13:49Shannon Jenkins · Talking Head
How to Start a Presentation So Nobody Checks Their Phone
Five ways to open a talk, each shown against the boring intro most people default to.
May 13thThe argument in one line.
Don Draper's Kodak pitch wins not because his logic beats Kodak's brief, but because he reframes the product emotionally, borrows a mentor's authority to challenge the client without confrontation, and stops talking the instant the room agrees.
Read if. Skip if.
READ IF YOU ARE…
- You have to pitch ideas, proposals, or campaigns to clients or leadership and want more of them to land.
- You've ever had the stronger argument and still watched someone say no.
- You need to challenge a client's or boss's brief without it turning into an argument you might lose.
- You want a concrete example of emotional persuasion instead of another abstract 'tell better stories' tip.
SKIP IF…
- You're looking for tactical negotiation or price-closing tactics rather than how an idea gets accepted.
- You want general storytelling craft (structure, script writing) rather than pitch and persuasion technique.
The full version, fast.
Kodak briefs every competing agency the same way: sell the slide projector as new technology. Don Draper spots the trap: ten pitches will all sound alike if everyone answers the brief literally. Instead of arguing his read is better than Kodak's, he introduces it as a lesson from Teddy, an old copywriter, so the challenge lands as borrowed wisdom instead of ego. He speaks in a flat, unhurried register, keeps his hands in a controlled 'zone of authority,' and builds curiosity before ever making a claim. Then he reframes the wheel as a time machine, and finally as a carousel, replacing every technical detail with the physical sensation of nostalgia. When the room goes silent, he stops talking. The lesson: people act on how an idea makes them feel, and the pitch that wins is the one that earns curiosity first and never argues its way to yes.
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00:00 – 02:22
01 · How Don Draper Sells an Idea
Cold open on the 'most important idea in advertising is new' line, then Shannon states the core mistake: assuming strong logic alone wins people over. She sets up the Mad Men clip as the case study.
02:22 – 04:06
02 · The Answer Everyone Else Will Give
Kodak's brief hands every agency the same answer: sell 'the wheel' as new technology and R&D. Don realizes every competitor will pitch the identical idea and looks for what the brief missed.
04:06 – 05:41
03 · Speak Like You Know Where You're Going
Don changes the angle on the client, flags 'technology is a glittering lure,' and Shannon breaks down his flat vocal tone and controlled hand placement as signals of authority.
05:41 – 07:54
04 · How to Challenge Without Creating Resistance
Rather than arguing his read against Kodak's, Don introduces the idea as a lesson from Teddy, an old copywriter he worked under, turning the challenge into borrowed wisdom instead of ego.
07:54 – 08:38
05 · Curiosity Before Convincing
Don delivers 'nostalgia' as the payoff of the Teddy story without yet explaining or defending it, earning the room's curiosity before making any claim.
08:38 – 10:13
06 · Make Them Feel the Idea
Instead of arguing nostalgia is more powerful than memory, Don makes the room feel it: he shows his own family photographs and names the etymology of nostalgia as 'the pain from an old wound.'
10:13 – 12:44
07 · Use Soundbites Like This One
Don delivers the reframing soundbites ('it's not a spaceship, it's a time machine... it's not called the wheel, it's called the carousel') that land the idea in one line each.
12:44 – 13:35
08 · When Your Pitch Lands, Stop Talking
The room falls silent after the pitch. Don lets the silence sit instead of re-explaining or probing for reaction, using silence itself as a demonstration of confidence.
13:35 – 15:06
09 · 5 Lessons From Don Draper
Shannon recaps the five transferable lessons on screen and closes with a CTA to her free storytelling guide.
Lines worth screenshotting.
- If everyone pitching a brief answers it exactly as written, the client sits through ten versions of the same idea, so the smartest read is often the one nobody was asked for.
- Ending sentences on a flat, neutral tone instead of rising at the end reads as certainty; rising pitch reads as a request for permission.
- Keeping your hands in the space between your shoulders and hips, what Shannon Jenkins calls the 'zone of authority,' reads as composure instead of nervous energy.
- Challenging a client's or boss's thinking lands better as a third party's lesson (a mentor, a study, a customer) than as you-versus-them.
- A Stanford study cited in the video found storytelling can be roughly seven times more memorable than facts alone.
- Earning an audience's curiosity before making your actual argument buys you time to keep talking instead of triggering their defensiveness.
- The word 'nostalgia' comes from Greek roots meaning 'the pain from an old wound,' and naming that physical sensation sells harder than describing the product.
- A short, sharp soundbite ('this device isn't a spaceship, it's a time machine') reframes a product in one line before the audience realizes they've been sold anything.
- The strongest emotional response from an audience predicts the most action taken afterward, according to research Shannon cites in the video.
- Once a pitch has visibly landed, re-explaining it or asking how it was received reads as doubt; staying silent reads as authority.
Why Don Draper's Pitch Beat Logic
PITCHING AN IDEA
Don Draper wins the Kodak pitch by rejecting the brief's logic, borrowing a mentor's authority instead of his own, and turning the product into a feeling before he ever names it.
01How Don Draper Sells an Idea
- Assuming that strong-enough logic will make people say yes is a mistake that kills good ideas before they get a fair hearing.
02The Answer Everyone Else Will Give
- If everyone pitching a brief answers it exactly as written, the client sits through ten versions of the same idea, so the smartest read is often the one nobody asked for.
- The stronger pitch usually comes from spotting what the client's own brief missed, not from following it more precisely.
03Speak Like You Know Where You're Going
- Ending sentences on a flat, confident tone instead of rising at the end reads as certainty instead of a request for approval.
- Keeping hand gestures in the space between your shoulders and hips, the 'zone of authority,' signals composure instead of nervous energy.
04How to Challenge Without Creating Resistance
- Challenging someone's thinking lands better framed as a third party's insight (a mentor, a study, a customer) than as you-versus-them.
05Curiosity Before Convincing
- Earning curiosity before making your actual argument buys you time to keep talking instead of triggering the other side's defensiveness.
06Make Them Feel the Idea
- Naming the physical sensation behind an emotion, like calling nostalgia 'a twinge in your heart,' sells an idea harder than explaining the technology behind it.
07Use Soundbites Like This One
- A short, sharp line like 'it's not a spaceship, it's a time machine' reframes a product in one sentence before the audience realizes they've been sold anything.
08When Your Pitch Lands, Stop Talking
- Once a pitch has visibly landed, staying silent reads as confidence; re-explaining the idea or asking how it landed reads as doubt.
Terms worth knowing.
- Zone of authority
- Shannon Jenkins' term for the physical space between your shoulders and hips. Keeping hand gestures contained there, instead of flailing wide or fidgeting, reads as calm confidence rather than nervous energy.
- Nostalgia (Greek origin)
- From Greek roots meaning roughly 'the pain from an old wound.' Don Draper uses the literal etymology in the pitch to reframe a product as an emotional trigger instead of a piece of new technology.
Things they pointed at.
Lines you could clip.
10:13
“This device isn't a spaceship. It's a time machine.”
12:00
“It's not called the wheel. It's called the carousel.”
08:26
“It's a twinge in your heart. Far more powerful than memory alone.”
14:52
“When your idea has landed, stop talking. Let them process the new concept. Let the silence do the rest of the work.”
Word for word.
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metaphor
And Teddy told me the most important idea in advertising is new. Your ideas are better than your colleagues. You back them up with all the right facts and arguments.
You present them clearly. And still, people nod. They understand you, but they don't buy the idea.
One of the biggest mistakes I see smart professionals make is assuming that if the logic is strong enough, then people will say yes. That if they just convince people rationally, they'll win. That is a very wrong assumption, and I have seen that kill many, many good ideas.
Logic is not the key ingredient of a winning pitch, as we will see in a few seconds. Hi, I'm Shannon Jenkins. I'm a leadership communication trainer, and I spend a lot of my time helping very smart people solve exactly this problem.
And by the end of this video, you'll know exactly how to do it. So this Mad Men clip contains some of the most important lessons that you can use to make your own ideas land better. than 99 % of your colleagues and your competitors.
Don Draper is the creative director of a famous advertising agency. And in this scene, Kodak has invited the agency to pitch the campaign for its new slide projector. And they already have a very clear idea of how they want it positioned.
So watch what Don notices. It's key. It's actually a hell of a gadget.
It's continuous. It doesn't jam. They call it the donut or the wheel.
They're expecting something along those lines. Kodak reinvented the wheel. They're gonna hear that ten times.
They actually went to use the words research and development in the ads. But if you could find a way to put the wheel and the future into something with some legs, you could make me look good in that first month here.
Let's stop there. So this is easy to miss, but I think it's one of the smartest parts of the entire pitch. Duck has essentially just handed Don the answer Kodak wants.
The product is called The Wheel, and they want the ad to mention research and development technology, the future. And Don immediately spots the problem. He says, they're going to hear that 10 times.
He understands that every agency competing for this business has received the exact same brief. And if they all follow it literally, well, Kodak is about to sit through 10 different versions of essentially the same idea. This happens constantly in business.
You receive a brief, a request for proposal, or even just a question from senior leadership. And your instinct is to answer exactly what you've been asked. But what if the client or leadership hasn't thought that through fully?
What if you have a better idea or a better solution? So I always recommend to my clients before they build their pitch to ask themselves, is there a less obvious but smarter answer? Do I see something in the problem that my client or boss may have missed?
So did Kodak's brief miss the point? Let's see.
It's a wonderful facility, but they don't take vacations. What do they show, slides of them working?
So, have you figured out a way to work the wheel into it? We know it's hard because wheels aren't really seen as exciting technology, even though they are the original. Well, technology is a glittering lure.
But there's the rare occasion when the public can be engaged on a level beyond flash. If they have a sentimental bond with the product. So look at what is at play here.
As if it wasn't enough, the Kodak executives make their expectations very clear. Exactly the road that Don doesn't want to take. Notice how he changes the angle.
He recognizes that technology is a strong argument but then he starts laying the ground for his own idea telling them that there is something rare and even more powerful. So by doing that he subtly suggests that this product deserves something more special than simply being sold as another piece of new technology. Also notice how Don speaks with authority.
His voice is slow and measured. He finishes his sentences on a neutral tone, never lifting his voice at the end as if he's asking for approval or permission. His body language communicates the same confidence.
His movements are controlled and his hands stay mostly in what I call the zone of authority, the space between your shoulders here and your hips. Nothing about his delivery says, I hope you like my idea. It says, I know where I'm going, just follow me.
And pay attention to what comes next because Don now has to do something extremely difficult and something many of you will recognize from your own work. Convince the other party that the answer they had asked for may not actually be the best one. My first job, I was in -house at a fur company with this old pro copywriter, Greek, named Teddy.
Did you notice what Don did here? So he could simply have said, I think there's a more powerful way to sell this product. But then it's Don's opinion against Kodaks.
Instead, he introduces Teddy. an older, experienced copywriter he worked with at the beginning of his career. And he presents the idea as something that Teddy taught him.
So suddenly Don isn't telling the client that they're wrong and he's right. He's sharing a lesson that he learned from somebody who knew this business long before he did. That is a very useful persuasion technique.
So if you need to challenge the way that somebody is thinking, never make it you versus them, an adversarial debate, one's right, one's wrong. It is much easier to bring in the perspective of a respected third person. So instead of saying, I think we're looking at this the wrong way, you could say, I recently came across a Stanford study showing that storytelling can be about seven times more memorable than facts alone.
So I want to make sure we use stories here. So speaking of storytelling. Notice how Don uses it to deliver the lesson.
He takes us to his very first job, working with an old pro copywriter. And in a few seconds, we have a person and a story that makes us curious about what this wise old advertising man taught him. And Teddy told me the most important idea in advertising is new.
Creates an itch. You simply put your product in there as a kind of . But he also talked about a deeper bond with the product.
Nostalgia. It's delicate.
But potent. And there it is. The lesson from an expert we should all listen to.
Nostalgia. Think about the contrast. Kodak wants to put forward new technology.
Don wants to sell an emotion connected to the past.
react to the word nostalgia? Probably the way you do, with curiosity. This is such a good example of using communication to influence.
In all likelihood, Kodak should have resisted the idea the moment Don said it. It goes against the explicit direction that they gave him. But remember the three techniques he used to introduce it.
One, he spoke with authority, with conviction. He brought in the opinion of an experienced expert instead of his own, and he delivered it through storytelling. That made Kodak curious rather than antagonistic.
So notice that for now, Don hasn't convinced them of anything. What he has done is simply earn their curiosity. And that curiosity buys him time to continue instead of entering in an argument or poking at their defensiveness.
So let's see how he uses it.
Teddy told me that in Greek, nostalgia literally means .
. Far more powerful than memory alone. Now Don starts doing something very different.
So instead of trying to convince Kodak that nostalgia is stronger, he makes them actually feel it. Pay attention to the language. The pain from an old wound.
A twinge in your heart. Did you hear any descriptions of a slide projector? Of how that piece of technology actually works?
Any jargon or futuristic terms or explanations? No. And at the same time, he removes himself even further from the role of a person arguing against Kodak by showing his own vulnerability.
So the nostalgia that he's talking about is his. He's showing photographs from his own life, his wife, his children, these special memorable moments that have already passed. And that is why emotional communication is so powerful.
You see, so many of us try to persuade by winning an argument on its logical grounds. Don doesn't do that. He does the exact opposite.
He takes his idea. nostalgia, and he turns it into something that the people in the room can almost feel. They can experience this.
Don did this instinctively, and this can be so powerful. There've been numerous pieces of research that demonstrate that the stronger the emotional response of an audience, the more that they will take action afterwards. And if that's something you know you need to work on, I have a guide which really distills a practical framework to use storytelling to create that kind of buy -in in your own work.
So you can get that in the link. below. But Don still hasn't made his final idea land.
But what he does is pure mastery. Let's see.
This device isn't a spaceship. It's a time machine.
It goes backwards and forwards.
It takes us to a place where we ache to go again.
It's not called the wheel.
It's called the carousel.
It lets us travel the way a child travels.
Around and around, and back home again.
So have you noticed that it is only now that Don makes his idea land? And he says, . Why is that so powerful, that line?
Did you notice it? It's a soundbite, that short, sharp, catchy, memorable sentence. And he doesn't go directly from the wheel to the carousel.
He first turns the wheel into something far bigger, a time machine. Something that allows you to go forwards and backwards in time. And here comes the bridge.
It lets us travel the way a child travels. Around and around and back home again to a place where we know we are loved. That's what makes Carousel work.
All the emotion he has been building now fits inside this one word. And he says, it's not called the wheel. It's called...
the carousel and at this point you don't feel like don has simply invented a better name it's more like he's found the name that belongs to this new device this projector to a place where we know we are loved And now look at their faces. So Don has finished and nobody says anything.
They're all speechless after this masterclass in emotional communication. But Don does something very special here. He plays with the silence.
He has done his work. He said what he needed to. There is nothing more to add.
So he lets the silence. And that is something I teach a lot of my clients because used well, silence is true strength. It is a demonstration of authority and self -confidence.
It is not a weakness and it's certainly not something to fill. So I see a lot of people who in the same position as Don would get very nervous about that silence and they would start talking again and maybe explain the idea one more time or probe to see how the pitch was perceived. Don't do that.
So to sum it up, if you want to sell your ideas better than 99 % of your colleagues and your competitors, here is what Don Draper just taught us. First, don't automatically give people the answer they expect. Ask what everyone else is likely to say and see whether you can see something that they have missed.
Second, if you need to challenge somebody's thinking, don't make it you versus them. Bring in another perspective, an expert, a customer, a mentor, a data point, a story to make people curious rather than defensive. Third, and most importantly, don't rely only on rational, logical arguments.
Don's entire pitch is a demonstration of the power of emotional communication. Now, of course, Facts matter.
Logic matters. But if you want people to genuinely embrace your idea for it to resonate and for them to have that full motivation to act, think about what you want them to feel, not just what you want them to think. Fourth, if you want people to accept a different idea, don't just give them the new answer.
Help them to see the thing differently first. And finally, when your idea has landed, stop talking. Let them process the new concept.
Let the silence do the rest of the work. So if you want to get better at storytelling to make your own ideas land, download my free guide Storytelling for Buy -in and check out this video next.
The Hook
The bait, then the rug-pull.
The title promises a way to out-pitch 99% of your colleagues, and the video opens on a line pulled straight out of the answer: an old copywriter's lesson that 'the most important idea in advertising is new.' What follows is a full teardown of the scene that lesson comes from, Don Draper's Kodak Carousel pitch, and why it still out-persuades almost anything built on logic alone.
Named ideas worth stealing.
13:35list
5 Lessons From Don Draper
- Don't Automatically Give People the Answer They Expect
- Don't Make It You vs. Them
- Don't Rely Only on Logic
- Help Them See It Differently First
- When Your Idea Has Landed, Stop Talking
The video's closing checklist, distilled directly from the beats of Don Draper's Kodak pitch.
Steal forany client pitch, internal proposal, or stakeholder ask where you're steering someone toward an answer they didn't request
11:40concept
The Wheel-to-Carousel reframe
Don never argues that nostalgia beats technology. He renames the product twice in sequence, first calling it a 'time machine,' then 'the carousel,' each rename stripping away one more layer of the original technical framing until only the emotion is left.
Steal forrenaming a feature or product in a pitch deck so the emotional benefit replaces the technical description entirely
How they asked for the click.
VERBAL ASK
14:52newsletter
“download my free guide Storytelling for Buy-in and check out this video next”
Soft-pitched twice: once mid-video after the emotional-persuasion research point, then again as the direct final ask right after the 5-lesson recap graphic.
MENTIONED ON CAMERA
FROM THE DESCRIPTION
PRIMARY CTAWhere the creator wants you to go next.
OTHER LINKSAlso linked in the description.
Visual structure at a glance.
