Field Note
Founded in Atlanta, 2013 + Story before slides + Message · Experience · Confidence + B2B communications

Company profile · Communications · Atlanta

The Agency That Put the Story Before the Slide

Chainsaw Communications has spent more than a decade attacking a peculiar corporate problem: important work made forgettable by the way it is explained. Its remedy begins before anyone opens PowerPoint.

A corporate presentation can fail while every sentence in it is technically correct. The market analysis may be current. The chart may have labels. The logo may sit exactly where the brand manual instructed. Still, halfway through slide 17, something vanishes. The audience can see the work, yet cannot say why the work matters.

This is the small mystery around which Chainsaw Communications has built a business. The Atlanta-founded studio works with people who live inside complicated organizations - operators, executives, marketers, sales teams and business-development leaders. These people are often fluent in their own machinery. Their problem begins when they must carry that fluency across a border: from the operating floor to the client meeting, from the executive office to the workforce, or from the expert to the buyer.

Chainsaw's claim is that meaning gets lost before the design goes wrong. Complexity flattens the message. Familiar language hardens around it. Soon a consequential idea sounds like every other corporate idea. The company has a good name for the destination: the Corporate Echo Chamber.

“Great communication doesn't start with polish.”Chainsaw Communications

The first casualty is meaning

Founder Beth Penland arrived at this problem from marketing, sales and presentation work. She founded Chainsaw in 2013. Three years later, in an interview with the German newspaper ZEIT, she described a habit learned in the American South: people turn even a trip to the supermarket into a story. The point was not theatricality. A story gives the listener a route through the information.

Penland was equally clear that facts still matter. When a company evaluates a supplier, evidence about size, location and performance belongs in the decision. Her approach is to investigate the organization and its people, then use that information as the foundation of the communication. Story is structure, not a substitute for proof.

That distinction separates Chainsaw from the presentation shop hired after the argument is finished. A conventional design assignment begins with a file: make these slides cleaner. Chainsaw's current language begins with a gap: what we say versus what other people understand. Once the problem is defined that way, the deliverable can be a narrative, a visual system, online content, speaker coaching or a combination of them. The company sells custom professional services, not software seats or a fixed menu of templates.

Chainsaw Communications illustration of an orange lightbulb set into interlocking gears
The idea is the bright part. The gears are everything required to make it useful on Monday.
3Core audiences
3Moves in the method
1Job: make meaning travel

Three cuts, in the right order

The present-day offer is unusually tidy. First, clarify the message. Second, design the experience. Third, build confidence. The sequence matters because each stage corrects a different failure.

01 / MESSAGE

Find the stakes

Locate the story inside the work so an audience can understand the consequence, not merely the process.

02 / EXPERIENCE

Give it shape

Use images, symbols and visual rhythm to help a complex idea become graspable without sanding off its substance.

03 / CONFIDENCE

Make it human

Coach the presenter until the message lands with presence and credibility, rather than sounding memorized.

The first move serves the operator who needs a client to see value beyond a list of tasks. The second serves the executive who must lead through uncertainty without burying the room in abstractions. The third serves the business-development team whose technically accurate pitch still leaves the buyer comparing only price.

An early public example sits in an unexpected place. A 2013 SlideShare presentation created for the Global Soap Project builds from a large health problem toward an organizational journey, the people served and a specific invitation to participate. The artifact is old, but it reveals the durable mechanics of the practice: scale, sequence, human consequence, action.

A small agency in an overcrowded market

Chainsaw occupies the seam between several familiar businesses. Presentation agencies can make decks look better. Brand consultancies can sharpen positioning. Content shops can produce campaigns. Executive coaches can improve delivery. Internal communications teams can translate strategy for employees. Chainsaw bundles pieces of all five around a narrower promise: help people inside complexity explain why their work matters.

Its public footprint is compact. LinkedIn lists the company as privately held, founded in 2013, with an Atlanta headquarters and another location near Macclesfield in the United Kingdom. The listed specialties include presentation development, marketing support, presenter training and corporate messaging. Public company language also describes segmented inbound content designed to help B2B buyers understand value before a choice collapses into a price comparison.

That makes the customer profile more specific than “anyone who needs marketing.” Chainsaw is useful when expertise is abundant but translation is scarce: a support function that clients underestimate, a leader carrying an uncertain strategy, or a sales team whose offering resists a neat product-demo script. The work competes as much with an internal workaround - another template, another committee edit, another rehearsal at 10 p.m. - as it does with other agencies.

The audience is not the final stop in the communication. It is the next narrator.

The piece worth stealing

The most portable part of Chainsaw's method costs nothing to try. Before building the deck, decide what the listener should be able to repeat the next morning. Not the slogan. Not the list of features. The consequential sentence: what changes for whom, and why should that person care?

A five-minute pre-slide test

  1. Write the audience in human terms, not as a segment code.
  2. Name the decision, feeling or action the communication must enable.
  3. State one consequence of the work in a sentence a colleague could repeat.
  4. Choose only the evidence that earns that sentence.
  5. Design the visuals, then rehearse the human delivering them.

There are limits. A strong narrative cannot rescue a claim with no evidence, an offer with no advantage or a strategy whose owners do not agree. Visual simplicity can also become distortion when the underlying subject demands caveats. The method works when a team knows enough to be precise, is willing to choose what matters and gives the presenter room to sound like a person.

The funny thing about corporate communication is that the most expensive failures often look perfectly respectable. The deck arrives on time. Every stakeholder has contributed a sentence. Nothing is visibly broken. Then the audience leaves unable to explain it.

Chainsaw's useful provocation is to treat that outcome as a design flaw with an earlier cause. The first thing to fix is not the font. It is the distance between the work and its meaning. Once that distance closes, the slide finally has a job it can do.