Writing a speech and crafting a keynote are two very different undertakings. Signature talks require an intricate blend of unique stories, big ideas, and actionable architecture. By reverse-engineering one of my most successful signature talks, I walked attendees of a speaker bootcamp through the fundamentals required to tease their big idea into a kick-ass keynote. In these slides, you will learn how to explore your story, how to weave it across a tried-and-true narrative structure, as well as how to deliver the finished product with confidence. NOTE: This is the very first version of this presentation, so please forgive any errors! With your feedback, over time, I'm confident that this deck will evolve and improve. Feel free to email me at hamza[at]hamzakhan.ca with any questions/suggestions.

1. SIGNATURE
STORYTELLING
HOW TO TRANSFORM YOUR BIG IDEA INTO AN UNFORGETTABLE TALK.
HAMZA KHAN (@HAMZAK)
@WOMENANDCOLOR SPEAKER BOOTCAMP // OCTOBER 2018

2. QUESTION: WHAT DO MOANA, THE LORD OF THE RINGS, HARRY
POTTER, AND AVENGERS: INFINITY WAR HAVE IN COMMON?

3. THEY ALL MADE $$$ ?
(FACT: COMBINED, THEY MADE OVER $5 BILLION!)

4. ANSWER: THEY HAVE NEARLY IDENTICAL STORYLINES. HEAR ME
OUT...

5. MOANA THE LORD
OF THE RINGS
HARRY POTTER AVENGERS:
INFINITY WAR
ORDINARY WORLD MOANA LIVES
PEACEFULLY IN
MOTONUI,
ANTICIPATING
ASCENDENCY TO
RULERSHIP.
FRODO LIVES
COMFORTABLY IN THE
SHIRE AND VISITS
BILBO.
HARRY POTTER LIVES
UNREMARKABLY IN THE
CUPBOARD UNDER THE
STAIRS AT 4 PRIVET
DRIVE.
THE AVENGERS ARE
BUSY DEFENDING THE
WORLD AND
MAINTAINING ORDER.
CALL TO ACTION MOANA IS CHOSEN BY
THE OCEAN TO RETURN
THE HEART TO TE FITI.
GANDALF TELLS FRODO
THAT HE MUST
DESTROY THE ONE
RING.
HARRY RECEIVES A
LETTER TO ATTEND
HOGWARTS SCHOOL OF
WITCHCRAFT &
WIZARDRY.
BRUCE BANNER
CRASHES FROM OUTER
SPACE AND URGES THE
AVENGERS TO
HIDE/DESTROY THE
INFINITY STONES, OR
ELSE.

6. 1
6
3
2
4
5
7
8
9
10
11
12
THE HERO’S
JOURNEY ORDINARY WORLD
SPECIAL WORLD
1. ORDINARY WORLD. LIMITED AWARENESS OF PROBLEM.
2. CALL TO ADVENTURE. AWARENESS OF NEED FOR CHANGE.
3. REFUSAL OF THE CALL. FEAR; RESISTANCE TO CHANGE.
4. MEETING THE MENTOR. OVERCOMING FEAR.
5. CROSSING THE THRESHOLD. COMMITTING TO CHANGE.
6. TESTS, ALLIES, ENEMIES. EXPERIMENTING WITH NEW CONDITIONS.
7. APPROACH TO INMOST CAVE. PREPARING FOR MAJOR CHANGE.
8. ORDEAL, DEATH, & REBIRTH. ATTEMPTING BIG CHANGE.
9. REWARD (SEIZING THE SWORD). CONSEQUENCES OF ATTEMPT.
10. ROAD BLOCK (NEW CHALLENGE). NEW CHALLENGE + REDEDICATION.
11. RESURRECTION (FINAL THREATS). LAST-MINUTE DANGER.
12. RETURN WITH THE ELIXIR. MASTERY OF PROBLEM.

7. WHY ARE THESE
STORIES SO POPULAR?
THE RECURRENCE OF THESE STORIES SPEAKS TO SOMETHING
DEEP WITHIN THE HUMAN CONDITION...
CONFRONTED BY PERSONAL AND/OR COLLECTIVE CHAOS,
WE REHEARSE SCENARIOS OF RESTORING ORDER.

8. TE FITI: CHAOS
SAURON: CHAOS
VOLDEMORT: CHAOS
THANOS: CHAOS

9. CHAOS:
DISORDER AND CONFUSION
KHAOS (~14C): “ABYSS, THAT WHICH GAPES WIDE OPEN,
THAT WHICH IS VAST AND EMPTY.”

10. THE AUDIENCE: THE HERO
THEIR PROBLEM: CHAOS
YOU: THE GUIDE

11. MARKETING x EDUCATION
BA (HONS.) IN ENGLISH LITERATURE
SKILLSCAMP x RYERSON UNIVERSITY x STUDENT LIFE NETWORK

12. MY SPEAKING EXPERIENCE
~200 ENGAGEMENTS (FT. 2 TED TALKS) x 20 CITIES x 8 COUNTRIES

13. MY PROMISE TO YOU:
I WANT TO SHOW YOU HOW I CRAFTED TALKS THAT TOOK ME FROM
NERVOUS SPEAKER TO PAID INTERNATIONAL KEYNOTE SPEAKER.

14. 3 x 9 x 6

15. 3 SECTIONS
9 ACTIONS
6 TIPS

16. LEARNING OUTCOMES:
YOUR BIG IDEA
● LOCATE THE BIG IDEA (THE HEART) AT THE CENTER OF YOUR TALK.
● ARTICULATE WHY YOU ARE UNIQUELY QUALIFIED TO SHARE THIS BIG IDEA.
● CONSTRUCT 3X SUPPORTING ACTIONS THAT AN AUDIENCE CAN TAKE TO REALIZE YOUR BIG IDEA.
YOUR UNIQUE STORY
● IDENTIFY A CORE STORY THAT ILLUSTRATES YOUR BIG IDEA, THEN MAP IT ONTO AN EMOTIONAL ARC.
● ENSURE YOUR AUDIENCE IS THE HERO OF THEIR STORY BY ACTING AS A GUIDE.
● DETERMINE THE TRANSITION POINTS IN YOUR STORY WITH THE SPINE IDEA/TOOL.
ACTIONABLE ARCHITECTURE
● DIVIDE THE COMPONENTS OF YOUR TALK INTO THREES.
● WALK YOUR AUDIENCE THROUGH THE STEPS INVOLVED IN RESOLVING THEIR PROBLEM.
● BUILD OUT YOUR TALK IN SECTIONS AND TRANSITIONS.

17. THE SIGNATURE TALK FORMULA:
YOUR BIG IDEA + YOUR UNIQUE STORY + ACTIONABLE
ARCHITECTURE

18. THE TALK I’LL BE REVERSE-ENGINEERING:
THE BURNOUT GAMBLE
(FT. ONLY HALF OF THE D.R.A.G.O.N. METHOD REFERENCED LATER)

19. 1.
YOUR BIG IDEA
WHAT THE WORLD NEEDS TO KNOW.

20. UTSC: MY FIRST TALK.
NO STORY, NO IDEA. TOTAL DISASTER!

21. 1.1
LOCATE THE BIG
IDEA (THE HEART)
OF YOUR TALK.
WHAT IS YOUR ONE BIG IDEA?
YOUR SIGNATURE TALK SHOULD EXPLORE THIS
ONE BIG IDEA. CHALLENGE YOURSELF BY
ENDING YOUR TALK WITH IT.
YOUR BIG IDEA SHOULD BE:
1. MEMORABLE.
2. ABLE TO RESOLVE A PROBLEM.
3. ONE SENTENCE IN LENGTH.

22. “TO MOVE FROM FOLLOWING TOWARDS LEADING, LEAN IN.”
(SHERYL SANDBERG)
“START WITH WHY TO FIND CLARITY, MEANING, AND FULFILLMENT, ”
(SIMON SINEK)
“LEADERSHIP ISN’T POSITIONAL, IT’S ABOUT LOLLIPOP MOMENTS.”
(DREW DUDLEY)
“THE DARK SIDE OF SOCIAL MEDIA IS THE DARK SIDE OF PEOPLE.”
(BAILEY PARNELL)

23. THE HEART OF
THE BURNOUT GAMBLE:
“TRANSITIONING FROM AN OVERACHIEVER TO A HIGH PERFORMER
WILL HELP YOU TO BURN BRIGHT, NOT OUT.”

24. 1.2
WHY ARE YOU THE
ONE TO SHARE
THIS BIG IDEA?
WHAT MAKES YOU UNIQUELY QUALIFIED TO
DELIVER THIS PARTICULAR MESSAGE?
TAP INTO YOUR IKIGAI (REASON FOR BEING) TO
DISCOVER THE ANSWER.
ARE YOU SPEAKING ABOUT:
● SOMETHING YOU’RE GOOD AT?
● SOMETHING YOU LOVE?
● SOMETHING THE WORLD NEEDS?
● SOMETHING YOU’RE BEING PAID FOR?

25. WHY ME?
I BURNED OUT IN SPECTACULAR FASHION AND LIVED TO TELL THE TALE.
AND AFTER DEVELOPING A UNIQUE METHOD TO BEAT BURNOUT,
I’VE ACHIEVED MORE WITHOUT BURNING OUT.

26. 1.3
WHAT ARE THE
ACTIONS?
WHAT ARE 3X TANGIBLE THINGS CAN YOUR
AUDIENCE DO TO REALIZE YOUR BIG IDEA?
REVERSE-ENGINEER THE HEART OF YOUR TALK
INTO PRACTICAL STEPS.
YOUR ACTIONABLE POINTS SHOULD BE:
● SIMPLE TO UNDERSTAND.
● EASY TO START.
● BACKED BY RESEARCH/EXPERIENCE.

27. MY STEPS:
THE D.R.A.G.O.N. METHOD
DELOAD PRIORITIES, RECONFIGURE FOCUS, ASSEMBLE BOUNDARIES,
GAIN MASTERY OVER STRESS, OVERCOME OVERACHIEVEMENT
& NURTURE RESILIENCE.

28. ACTIVITY 1/3
1. COMPLETE THE “YOUR BIG IDEA” ACTIVITY IN THE WORKSHEET.
2. SHARE YOUR ANSWERS WITH A PARTNER.
3. TRADE CONSTRUCTIVE CRITICISM.

29. 2.
YOUR UNIQUE STORY
WHAT YOUR AUDIENCE EXPECTS.

30. RYERSON: MY SECOND TALK.
ALL IDEA, NO STORY. I’M GETTING THERE.

31. 2.1
WHAT STORY
COMPLIMENTS
YOUR BIG IDEA?
HOW DID ARRIVE AT YOUR BIG IDEA? HOW HAS
THE BIG IDEA TRANSFORMED YOU?
THE MORE PERSONAL, THE BETTER. COMMIT
TO ONE EMOTIONAL ARC FOR YOUR STORY:
1. OVERCOMING THE MONSTER
2. RAGS TO RICHES
3. THE QUEST
4. VOYAGE AND RETURN
5. COMEDY
6. TRAGEDY
7. REBIRTH
***THIS LIST AND THE FOLLOWING DESCRIPTIONS ARE REFERENCED FROM “THE SEVEN BASIC PLOTS: WHY WE
TELL STORIES” (2004) BY CHRISTOPHER BOOKER.***

32. OVERCOMING THE MONSTER: THE PROTAGONIST SETS OUT TO DEFEAT AN
ANTAGONISTIC FORCE (OFTEN EVIL) WHICH THREATENS THE PROTAGONIST
AND/OR PROTAGONIST'S HOMELAND.
STRUCTURE: COMPLEX.
EXAMPLES: PERSEUS, THESEUS, BEOWULF, DRACULA, THE WAR OF THE WORLDS, NICHOLAS NICKLEBY, THE GUNS OF NAVARONE, SEVEN
SAMURAI (AND ITS WESTERN REMAKE THE MAGNIFICENT SEVEN), JAMES BOND, STAR WARS.

33. RAGS TO RICHES: THE POOR PROTAGONIST ACQUIRES POWER, WEALTH,
AND/OR A MATE, LOSES IT ALL AND GAINS IT BACK, GROWING AS A PERSON AS
A RESULT.
STRUCTURE: STEADY RISE.
EXAMPLES: CINDERELLA, ALADDIN, JANE EYRE, A LITTLE PRINCESS, GREAT EXPECTATIONS, DAVID COPPERFIELD, THE PRINCE AND
THE PAUPER, BREWSTER'S MILLIONS, THE EMPEROR'S NEW GROOVE.

34. THE QUEST: THE PROTAGONIST AND COMPANIONS SET OUT TO ACQUIRE AN
IMPORTANT OBJECT OR TO GET TO A LOCATION. THEY FACE TEMPTATIONS
AND OTHER OBSTACLES ALONG THE WAY.
STRUCTURE: COMPLEX.
EXAMPLES: THE ODYSSEY, THE PILGRIM’S PROGRESS, THE LORD OF THE RINGS, KING SOLOMON'S MINES, WATERSHIP DOWN,
LIGHTNING THIEF, AVENGERS: INFINITY WAR.

35. VOYAGE AND RETURN: THE PROTAGONIST GOES TO A STRANGE LAND AND,
AFTER OVERCOMING THE THREATS IT POSES TO THEM, THEY RETURN WITH
EXPERIENCE.
STRUCTURE: FALL, RISE.
EXAMPLES: RAMAYANA, ALICE IN WONDERLAND, GOLDILOCKS AND THE THREE BEARS, ORPHEUS, THE TIME MACHINE, PETER
RABBIT, THE HOBBIT, THE SPONGEBOB SQUAREPANTS MOVIE. MAD MAX: FURY ROAD, BRIDESHEAD REVISITED, THE RIME OF THE
ANCIENT MARINER, GONE WITH THE WIND, THE THIRD MAN.

36. COMEDY: LIGHT AND HUMOROUS CHARACTER WITH A HAPPY OR CHEERFUL
ENDING; A DRAMATIC WORK IN WHICH THE CENTRAL MOTIF IS THE TRIUMPH
OVER ADVERSE CIRCUMSTANCE, RESULTING IN A SUCCESSFUL OR HAPPY
CONCLUSION. COMEDY IS MORE THAN HUMOR. IT REFERS TO A PATTERN
WHERE THE CONFLICT BECOMES MORE AND MORE CONFUSING, BUT IS AT
LAST MADE PLAIN IN A SINGLE CLARIFYING EVENT.
STRUCTURE: COMPLEX.
EXAMPLES: A MIDSUMMER NIGHT'S DREAM, MUCH ADO ABOUT NOTHING, TWELFTH NIGHT, BRIDGET JONES'S DIARY, MUSIC AND
LYRICS, SLIDING DOORS, FOUR WEDDINGS AND A FUNERAL.

37. TRAGEDY: THE PROTAGONIST'S CHARACTER FLAW OR GREAT MISTAKE WHICH
IS THEIR UNDOING. THEIR UNFORTUNATE END EVOKES PITY AT THEIR FOLLY
AND THE FALL OF A FUNDAMENTALLY GOOD CHARACTER.
STRUCTURE: RISE, FALL.
EXAMPLES: MACBETH, THE PICTURE OF DORIAN GRAY, CARMEN, BONNIE AND CLYDE, JULES ET JIM, ANNA KARENINA, MADAME
BOVARY, JOHN DILLINGER, ROMEO AND JULIET, JULIUS CAESAR.

38. REBIRTH: AN EVENT FORCES THE MAIN CHARACTER TO CHANGE THEIR WAYS
AND OFTEN BECOME A BETTER PERSON.
STRUCTURE: RISE, FALL, RISE.
EXAMPLES: "THE FROG PRINCE", "BEAUTY AND THE BEAST", THE SNOW QUEEN, A CHRISTMAS CAROL, THE SECRET GARDEN, PEER
GYNT.

39. MY STORY FITS THE
“REBIRTH” NARRATIVE:
“A DEBILITATING BRUSH WITH OCCUPATIONAL BURNOUT FORCES
HAMZA TO CHANGE HIS WAYS BY TRANSITIONING FROM
AN OVERACHIEVER TO A HIGH PERFORMER.”

40. THE HERO’S JOURNEY:
THE COMMON TEMPLATE OF A BROAD CATEGORY OF TALES INVOLVING A
HERO WHO GOES ON AN ADVENTURE, AND IN A DECISIVE CRISIS WINS A
VICTORY, AND THEN COMES HOME CHANGED OR TRANSFORMED.

41. 2.2
MAKE YOUR THE
AUDIENCE THE
HERO.
BE THE GANDALF TO YOUR AUDIENCE’S
FRODO—CALL THEM TO ADVENTURE.
STRUCTURED CORRECTLY, YOUR TALK WILL
BECOME A TRANSITION POINT IN THEIR LIVES.
FOCUS ON YOUR AUDIENCE BY:
● MAKING YOUR STORIES RELATABLE.
● AVOIDING SELF-INDULGENCE.
● ADDRESSING THEM DIRECTLY.

42. ALIGNING MY STORY
WITH THE AUDIENCE:
IN RECENT ITERATIONS OF THE BURNOUT GAMBLE, I MAKE IT CLEAR THAT THE
AUDIENCE IS THE HERO OF THEIR STORY BY WEAVING IN MY RESPONSE TO
ANOTHER BURNOUT NARRATIVE. THIS SUBTLE MOVE MOMENTARILY SHIFTS
THE ATTENTION AWAY FROM MY NARRATIVE, ALLOWING MY VOICE BECOME
THE INNER VOICE OF THE AUDIENCE.

43. 2.3
MAP OUT THE
MILESTONES IN
YOUR STORY.
THE SPINE IDEA/TOOL (PERFECTED BY PIXAR)
IS A MODEL FOR A WELL-CONSTRUCTED
STORY. IT GOES LIKE:
● ONCE UPON A TIME THERE WAS ___.
● EVERY DAY, ___.
● ONE DAY ___.
● BECAUSE OF THAT, ___.
● BECAUSE OF THAT, ___.
● UNTIL FINALLY ___.
● AND EVER SINCE THEN ___.
● THE MORAL OF THE STORY IS ___.

44. ACTIVITY 2/3
1. COMPLETE THE “YOUR UNIQUE STORY” ACTIVITY IN THE WORKSHEET.
2. RECITE YOUR STORY SPINE TO A PARTNER.
3. HAVE THEM GUESS WHAT TYPE OF EMOTIONAL ARC IT FOLLOWS.

45. 3.
ACTIONABLE
ARCHITECTURE
WHERE YOUR IDEA AND STORY MERGE.

46. PEPSICO: MY MOST RECENT TALK
ALL IDEA, ALL STORY. EXTREMELY VALUABLE.

47. 3.1
THE RULE OF
THREE.
A WRITING PRINCIPLE THAT SUGGESTS A
TRIO OF EVENTS IS MORE SATISFYING OR
EFFECTIVE IN EXECUTION AND ENGAGEMENT.
MAKE YOUR TALK DIGESTIBLE AND
MEMORABLE.
MANAGE YOUR AUDIENCE’S EXPECTATIONS:
● TELL THEM WHAT YOU’LL SAY.
● SAY IT.
● TELL THEM WHAT YOU SAID.

48. D.R.A. (3) + G.O.N. (3)
IF YOU HAVEN’T ALREADY NOTICED, THE RULE OF THREE IS ALIVE AND WELL
THROUGHOUT THIS VERY MASTERCLASS (INCLUDING THE SLIDES).

49. 3.2
RESOLVE YOUR
AUDIENCE’S
PROBLEM.
DON’T TRY TO BE INSPIRATIONAL.
INSTEAD, TRY TO BE EXTREMELY VALUABLE.
DELIVER ENOUGH VALUE, AND YOU’LL
INEVITABLY INSPIRE. USE THIS STRUCTURE:
● HOOK
● PROBLEM
● SOLUTION
● DISCOVERY
● DEEP-DIVE
● CONCLUSION
● CALL-TO-ACTION

50. HOOK
GRAB THE AUDIENCE’S ATTENTION WITH AN INTRIGUING INSIGHT.

51. PROBLEM
CLEARLY AND SUCCINCTLY ARTICULATE THE AUDIENCE’S PROBLEM.

52. SOLUTION
TEASE A SOLUTION TO THE AUDIENCE’S PROBLEM.

53. DISCOVERY
EXPLORE THE SOLUTION WITH REAL STORIES AND EXAMPLES.

54. DEEP-DIVE
ADDRESS POTENTIAL COUNTER-ARGUMENTS.

55. CONCLUSION
REITERATE THE AUDIENCE’S PROBLEM AND SUMMARIZE YOUR SOLUTION.

56. CALL-TO-ACTION
MAKE YOUR SOLUTION IMMEDIATELY ACTIONABLE.THIS IS THE TRUE TEST OF
WHETHER OR NOT YOU’VE CREATED AN ACTIONABLE, SIGNATURE TALK.

57. 3.3
BUILD OUT
SECTIONS +
TRANSITIONS
BUILD YOUR TALK IN SMALL BLOCKS, THEN
LINK THEM TOGETHER:
● TRANSITIONS: THE STORY
● SECTIONS: THE IDEA

58. THE IDEA
(SECTIONS)
THE TALK
HOOK ARE YOU AN OVERACHIEVER?
PROBLEM STRESS IS THE HEALTH EPIDEMIC OF THE 21ST CENTURY.
SOLUTION WE NEED A MORE SUSTAINABLE APPROACH TO THE DEMANDS OF THE MODERN WORKPLACE.
DISCOVERY ENTER: THE D.R.A.G.O.N. METHOD.
DEEP-DIVE CAN THE D.R.A.G.O.N. METHOD BE USED AT ANY STAGE OF THE BURNOUT CYCLE?
CONCLUSION RECAP OF THE D.R.A.G.O.N. METHOD.
CALL-TO-ACTION BURN BRIGHT, NOT OUT.

59. THE STORY
(TRANSITIONS)
THE TALK
ONCE UPON A TIME THERE WAS ___. ONCE UPON A TIME THERE WAS AN OVERACHIEVER.
EVERY DAY, ___. EVERY DAY HE WORKED HARDER, INCURRING MORE STRESS.
ONE DAY ___. ONE DAY HE BURNED OUT IN SPECTACULAR FASHION.
BECAUSE OF THAT, ___. BECAUSE OF THAT, THE OVERACHIEVER DISCOVERED THE 12 STAGES OF BURNOUT.
BECAUSE OF THAT, ___. BECAUSE OF THAT, HE UNCOVERED THE BURNOUT GAMBLE.
UNTIL FINALLY ___. UNTIL FINALLY THE OVERACHIEVER BECAME A HIGH PERFORMER.
AND EVER SINCE THEN ___. AND EVER SINCE THEN HE HAS BURNED BRIGHTER, WITHOUT BURNING OUT.
THE MORAL OF THE STORY IS ___. THE MORAL OF THE STORY IS TO TRANSITION FROM AN OVERACHIEVER TO A HIGH PERFORMER.

60. THE IDEA THE STORY THE TALK
HOOK ARE YOU AN OVERACHIEVER?
ONCE UPON A TIME THERE WAS ___. ONCE UPON A TIME THERE WAS AN OVERACHIEVER.
EVERY DAY, ___. EVERY DAY HE WORKED HARDER, INCURRING MORE STRESS.
ONE DAY ___. ONE DAY HE BURNED OUT IN SPECTACULAR FASHION.
PROBLEM STRESS IS THE HEALTH EPIDEMIC OF THE 21ST CENTURY.
SOLUTION WE NEED A MORE SUSTAINABLE APPROACH TO THE DEMANDS OF THE MODERN WORKPLACE.
BECAUSE OF THAT, ___. BECAUSE OF THAT, THE OVERACHIEVER DISCOVERED THE 12 STAGES OF BURNOUT.
BECAUSE OF THAT, ___. BECAUSE OF THAT, HE UNCOVERED THE BURNOUT GAMBLE.
DISCOVERY ENTER: THE D.R.A.G.O.N. METHOD.
UNTIL FINALLY ___. UNTIL FINALLY THE OVERACHIEVER BECAME A HIGH PERFORMER.
DEEP-DIVE CAN THE D.R.A.G.O.N. METHOD BE USED AT ANY STAGE OF THE BURNOUT CYCLE?
AND EVER SINCE THEN ___. AND EVER SINCE THEN HE HAS BURNED BRIGHTER, WITHOUT BURNING OUT.
CONCLUSION RECAP OF THE D.R.A.G.O.N. METHOD.
THE MORAL OF THE STORY IS ___. THE MORAL OF THE STORY IS TO TRANSITION FROM AN OVERACHIEVER TO A HIGH PERFORMER.
CALL-TO-ACTION BURN BRIGHT, NOT OUT.

61. USE A SECTION + TRANSITION
COMBINATION THAT FEELS RIGHT.
JUST BE SURE TO TELL A CHRONOLOGICAL STORY AND PRESENT YOUR BIG
IDEA IN A SEQUENTIAL MANNER OVER THE COURSE OF YOUR TALK.
IF IT DOESN’T FIT THE FRAMEWORK, IT’S NOT HELPFUL.
AND IF IT’S NOT HELPFUL, IT’S NOT VALUABLE.

62. ACTIVITY 3/3
1. YOUR TALK, STRUCTURED.
2. MERGE YOUR BIG IDEA WITH YOUR STORY.
3. STORY SHOULD SERVE AS OPENING, CLOSING, AND TRANSITIONS. BIG IDEA
SHOULD BE BUILDING BLOCKS, AND CALL-TO-ACTION.

63. 6 PRO-TIPS
1. YOU MIGHT NOT BE THE EXPERT, BUT YOU’RE CERTAINLY AN EXPERT.
OWN IT. YOU’RE THE GUIDE IN YOUR AUDIENCE’S JOURNEY. SHOW UP!
2. DON’T TRIP OVER YOURSELF. STAY FOCUSED ON WHAT TO SAY, NOT HOW TO SAY IT.
TRUST THAT THE APPROPRIATE WORDS WILL MATERIALIZE TO SUPPORT YOUR IDEA.
3. ESTABLISH YOUR CADENCE AND CONFIDENCE BY MEMORIZING THE FIRST MINUTE.
ONCE YOU FEEL HARMONY WITH THE AUDIENCE, YOU CAN WING THE REST.
4. GET ENGAGEMENT RIGHT AWAY—A STORY, A QUOTE, A QUESTION, A STAT, A PAUSE…
WHATEVER IT TAKES TO RIVET THE ATTENTION OF YOUR AUDIENCE
5. BEFORE YOU START SPEAKING, TAKE A MOMENT TO APPRECIATE THE AWESOMENESS
OF THE OPPORTUNITY AT HAND. YOUR AUDIENCE IS ABOUT TO BE CALLED TO ADVENTURE!
6. SPEAK SLOWLY, SPEAK CLEARLY, AND MOST IMPORTANTLY: HAVE FUN!

64. REMEMBER…
THESE ARE GUIDELINES. DO WHAT GETS ENGAGEMENT.
DO WHAT TRANSFORMS PEOPLE. DO WHAT FEELS RIGHT.

65. CHECKLIST:
YOUR BIG IDEA
● LOCATE THE BIG IDEA (THE HEART) AT THE CENTER OF YOUR TALK.
● ARTICULATE WHY YOU ARE UNIQUELY QUALIFIED TO SHARE THIS BIG IDEA.
● CONSTRUCT 3X SUPPORTING ACTIONS THAT AN AUDIENCE CAN TAKE TO REALIZE YOUR BIG IDEA.
YOUR UNIQUE STORY
● IDENTIFY A CORE STORY THAT ILLUSTRATES YOUR BIG IDEA, THEN MAP IT ONTO AN EMOTIONAL ARC.
● ENSURE YOUR AUDIENCE IS THE HERO OF THEIR STORY BY ACTING AS A GUIDE.
● DETERMINE THE TRANSITION POINTS IN YOUR STORY WITH THE SPINE IDEA/TOOL.
ACTIONABLE ARCHITECTURE
● DIVIDE THE COMPONENTS OF YOUR TALK INTO THREES.
● WALK YOUR AUDIENCE THROUGH THE STEPS INVOLVED IN RESOLVING THEIR PROBLEM.
● BUILD OUT YOUR TALK IN SECTIONS AND TRANSITIONS.

66. GO FORTH AND BECKON YOUR
AUDIENCE TO ADVENTURE.

67. QUESTIONS?
ASK ME ANYTHING.

68. LET’S CONNECT:
TWITTER: @HAMZAK
INSTAGRAM: @HAMZAK
LINKEDIN: /IN/KHANHAMZA
FACEBOOK: /HAMZAKHANAUTHOR
EMAIL: HAMZA@HAMZAKHAN.CA

69. PHOTO CREDITS (UNSPLASH)
● ARI HE
● BLAIR FRASER
● SOROUSH KARIMI
● GENESSA PANAINTE
● MIKEL IBARLUZEA
● JOSH FELISE
● KELLY LUND
● RICARDO CRUZ
● MARK SZTURC
● NEONBRAND
● MICHAEL WEIDNER
● FAUSTO GARCIA
● LUKE BRUGGER
● SARAH EHLERS
● ALEXANDER ANDREWS
● ANDREW NEEL
● VICTORIA HEATH
● ANTENNA
● SAMUEL ELIAS
● JAMES COLEMAN
● MARCOS LUIZ
● IGRAH AKHTER
● EBI ZANDI
● ROBIN WORRALL
● EUNICE LITUANAS
● EDWIN ANDRADE
● RAPIXEL
● ANGEL ORIGGI
● FREDERICK MEDINA
● LUKE STACKPOLE
● IBRAIM RIFATH
● AZIZ ACHARKI
● ADOLFO FELIX
● FERDINAND STOHR
● THOR ALVIS
● MOHAMMED NOHASSI
● BERNARD TUCK
● SHOAIB SR
● UMIT BULUT
● TACHINA LEE
● NICOLE HONYWILL
● ALVARO PINOT
● HOLLY MANDARICH
● RICK MASON
● BENEDICT TAHJAR
● FRANCISCO GONZALEZ
● HONEY FANGS
● CASEY HORNER
● LACHLAN GOWEN
● JOSH HILD
● OBI ONYEADOR
● CAROLS CRAM
● MICHAEL D BECKWITH
● JONATHAN SMITH
● ROB POTTER
● ASA RODGER
● SARKA JONASOVA
● RUTHSON ZIMMERMAN
● TETREBBIEN
● HERMES RIVERA
● EYES FOR EBONY
● JASON WONG
● JAN KAHANEK
● BENJAMIN DAVIES
● DARDAN
● TYLER CALLAHAN
● BROOKE CAGLE
● SADEQ MOUSAVI
● BOGOMIL MIHAYLOV
● MATT RICHES
● MATT POWER
● STEPHAN WISER
● COLTON DUKE
● THOMAS SCHWEIGHOFER