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Storyboarding Using Three Ground Rules
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Storyboarding Using Three Ground Rules
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Whether you have an electronic version or a paper version, as you review and work with your new storyboard, three ground rules can help you and your audience to stay connected to the big picture.
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Rule 1: Be Visually Concise, Clear, Direct, and Speci c
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In s 4 and 5, you wrote the headlines for your story template following the procedures in the section Writing Headlines Using Three Ground Rules in 3. Just as you strive to be concise, clear, direct, and speci c with your words, you should strive to be the same with your visuals. Whether you use words or visuals to communicate, your singular goal should be to get across the most meaning in the most ef cient way possible. When you sketch your storyboard, that means you should use the simplest illustration possible without any excess detail. Not only does a simple illustration help you make your visual point quickly, it also will guide you to avoid the extraneous detail that would otherwise clog the eye of the needle of working memory of your audience. When in doubt, leave it out of your sketches. As you sketch, always pay special attention to the wording of the headlines as you read through them in Slide Sorter view to see whether you can reword them to tie them together more tightly. As you reword a headline in PowerPoint, go back and edit the headline in the story template as well. If you nd that you start making many changes to slide headlines, go back to the story template directly to work out the structural issues you are having before returning to the storyboard.
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Rule 2: In Act II, Sketch Consistency Within Columns and Variety Across Columns
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When you work with the storyboard, keep in mind that in Act II, it s all about the hierarchy. Act II of the story template is your disciplined guide that helps you make the tough decisions about whether to include or exclude ideas and automatically prioritizes for you every slide in a hierarchy from the most important to the least. When you apply preliminary layouts with color backgrounds to indicate the levels of importance of your slides, you can clearly see in Slide Sorter view how the hierarchy ts into the speci c sequence of the slides of the presentation. And now you ll build on the rock-solid verbal foundation of Act II by using visual techniques to keep the hierarchy at the top of the minds of both you and your audience.
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Setting Up Your Storyboard and Narration
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When you begin to sketch, the Act II structure will help you decide exactly what you want to accomplish visually on your slides, as shown in Figure 6-11. As you learned in 5, you want the audience to remember and apply your Call to Action and Key Point slides above all if they walked away and remembered nothing else, these slides carry the most important information. You ll sketch on these slides the most memorable things you can say, show, and do to make these points stick here you ll use memorable photographic icons, illustrations, or visual elements from your motif.
Key Point 1
Explanation Detail Detail Detail 1.a.i 1.a 1.a.ii 1.a.iii Explanation Detail Detail Detail 1.a.i 2.a 1.a.ii 1.a.iii Explanation Detail Detail Detail 1.a.i 3.a 1.a.ii 1.a.iii
Detail Detail Detail 1.a.i 1.a.ii 1.a.iii Detail Detail Detail 2.a.i 1.a.i 1.a.ii 1.a.iii Detail Detail Detail 3.a.i 1.a.i 1.a.ii 1.a.iii
Call to Action
Key Point 2
Key Point 3
FIGURE 6-11 Act II hierarchy, indicating the relative importance of the slides.
Next you ll sketch the second-most important Explanation slides, which the audience will likely remember here you might use diagrams, charts, or other illustrations. And then you ll sketch the third-most important Detail slides, which the audience might not remember here you ll include graphs, charts, screen captures, and other visual elements. As you sketch the slides that correspond to the three columns of Act II, you want to keep a consistent look in terms of similar layout, style, and placement of headlines and graphics within each column, as shown in the slides that correspond to the headlines from the Explanation column in Figure 6-12. By sketching the slides from a single column together, as you ll do next in 7, you avoid concentrating exclusively on only single slides; instead, you focus on what is happening across slides. This makes sure that you approach the design of any slide by its context and relationship to other slides within its column, not as individual slides in isolation.
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