????Prezi大獲成功，自從2009年4月推出以來,，已有1,000萬人登陸使用過,。阿瓦伊解釋說，Prezi幻燈片除了簡單的前后相接,，還可以上下疊加,，任憑演示者隨意拉動，縮放自如,。

????除了無法加強說服力之外,，“這讓人們更喜歡演示，更充分地了解內(nèi)容,，記得更牢,。”阿瓦伊說,。“人類的大腦適合空間思考,?！被蛘呦癫芩瘩g的，Prezi只不過是“眩暈版PowerPoint,?！辈芙ㄗh使用大量圖片來調(diào)節(jié)氣氛，或者使用更精致的數(shù)據(jù)可視化工具來羞臊笨拙的智能圖表柱狀圖,。（請參看作家本?格林曼的兩個系列1 和 2對過度使用圖表的模仿諷刺,。）

????要點？避免使用,。肖丁認(rèn)為要點講不好故事,。伯杰說：“跳出來的每個要點只不過就像再鞭子抽一下?！蓖瑫r,，它也使人們難以區(qū)分真正的沖突和無關(guān)緊要的爭論，或者找出清單上各個要點相互之間的聯(lián)系,。某個標(biāo)注的“痛點”是否導(dǎo)致了下一個要點,？或者或，其實它們毫無聯(lián)系,？大多數(shù)幻燈片并不能回答這個問題,。

????我傾向于認(rèn)為,，具有說服力的演示就應(yīng)該揭示這種區(qū)別，就是要告訴觀眾：“沒錯,，我相信這件事導(dǎo)致了另一件事,，而原因則是如此如此?！?/p>

????所以最終還要依靠一些沒什么技術(shù)含量的技巧,。動畫片《南方公園》（South Park）和音樂劇《摩門經(jīng)》（Book of Mormon）的制作人特雷?帕克和馬特?斯通在紐約大學(xué)蒂希藝術(shù)學(xué)院（NYU's Tisch School of the Arts）的一次談話中告誡編劇系的學(xué)生，千萬不要在謀劃聯(lián)系的努力中偷工減料,。他們在討論中將白板分成三幕（開始,、中間、結(jié)束）,，再把情節(jié)的節(jié)點草草地寫在上面,。《南方公園》劇集的每個部分,，或者他們所說的“故事節(jié)點”就是這么草擬出來的,。

????隨后，帕克在這段視頻里說：

????“我們來看看這些點,，它們基本上也就是劇情大綱的節(jié)點,。如果‘然后’這種字眼出現(xiàn)在了兩個節(jié)點之間，那你就完了,。因為它說明你的故事很沒勁,。每個節(jié)點之間的聯(lián)系要么是‘因此’，要么是‘但是’,。而不應(yīng)該是：這個發(fā)生了,，然后那個發(fā)生了。相反,，是這個發(fā)生了,，所以那個發(fā)生了?；蛘哌@個發(fā)生了,，但是同時那個也發(fā)生了，因此另外一件事發(fā)生了,?！?/p>

????值得一提的是，帕克沒有使用幻燈片或者講臺,，而是直視自己的觀眾,。

????Arvai explains Prezi's success -- since launching in April 2009, they've logged over 10 million users -- by pointing out that Prezi slides can be arranged not simply one after the other, but above and below each other, and the presenter can swoop up and down, zoom in and pan out.

????Caveats about persuasion aside, "this allows people to enjoy it more, understand it more fully, and remember it better," says Arvai. "Our brains are wired to think spatially."

????Or, as Berger counters, Prezi is just "PowerPoint with vertigo." Berger suggests using image-heavy slides for quick comic relief, or more elegant data visualizations that put chunky SmartArt bar graphs to shame. (For a great send-up of that problem -- the overuse of graphs -- check out the author Ben Greenman's series here and here.)

????Bullet points? Avoid them. Bullets don't tell stories, says Sjodin. "Every point that pops up is like another lash with the whip," says Berger. They also make it hard to distinguish between real conflicts and mere hassles, or how items on a list relate. Does one bulleted "pain point" cause the next one, or are they completely unrelated phenomena? Most slides won't tell you.

????I'm inclined to think it's precisely the hard work of making those distinctions and telling an audience, in essence, "Yes, I believe this thing causes this other thing, and here's why," that makes a presentation compelling.

????So it all comes down to lo-tech skills. In a talk at NYU's Tisch School of the Arts, South Park andBook of Mormon creators Trey Park and Matt Stone gave advice to student screenwriters on making sure one doesn't scrimp on the hard work of drawing connections. They discussed dividing a big white board into three acts (beginning - middle - end) and scribbling plot points across it. Every piece of South Park action, or what they call "story beats," is jotted down.

????Then, says Parker in this video:

????"We can take these beats, which are basically the beats of your outline, and if the words 'and then' belong between those beats, you're fucked, basically. You've got something pretty boring. What should happen between every beat that you've written down is either the word 'therefore' or 'but.' So it's not this happens and then this happens. Instead, it's this happens therefore this happens. Or this happens but this happens also, therefore something else happens."

????It should also be noted that Parker gave this advice without slides or a podium, looking directly at his audience.