1. H O W T O R O C K Y O U R
STAGE
OWN THE
3 9 R U L E S O F T H U M B
N E X T P R E S E N TAT I O N
B Y: S TA N P H E L P S
P U R P L E G O L D F I S H . C O M

2. T H E F E A R O F
P U B L I C S P E A K I N G
T H E P R O B L E M I S
>

3. T H E F E A R O F
P U B L I C S P E A K I N G >T H E F E A R O F
D Y I N G
F
E
A
R
T H E P R O B L E M

4. T H E F E A R O F
P U B L I C S P E A K I N G >T H E F E A R O F
D Y I N G
FACTOR
F
E
A
R
T H E P R O B L E M
“ A C C O R D I N G T O M O S T S T U D I E S , P E O P L E ' S N U M B E R O N E F E A R I S
P U B L I C S P E A K I N G . N U M B E R T W O I S D E A T H . D E A T H I S N U M B E R T W O .
D O E S T H A T S O U N D R I G H T ? T H I S M E A N S T O T H E A V E R A G E P E R S O N ,
I F Y O U G O T O A F U N E R A L , Y O U ' R E B E T T E R O F F I N T H E C A S K E T
T H A N D O I N G T H E E U L O G Y. ” [CREDIT: JERRY SEINFELD, YOUTUBE CLIP]

5. There are two types of speakers”
NERVES ARE
INEVITABLE
“
T H E T R U T H

6. Those that are nervous and those
that are liars.”
NERVES ARE
INEVITABLE
M A R K T WA I N O N
P U B L I C S P E A K I N G
“
-
T H E T R U T H

7. There are two types of speakers:
those that are nervous and those
that are liars.”
NERVES ARE
INEVITABLE
M A R K T WA I N O N
P U B L I C S P E A K I N G
“
-
T H E T R U T H
N O O N E I S B O R N A S P E A K E R . I T
TA K E S D I S C I P L I N E A N D P R A C T I C E
T O C H A N N E L Y O U R N E R V E S . T H I S
D E C K P R O V I D E S S O M E G U I D E L I N E S
T O H E L P Y O U O N T H A T J O U R N E Y.

8. W H AT ’ S T H E S O L U T I O N ?

9. T H E S O L U T I O N I S
R U L E S O F T H U M B
R U L E S O F T H U M B A R E G E N E R A L LY
A C C E P T E D G U I D E L I N E S .
YOU NEED
GUIDELINES

10. G U I D E P O S T S T O S H O W Y O U T H E WAY.
N O T E : W H E N T H E R E A S O N S T O P S ,
T H E R E F O R E S T O P S T H E R U L E .
T H E S O L U T I O N I S
R U L E S O F T H E R O A D
FOLLOW
THE SIGNS

11. P R E PA R AT I O N I S K E Y.
R U L E O F 1 / 3 ’ S
Y O U R P R E PA R A T I O N T I M E C O N S I S T S O F 1 / 3
C O L L E C T I N G , O R G A N I Z I N G , A N D S K E T C H I N G .

12. P R E PA R AT I O N I S K E Y.
3 6 T O 9 0 H O U R S …
PUT IN
Y O U R P R E PA R A T I O N T I M E C O N S I S T S O F
1 / 3 C O L L E C T I N G , O R G A N I Z I N G , A N D
S K E T C H I N G . 1 / 3 B U I L D I N G S L I D E S .

13. P R E PA R AT I O N I S K E Y.
3 6 T O 9 0 H O U R S T O C R E AT E
A N H O U R L O N G P R E S E N TAT I O N
PUT IN
THE TIME
[CREDIT: NANCY DUARTE]
Y O U R P R E PA R A T I O N T I M E C O N S I S T S
O F 1 / 3 C O L L E C T I N G , O R G A N I Z I N G ,
A N D S K E T C H I N G . 1 / 3 B U I L D I N G
S L I D E S . T H E F I N A L 1 / 3 I S R E H E A R S I N G .

14. V I S U A L S A I D R E C A L L B Y %

15. V I S U A L S A I D R E C A L L B Y 5 5 0 %STOCK
UP
L E V E R A G E T H E P I C T U R E S U P E R I O R I T Y E F F E C T. P E O P L E
R E M E M B E R 1 0 % O F W O R D S C O M PA R E D T O 6 5 % O F
P I C T U R E S . [CREDIT: D.L. NELSON, U.S. REED, J.R. WALLING]

16. FREE
IS GOOD
P R O T I P : C A N VA I S A D E S I G N
T O O L T H AT A L L O W S Y O U T O
A D D T E X T A N D C R E AT E
C U S T O M S I Z I N G F O R F R E E .
S T O C K I M A G E S A R E $ 1 .
3 S O U R C E S

17. M I N I M U M S I Z E F O N T I S
Fonts must
[CREDIT: GUY KAWASAKI, YOUTUBE CLIP]

18. M I N I M U M S I Z E F O N T I S 3 0
Fonts must
MEASURE
CUT
TWICE
ONCE
[CREDIT: GUY KAWASAKI, YOUTUBE CLIP]
FO T

19. W H E N Y O U F I N I S H A
P R E S E N TAT I O N , D O N ’ T
P L AY 2 0 Q U E S T I O N S

20. TA K E Q U E S T I O N S ,
B U T T H E N F I N I S H
S T R O N G W I T H A
S T O RY A N D A C A L L
T O A C T I O N
NAIL THE
FINISH

21. S TA RT W I T H Y O U R
S E C O N D B E S T S T O RY … ”
“
SECOND

22. S TA RT W I T H Y O U R
S E C O N D B E S T S T O RY
A N D F I N I S H W I T H
Y O U R B E S T O N E ”
- B I L L S TA I N T O N
“
SECOND
THEN
FIRST

23. T H E M A X I M U M
N U M B E R O F
W O R D S O N
A N Y G I V E N
S L I D E I S

24. T H E M A X I M U M
N U M B E R O F
W O R D S O N
A N Y G I V E N
S L I D E I S 1 6
MEASURE
CUT
TWICE
ONCE
[CREDIT: JON VEGOSEN]

25. LENGTH
OF A TALK
“ A G O O D S P E E C H
S H O U L D B E L I K E A
W O M A N ' S S K I RT ”

26. LENGTH
OF A TALK
“ L O N G E N O U G H T O
C O V E R T H E S U B J E C T
A N D S H O RT E N O U G H
T O C R E AT E I N T E R E S T ”
- W I N S T O N C H U R C H I L L

27. T H E M A X N U M B E R O F S L I D E S F O R
E V E RY 2 0 M I N U T E S O F P R E S E N TAT I O N
L E S S I S M O R E

28. T H E M A X N U M B E R O F S L I D E S F O R
E V E RY 2 0 M I N U T E S O F P R E S E N TAT I O N
MEASURE
CUT
TWICE
ONCE
L E S S I S M O R E
15

29. D O N ’ T WA L K I N F R O N T
O F T H E P R O J E C T O R

30. AVOID THE
TRACTOR
BEAM
3 H A C K S
1. IF THE PROJECTOR IS
MOUNTED OVERHEAD,
TEST HOW CLOSE YOU CAN
WALK NEXT TO THE
SCREEN DURING SET-UP.
USE SOME MASKING TAPE
ON THE FLOOR.
2. IF THE PROJECTOR
IS ON A TABLE OR
CART, JUST WALK
AROUND IT.
3. USE THE
BLACK OUT
BUTTON ON
YOUR R800
CLICKER

31. F O N T S M AT T E R

32. 1 4 F O N T S Y O U S H O U L D C O N S I D E R
Baskerville
Impact
Hobo Std
Marker Felt
BRING YOUR
AGAME

33. 1 3 = M U R P H Y ’ S L A W

34. B A D T H I N G S W I L L H A P P E N .
Y O U H AV E 3 C H O I C E S :
1 ) F I X I T, 2 ) F E AT U R E I T, O R 3 ) F O R G E T I T
SPANNER
IN THE
WORKS
S T U F F H A P P E N S . Y O U C A N
C O U N T I T. P R A C T I C E W I T H O U T
S L I D E S . D O A N A U D I O C H E C K
B E F O R E S P E A K I N G . B E P R E PA R E D .
[CREDIT: ALAN HOFFLER]

35. 3 H A C K S T O F E N D O F F M R . M U R P H Y
3. TURN OFF
WIRELESS ON YOUR
COMPUTER AND
CLOSE ALL APPS
1. 1. ASK FOR A
HANDHELD MIC.
STASH IT ON STAGE
AS A BACKUP
2. WRITE DOWN YOUR
MAIN POINTS IN CASE
YOUR DECK FAILS
(THINK SET LIST)
TOOLS
YOU CAN
USE

36. “The best advice was from my
father at an early age when we
were making music. I would
make mistakes, and I would ask,
‘What do you do?’ And he’d say,
in Dutch, ‘Gewoon door blijven
gaan,’ which means keep
pedaling. Don’t stop and don’t
let the audience know you made
a mistake. Or smile and do it
twice so the audience thinks you
meant it.“
TA O O F
E D D I E VA N H A L E N
KEEP
PEDALING
[CREDIT: DR. VINCE SCHMIDT, YOUTUBE VIDEO]

37. T W E LV E P L U S O N E E Q U A L S

38. T H E B A K E R ’ SONE MORE
THING
A L W A Y S G I V E A L I T T L E
S O M E T H I N G E X T R A . T A K E A
C U E F R O M S T E V E J O B S . H E
A LWA Y S H A D O N E M O R E T H I N G .
[CREDIT: CARMINE GALLO]
D O Z E N

39. S P E A K I N G I S L I K E F LY I N G . T H E T W O M O S T
C R I T I C A L T I M E S A R E A N D

40. T H E T W O M O S T C R I T I C A L T I M E S A R EDON’T CRASH
AND BURN
W H E N A R E P L A N E S M O S T L I K E LY
T O C R A S H ? M O S T A C C I D E N T S
O C C U R D U R I N G TA K E - O F F S A N D
L A N D I N G S . TA K E E X T R A T I M E T O
P R E PA R E A N D P R A C T I C E Y O U R
O P E N I N G S A N D C L O S I N G S .
[CREDIT: RICH SCHLENTZ]
L A N D I N G S
TA K E - O F F ’ S

41. VA RY Y O U R V O L U M E . S O M E T I M E S
Y O U N E E D T O G O T O

42. TAO
OF
TUFNEL
VA RY Y O U R V O L U M E . S O M E T I M E S
Y O U N E E D T O G O T O 1 1

43. TAO
OF
TUFNEL
T H E S E G O T O E L E V E N
Nigel: The numbers all go to eleven. Look, right across the board,
eleven, eleven, eleven and...
Martin: Oh, I see. And most amps go up to ten?
Nigel: Exactly.
Martin: Does that mean it's louder? Is it any louder?
Nigel: Well, it's one louder, isn't it? It's not ten. You see, most blokes,
you know, will be playing at ten. You're on ten here, all the way up, all
the way up, all the way up, you're on ten on your guitar. Where can you
go from there? Where?
Martin: I don't know.
Nigel: Nowhere. Exactly. What we do is, if we need that extra push over
the cliff, you know what we do?
Martin: Put it up to eleven.
Nigel: Eleven. Exactly. One louder.
Martin: Why don't you just make ten louder and make ten be the top
number and make that a little louder?
[Pause.]
Nigel: These go to eleven. [CREDIT: SPINAL TAP, YOUTUBE VIDEO]

44. T H E B R A I N C A N O N LY C O N C E N T R AT E F O R
M I N U T E S B E F O R E
S H U T T I N G
O F F
MEASURE
CUT
TWICE
ONCE

45. MEASURE
TWICE
T H E B R A I N C A N O N LY C O N C E N T R AT E F O R
1 0 M I N U T E S B E F O R E
S H U T T I N G
O F F

46. MEASURE
CUT
TWICE
ONCE
P L A N O N
B R E A K S
I N Y O U R
TA L K
U S E V I D E O S ,
R O L E P L A Y S &
G R O U P E X E R C I S E S .
[CREDIT: DR. JOHN MEDINA]

47. U N D E R S TA N D T H E C O N C E P T O F W I I F Y

48. W H AT ’ S I N I T F O R Y O U ( T H E A U D I E N C E M E M B E R )
MEASURE
CUT
TWICE
ONCE W. I . I . F. Y
E V E N T H O U G H Y O U A R E A T T H E
F R O N T O F T H E R O O M , I T ’ S N O T
A B O U T Y O U . I T ’ S A B O U T T H E
W H A T ’ S I N I T F O R T H E A U D I E N C E .
W H Y S H O U L D T H E Y G I V E Y O U
T H E I R A T T E N T I O N . W H A T VA L U E
A R E Y O U R P R O V I D I N G ?

49. BE A MASTER
“ FA C T ’ S T E L L … ”

50. BE A MASTER
STORYTELLER
“ FA C T ’ S T E L L ,
B U T S T O R I E S S E L L . ”
- B RYA N E I S E N B E R G

51. A P P E A R A N C E M AT T E R S

52. D R E S S T O T H E N I N E SLOOK
THE PART
8 0 % O F O U R J U D G E M E N T S
C O M E S D O W N T O W A R M T H
A N D C O M P E T E N C E . D R E S S
S M A R T LY T O L E V E R A G E B O T H .
[CREDIT: CHRIS MALONE & SUSAN T. FISKE]

53. T H I S I S A L E C T E R N , I T I S N O T A

54. T H I S I S A L E C T E R N , I T ’ S N O T A
N O R I S I T A C R U T C H . S T E P A WAY.
STEP AWAY
P O D I U M .
[CREDIT: EVAN CARROLL]

55. S T O RY
M AT T E R S

56. K N O W T H E
8 S T E P S O F
T H E
H E R O ’ S J O U R N E Y
PAINT
PICTURETHE
[CREDIT: JOSEPH CAMPBELL]

57. O N LY % O F
T H E F E E L I N G S
Y O U C O M M U N I C AT E
A R E T H E W O R D S
T H AT Y O U U S E

58. O N LY 7 % O F
T H E F E E L I N G S
Y O U C O M M U N I C AT E
A R E T H E W O R D S
T H AT Y O U U S E
EXPRESS

59. EXPRESS
YOURSELF
B E E X P R E S S I V E W H E N I T C O M E S
T O C O M M U N I C A T I N G F E E L I N G S .
O N LY 7 % I S D E P E N D E N T U P O N T H E
W O R D S W E U S E . 5 5 % I S B O D Y
L A N G U A G E A N D 3 8 % I S T O N E .
[CREDIT: ALBERT MEHRABIAN]

60. D E V E L O P A S E N S E

61. PLUG INTO
THE AUDIENCE
B E E N G A G E D W I T H T H E
A U D I E N C E . L O O K F O R C L U E S
F O R W H A T ’ S R E L E VA N T T O
T H E M . I T ’ S N O T A B O U T Y O U .
D E V E L O P A S I X T H S E N S E

62. G E S T U R E S

63. U S E Y O U R
T W O H A N D S
GO BIG OR
GO HOME
G E S T U R E S A R E K E Y. U S E Y O U R
H A N D S T O E M P H A S I Z E P O I N T S .
D O N ’ T B E A F R A I D T O G O B I G .
[CREDIT: ALAN HOFFLER]

64. I N V E S T I N A
G O O D C L I C K E R
P R O T I P : L O G I T E C H R 8 0 0

65. I N V E S T I N A
G O O D C L I C K E R
DON’T
SKIMP
P R O T I P : L O G I T E C H R 8 0 0
D I S C L A I M E R : T H I S M O D E L H A S A
G R E E N L A S E R P O I N T E R . Y O U
A R E N O T A J E D I W H I L E
P R E S E N T I N G . “ R E S I S T T H E
U R G E , Y O U M U S T ” - Y O D A

66. D O Y O U R V I S U A L S H AV E A
P U R P O S E ?

67. 4 R E A S O N S F O R U S I N G A V I S U A L
REASON
FOR BEING
1 . T O R E I N F O R C E A N I M P O R TA N T P O I N T ( E M P H A S I S )
2 . W H E N I T ’ S Q U I C K E R / E A S I E R W I T H A V I S U A L ( S H O W A T R E N D )
3 . T O M A K E A P O I N T F R O M D A TA ( N E V E R J U S T S H O W D A TA ! )
4 . T O C O N N E C T W I T H A U D I E N C E E M O T I O N ( H U M O R )
[CREDIT: ALAN HOFFLER]
D O Y O U R V I S U A L S H AV E A
P U R P O S E ?

68. T H I S I S N O T T H E E N T I R E R O O M

69. ADDRESS
THE EDGES
A D D R E S S T H E E D G E S R I G H T W H E N Y O U G E T O N S TA G E . M A K E S U R E
Y O U A R E E N G A G I N G T H E E N T I R E A U D I E N C E A N D N O T J U S T T H O S E
P E O P L E I N T H E M I D D L E O F T H E R O O M .
[CREDIT: BILL STAINTON]
P L AY T O T H E E N T I R E R O O M

70. S P E A K T O T H E A U D I E N C E ,
N O T T H E P R O J E C T O R S C R E E N

71. ADDRESS
THE EDGES 3 H A C K S
1. U S E P R E S E N T E R M O D E O N Y O U R L A P T O P
2. A S K F O R A C O N F I D E N C E M O N I T O R
3. S E T U P A TA B L E T FA C I N G T H E S C R E E N A N D
S E T I T T O V I D E O

72. U S E T H E P O W E R P O I N T S

73. U S E T H E 4 P O W E R P O I N T S
RULE OF
THIRDS
1/3
1 2
3 4

74. RULE OF
THIRDS
L E A R N F R O M P H O T O G R A P H E R S .
A V O I D T H E C E N T E R A N D D R A W T H E
E Y E T O WA R D S O N E O F T H E F O U R
P O I N T S A T T H E I N T E R S E C T I O N S .
1/3
[CREDIT: GARR REYNOLDS]
1 2
3 4

75. P E O P L E R E M E M B E R T H I N G S I N ’ S

76. IT’S A MAGIC
NUMBER
P E O P L E R E M E M B E R T H I N G S
I N T H R E E ’ S . U S E T H I S
S I M P L E , Y E T P O W E R F U L
FA C T T O Y O U R A D VA N TA G E .
3
[CREDIT: CARMINE GALLO]
P E O P L E R E M E M B E R T H I N G S I N 3 ’ S

77. “There are always three speeches,
for every one you actually gave.”
-

78. “There are always three speeches,
for every one you actually gave. The
one you practiced, the one you gave,
and the one you wish you gave.”
DON’T
BANG
-

79. DON’T
BANG
YOUR
HEAD
P E R F E C T P U B L I C S P E A K I N G I S L I K E A N
A S Y M P T O T E . N O B O D Y H A S E V E R R E A C H E D I T
A N D N O B O D Y E V E R W I L L . T H E R E I S A LWA Y S
R O O M F O R I M P R O V E M E N T. T H E R E I S A LWA Y S
R O O M T O L E A R N . [CREDIT: JOHN ZIMMER]
-

80. -
M I C U P :
4 M A I N T Y P E S HANDHELD
AROUND THE EAR
(AKA - BRITNEY SPEARS)
PODIUM
LAVALIER

81. AMPLIFY
1 . C E N T E R T H E L AV M I C
I N T H E M I D D L E O F Y O U R
C H E S T A N D A B O U T S I X T O
E I G H T I N C H E S B E L O W
Y O U R C H I N .
-
3 H A C K S
YOURSELF
2 . W I T H A H A N D H E L D ,
Y O U N E E D T O K E E P T H E
P O S I T I O N O F T H E M I C
C O N S I S T E N T W I T H Y O U R
H E A D . I T M O V E S A S O N E .
3 . D O N ’ T A S K T H E
A U D I E N C E I F T H E Y C A N
H E A R Y O U . S O U N D C H E C K
I N A D V A N C E O R H A V E
S O M E O N E I N T H E B A C K
W H O C A N H E L P Y O U
A D J U S T T H E L E V E L S .

82. H O W L O N G S H O U L D Y O U PA U S E
A F T E R Y O U M A K E A P O I N T ?

83. TOOLS YOU
CAN USE
2 S E C O N D S O F PA U S E

84. TOOLS YOU
CAN USE
W H E N Y O U M A K E A P O I N T
O F E M P H A S I S , PA U S E A N D
L E T Y O U R A U D I E N C E H A V E A
C H A N C E T O L E T I T S I N K I N .
[CREDIT: ALAN HOFFLER]

85. S
T
O
P
PAY
ATTENTION
T H I S I S T H E M O S T
I M P O R TA N T L E S S O N
I N T H E E N T I R E D E C K

86. S I N G L E
T H O U G H T
O
P
SINGLE
THOUGHT
D E L I V E R A

87. S I N G L E
T H O U G H T T O
O
P E R S O N
SINGLE
THOUGHT
N E
D E L I V E R A

88. S I N G L E
T H O U G H T,
O
P E R S O N
SINGLE
THOUGHT
D E L I V E R A S I N G L E T H O U G H T
T O O N E P E R S O N . T H I N K O F
Y O U R N E X T T H O U G H T. F I N D
A N E W P E R S O N I N T H E
A U D I E N C E . D O N ’ T S T A R T
D E L I V E R I N G Y O U R N E X T
T H O U G H T U N T I L Y O U
E S TA B L I S H E Y E C O N TA C T …
L AT H E R , R I N S E , R E P E AT
N E
ONE
PERSON

89. S I N G L E
T H O U G H T,
O
P E R S O N
SINGLE
THOUGHT
T H I S O N E P R A C T I C E
E L I M I N A T E S F I L L E R W O R D S
( A N D , S O , U M ) , A L L O W S Y O U
T I M E T O B R E A T H E , A N D
A U T O M A T I C A L LY B U I L D S I N
PA U S E S .
D E L I V E R A S I N G L E T H O U G H T
T O O N E P E R S O N . T H I N K O F
Y O U R N E X T T H O U G H T. F I N D
A N E W P E R S O N I N T H E
A U D I E N C E . D O N ’ T S T A R T
D E L I V E R I N G Y O U R N E X T
T H O U G H T U N T I L Y O U
E S TA B L I S H E Y E C O N TA C T.
[CREDIT: ANDREW GILMAN]
N E
ONE
PERSON

90. The difference between the
right word and the almost right
word…”
W O R D U P
“

91. W O R D U PCATCH
PHRASE
VS.
The difference between the
right word and the almost right
word is the difference between
lightning and a lightning bug.”
- M A R K T WA I N O N
W O R D S M I T H I N G
“
B E M E M O R A B L E . B E S T I C K Y.
[CREDIT: CHIP AND DAN HEATH]

92. K E E P K E Y T E X T
O N T H E T O P
O F T H E S L I D E

93. [CREDIT: WENDY GATES CORBETT]
K E E P K E Y T E X T
O N T H E T O P 1 / 3
O F T H E S L I D E
STAY ABOVE
THE HEADS
avoid this

94. T H E N U M B E R O F B U L L E T S Y O U S H O U L D
U S E I N Y O U R E N T I R E P R E S E N TAT I O N I S

95. T H E N U M B E R O F B U L L E T S Y O U S H O U L D
U S E I N Y O U R E N T I R E P R E S E N TAT I O N I S Z E R O

96. TOOLS YOU
• G U N S D O N ’ T K I L L
• P R E S E N TA T I O N S …

97. TOOLS YOU
DON’T USE
• G U N S D O N ’ T K I L L
• P R E S E N TA T I O N S …
• B U L L E T S D O
[CREDIT: CARMINE GALLO]

98. T H E N U M B E R O F D I S S O LV E S , B U I L D S ,
A N D O T H E R T R A N S I T I O N S I N Y O U R
D E C K I S

99. KEEP IT
SIMPLE[CREDIT:SETHGODIN]STUPID
T H E N U M B E R O F D I S S O LV E S , B U I L D S ,
A N D O T H E R T R A N S I T I O N S I N Y O U R
D E C K I S Z E R O

100. Tourist to New Yorker: Excuse me, can
you tell me how to get to Carnegie Hall?

101. Tourist to New Yorker: Excuse me, can
you tell me how to get to Carnegie Hall?
New Yorker: Practice, practice, practice.

102. N O O N E I S A N A T U R A L . Y O U N E E D T O L O O K F O R O P P O R T U N I T I E S
T O P R A C T I C E A N D T O C O N T I N U O U S LY S H A R P E N T H E S A W.
SHARPEN
THE SAW
N O T R A F F I C J A M S O N
T H E E X T R A M I L E

103. W H E N S H O U L D Y O U
F I N I S H A P R E S E N TAT I O N ?
C L O S I N G T I M E

104. A LWAY S F I N I S H O N T I M E
ON THE
DOT
T H I S I S A C A R D I N A L R U L E .
T H E R E I S N E V E R E V E R A N
E X C U S E F O R G O I N G O V E R T I M E .
[CREDIT: ALAN HOFFLER]

105. 3 H A C K S T O H E L P
Y O U F I N I S H O N T I M E
DON”T
GO OVER
3. R800 HAS A TIMER1. THERE’S AN
APP FOR THAT
2. GO ANALOG
LAGNIAPPE: USE PRESENTATION MODE
IN POWERPOINT, IT HAS A CLOCK

106. ABOUT
THE
AUTHOR
I A M L O O K I N G T O S H I F T A B U S I N E S S
PA R A D I G M : F O C U S I N G O N T H E C U S T O M E R
A N D T H E I R E X P E R I E N C E , I N S T E A D O F T H E
C O N S TA N T LY C H A S I N G T H E E Y E S A N D E A R S
O F T H E P R O S P E C T.
I A L S O B E L I E V E Y O U C A N ’ T H A V E H A P P Y
E N T H U S E D C U S T O M E R S W I T H O U T H A P P Y
E N G A G E D E M P L O Y E E S . C U L T U R E I S A N
O N G O I N G C O M M I T M E N T, N O T A C A M PA I G N .
M Y S I X B O O K S A B O U T C U S T O M E R
E X P E R I E N C E A N D E M P L O Y E E E N G A G E M E N T
A R E C A L L E D P U R P L E G O L D F I S H , G R E E N
G O L D F I S H A N D G O L D E N G O L D F I S H , B L U E
G O L D F I S H , P U R P L E G O L D F I S H S E R V I C E
E D I T I O N , A N D R E D G O L D F I S H .
L O YA LT Y R E T E N T I O N E N G A G E M E N T C U LT U R E
S TA N P H E L P S
K E Y N O T E S W O R K S H O P S W E B I N A R S
F O R B E S C O N T R I B U T O R , I B M F U T U R I S T, T E DX S P E A K E R

107. LITTLE THINGS CAN MAKE THE BIGGEST DIFFERENCE
K E Y N O T E S A N D W O R K S H O P S
THE BIGGEST DIFFERENCE
C L I C K H E R E T O V I E W
M Y S P E A K I N G K I T O N
L I T T L E T H I N G S C A N M A K E
T H E B I G G E S T D I F F E R E N C E

108. R E A D Y T O
S TA N D O U T I N A
S E A O F S A M E N E S S
www.purplegoldfish.com
stan@purplegoldfish.com
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