At some point in our lives, many of us, perhaps most of us, have assembled a piece of IKEA furniture. Whether it was for that first apartment, your vacation home, or your kid's dorm room, it's something of a right of passage. If you have done this assembly work with your significant other, it's often a test of the relationship too. IKEA furniture is inexpensive, in part, because of the way it is shipped and packaged. It is unassembled, it fits into a small package, and the purchaser must assemble it. The instructions that come with the products are notoriously complicated, although they are quite well designed. In recent years, IKEA has gone a step beyond the printed instructions of old. They now publish videos of how to assemble a product, and they are really quite good. Hearing someone complain recently about having to follow the printed instructions got me thinking about juror communications and best practices when it comes to preparing litigation graphics. Of course, right? Here are three ways IKEA assembly instructions and litigation graphics can be similar: The Worst: Having your significant other tell you what to do and how to assemble the product is a lot like a trial attorney lecturing a jury with no visuals at all. See, 6 Studies That Support Litigation Graphics in Courtroom Presentations. Okay: Following the printed IKEA instructions is a bit like watching PowerPoint slides prepared by a member of the trial team. They are well-intentioned but not nearly as helpful or persuasive as they could be. See, 12 Reasons Litigation Graphics are More Complicated Than You Think. Pretty helpful: Watching an IKEA-produced assembly video (see below) is a lot like watching a professionally prepared opening statement, closing statement or expert witness presentation created by a litigation graphics firm. See, Why You Need a Litigation Graphics Consultant.

I had a confounding call with a past client and litigator recently. He had worked with A2L nearly ten years ago early in his career on a related matter. He called to engage A2L and work with one of our graphic designers. On its face, it's a sensible ask. After all, in addition to our jury consulting work and our hot-seat/trial technology work, A2L is undoubtedly a, if not the premier litigation graphics consultancy. The reason I found this call surprising is that asking to work with an individual graphic designer on our team misses the entire value proposition of why a firm like ours exists in the first place. If all a trial lawyer had to do was hire a graphic designer to help prepare opening/closing powerpoint presentations and work with testifying experts to help simplify their message, law firms would be teeming with millennial-aged graphic designers ready to spring into action in advance of trial. Lawyers might even do the work themselves. But that's not how serious trial-focused firms work, and many have gone full circle to figure this out - from adding internal graphic designers to eliminating them entirely. Serious trial-focused law firms do not insource litigation graphics work because it simply doesn't work over the long term. Logically, it should, but it just doesn't, and I've spent 25 years in the industry learning why. The articles linked below offer dozens of reasons why this is true.

I speak and write often about the kind of mistakes that lawyers often make at trial in presenting graphics. Some of these critical errors include reading your PowerPoint slides, presenting overly dense and complex information, coupling low-contrast demonstratives with a low-quality projector, and even using fonts that are too small. All of these mistakes can radically reduce your persuasiveness. A2L articles like, The 12 Worst PowerPoint Mistakes Litigators Make, The 14 Most Preventable Trial Preparation Mistakes, and 24 Mistakes That Make For a DeMONSTERative Evidence Nightmare are valuable for any trial lawyer and will help you overcome many a pitfall. Most of our litigation graphics clients who hire A2L to help develop their opening, closing, and expert presentations, say during the creative process that “I'll know it when I see it.” Indeed, just as choosing from a number of demonstrative options is a helpful time and energy saver for most trial attorneys, there’s also no substitute for seeing a mistake to appreciate why it is bad. That's the spirit of this article. I recently found a small corner of the Internet that highlights terrible infographics, and there are many useful lessons here for trial lawyers. Let's review a few and hope they don't remind you of anything done by your team or litigation graphics provider. Use the Right Type of Chart Great design is not form over function. Instead, it is function first with beautiful form (see, Litigation Graphics: It's Not a Beauty Contest). While this chart above is interesting to look at, it's annoying from the perspective of quickly conveying information. As I wrote in a recent post, litigation graphics should be very clear AND very quickly understood. See, One Demonstrative Exhibit, One Concept. I think litigation graphics should generally be able to stand on their own without explanation and be understood in less than 30 seconds. This chart would be much clearer if presented as a column chart with the dates running chronologically from left to right along the bottom. One could emphasize the differences in ages by having the left side of the chart run from 50 - 75 instead of something like 0-100. We've discussed this chart “cheat” before in 5 Demonstrative Evidence Tricks and Cheats to Watch Out For.

I was in New Orleans recently to speak at the DRI Toxic Torts and Environmental Law Seminar, and while I was in the city, I took some time to visit the National WW II Museum in the downtown area. At the museum, I was struck by a graphic exhibit that showed that in 1941, the United States had only 336,000 soldiers in uniform, compared with 850,000 for Japan and 3.1 million for Nazi Germany. There is a quick and easy lesson here for trial lawyers.

This article is the last in a series of four articles about courtroom storytelling. My goal in this series is to reveal some of the tricks of the persuasive storytelling trade in one place for the busy trial lawyer. I hope that these recommendations can serve as a pretrial checklist for anyone who wants to draft an opening statement. A2L’s litigation consultants have published dozens of articles about storytelling, and we’ve released books and webinars on the subject. These ten tips represent the essence of what we have learned and of what we have taught. If you apply these ten suggestions when developing your story for trial, your story will be more persuasive, and you will radically increase your chances of winning your case. Tip #6. Your audience MUST care about the story. The audience should be emotionally transported. It has been said, “People will forget what you said, people will forget what you did, but they will never forget how you made them feel.” Scientific studies show that when people listen to an effective story, their brains react more like participants than spectators. When we say that people experiencing a deep connection are “on the same wavelength,” there is neurological truth to that. Scientists at Princeton University looked at brain scans (fMRI) of storytellers and listeners to the stories. They found that the most active areas of the brains of the speakers and listeners matched up; they were in sync or coupled. However, this synchronized activity was found in the areas of the brain relevant to theory of mind, not in areas that drive memory or the prefrontal cortex associated with cognitive processing. The stronger the reported connection between speakers and listeners, the more neural synchronicity was observed in the test subjects. The extent of brain activity synchronicity predicted the success of the communication – so connecting with your audience more makes you more persuasive. Source: Storytelling Proven to be Scientifically More Persuasive. Tip #7. Force participation of your audience. Engage the audience in the journey. As Pixar film director Andrew Stanton says, don’t give them 4, give them 2+2 and make them work to find the answer. Nineteenth-century writer William Archer wrote, “Drama is anticipation mingled with uncertainty.” Make your audience members keenly aware of their uncertainties and holding on to their sense of anticipation. The goal of a presentation is always the same -- to engage the audience, to move them. This holds true regardless of the stage. It’s so in the courtroom, on the floor of the U.S. Congress, in the boardroom, and in the classroom. Litigators engage a jury to win their case for their client; professors engage their students so that they can best teach the subject matter. Engagement leads to better understanding, which then leads to better retention and enhanced persuasiveness. Retention and understanding are the keys to success.

This article is the third in a series of four articles about courtroom storytelling (links to part 1 and part 2). My goal in this series is to reveal some of the tricks of the persuasive storytelling trade in one place for the busy trial lawyer. I hope that these recommendations can serve as a pretrial checklist for anyone who wants to draft an opening statement. A2L’s litigation consultants have published dozens of articles about storytelling, and we’ve released books and webinars on the subject. These ten tips represent the essence of what we have learned and of what we have taught. If you apply these ten suggestions when developing your story for trial, your story will be more persuasive, and you will radically increase your chances of winning your case. Here is the fifth of these ten tips. 5. It is crucial to make your audience care about the characters in your story. It’s never just about a company. It’s never just about the CEO, and if Hollywood can make you care about a mute trash robot named WALL-E, you can make your factfinders care about the characters in your story. A major way to lose an audience is to fail to develop characters that a jury will care about. you don’t develop such characters, your jury will either not care about your side or will turn against your client from the start. Unfortunately, about half of all trial teams fail to properly develop the characters in their litigation story, and their cases suffer terribly for it. The excuses are numerous: from ‘We’re a big company, we don’t have individual characters” to “Everyone on our side is perceived as bad.” These are just excuses. I can guarantee that 99.9 percent of the time, there will be characters that can be developed. Here is a step-by-step guide to using Joseph Campbell’s model of the hero’s journey so as to turn your story’s main character into a hero. To make this useful pattern more accessible, I have attempted to use plain language to describe the steps. My plain language description is followed in parentheses by the name that Campbell gave to it. Also, to help bring the process alive, I have matched each step with an example from a hypothetical legal and technical fact pattern, typical of the cases we most often see at A2L. Here, our heroine is a lower-level employee at a stagnant remote-control manufacturing company, and she has an idea for a breakthrough product -- a remote control operated not with a handheld device but by wireless physical hand gestures. Something Interrupts the Ordinary (Campbell's Call to Adventure): Describe the status quo as it was at the time. Then describe that moment when someone sees an opportunity for change or a new threat emerges. In the hypothetical example, remote controls are functional uninspiring devices that get lost, wear out and have undergone little change for 25 years, in the same era that saw the mass deployment of handheld phones and personal computers. Inspired by watching her nieces play a TV-displayed game that uses hand gestures instead of controllers, our heroine imagines a world where hand gestures alone can manipulate her television and replace standard remote controls. At work the next day, she hears a speech by the firm’s CEO who is looking for new ideas. Obstacles Arise (Campbell's Refusal of the Call): Share how obstacles arose from the very beginning that prevented your client from taking the leap of faith required to pursue the opportunity. Example: After hearing the speech, our heroine brings the idea to the attention of management at the remote-control factory and was laughed out of the executive suite. She figured they were in management for a reason and went back to manufacturing remote controls as before. A Mentor or Helper Appears (Campbell's Supernatural Aid): Explain how your client gets some unexpected assistance that is a sensible next step in bringing the opportunity to reality. Example: Our heroine attends a consumer electronics conference that shows off some new gaming technology that reminds her of her idea. She talks with the reps at the trade show booth about applications they’ve considered for their wireless controllers. They suggest she show them what she has in mind.

This article is the second in a series of four articles about courtroom storytelling (here is a link to part 1). My goal in this series is to reveal some of the tricks of the persuasive storytelling trade in one place for the busy trial lawyer. I hope that these recommendations can serve as a pretrial checklist for anyone who wants to draft an opening statement. A2L’s litigation consultants have published dozens of articles about storytelling, and we’ve released books and webinars on the subject. These ten tips represent the essence of what we have learned and of what we have taught. If you apply these ten suggestions when developing your story for trial, your story will be more persuasive, and you will radically increase your chances of winning your case. Tip #2. Charisma and likability matter. The best set of facts may not save a trial lawyer who is unattractive and poorly dressed. This isn’t fair or right, but it is a reality that science proves out. For these reasons and more, it is imperative to put your best foot forward. "Your job as a persuasive litigator is to understand the factors that can be used properly and ethically to be more likable and thus more persuasive. As your case becomes more complicated, jurors are more likely to seek shortcuts and give more weight to easier factors to understand, such as which attorney they like and which they don’t. The less personally involved jurors are with evidence, such as information that is too dry or difficult, the more they tend to rely on peripheral cues rather than on an argument’s actual strength. Being liked is an important ingredient in the cocktail of peripheral cues jurors use to decide whom to believe." See, Like It or Not: Likability Counts for Credibility in the Courtroom

No matter where you stand on the border wall dispute that has captivated the nation, you have to admit that it is an important debate. After all, $5 billion is a lot of money and who knows if the wall will really make a difference. But allowing between 200,000 and 2,000,000 people to easily enter the United States every year via the border with Mexico is probably not a good thing either. You probably just automatically identified yourself with one of those two previous sentences and took it as your position, right? The other sentence may have even made you angry or at least started you thinking about counter-arguments. In other words, like most political discussions, minds are rarely changed by more facts. It's kind of like a jury trial, right? You hear one side. You attach to it emotionally and then proceed to ignore evidence that is contrary to your new belief. In jury consulting-speak, this phenomenon is called confirmation bias. As a jury consulting firm, we've written about confirmation bias many times. See, for example: I’m Right, Right? 5 Ways to Manage Juror Bias Jurors Will Believe Anything (That They Already Believe) When Smart Ain’t So Smart - Cognitive Bias, Experts and Jurors Font Matters - A Trial Graphics Consultant's Trick to Overcome Bias Could Surprise Be One of Your Best Visual Persuasion Tools? 7 Ways to Overcome Cognitive Bias and Persuade However, A2L is not just a jury consulting firm. We’re also a top-ranked litigation graphics firm (and litigation consulting and trial technology consulting firm). So I'm always baffled by big disputes where the participants fail to use pictures effectively. In this day and age, there is no excuse. The science of visual persuasion is well established. See, What is Visual Persuasion and What Do You Need to Know About It?

A couple of years ago, I was involved in running a genetics conference focused on using genetics as a defense tactic in civil cases, much in the way that DNA evidence is used in criminal cases. I've been working with experts in this field ever since. A few months back, I wrote an article about the clever use by plaintiffs of litigation graphics and genetics in the baby powder (talc) cases (see Some Lessons for Defendants From the Talc Liability Trials), including a $4 billion verdict against a major talc manufacturer. When I write about various types of cases, I often hear from lawyers who handle the types of cases I write about. On my post on the use of genetics evidence in the talc litigation, how many talc defense lawyers do you think I heard from? If you guessed zero, you'd be exactly right. And that's a problem. Not ready to accept that this is a problem for defendants? Then I will ask whether the plaintiffs’ talc bar was similarly unresponsive. As you can probably guess from the way I posed the question, the answer is no. Out of discretion, I won't say exactly who or how many responded, but it was more than zero. Even though there is more to gain for the defense bar from understanding and leveraging these critical tools, it’s the plaintiffs’ lawyers who are most active in the field, striving to improve their approach. From the defense bar — crickets. And that's the problem I'm seeing in the way some of these talc cases are being defended. Defense counsel appear to be playing defense – and completely ignoring the key point that the best defense in litigation is a good offense. These verdicts are having an impact on the companies involved. Last Friday, on December 14, 2018, shares of Johnson & Johnson fell 10 percent and were set to have their largest percentage drop in more than 16 years, after Reuters reported that the company knew for decades that there was some asbestos in its baby powder. Yesterday, December 18, 2018, Johnson and Johnson ran the full page ad seen here in an attempt to manage this growing crisis. For trial lawyers and litigation consulting firms like ours, these asbestos allegations are not new or surprising. It's what plaintiff's have alleged recently and have used to prevail in these cases. The surprising thing in these cases is defense counsel's unnecessarily passive approach. When products are accused of causing harm, defense lawyers often choose one of the following defense strategies: Assert the harm was caused by something else but we don’t know what (the “idiopathic” defense) Assert the harm was caused by something else and we know exactly what. Typically, most defendants have chosen the ‘we don’t know what other thing caused it’ strategy because it avoids giving up the favorable allocation of the burden of proof and assuming the very specific (and often difficult) burden of proving an alternative cause – much as criminal defendants take advantage of the “beyond a reasonable doubt” standard. Not surprisingly, this argument generally falls flat. Recently, the plaintiffs’ bar won a multi-billion-dollar verdict by asserting that there is asbestos in talc and that it causes mesothelioma. This is highly improbable for several logical reasons — but jurors tend to follow emotion first and logic second when deliberating. If asbestos is present in baby powder at all, it would be in such small amounts that one could not reasonably connect mesothelioma to it. If defense counsel asserts (as they have been) that the mesothelioma was caused by some other identified source of asbestos, and not by talc, that leaves jurors without the necessary tools to argue for a defense verdict during deliberations. So, what if defense counsel could instead prove that the plaintiff’s mesothelioma was caused by something other than asbestos in baby powder? Something identifiable, measurable, and specific. Using modern genetics, this is now possible. And it is a major sea change.

This weekend, television news is sure to be dominated by Hurricane Florence. Many of us will watch the all-too-familiar scenes of high waves hitting the coastline and reporters being blown about by powerful winds. It's almost routine from a TV-watching perspective. But one unusually persuasive graphic caught my attention this week. Did you happen to see the Weather Channel’s storm surge simulation? I think it’s brilliant, and it potentially offers some lessons for forward-thinking trial counsel. The simulation begins at the 55-second mark in the video below:

Trial teams frequently wrestle with questions surrounding how simple a trial presentation should be. It’s a good thing to worry about. They worry about coming off as condescending. They worry about the story being impossible to simplify. They worry about what order to tell the story in. These are all understandable questions to wrestle with. Unfortunately, on the question of how simple a case should be made, I think most trial teams end up talking themselves out of the right answer. So here’s the answer in five parts. A trial presentation should be so simple that:

Here at A2L, we are delighted to introduce John Moustakas, our new Managing Director of Litigation Consulting and General Counsel. John comes to us from the international law firm Goodwin Procter, where he was a partner in the firm’s Securities Litigation and White Collar Defense Practice. John is a highly successful trial lawyer who has tried more than 45 cases to a jury. John spent more than six years as a prosecutor in the U.S. Attorney’s Office for the District of Columbia, before returning to Shea & Gardner, where he had begun his legal career. In addition to trying numerous criminal cases for the United States, John has tried a variety of civil matters in a combined 20 years in private practice at Shea & Gardner and its successor, Goodwin Procter. John laments the fact that, for many reasons, far fewer cases go to trial in the corporate world than even 20 years ago. “My approach to practicing law is pretty old school,” he says. A generalist at heart, John “always loved the variety of litigation and never wanted to be pigeon-holed.” He’s tried a wide variety of matters ranging from homicides and public corruption on the criminal side to civil disputes over contracts, torts, real estate, employment, securities, and civil rights, to name a few. The unique focus of his new position attracted John. “Above all else, I’ve most enjoyed the storytelling aspect of my work -- figuring out how to engage the jury and make them want us to win.” Although he will no longer be a client’s advocate in court, he relishes the trade-off. “Instead of trying my own case every four or five years, if I’m lucky, every matter I’ll be consulting on will be one bound for trial. If I can leverage my experience to help others try their cases more persuasively, I will be one very happy guy,” he says. John says that one key to a trial lawyer’s success is to follow his or her own natural style and temperament. “The jury, as a collective, is uncannily able to sniff out BS,” he says. “Pretend to be something or someone you’re not, and they will see right through you.” Convinced that his authenticity was the greatest contributor to his success as a trial lawyer, John’s mission is to keep A2L’s clients true to their nature. “So, while the goal is to help our clients strengthen their presentations with an emphasis on creating resonant themes and the engaging visuals that support them,” he says, “we help by pruning, not slashing -- by seasoning, not scrapping the recipe. The lawyers it is our privilege to work with need nothing more. While they cover the entire waterfront, sweating every detail, we have the luxury of focusing narrowly and with a bit of detachment. And that is not only a rewarding role, but one that our clients feel makes a meaningful difference.” John looks forward to bringing his insights and experiences to bear in this new chapter of his career in a way that makes that kind of difference. He can be reached at moustakas@A2LC.com or 703.548.1799. Related A2L resources about storytelling, litigation consulting, mock trials, and creating trial presentations that persuade: 9 Reasons Litigation Consultant is the Best Job Title in Litigation Who Is, and Who Isn’t, a Litigation Consultant? Free PDF: Why Work with A2L on Your Next Trial 3 Types of Litigation Graphics Consultants Top trial lawyers talk about working with A2L Top trial lawyers explain why storytelling is so critical for persuasion 10 Things Litigation Consultants Do That WOW Litigators Free E-Book: What is the Value of a Litigation Consultant? 21 Reasons a Litigator Is Your Best Litigation Graphics Consultant 3 Types of Litigation Graphics Consultants Free Webinar: Storytelling as a Persuasion Tool Free E-Book: Storytelling for Litigators Your Coach Is Not Better Than You – in the Courtroom or Elsewhere 10 Types of Value Added by Litigation Graphics Consultants Explaining the Value of Litigation Consulting to In-House Counsel 17 Reasons Why Litigation Consultants Are Better at Graphics Than Law Firms $300 Million of Litigation Consulting and Storytelling Validation Top 7 Things I've Observed as a Litigation Consultant

Roughly half of our business involves the creation of PowerPoint presentations for opening statements, closing arguments and expert witnesses. To create these presentations, our litigation consultants, typically seasoned trial lawyers and communications experts, work with our creative staff to turn the trial strategy into presentations that will motivate decisionmakers to make the “right” decisions. In a trial with millions or billions at stake, our final draft for an opening is typically version 30 or higher — and I've seen version 80 in a very large trial. Why so many versions? This is the result of what great trial lawyers do: They work with our team and iterate until perfection is achieved. However, every presentation starts with a first draft, and after three decades in this industry, I can say that a first draft sets the tone for the entire engagement. Handle it well, and trust is formed and there is a nice creative arc free from anxiety. Handle the rollout of the first draft wrong, and trust never kicks in, micromanagement dominates, and the deck becomes a “horse designed by committee.” So what’s the magic to the rollout of a first draft?