A.

CarLer - 2012, 8evlsed 2014

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As a class, we wlll dlvlde Lhe ma[or elemenLs of poeLry and Leach each Lo Lhe class. 1hough you wlll work wlLh
anoLher member(s) of class Lo presenL Lhe lnformaLlon, you wlll each have speclflc requlremenLs and wlll be graded
lndlvldually accordlng Lo Lhose requlremenLs. Cnce Lhe Loplcs have been dlsLrlbuLed, lL ls up Lo you and your parLner/Leam Lo
dlsLrlbuLe Lhe maLerlal beLween you. ?ou wlll be responslble for ?Cu8 half/Lhlrd of Lhe maLerlal. 1hus, Lhe only group"
aspecL of Lhls ls uslng each oLher for supporL and seamlessly presenLlng your maLerlal on Lhe same day.
Group
Chapter(s)
from 1ext
L|ements of oetry
resentat|on
Date
Group Members
1 3 and 4
uenoLaLlon, ConnoLaLlon, and lmagery March 24/23 A: Callahan, CourLney, MlLchell
8: Zach 8, Shannon, Pannah
2 3
llguraLlve Language arL 1: Slmlle, MeLaphor,
ersonlflcaLlon, AposLrophe, and MeLonymy
March 24/23 A: Madlson, krlsLa, Shannon
8: naLhan, Mary MargareL, Chandler
3 6
llguraLlve Language arL 2: Symbol and Allegory March 24/23 A: nlck, MaLLeo, kaelyn
8: !oe, PunLer, 8eLhany
4 7
llguraLlve Language arL 3: aradox,
CversLaLemenL, undersLaLemenL, and lrony
March 26/27 A: 8raydon, 1hays, Susannah
8: 8achel, kemp, LasLon
S 8, 9, and 10
Alluslon, Meanlng and ldea, and 1one March 26/27 A: !ake, !ackson, Panna
8: 1yler, !osh
6 11
Muslcal uevlces March 28/29 A: Allsha, Mary
8: 1aylor, 1aylor
7 12
8hyLhm and MeLer March 28/29 A: Adam, Ally
8: Connor, Colln
8 13
Sound and Meanlng March 28/29 A: 1homas, 1yler
8: Zach M, Lmlly
9 14
aLLern Aprll 1/2 A: Chase, Calvln
8: lranco, lerson
10 13
LvaluaLlng oeLry - 1ypes of verse Aprll 1/2 A: Mandy, karl
8: 8rlan, uana

kequ|rements:
S1L 1. Cut||ne the ass|gned chapter(s) from your err|ne textbook. 1hls ouLllne should thorough|y
cover Lhe lnLroducLory maLerlal of your chapLer(s) Lhrough Lhe 8evlewlng ChapLer x" LexLbox. lor
example lf l were ouLllnlng ChapLer 1, l would ouLllne pages 633-640. We wlll be assembllng a sLudy gulde
from Lhese ouLllnes. 1hough l expecL you Lo dlvlde Lhe maLerlal wlLh your parLner, l wanL CnL ouLllne
wlLh your maLerlal pasLed LogeLher LhaL represenLs Lhe group chapLers and Loplcs. 8equlremenLs:
a. 1he ouLllne musL be Lyped, lnclude all group names ln Lhe Lop lefL wlLh a parenLheLlcal clLaLlon LhaL explalns
whaL each person's page range responslblllLy was, as well as a speclflc LlLle based on your asslgned chapLer.
b. ?our ouLllne should lnclude Lhree lmporLanL componenLs:
l. Lhe Lerms and deflnlLlons of elemenLs of poeLry,
ll. Lhe lmpllcaLlons, funcLlons, values, cauLlons, eLc. of your Lerms. 8e able Lo dlscuss Lhe LllLC1S of
your Lerms - always Lry Lo answer Lhe so whaL" quesLlon. Co beyond elemenLary explanaLlons of
Lhlngs. uelve lnLo your Loplc and Lerms.
lll. examples Laken from your LexL or produced on your own.
c. Any llLerary Lerm and lLs deflnlLlon shou|d be |n bo|d-face type on the out||ne. ou may choose to set |t
apart v|sua||y |n other ways, but bo|d-face |s the m|n|mum requ|rement.
d. 1he ouLllne should be 1PC8CuCP buL CCnClSL. 8ecause Lhese wlll become a class sLudy gulde, brevlLy ls
lmporLanL. ?ou and your peers wlll wanL Lhorough lnformaLlon LhaL you can revlew aL a glance."
e. 1he fonL slze and formaL (spaclng, ouLllne sLrucLure, eLc.) should be easy Lo read. l would prefer a sans-serlf
11- or 12-polnL fonL. 1he spaclng and sLrucLure are up Lo you and Lhe group as long as Lhe handouL ls
conslsLenL and clear.
A. CarLer - 2012, 8evlsed 2014

SU8MISSICN: Croup ouLllnes should be saved wlLh meanlngful flle names followlng Lhls formaL:
ChapLernumberChapLer1lLleCuLllne. lor example: ChapLer4lmageryCuLllne. uo noL use spaces or puncLuaLlon ln
fllenames. Cne person ln Lhe group should emall me Lhe ouLllne uslng Lhe followlng sub[ecL llne:
8lockCuLllneChapernumber (3ACuLllneChapLer4).
LVALUA1ICN: 1he group ouLllne wlll counL as a mlnor grade. Lach person wlll recelve a grade on hls/her secLlon of
Lhe ouLllne. 1he ouLllne wlll be graded for lLs accuracy (80 polnLs) and formaL (20 polnLs).
DUL DA1L: lebruary 26/27
S1L 2. Lxp||cate a poem that covers the mater|a| |n your group's sect|on.
a. Choose a poem of llLerary merlL. CeL approval from me lf ln doubL. Culdellnes/LlmlLaLlons:
l. ?ou may noL choose an overdone" poem from your younger years as a sLudenL (l.e. 1he
8oad noL 1aken"). 1he poem should be fresh" for Lhe class.
ll. ?ou may noL choose a poem LhaL has already been expllcaLed ln Lhe LexLbook. 1he poems
LhaL are parL of Lhe lnLroducLory essays are off llmlLs, choose poems LhaL follow Lhe
8evlewlng Lhe chapLer" LexLboxes. l wlll be sLrlcL wlLh Lhls, so please make sure you are
chooslng from Lhe rlghL parL of Lhe chapLer. lf you choose a poem already expllcaLed for
you ln Lhe book, you wlll auLomaLlcally recelve a 20-polnL penalLy on your lndlvldual
grade.
b. LxpllcaLe your poem by compleLlng an analysls charL, a 1-CAS11, Sll1, or uluLS analysls, C8 by
Laklng coplous noLes on Lhe poem lLself. ?ou wlll Lurn Lhls ln for an lndlvldual grade.
c. WrlLe a Lwo- Lo Lhree-page essay ln whlch you expllcaLe Lhe poem you chose. 1hough you wlll
focus on Lhe elemenLs of your chapLer, your expllcaLlon should be open Lo oLher elemenLs aL work
ln Lhe poem. 1he general prompL should be someLhlng llke, WhaL ls Lhe poem abouL?" Pow
does Lhe poeL convey LhaL?" Make sure Lo address why your asslgned elemenLs play a Lonal or
LhemaLlc slgnlflcance ln Lhe poem. ?our paper should:
l. 8e Lyped and ln MLA formaL.
ll. lnclude a copy of Lhe poem before your essay beglns. 1ype Lhe MLA header, Lhe paper
LlLle (please be fresh and creaLlve), a copy of Lhe poem LhaL you reLype or pasLe lnLo Lhe
paper (llne numbers would be greaL, even lf Lhey are penclled ln), followed by your
expllcaLlon of Lhe poem. l wlll need Lo read and refer Lo Lhe poem as l read your
expllcaLlon.
lll. 8e submlLLed ln hard copy form, as well as submlLLed dlglLally Lo LurnlLln.com. ?our paper
wlll counL as a ma[or grade.
SU8MISSICN: 1he analysls explalned ln b" above should be submlLLed ln hard copy form. 1he essay
should be submlLLed ln hard copy form ln class and dlglLally Lo LurnlLln.com.
LVALUA1ICN: 1he analysls ln b" wlll counL as a mlnor grade, Lhe essay wlll counL as a ma[or grade.
DUL DA1L: March 6/7
S1L 3. resent the mater|a| of the chapter to the c|ass.
a. repare a owerolnL, keynoLe, Coogle resenLaLlon, or rezl LhaL covers Lhe maLerlal of your chapLer. ?ou
may base Lhe presenLaLlon on your group ouLllne. Make sure Lo follow good deslgn.
l. use parallel sLrucLure for slldes.
ll. use a conslsLenL and professlonal deslgn/Lheme. 1hough you wlll lndlvldually be responslble for a
secLlon of Lhe chapLer, Lhe group lnformaLlon should flL seamlessly LogeLher for one presenLaLlon.
lll. lace your lasL name on Lhe boLLom rlghL of each sllde LhaL you creaLe.
lv. Cffer clear examples beLween explanaLlons of Lerms and concepLs. ?ou may mosL deflnlLely use
your lndlvldual poems for examples slnce you wlll be an experL" afLer havlng expllcaLed Lhem.
b. Asslgn homework Lhe day before your presenLaLlon. lnsLrucL Lhe class Lo read Lhe poems your group
expllcaLed. 1hey wlll also compleLe a gulded pracLlce sLaLemenL for each poem.
l. Gu|ded pract|ce ls an exerclse LhaL wlll help us drlll creaLlng an lnLroducLory sLaLemenL and Lhesls.
A. CarLer - 2012, 8evlsed 2014

1. 1he flrsL senLence should answer Lhe quesLlons WhaL ls Lhe poem abouL?" and WhaL ls
lL saylng abouL LhaL sub[ecL?" 8equlre LhaL parLlclpanLs compleLe a sLem" llke Lhls: ln
Lhe poem x," Lhe auLhor, ?," suggesLs/presenLs/conveys/explalns [or lnserL anoLher
expllcaLlon verb here] __________________________________________________.
2. Add a second senLence or conLlnue Lhe sLaLemenL by addresslng Lhe quesLlon Pow ls Lhe
meanlng communlcaLed?" (sLrucLure and llLerary devlces)
c. resenL your slldes Lo Lhe class, explalnlng each ma[or elemenL of poeLry ln your asslgned chapLer.
d. As parL of Lhe presenLaLlon, each person musL Leach Lhelr poem LhaL serves as an example of your asslgned
poeLlc elemenLs - Lhls means LhaL groups of Lwo wlll Leach Lwo poems - one per lndlvldual. When you
Leach Lhe poem, you should Leach by asklng quesLlons (and be ready wlLh Lhe answers and/or your own
lnLerpreLaLlons). 8emember, Lhe class wlll have read Lhe poem for homework and should be ready Lo
dlscuss lL ln class.
SU8MISSICN: 1he group's sllde presenLaLlon musL be emalled Lo me (elLher as a flle or llnk) so LhaL l can posL lL on
my webslLe. lease use Lhe sub[ecL llne 8lockChapLernumberresenLaLlon (Lxample: 3AChapLer4resenLaLlon)
LVALUA1ICN: ?ou wlll recelve a ma[or grade for your presenLaLlon. 30 of Lhe grade wlll be your parL of Lhe slldes,
30 wlll be an evaluaLlon of your overall presenLaLlon and explanaLlon.
DUL DA1L: March 20/21


nomework dur|ng the presentat|on phase of th|s un|t lncludes readlng Lhe poems asslgned by groups and
compleLlng Lhe gulded pracLlce acLlvlLy for each poem asslgned. l expecL you Lo spend aL leasL SLvLn Mlnu1LS
L8 CLM ln preparaLlon Lo hear Lhe presenLaLlons. l wlll be checklng your gulded pracLlce occaslonally aL Lhe
beglnnlng of each class for a grade.

Gu|ded pract|ce temp|ate: Wr|te 2-3 sentences about the poem us|ng these gu|de||nes:
! 1he flrsL senLence should answer Lhe quesLlons WhaL ls Lhe poem abouL?" and WhaL ls lL saylng abouL
LhaL sub[ecL?" 8equlre LhaL parLlclpanLs compleLe a sLem" llke Lhls: ln Lhe poem x," Lhe auLhor, ?,"
suggesLs/presenLs/conveys/explalns [or lnserL anoLher expllcaLlon verb here]
__________________________________________________.
! Add a second senLence or conLlnue Lhe sLaLemenL by addresslng Lhe quesLlon Pow ls Lhe meanlng
communlcaLed?" (sLrucLure and llLerary devlces)


|ease note: 1he fo||ow|ng poems are "off-||m|ts," s|nce I may want to use them for separate |essons |ater:
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A. CarLer - 2012, 8evlsed 2014

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A. CarLer - 2012, 8evlsed 2014

Poetry Analysis Single Poem Name: _____________________________
Poem:____________________________________________________
Pieces of the poem for
explication:
Observations

(WHAT?)
Significance to tone or theme? Is there
irony?
(SO WHAT?)
SITUATION: What is it about
and who is talking?
Is it a story? About
Express emotion or describe mood?
Speaker? Reliable?
Audience?
TONE: speakers attitude toward subject?
(words and images that help identify
tone?)




STRUCTURE: What does it
look like?
FORM: # of lines, length, arrangement on
page, traditional (sonnet, limerick) or
free form? Shifts?
MOVEMENT: development? Images that
develop chronologically, cause/effect,
free association? Is it circular, or does it
move from one attitude to another
(despair to hope?)
SYNTAX: # of sentences? simple or
complicated? Word order? (nouns before
verbs or vice versa? Why?) Parallel
structure?
PUNCTUATION: kind? Coincide with end
of line (end-stopped line)? Thoughts
continue to next line (enjambement)?
Punc. In middle of line? Why?
TITLE: Means? Relates how?

LANGUAGE:
DICTION: Colloquial? Formal? Simple?
Unusual? What moods or attitudes are
associated with words?
ALLUSIONS: references to something
outside poem?
FIGURATIVE LANGUAGE: How do these
add to meaning or intensify effect?
IMAGERY
METAPHORS
SIMILES
ANALOGIES
PERSONIFICATION


MUSICAL DEVICES:
RHYME SCHEME: Regular pattern? Is
effect formal, satisfying, musical, funny,
disconcerting?
RHYTHM or METER: What is it (i.e.
iambic pentameter)? What is tonal
effect?
OTHER SOUND EFFECTS: tonal
effects?
ALLITERATION
ASSONACNE
CONSONANCE
REPETITION

THEME or MOTIF
What is the poets message? What is the
poem about?
TONE
What is the tone? Why is it appropriate?


A. CarLer - 2012, 8evlsed 2014

SII1, DIDLS, 1-CAS11
SII1: 1he key to 1CNL and 1nLML
SM8CL: Slnce Lhe LlLle of a sLory or novel ofLen conLalns symbols LhaL hlnL aL Lheme, you should flrsL be encouraged Lo
reexamlne Lhe LlLle. ls parL of Lhe LlLle a cenLral symbol ln Lhe sLory? Are Lhere oLher slgnlflcanL symbols ln Lhe sLory? WhaL
are Lhe characLerlsLlcs of Lhe symbol(s)? SpeculaLe abouL lLs slgnlflcance. Pas Lhe symbol been used ln llLeraLure before Lo
represenL Lhe same Lhemes ln Lhls sLory? uoes Lhe meanlng of Lhe symbol change LhroughouL Lhe sLory, and does Lhe change
reveal lnslghLs abouL Lhe auLhor's use of symbollsm and lLs conLrlbuLlon Lo Lheme?

IMAGLk: WrlLers use language Lo creaLe sensory lmpresslons and Lo evoke speclflc responses Lo characLers, ob[ecLs,
evenLs, or slLuaLlons ln Lhelr works. 1he wrlLer shows" raLher Lhan Lells," Lhus allowlng Lhe reader Lo parLlclpaLe ln Lhe
experlence more fully. 1herefore, lmagery helps Lo produce mood and Lone. When readlng a plece of llLeraLure conLalnlng
lmagery, conslder Lwo quesLlons:
1. WhaL do l see, hear, LasLe, smell, or feel?
2. WhaL LllLC1 ls Lhe auLhor Lrylng Lo convey wlLh Lhese lmages?
uoes Lhe sLory open or close wlLh slgnlflcanL or lnLense lmages? Why mlghL Lhe auLhor begln or end wlLh Lhose lmages?
WhaL klnd of lnformaLlon or message do Lhey provlde?

IIGUkLS CI SLLCn (aka IIGUkA1IVL LANGUAGL): WrlLers form lmages by uslng flgures of speech such as slmlles,
meLaphors, and personlflcaLlon. llnd examples ln Lhe sLory and dlscuss how Lhese flgures of speech help Lo convey effecL
and meanlng. Conslder Lhe followlng quesLlons:
1. WhaL ls Lhe slgnlflcance of comparlsons ln Lhe sLory? (meLaphors, slmlles, eLc.)
2. Pow do flgures of speech enhance meanlng?
Conslder oLher devlces used ln Lhe sLory such as lrony and alluslon. lrony ls ofLen found ln Lhe conLradlcLlons of expecLaLlons
and reallLy, or appearance and reallLy. Pow do alluslons enhance Lhe meanlng or effecL of Lhe novel? uoes Lhe auLhor reLaln
Lhe orlglnal symbollc meanlng of an alluslon, or does he/she alLer lL?

1CNL: A close examlnaLlon of word cholce, lmagery, and deLall reveals a narraLor's aLLlLude or Lone and conLrlbuLes Lo Lhe
reader's undersLandlng. llnd deLalls LhaL reveal Lhe auLhor's Lone Loward Lhe sub[ecLs of Lhe sLory.

1nLML: 1o deLermlne Lhe Lheme, you mlghL:
1. Summarlze Lhe sLory.
2. LlsL Lhe sub[ecL s or moLlfs LhaL emerge from Lhe summary, such as evll, ln[usLlce, lnhumanlLy, soclal proLesL,
corrupLlon, poverLy, LradlLlon, lndlvlduallLy, survlval, eLc.
3. WrlLe a senLence abouL each sub[ecL or moLlf based on lnslghLs galned from analyzlng symbollsm, lmagery,
flguraLlve language, and oLher devlces. 8ecause all llLerary devlces lead Lo Lone and Lheme, Lhls process wlll
help you Lo percelve whaL lnslghLs abouL llfe Lhe auLhor ls reveallng abouL each sub[ecL and Lo reflne Lhe process
of deLermlnlng meanlng ln a LexL.
Ask yourself whaL llfe-lessons Lhe maln characLers have learned or whaL lessons Lhey Lhemselves have learned as a resulL of
readlng. Look for sLaLemenLs ln Lhe sLory by Lhe characLers or Lhe narraLor LhaL commenL on llfe, Lhe world, or human
naLure, Lhereby lmplylng Lheme. ulscuss each LhemaLlc posslblllLy and declde whlch Lo be Lhe mosL probable based upon Lhe
evldence from Lhe LexL and from Lhls Sll1lng" process, keeplng ln mlnd Lhe facL LhaL many sLorles have more Lhan one
Lheme and Lhere ls seldom [usL one rlghL" answer.
Lxamp|e themes:
8ased on Lhe mot|f of soclal proLesL: When a man becomes a LhreaL Lo socleLy , LhaL socleLy seLs ouL Lo desLroy
hlm."
8ased on Lhe mot|f of lndlvldual and socleLy: Man has no lndlvldual ldenLlLy and cannoL exlsL as a slngle human
person aparL from socleLy."

D.I.D.L.S. - A mnemon|c for ||terary ana|ys|s
D|ct|on: Lhe denoLaLlve and connoLaLlve meanlngs of words (WhaL words does Lhe auLhor choose? Conslder hls/her word
cholce compared Lo anoLher. Why dld Lhe auLhor choose LhaL parLlcular word? WhaL are Lhe connoLaLlons of LhaL word
A. CarLer - 2012, 8evlsed 2014

cholce?)
dlfferenL words for Lhe same Lhlng ofLen suggesL dlfferenL aLLlLudes (happy vs. conLenL vs. ecsLaLlc)
denoLaLlve vs. connoLaLlve (dead vs. passed away)
concreLe vs. absLracL (able Lo percelve wlLh 3 senses, Langlble, vs. an ldea or concepL LhaL exlsLs ln one's mlnd,
lnLanglble)
monosyllablc vs. polysyllablc
poslLlve vs. negaLlve (slender vs. sklnny, deLermlned vs. sLubborn)
colloqulal / lnformal / formal
cacophonous vs. euphonlous (e.g., harsh soundlng, raucous, croak or pleasanL soundlng, languld, murmur)

Images: vlvld appeals Lo undersLandlng Lhrough Lhe flve senses - slghL, sound, Louch, LasLe, smell. (WhaL lmages does Lhe
auLhor use? WhaL does he/she focus on ln a sensory way? Pow do Lhe klnds of lmages Lhe auLhor puLs ln or leaves ouL reflecL
hls/her sLyle? Are Lhey vlbranL? romlnenL? laln? nC1L: lmages dlffer from deLall ln Lhe degree Lo whlch Lhey appeal Lo Lhe
senses. A farmer and a real esLaLe developer would use dlfferenL lmagery Lo descrlbe Lhe same plece of land. lmagery would
dlffer ln a romanLlc vs. reallsLlc descrlpLlon of Lhe counLryslde.)

Deta||s: lacLs LhaL are lncluded or Lhose LhaL are omlLLed (WhaL deLalls does Lhe auLhor choose Lo lnclude? WhaL do Lhey
lmply? WhaL does Lhe auLhor choose Lo exclude? WhaL are Lhe connoLaLlons of Lhe cholce of deLalls? nC1L: ueLalls are facLs
or facL-leLs. 1hey dlffer from lmages ln LhaL Lhey don'L have a sLrong sensory appeal. Pard Copy vs. Cnn vs. n8)

Language: 1he overall use of language such as formal, cllnlcal, lnformal, slang (WhaL ls Lhe overall lmpresslon of Lhe language
Lhe auLhor uses? uoes lL reflecL educaLlon? A parLlcular professlon? lnLelllgence? ls lL plaln? CrnaLe? Slmple? Clear?
llguraLlve? oeLlc? Make sure you don'L sklp Lhls sLep. Ambassador wlll speak dlfferenLly Lhan a cop or a kld.)

Sentence Structure: Pow Lhe auLhor's use of senLence sLrucLure affecLs Lhe reader (WhaL are Lhe senLences llke? Are Lhey
slmple wlLh one or Lwo clauses? uo Lhey have mulLlple phrases? Are Lhey choppy? llowlng? Slnuous llke a snake? ls Lhere
anLlLhesls, chlasmus, parallel consLrucLlon? WhaL emoLlonal lmpresslon do Lhey leave? lf we are Lalklng abouL poeLry, whaL ls
Lhe meLer? ls Lhere a rhyme scheme? Long flowlng senLences glve us a dlfferenL feellng Lhan shorL choppy ones. lf Lhe
narraLor has awkward senLence sLrucLure, we nlghL Lhlnk he ls uneducaLed or fearful. SophlsLlcaLed maLure senLences mlghL
suggesL arLlsLlc creaLlvlLy.)

1-CAS11 Ana|ys|s - usefu| for ana|yz|ng poetry
1lLle: onder Lhe LlLle before readlng Lhe poem
araphrase: 1ranslaLe Lhe poem lnLo your own words
ConnoLaLlon: ConLemplaLe Lhe poem for meanlng beyond Lhe llLeral
ALLlLude: Cbserve boLh Lhe speaker's and Lhe poeL's aLLlLude (Lone)
ShlfLs: noLe shlfLs ln speakers and ln aLLlLudes. uevlces LhaL help readers dlscover shlfL:
key words (buL, yeL, however, alLhough)
uncLuaLlon (dashes, perlods, colons, elllpsls)
SLanza or paragraph dlvlslons
Changes ln llne or sLanza lengLh, or boLh
lrony (someLlmes lrony hldes shlfLs)
SLrucLure (how Lhe work ls wrlLLen can affecL lLs meanlng)
Changes ln sound (may lndlcaLe changes ln meanlng)
Changes ln dlcLlon (ex: slang Lo formal language)
1lLle: Lxamlne Lhe LlLle agaln, Lhls Llme on an lnLerpreLlve level
1heme: ueLermlne whaL Lhe poeL ls saylng


A. CarLer - 2012, 8evlsed 2014

GUIDLLINLS ICk CWLkCIN1 kLSLN1A1ICN
1. 1he qua||ty of the research. 1he Loplc should be Lhoroughly researched, wlLh a number of dlfferenL sources. uslng vlsual
lmages? Make sure Lhey are approprlaLe Lo Lhe polnL(s) you wlsh Lo make, and be cerLaln LhaL you know Lhe speclflcs on
each lmage (who? whaL? when? where? how?).
2. Crgan|zat|on and trans|t|on. 1here should be a loglcal flow from beglnnlng Lo end, llke ln wrlLLen work. Avold [umplng
from one polnL Lo anoLher, and be careful abouL addlng lnformaLlon LhaL ls noL dlrecLly relaLed Lo Lhe maln
Lheme. SLrongly conslder drawlng up an ouLllne before you begln assembllng Lhe acLual slldes.

1he fo||ow|ng po|nts conta|n |nformat|on that can he|p strengthen the v|sua| part of your presentat|on:
1. 1he "[oy of s|x" ls a helpful rule of Lhumb. use a maxlmum of slx polnLs per sllde and slx words per polnL
2. Use text spar|ng|y. uependlng on Lhe color and fonL slze you selecL, LexL may be dlfflculL Lo read. ln addlLlon, lf your
audlence ls concenLraLlng on wrlLLen LexL, Lhey are mosL llkely noL glvlng you Lhelr compleLe aLLenLlon DC NC1 USL
CCMLL1L SLN1LNCLS!
3. Se|ect co|ors w|th care. LxperlmenL wlLh color comblnaLlons, buL make sure Lhey work well on a screen--Lhere ls ofLen a
dlfference beLween how someLhlng looks on your compuLer screen and how lL appears when pro[ecLed onLo a screen or
wall
4. keep un|ty of des|gn from s||de to s||de. uslng one, or several, of Lhe masLer slldes provlded ln owerolnL can help avold
problems of Lhls naLure
3. Iont s|ze |s |mportant--use Lhe "floor LesL" for readablllLy rlnL ouL a sllde conLalnlng LexL, Lhen place Lhe page on Lhe floor.
Can you read Lhe sllde from a sLandlng poslLlon? lf yes, Lhen your audlence can llkely read lL from Lhelr seaLs. lf no, Lhen
Lhe fonL slze needs Lo be lncreased.
6. M|n|m|ze or avo|d an|mated texts, sounds, and fancy trans|t|ons. 1hese can be effecLlve ln cerLaln slLuaLlons, buL ofLen
dlsLracL your audlence from Lhe maln polnLs you are maklng.
7. Avo|d sw|tch|ng between programs (such as calllng up a Web page).1hls Lakes exLra Llme and can make lL dlfflculL for your
audlence Lo remaln focused on your presenLaLlon
8. Do you want peop|e to take notes durlng your presenLaLlon? Leave Lhem sufflclenL Llme Lo do so. Always provlde a
"handouL" copy of your presenLaLlon for your lnsLrucLor(s).
9. 1|m|ng. use Lhree slldes per mlnuLe as a maxlmum.
10. V|sua| |mages can be great, buL Lhey need Lo be selecLed carefully be approprlaLe Lo Lhe polnL(s) you wanL Lo make.
WaLch slze, Loo--lmages Loo small are noL helpful, and lf formaLLlng vlsual lmages Lo flL a sllde, be sure Lo keep Lhe
dlmenslons of Lhe orlglnal! lL's ofLen helpful Lo keep Lhese concepLs ln mlnd: on Lhe maln polnL(s) you wanL Lo make Lhe
layouL of your presenLaLlon. 1hls means carefully conslderlng each sllde, as well as Lhe presenLaLlon as a whole. uoes
everyLhlng flL LogeLher?


ract|ce your ent|re presentat|on at |east once before you presenL lL Lo your audlence. MosL helpful ls pro[ecLlng your
presenLaLlon onLo a screen, ln order Lo see exacLly how your audlence wlll vlew lL. lf posslble, have someone waLch and
llsLen, Lhen ask quesLlons abouL anyLhlng LhaL Lhey flnd unclear--raLher face a dlfflculL quesLlon from one person Lhan ln
fronL of an audlence! lf you don'L have access Lo Lhe equlpmenL needed for pro[ecLlon, use Lhe compuLer monlLor and your
mouse (Lake Lhe mouse as far away from Lhe compuLer as you can) and pracLlce sLandlng and faclng Lhe audlence - noL Lhe
screen!

use your own copy of Lhe sllde handouL wlLh noLes (prlnL opLlon) for your presenLaLlon dlrecLlon - DC NC1 kLAD IkCM 1nL
SCkLLN WI1n CUk 8ACk 1C 1nL AUDILNCL!


8L SUkL 1C LCCk CVLk 1nL kLSLN1A1ICN kU8kIC SC CU WILL kNCW 1nL CkI1LkIA ICk LVALUA1ICN!