp e cially in Po we rPo int, b ut d o try o ut the “De sig n Id e as” sid e b ar that p o p s o ut whe n yo u p aste in an im ag e. 2. Use hig h q uality im ag e s. Do no t use im ag e s that are b lurry, wate rm arke d , o r o f o the rwise p o o r q uality. 1. Find ing im ag e s: ad d “p ng ” to yo ur im ag e se arch fo r b e tte r q uality p icture s 2. Cho o se im ag e s witho ut b ackg ro und s that d o n’t take up the e ntire slid e. “p ng ” im ag e s typ ically co m e witho ut the b ackg ro und and have te ll-tale che cke re d b ackg ro und in an im ag e se arch. 3. Use the Cre ative Co m m o ns se arch e ng ine to avo id ste aling im ag e s. 3. Do n’t fill yo ur slid e with writing. If yo u se e se nte nce s o n a slid e , yo u’ll naturally want to re ad the m. If yo u want yo ur aud ie nce to re ad so m e thing , g ive the m a sum m ary o f yo ur p re se ntatio n afte rward s. 19 SLIDE DESIGN ADVICE 4. Use CRAP d e sig n p rincip le s to o rg anize info rm atio n o n slid e s. Co ntrast, Re p e titio n, Alig nm e nt, and Proxim ity. 5. Ap p ly the rule o f third s. Bo rro we d fro m p ho to g rap hy, this is a m o st e xce lle nt and e ffe ctive p ractice. Ap p ly it to yo ur slid e s. 6. O ne id e a p e r slid e. Avo id o ve rlo ad ing a sing le slid e with lo ad s o f info rm atio n. Be tte r slid e s m e an b e tte r p re se ntatio ns. It take s tim e to d e ve lo p yo ur d e sig n skills, so turn o ff tho se te m p late s, find so m e g re at im ag e s, use CRAP, and g e t starte d ! 20 POWERPOINT LAYOUT Layo ut co ntinuity fro m fram e to fram e co nve ys a se nse o f com p le te ne ss He ad ing s, sub he ad ing s, and lo g o s sho uld sho w up in the sam e sp o t o n e ach fram e Marg ins, fo nts, fo nt size , and co lo urs sho uld b e co nsiste nt with g rap hics lo cate d in the sam e g e ne ral p o sitio n o n e ach fram e Line s, b o xe s, b o rd e rs, and o p e n sp ace also should b e co nsiste nt throug hout FONTS Fo nt Style Sho uld b e Re ad ab le – Re co m m e nd e d fo nts: Arial, Taho m a, Ve rand a, Tim e s Ne w Ro m an Stand ard ize the Fo nt Thro ug ho ut – This p re se ntatio n is in Ce ntury Scho o lb o o k. Do ! FONT SIZE  The larger, the better. Remember, your slides must be readable, even at the back of the room. This is a good title size Verdana 40 point A good subtitle or bullet point size Content text should be no smaller than Verdana 32 Verdana 24 point point This font size is not recommended for content. Verdana 12 point. FONT SIZE Co m b ining sm all fo nt size s with b o ld o r italics is no t re co m m e nd e d :  What d o e s this say? Garamond Font, Italic, Bo ld 12p t. This p oint could b e lost. Ce ntury Gothic Font, Bold , Italic, 14p t. Do n’t! No o ne will b e ab le to re ad this. Gill Sans Fo nt, Co nd e nse d Bo ld , 12p t Sm all fo nts are o kay fo r a foo te r, such as: TIPS Pre se ntatio n: 11/05/22 Am and a Paanane n, MAIS FONTS Don’t Sacrifice Readability for Style DON’T SACRIFICE READABILITY FOR STYLE Don’t Sacrifice Readability for Style Don’t Sacrifice Readability for Style Do n’t! CAPS & ITALICS DO NO T USE ALL CAPITAL LETTERS Make s te xt hard to re ad Co nce als acronym s De nie s the ir use fo r EMPHASIS Italics Use d fo r “q uote s” Use d to highlight tho ug hts o r id e as Use d fo r b o o k, jo urnal, o r m ag azine title s USE A TEMPLATE Use a set font and colour scheme. Different styles are disconcerting to the audience. You want the audience to focus on what you present, not the way you present. Use the Same Background on Each Slide Do!! use multiple backgrounds in your presentation  Don’t  Changing the style is distracting Don’t! COLOURS Reds and oranges are high-energy but can be difficult to stay focused on. Greens, blues, and browns are mellower, but not as attention grabbing. Reds and Greens can be difficult to see for those who are colour blind. AVOID THESE COMBINATIONS Examples: –Green on Blue –Dark Yellow on Green –Purple on Blue –Orange on Green –Red on Green Do n’t! COLOURS White o n d ark b ackg ro und sho uld no t b e use d if aud ie nce is m o re than 20 ft away. This se t o f slid e s is a g o o d e xam p le. Yo u can re ad the slid e s up clo se. The furthe r away yo u g e t, the hard e r it is to re ad. This is a g o o d co lo ur co m b inatio n if vie we d o n a co m p ute r. A d ark b ackg ro und o n a co m p ute r scre e n re d uce s g lare. COLOURS Large Hall Events –Avoid White Backgrounds –The white screen can be blinding in a dark room –Dark Slides with Light coloured Text Work Best Do n’t! THE COLOUR WHEEL Colours separated by another colour are contrasting colours (complementary) Adjacent colours harmonize with one another (Green and Yellow) colours directly opposite one another are said to CLASH Clashing colours provide readability – Orange on Blue BACKGROUND COLOURS REMEMBER: READABILITY! READABILITY! READABILITY! This is a good mix of colours. Readable! This is a good mix of colours. Readable! This is a bad mix of colours. Low contrast. Unreadable! This is a bad mix of colours. Avoid bright colours on white. Unreadable! Graphs and Charts Make sure the audience can read them! GRAPHICS AND CHARTS Avoid using graphics that are difficult to read. In this example, the bright colours on a white background and the small font make the graph hard to read. It would be very difficult to see, especially in the back of a room. Don’t ! THIS GRAPH CONTAINS TOO MUCH INFORMATION IN AN UNREADABLE FORMAT. Don’t! GOOD GRAPH These are examples of good graphs, with nice line widths and good colours. Do! CHARTS AND GRAPHS 80 70 60 50 40 30 20 10 North America Europe 0 Austrailia Don’t M ode A Mode B Mode C CHARTS AND GRAPHS 80 70 60 50 40 30 Mode A Mode B Mode C 20 10 Europe North America Australia 0 Do! ILLUSTRATIONS Use only when needed, otherwise they become distracters instead of communicators They should relate to the message and help make a point Ask yourself if it makes the message clearer Simple diagrams are great communicators Do! LIMIT EACH SLIDE TO ONE IDEA Use Bulle t Po ints to Cove r Co m p o ne nts o f Each Id e a BULLETS Keep each bullet to 1 line, 2 at the most Limit the number of bullets in a screen to 6, 4 if there is a large title, logo, picture, etc. – This is known as “cueing” – You want to “cue” the audience on what you’re going to say Cues are a a brief “preview” Gives the audience a “framework” to build upon BULLETS (con.) If yo u cro wd to o m uch te xt, the aud ie nce wo n’t re ad it To o m uch te xt lo o ks b usy and is hard to re ad Why re ad it, whe n yo u’re g o ing to te ll the m what it says? O ur re ad ing sp e e d d o e s no t m atch our liste ning sp e e d ; he nce , the y co nfuse inste ad o f re info rce POINTS TO REMEMBER Limit Bullet Points To a few words Limit each slide to 1 idea Limit each bullet point to only a few words to avoid long sentences that go on and on! Limit animation – Too much animation can be distracting. Be consistent with animation and have all text and photos appear on the screen the same way each time. There are many animation modes to choose from, but it is best to use just one throughout. POINTS TO REMEMBER Ke e p b ulle t p o ints b rie f Use the sam e b ackg ro und fo r e ach slid e Use d ark slid e s with lig ht co lo ure d te xt in larg e hall e ve nts Do! AVOID THE “ALL WORD” SLIDE Another thing to avoid is the use of a large block paragraph to introduce your information. Attendees do not like to have what is on the screen, read to them verbatim. So, please use short, bulleted statements and avoid typing out your whole presentation on to the slides. Also, it is difficult for some to listen and read a large amount of text at the same time. LIMIT ANIMATION! Use the sam e anim atio n thro ug ho ut the e ntire p re se ntatio n Using m o re than o ne can b e ve ry d istracting – The aud ie nce will o nly se e the anim atio n and no t the m e ssag e yo u’re trying to g e t acro ss LIMIT ANIMATION! Use the sam e anim atio n thro ug ho ut the e ntire p re se ntatio n Using m o re than o ne can b e ve ry d istracting – The aud ie nce will o nly se e the anim atio n and no t the m e ssag e yo u’re trying to g e t acro ss YOU Do no t use the m e d ia to hid e you The aud ie nce cam e to SEE you The m e d ia sho uld ENHANCE the p re se ntatio n, no t BE the p re se ntation If yo u’re o nly g o ing to re ad fro m the slid e s, the n just se nd the m the slid e s! Re m e m b e r, o nly yo u can p re ve nt “Death b y Powe rPoint” APA FORMAT Part 3 FORMATTING A POWERPOINT IN APA STYLE APA style fo r Po we rPo ints is sim ilar to APA style fo r e ssays with a fe w e xce p tio ns. This re so urce will ad d re ss co m m o n q ue stio ns re g ard ing citatio ns within slid e s, citatio ns fo r p ho to s, the title slid e , and the re fe re nce slid e. Fo r a re so urce o n APA writing b asics p le ase click HERE. 53 Title Slide This slid e sho uld co ntain the Po we rPo int title , autho r(s), and unive rsity o r o rg anizatio n nam e in a p lace that is e asy to se e. 54 APA PRESENTATION: MAIN POINTS Includ e the sam e info rm atio n o n yo ur title slid e that yo u wo uld have o n a title p ag e. Includ e in-te xt citatio ns fo r any q uo te , p arap hrase , im ag e , g rap h, tab le , d ata, aud io o r vid e o file that yo u use within yo ur p re se ntatio n. Ple ase no te that p ho to g rap hs are co nsid e re d fig ure s in APA style. The last slid e will b e yo ur Re fe re nce s List. 55 TITLES ON CONTENT SLIDES The sub se q ue nt slid e s sho uld have title s at the to p o f e ach o f the m. Fo rm atting fo r the se title s includ e the m ain wo rd s cap italize d and sp e lle d in full includ ing “co ntinue d ”. A co ntinue d slid e is use d whe n o ne to p ic has m o re than e ig ht b ulle t p o ints o f info rm atio n. The e xce ss info rm atio n can b e co ntinue d o n to ano the r slid e. 56 EXAMPLE: 57 CONTENT The co nte nt se ctio ns o f yo ur m ain slid e s sho uld co ntain a b le nd o f info rm atio n and im ag e s. The info rm atio n p o rtio ns sho uld no t b e to o le ng thy o r fill up an e ntire slid e. Make sure that the co nte nt m ake s se nse , flo ws we ll, and is re ad ab le. As p re vio usly m e ntio ne d , e ach slid e sho uld co ntain no m o re than e ig ht b ulle t p o ints o f info rm atio n. 58 59 CITATIONS FOR CONTENT Similar to an APA style essay, citations are needed for direct quotations and paraphrasing. Citations are needed for pictures found on the Internet that are not clip art or stock photos. 60 CITATIONS FOR CONTENT Continued… 61 REFERENCE PAGE Fo rm atting fo r a Po we rPo int re fe re nce p ag e is the sam e as the fo rm atting fo r an APA fo rm atte d e ssay. If yo u ne e d assistance with fo rm atting a re fe re nce p ag e in APA, p le ase visit the Le wis O WL re so urce HERE and vie w the last p ag e in the d o cum e nt. 62