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[Solved] Intervention Communication Plan

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Executive Solution Overview

Intervention Communication Plan ## **Context** You've designed your intervention plan; now it is time to plan your implementation. Implementing interventions or projects is a key function of Master's-prepared public health practitioners. Additionally, communicating the plan to the relevant stakehold…

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Assignment Prompt & Instructions

Intervention Communication Plan
## **Context**
You've designed your intervention plan; now it is time to plan your implementation.
Implementing interventions or projects is a key function of Master's-prepared public health practitioners. Additionally, communicating the plan to the relevant stakeholders and community members is a critical component of the success of any intervention or project.
## **Assignment Instructions**
For this assignment, imagine presenting the implementation plan of your intervention to internal stakeholders.
Use Kaltura to record yourself giving your presentation. If you need help, you may wish to review [Using KalturaLinks to an external site.](https://lat.strategiced.com/redirect?linkid=3461).
The presentation that you create for this assignment should serve three main purposes:
– To educate the leadership group regarding the population health issue, current gaps and barriers, while persuasively communicating the need for the intervention and the effectiveness of the implementation and communication strategies
– To present communication strategies that will help build buy-in with internal stakeholders and strategies to raise awareness and understanding of the intervention in the target population.
– To communicate how external stakeholders will benefit and provide appropriate communication strategies to engage external stakeholders.
The presentation itself should be in the form of a PowerPoint presentation, 15 to 20 slides in length, not including references. In general, about half your presentation should focus on providing the audience with an overview of the most relevant information regarding socioeconomic determinants, gaps in care and resources, as well as your intervention plan and its potential implementation.
The other half should focus on the communication strategies for the two audiences of your intervention—internal stakeholders and the target population. When thinking about communication strategies, think of the ways to leverage technology and social media. This could include approaches such as a blog, a Facebook page, an X [Twitter] hashtag, or a YouTube channel. Think about what ways each audience prefers to communicate and has access to when researching and proposing your communication strategies.
In your presentation, show a one-page info sheet (flyer) designed to communicate or recruit participants to take part in the intervention or program you are proposing. Remember, this one-pager should use appropriate literacy strategies for your audience and include the necessary information for participants to engage with internal stakeholders. Keep in mind this flyer could be used as a stand-alone info sheet or potentially in a social media campaign. You will also need to submit the one-page flyer as a PDF when uploading your presentation.
One potential approach to outlining your PowerPoint is as follows. However, you should construct your assignment submission in a way that makes sense to you and could be potentially useful in your personal or professional pursuits.
**Possible presentation outline:**
– Title Page.
– Problem and Plan Overview.
– Current state of a health need or problem within the target population.
– Why should this be addressed? Providing information regarding how addressing this issue will improve health outcomes for the population is an important persuasive strategy.
– Socioeconomic and behavioral determinants impacting the problem and population.
– Current resources (or lack thereof) and gaps/barriers related to improving health.
– Discussion of the intervention and implementation plans.
– Who will be implementing the intervention?
– Where will the intervention take place?
– What will the intervention activities include?
– What theory is grounding the intervention?
– Communication Strategies.
– Proposal of communication strategies for creating buy-in and engagement for internal audience who will be part of the implementation. Providing scholarly and professional support for your proposed strategies is an important persuasive strategy.
– Proposal of communication strategies for building awareness and understanding of the intervention within the target population. Providing scholarly and professional support for your proposed strategies is an important persuasive strategy.
– Intervention Outcomes.
– Outline how the initial implementation will be measured. How will you define a successful implementation?
– Identify program outcomes. These should demonstrate the success of the program.
– Conclusions.
– Reference List.
Please note, there should be two files submitted:
– A PPT or PPTX file of your presentation. You cannot upload slides from google slides or any other cloud-based service.
– The link to your recorded Kaltura presentation. (This can be placed on the last slide of the presentation or in the dialogue box when submitting).
– A PDF of the one-page flyer for the external stakeholders (participants).
**Note:** You need to submit your PowerPoint and PDF one-pager at the same time. So, make sure you have completed both before submitting your assignment.
Make sure to address the following scoring guide criteria in your presentation:
– Summarize a public health need of a chosen population and the relevant socioeconomic and behavioral determinants.
– Summarize the current gaps and barriers regarding improving health and resources for the chosen population.
– Summarize an evidence-based intervention plan to improve the outcomes related to a population health need of a chosen population.
– Propose communication strategies to build buy-in and engagement of internal audiences who will implement the population health intervention.
– Propose communication strategies that apply awareness of cultural values and practices to the design or implementation of the program via cultural adaptation/ tailoring of the intervention, community involvement in planning, etc.
– Utilize literacy strategies to create an informational advertisement to engage the target population.
– Communicate clearly and logically, with correct use of spelling, grammar, punctuation, and mechanics.
## **Submission Requirements**
– **Total length of PowerPoint:**15–20 slides, not including references.
– Record yourself giving your presentation with Kaltura. Include the link on the last slide of the presentation or in the dialogue box when submitting.
– **Flyer:** One-page info sheet (flyer) designed to communicate or recruit participants.
– **Written communication:** Written communication is free of errors that detract from the overall message.
– **Number of references:** Minimum of ten scholarly or professional references from appropriate sources.
– **APA formatting:** Citations and references should follow APA formatting guidelines. See [Evidence and APALinks to an external site.](https://lat.strategiced.com/redirect?linkid=1540).
## **Competencies Measured**
By successfully completing this assignment, you will demonstrate your proficiency in the following course competencies and rubric criteria:
– Competency 1: Explain the social and behavioral factors that impact the health of individuals and populations.
– Summarize a population health need of a chosen population.
– Competency 2: Utilize theories and models from the social and behavioral disciplines.
– Utilize literacy strategies to create an informational advertisement to engage the target population.
– Competency 3: Assess population needs, assets, and capacities that affect communities’ health.
– Summarize the current gaps and barriers regarding improving health and resources for the chosen population.
– Competency 4: Design an evidence-based, population-based intervention.
– Summarize an evidence-based intervention plan to improve the outcomes related to a population health need of a chosen population.
– Competency 5: Select communication strategies for different audiences and sectors.
– Propose communication strategies to build buy-in and engagement of internal stakeholders who will implement the population health intervention.
– Propose communication strategies that align with the targeted population's needs, demographics, and interests and will serve to build awareness and understanding of the intervention program.
– Competency 6: Communicate audience-appropriate public health content in a logically structured and concise manner, writing clearly with correct use of grammar, punctuation, spelling, and APA style.
– Convey purpose, in an appropriate tone and style, incorporating supporting evidence and adhering to organizational, professional, and scholarly writing standards.
## **Competencies Measured**
By successfully completing this assignment, you will demonstrate your proficiency in the following course competencies and rubric criteria:
– Competency 1: Explain the social and behavioral factors that impact the health of individuals and populations.
– Summarize a population health need of a chosen population.
– Competency 2: Utilize theories and models from the social and behavioral disciplines.
– Utilize literacy strategies to create an informational advertisement to engage the target population.
– Competency 3: Assess population needs, assets, and capacities that affect communities’ health.
– Summarize the current gaps and barriers regarding improving health and resources for the chosen population.
– Competency 4: Design an evidence-based, population-based intervention.
– Summarize an evidence-based intervention plan to improve the outcomes related to a population health need of a chosen population.
– Competency 5: Select communication strategies for different audiences and sectors.
– Propose communication strategies to build buy-in and engagement of internal and external stakeholders who will implement the population health intervention.
– Propose communication strategies that align with the targeted population's needs, demographics, and interests and will serve to build awareness and understanding of the intervention program.
– Competency 6: Communicate audience-appropriate public health content in a logically structured and concise manner, writing clearly with correct use of grammar, punctuation, spelling, and APA style.
– Convey purpose, in an appropriate tone and style, incorporating supporting evidence and adhering to organizational, professional, and scholarly writing standards.

November 5, 2026
[Solved] Project

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Executive Solution Overview

See attached – ## GizmotronsProductRolloutcopy.docx – ## TeamCharterexample.docx **## GizmotronsProductRolloutcopy.docx** **DELIVERABLE** This deliverable requires you to create a project charter, a WBS in pictorial inverted- tree format, and an MS Project file for the project. The WBS pictorial can…

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Assignment Prompt & Instructions

See attached

– ## GizmotronsProductRolloutcopy.docx

– ## TeamCharterexample.docx

**## GizmotronsProductRolloutcopy.docx**

**DELIVERABLE**

This deliverable requires you to create a project charter, a WBS in pictorial inverted-

tree format, and an MS Project file for the project.

The WBS pictorial can be put together using any software you wish. One easy way to do this is

to use the MS Excel org chart template. Stormboard (which currently has a free subscription),

Visio, MS PowerPoint, etc. are other tools you may wish to consider. A neat and
**very legible**

hand-drawn version is also acceptable.

Your Microsoft Project file must clearly reflect the structure of your WBS inverted-tree pictorial,

should show all activities under each work package, their duration, and their dependencies

(predecessors), as well as clearly show the critical path (or paths) colored in RED. In addition,

add a column to your MS Project file labeled "OWNER" and place in it, for each activity, the

name of the team member who identified that activity and provided and verified correctness of

the duration and predecessors of that activity.

**Gizmotron’s Product Rollout**

The selected project should bring out real-world consideration and challenges, so it should not be too simple or trivial. Here are basic assignment requirements which will ensure that your project is not too easy or too challenging:

Make sure that there are three or four main deliverables (first level of WBS)

Have between 10 to 16 work packages (“leaves” of the WBS)

Have between 25 to 40 activities

The activities should have a reasonable amount of concurrency, meaning that it should be

possible to perform some of them in parallel.

Gizmotron’s Product Rollout

Note: The information in the project description below provides most but not all information that you will need to develop reasonably sound scope, schedule, and cost baselines for the product rollout project. There are some deliberate minor gaps in the information that will require you to use some common sense and judgment, even some plausible intuition/guesswork in a very few cases. Seldom will youencounter real life projects that are detailed to 100% accuracy and perfection, so this project is intended

to demonstrate that there is some room for judgment, flexibility, reasonable assumptions, and common

sense in project management, as opposed to investing unreasonable amounts of time and effort in

striving for complete perfection and accuracy (which are usually not attainable anyway!). Hence, there is

no one right “solution” here. Different teams could come up with slightly different scope, schedule, and

cost baselines. When you work through this assignment as a team, do not waste time quibbling over infinitesimal details. Strive for a “roughly right” but logically and practically sound approach which you can defend if you need to.

Gizmotron is rolling out a new product in several metropolitan areas in the US. For the purposes of this assignment, let us restrict our attention to the Chicago area. An extensive marketing campaign is being planned in eight Chicagoland suburbs. For the purposes of this assignment, you may group the campaigns for the eight suburbs, so there is just one Chicagoland campaign as opposed to eight separate ones.

The Chicagoland marketing campaign comprises three major efforts, which are distinct but interrelated, meaning that there are dependencies between activities in the three efforts: Publicity, events, and sales/marketing. Here is a brief description of each of the three efforts:

1. Publicity: News of the event needs to be disseminated. This will be done via mailings (of a

brochure) and media (radio and TV ads). Mailings require graphics design, developing a

brochure (based on the graphics design and content provided by the sales/marketing effort),

and a two-part mailing campaign: paper-mail as well as e-mail. The paper-mail campaign is to

occur a week after the email campaign has ended (because the email campaign will generate

some leads on who should be targeted in the paper-mail campaign). The media component has

two aspects: radio ads and TV ads, each of which requires scripting and slotting (when to run the

ads). Some details associated with the various activities are:

a. Graphics design is based on “intelligence” provided by the sales/marketing effort that provides

the graphics design team a draft proposal of the key types of messages to include and also some

content to back-up those messages. (The graphics design team may further refine the content.)

Graphics design takes 8 business days (after the draft proposal has been received). Its total cost is

approximately $5,000.2. 3.

b. The brochure takes 4 business days (after graphics design is completed) to finalize and the cost is

about $2,000

c. The e-mail campaign commences right after the brochure is ready and takes 1 business day (cost

$6,000). A week after the email campaign ends, the paper-mail campaign commences and lasts 3

business days (cost $5,000).

d. Scripting for the radio and TV ads take 3 business days and 7 business days (respectively), costs

being $2,000 and $5,000 (respectively). The scripting is also based on the draft proposal from

sales/marketing. The slotting effort for the radio and TV ads takes 2 business days each (at a cost

of $1,000 each). The radio ad slotting uses a radio listener report done by the sales/marketing

team, and the TV ad slotting uses a TV watchers report, also done by the sales/marketing team.

The radio and TV ads run over a period of 10 business days, commencing immediately after

slotting has been finalized.

Events: The events effort comprises venue identification and setup, catering, and agenda

finalization (speakers, entertainment, giveaways, etc.). Venue identification and setup as well as

catering are contracted out to companies who can be trusted to complete on time and budget.

Venue identification takes 5 business days (cost $2,000 for eight venues) and must be

completed before the brochures are finalized (simply because the addresses are needed for the

brochures). Venue setup is the act of determining how much space to rent at the venue, how

the space will be organized, etc. This cannot be started until after the mailing campaigns (paper

and email), radio and TV ads have run (because campaign statistics/viewership is used to

estimate event attendance). Venue setup (for all 8 venues) takes 6 business days and costs

$5,000.

Catering cannot be started until after the mailing campaigns (paper and email), radio and TV ads

have run, and (for all 8 venues) takes 6 business days to finalize, with catering costs dependent

on projected attendance. From historical data, catering costs are estimated to average $4,000

per venue.

Agenda finalization requires contracting (for speakers, entertainment, etc.) and product

promotion planning (displaying, demonstrating, giveaways, etc. of products). The contracting

and promotion planning are both dependent on projected attendance. Contracting (for all 8

venues) takes 6 business days and the total costs are anticipated to be around $60,000 (which

includes speaker fees). Total promotion planning duration is 10 business days (cost $35,000,

which includes product giveaways).

Sales/marketing: This effort comprises (market) message development, marketing analysis,

surveys, and legal approval. Message development is broken into two parts: draft proposal development (5 business days, $5000) and executive approval (2 business days, $1,000). The message development does not start until after the surveys are completed. The survey effort comprises focus groups (10 business days, $15,000) and web surveys (4 business days, $6,000). Marketing analysis includes development of a radio listener report and a TV watchers report, each of which takes 3 days and costs $2,000. The surveying effort requires legal approval (2 days, $1,000 for each approval) prior to conducting focus groups and web surveys, and the draft proposal requires legal approval after it is developed (and before it is released to the

promotions team).

**## TeamCharterexample.docx**

**Team Charter: Grey, Timothy, and Spencer**

**Communication Plan**

Grey will be responsible for the Communication Plan. Our team will coordinate primarily through email and group chat to ensure rapid responses and accountability. Weekly virtual meetings will be held to track progress, clarify responsibilities, and discuss challenges. All updates and meeting notes will be stored in a shared document repository for transparency.

**Conflict Management Plan**

Grey will also be responsible for the Conflict Management Plan. In cases of conflict, the first step will be direct communication between the involved parties. If unresolved, the issue will be escalated to the team as a whole during scheduled meetings. For non-responsiveness, a reminder will be sent after one day, followed by escalation to the professor if no communication occurs within three days. Emergency situations will be accommodated by redistributing tasks.

**Document Management Plan**

Spencer will manage the Document Management Plan. All team documents will be stored in a central shared drive (e.g., Google Drive or OneDrive) with clearly labeled folders for drafts, finalized documents, and reference materials. Version control will be maintained by including dates in file names and only one person at a time making edits to avoid conflicts.

**Quality Plan**

Spencer will also oversee the Quality Plan. All documents and deliverables will undergo peer review by at least one other team member before submission. Formatting will follow APA guidelines, and a standardized template will be used to maintain consistency. Final review sessions will be conducted prior to submission to ensure accuracy, completeness, and professionalism.

**Roles & Responsibilities**

Timothy will lead the Roles & Responsibilities section. Work will be divided among the team to ensure balanced workload distribution. Grey will handle Communication and Conflict Management, Spencer will oversee Document Management and Quality, and Timothy will coordinate overall team responsibilities and finalize role assignments. A fictitious customer role will be assumed by one designated team member to provide realistic project dynamics, and this role will be rotated if necessary. Everything will be completed on or before 1 September 2025.

**Quality Plan**

**Purpose and quality objectives**

Our goal is to deliver a four-page Team Charter that is fit for purpose and meets stakeholder expectations: clear, complete, consistent, and aligned to the assignment brief. In PMBOK 7e terms, quality activities should both move the deliverable quickly to the point of delivery and prevent or catch defects early to avoid rework, while aligning with explicit acceptance criteria.

**Acceptance criteria and “Definition of Done”**

The assignment’s Quality Plan must ensure the final submission:

1. addresses all five required charter elements and fits within four double-spaced pages;

2. demonstrates high-level integration of PMBOK 6e Integration and Scope processes and PMBOK 7e principles;

3. uses consistent voice, APA citations, and polished mechanics; and

4. evidences a coherent team process (communication, conflict handling, roles).
We will operationalize these through a simple Definition of Done checklist that includes content coverage, style/format checks, and evidence that deliverables have been “verified” and then “accepted,” consistent with the path from Control Quality to Validate Scope and into Close Project or Phase.

**Standards and sources of truth**

Content must reflect the required readings: PMBOK 6e (Scope 5.1–5.6 at the appropriate high-level depth), PMBOK 7e Delivery Performance Domain (focus on value, deliverables, DoD), and the Team Charter instructions (Quality Plan and Document Management Plan expectations).

**Quality assurance (build quality in)**

Given our dispersed schedule (Grey in Japan/Philippines; Timothy in Tennessee; Spencer ramping up mid-week), we will design the workflow to surface issues early, reducing the cost of change. Each contributor drafts against the DoD by
**Monday 12:00 Eastern** (which is
**00:00 Tuesday PHT** and
**01:00 Tuesday JST**), enabling an early integrated review and defect prevention before we’re forced into costly late edits.

Practices:

•
**Calibrated outline** tied to the assignment rubric and readings before drafting (prevents scope and quality drift).

•
**Peer dialog** in Signal for ambiguities and edge cases; quick decisions reduce “done drift.”

**Quality control (verification and acceptance)**

We will use a two-gate approach:

•
**Gate 1 – Verification:** Monday consolidated draft is checked against the DoD, assignment guidelines, and references (content coverage, flow, APA, mechanics).

•
**Gate 2 – Acceptance:** A designated “customer” proxy performs a final acceptance read. This mirrors PMBOK’s flow from verified deliverables (Control Quality) to accepted deliverables (Validate Scope).

**Customer proxy:** Assign Spencer as the acceptance authority for this charter (he offered to take on larger sections and is assembling pieces). The instructor remains the ultimate customer; Spencer acts as our internal proxy for formal acceptance before submission. (This also satisfies the “customer role” requirement.)

**Metrics, thresholds, and escalation**

We will track three simple measures: a) completeness (all required elements present), b) conformance (APA/style/format), and c) coherence (logical flow across sections). Threshold: zero critical gaps; minor style issues acceptable if corrected by Tuesday morning. If Gate 1 uncovers material gaps, the section owner has a two-hour window to remediate; if not feasible, the compiler makes targeted edits. This satisfies the Quality Plan line items in the Team Charter Guidelines.

**Interface with Scope management**

Our quality controls reinforce scope discipline: we will
**Validate Scope** by comparing the assembled draft to the scope baseline implied by the charter instructions; any material scope change triggers a quick change decision in Signal (major change = consensus vote; minor edit = editor decision).

**Knowledge capture**

After submission, we log two lessons learned: one process improvement and one content insight, to seed the course repository. This aligns to Manage Project Knowledge in the weekly lecture.

**Document Management Plan**

**Repository and single source of truth**

We will use a shared Google Docs folder as the
**authoring** space and maintain a
**Master Charter** document as the single source of truth. Only the compiler edits the Master directly; contributors draft in their own files and paste into the Master during the integration window. This prevents collisions when “multiple team members contribute to the same document” and preserves integrity, per the Charter Guidelines.

**Access:** All teammates (Grey, Timothy, Spencer, plus the fourth member if they appear) have edit access; the compiler owns the folder and ensures backups.
**Communications:** Signal remains the rapid channel for coordination (already established in the thread). Meeting minutes, if any, are short and posted to the group space, as requested in the guidelines.

**Versioning and file naming**

Drafts use the pattern: Team#_Charter_<Section>_<Initials>_v0.1_YYYYMMDD-HHMM. The Master carries v1.0-Submitted upon finalization and is exported to PDF for submission. The version log sits at the top of the Master with date, editor, and a one-line change note. This lightweight configuration control mirrors PMBOK guidance to keep acceptance criteria and WBS-level attributes clear in the supporting “dictionary” for each deliverable segment.

**Contribution workflow and deadlines**

1.
**Drafting:** Each owner produces their section by
**Monday12:00 Eastern** (00:00 Tuesday PHT; 01:00 Tuesday JST).

2.
**Integration:** The compiler integrates from 12:00–16:00 Eastern and requests clarifications in Signal.

3.
**Gate 1 Verification:** 16:00–18:00 Eastern.

4.
**Gate 2 Acceptance:** 18:00–20:00 Eastern by the customer proxy.

5.
**Submission package:** Tuesday morning Eastern.
This cadence emphasizes early value and interim deliverables, consistent with PMBOK 7e’s Delivery of Value perspective.

**Change control within documents**

Minor editorial changes (grammar, local rewrites for cohesion) may be executed by the compiler without prior approval. Substantive content changes (adding or removing required elements) are flagged with a comment and decided in Signal via quick voting. This aligns with the integration/change-control flow highlighted in the Unit 2 lecture: small changes can be handled informally; larger ones should be explicitly decided and traced.

**Referencing and traceability**

We will cite PMBOK 6e/7e and the Unit 2 materials directly in text and reference list. A simple trace table (kept in the Master’s appendix) maps the five required charter elements to the exact paragraphs where they are addressed. This brings the spirit of a requirements traceability matrix to a short paper, ensuring every requirement adds value and is verifiably covered.

**Formatting and polish**

Style is APA, 12-pt font, double spacing, and consistent headings. We avoid overuse of lists and hyphens to maintain flow and a professional tone, as requested by the instructor’s guidelines for quality and coherence.

**Risk controls for distributed work**

Time-zone and availability risks (Grey traveling; fourth member absent) are mitigated by the Monday noon Eastern internal deadline and a single compiler. If a section is not delivered by the internal deadline, the compiler drafts a placeholder to maintain flow, then tags the owner for edits within the verification window. This keeps us oriented to deliverables instead of activities, a distinction Davidson stresses when “laying out your plan.”

**## TeamCharterexample.docx**

**Team Charter: Grey, Timothy, and Spencer**

**Communication Plan**

Grey will be responsible for the Communication Plan. Our team will coordinate primarily through email and group chat to ensure rapid responses and accountability. Weekly virtual meetings will be held to track progress, clarify responsibilities, and discuss challenges. All updates and meeting notes will be stored in a shared document repository for transparency.

**Conflict Management Plan**

Grey will also be responsible for the Conflict Management Plan. In cases of conflict, the first step will be direct communication between the involved parties. If unresolved, the issue will be escalated to the team as a whole during scheduled meetings. For non-responsiveness, a reminder will be sent after one day, followed by escalation to the professor if no communication occurs within three days. Emergency situations will be accommodated by redistributing tasks.

**Document Management Plan**

Spencer will manage the Document Management Plan. All team documents will be stored in a central shared drive (e.g., Google Drive or OneDrive) with clearly labeled folders for drafts, finalized documents, and reference materials. Version control will be maintained by including dates in file names and only one person at a time making edits to avoid conflicts.

**Quality Plan**

Spencer will also oversee the Quality Plan. All documents and deliverables will undergo peer review by at least one other team member before submission. Formatting will follow APA guidelines, and a standardized template will be used to maintain consistency. Final review sessions will be conducted prior to submission to ensure accuracy, completeness, and professionalism.

**Roles & Responsibilities**

Timothy will lead the Roles & Responsibilities section. Work will be divided among the team to ensure balanced workload distribution. Grey will handle Communication and Conflict Management, Spencer will oversee Document Management and Quality, and Timothy will coordinate overall team responsibilities and finalize role assignments. A fictitious customer role will be assumed by one designated team member to provide realistic project dynamics, and this role will be rotated if necessary. Everything will be completed on or before 1 September 2025.

**Quality Plan**

**Purpose and quality objectives**

Our goal is to deliver a four-page Team Charter that is fit for purpose and meets stakeholder expectations: clear, complete, consistent, and aligned to the assignment brief. In PMBOK 7e terms, quality activities should both move the deliverable quickly to the point of delivery and prevent or catch defects early to avoid rework, while aligning with explicit acceptance criteria.

**Acceptance criteria and “Definition of Done”**

The assignment’s Quality Plan must ensure the final submission:

1. addresses all five required charter elements and fits within four double-spaced pages;

2. demonstrates high-level integration of PMBOK 6e Integration and Scope processes and PMBOK 7e principles;

3. uses consistent voice, APA citations, and polished mechanics; and

4. evidences a coherent team process (communication, conflict handling, roles).
We will operationalize these through a simple Definition of Done checklist that includes content coverage, style/format checks, and evidence that deliverables have been “verified” and then “accepted,” consistent with the path from Control Quality to Validate Scope and into Close Project or Phase.

**Standards and sources of truth**

Content must reflect the required readings: PMBOK 6e (Scope 5.1–5.6 at the appropriate high-level depth), PMBOK 7e Delivery Performance Domain (focus on value, deliverables, DoD), and the Team Charter instructions (Quality Plan and Document Management Plan expectations).

**Quality assurance (build quality in)**

Given our dispersed schedule (Grey in Japan/Philippines; Timothy in Tennessee; Spencer ramping up mid-week), we will design the workflow to surface issues early, reducing the cost of change. Each contributor drafts against the DoD by
**Monday 12:00 Eastern** (which is
**00:00 Tuesday PHT** and
**01:00 Tuesday JST**), enabling an early integrated review and defect prevention before we’re forced into costly late edits.

Practices:

•
**Calibrated outline** tied to the assignment rubric and readings before drafting (prevents scope and quality drift).

•
**Peer dialog** in Signal for ambiguities and edge cases; quick decisions reduce “done drift.”

**Quality control (verification and acceptance)**

We will use a two-gate approach:

•
**Gate 1 – Verification:** Monday consolidated draft is checked against the DoD, assignment guidelines, and references (content coverage, flow, APA, mechanics).

•
**Gate 2 – Acceptance:** A designated “customer” proxy performs a final acceptance read. This mirrors PMBOK’s flow from verified deliverables (Control Quality) to accepted deliverables (Validate Scope).

**Customer proxy:** Assign Spencer as the acceptance authority for this charter (he offered to take on larger sections and is assembling pieces). The instructor remains the ultimate customer; Spencer acts as our internal proxy for formal acceptance before submission. (This also satisfies the “customer role” requirement.)

**Metrics, thresholds, and escalation**

We will track three simple measures: a) completeness (all required elements present), b) conformance (APA/style/format), and c) coherence (logical flow across sections). Threshold: zero critical gaps; minor style issues acceptable if corrected by Tuesday morning. If Gate 1 uncovers material gaps, the section owner has a two-hour window to remediate; if not feasible, the compiler makes targeted edits. This satisfies the Quality Plan line items in the Team Charter Guidelines.

**Interface with Scope management**

Our quality controls reinforce scope discipline: we will
**Validate Scope** by comparing the assembled draft to the scope baseline implied by the charter instructions; any material scope change triggers a quick change decision in Signal (major change = consensus vote; minor edit = editor decision).

**Knowledge capture**

After submission, we log two lessons learned: one process improvement and one content insight, to seed the course repository. This aligns to Manage Project Knowledge in the weekly lecture.

**Document Management Plan**

**Repository and single source of truth**

We will use a shared Google Docs folder as the
**authoring** space and maintain a
**Master Charter** document as the single source of truth. Only the compiler edits the Master directly; contributors draft in their own files and paste into the Master during the integration window. This prevents collisions when “multiple team members contribute to the same document” and preserves integrity, per the Charter Guidelines.

**Access:** All teammates (Grey, Timothy, Spencer, plus the fourth member if they appear) have edit access; the compiler owns the folder and ensures backups.
**Communications:** Signal remains the rapid channel for coordination (already established in the thread). Meeting minutes, if any, are short and posted to the group space, as requested in the guidelines.

**Versioning and file naming**

Drafts use the pattern: Team#_Charter_<Section>_<Initials>_v0.1_YYYYMMDD-HHMM. The Master carries v1.0-Submitted upon finalization and is exported to PDF for submission. The version log sits at the top of the Master with date, editor, and a one-line change note. This lightweight configuration control mirrors PMBOK guidance to keep acceptance criteria and WBS-level attributes clear in the supporting “dictionary” for each deliverable segment.

**Contribution workflow and deadlines**

1.
**Drafting:** Each owner produces their section by
**Monday12:00 Eastern** (00:00 Tuesday PHT; 01:00 Tuesday JST).

2.
**Integration:** The compiler integrates from 12:00–16:00 Eastern and requests clarifications in Signal.

3.
**Gate 1 Verification:** 16:00–18:00 Eastern.

4.
**Gate 2 Acceptance:** 18:00–20:00 Eastern by the customer proxy.

5.
**Submission package:** Tuesday morning Eastern.
This cadence emphasizes early value and interim deliverables, consistent with PMBOK 7e’s Delivery of Value perspective.

**Change control within documents**

Minor editorial changes (grammar, local rewrites for cohesion) may be executed by the compiler without prior approval. Substantive content changes (adding or removing required elements) are flagged with a comment and decided in Signal via quick voting. This aligns with the integration/change-control flow highlighted in the Unit 2 lecture: small changes can be handled informally; larger ones should be explicitly decided and traced.

**Referencing and traceability**

We will cite PMBOK 6e/7e and the Unit 2 materials directly in text and reference list. A simple trace table (kept in the Master’s appendix) maps the five required charter elements to the exact paragraphs where they are addressed. This brings the spirit of a requirements traceability matrix to a short paper, ensuring every requirement adds value and is verifiably covered.

**Formatting and polish**

Style is APA, 12-pt font, double spacing, and consistent headings. We avoid overuse of lists and hyphens to maintain flow and a professional tone, as requested by the instructor’s guidelines for quality and coherence.

**Risk controls for distributed work**

Time-zone and availability risks (Grey traveling; fourth member absent) are mitigated by the Monday noon Eastern internal deadline and a single compiler. If a section is not delivered by the internal deadline, the compiler drafts a placeholder to maintain flow, then tags the owner for edits within the verification window. This keeps us oriented to deliverables instead of activities, a distinction Davidson stresses when “laying out your plan.”

**## GizmotronsProductRolloutcopy.docx**

**DELIVERABLE**

This deliverable requires you to create a project charter, a WBS in pictorial inverted-

tree format, and an MS Project file for the project.

The WBS pictorial can be put together using any software you wish. One easy way to do this is

to use the MS Excel org chart template. Stormboard (which currently has a free subscription),

Visio, MS PowerPoint, etc. are other tools you may wish to consider. A neat and
**very legible**

hand-drawn version is also acceptable.

Your Microsoft Project file must clearly reflect the structure of your WBS inverted-tree pictorial,

should show all activities under each work package, their duration, and their dependencies

(predecessors), as well as clearly show the critical path (or paths) colored in RED. In addition,

add a column to your MS Project file labeled "OWNER" and place in it, for each activity, the

name of the team member who identified that activity and provided and verified correctness of

the duration and predecessors of that activity.

**Gizmotron’s Product Rollout**

The selected project should bring out real-world consideration and challenges, so it should not be too simple or trivial. Here are basic assignment requirements which will ensure that your project is not too easy or too challenging:

Make sure that there are three or four main deliverables (first level of WBS)

Have between 10 to 16 work packages (“leaves” of the WBS)

Have between 25 to 40 activities

The activities should have a reasonable amount of concurrency, meaning that it should be

possible to perform some of them in parallel.

Gizmotron’s Product Rollout

Note: The information in the project description below provides most but not all information that you will need to develop reasonably sound scope, schedule, and cost baselines for the product rollout project. There are some deliberate minor gaps in the information that will require you to use some common sense and judgment, even some plausible intuition/guesswork in a very few cases. Seldom will youencounter real life projects that are detailed to 100% accuracy and perfection, so this project is intended

to demonstrate that there is some room for judgment, flexibility, reasonable assumptions, and common

sense in project management, as opposed to investing unreasonable amounts of time and effort in

striving for complete perfection and accuracy (which are usually not attainable anyway!). Hence, there is

no one right “solution” here. Different teams could come up with slightly different scope, schedule, and

cost baselines. When you work through this assignment as a team, do not waste time quibbling over infinitesimal details. Strive for a “roughly right” but logically and practically sound approach which you can defend if you need to.

Gizmotron is rolling out a new product in several metropolitan areas in the US. For the purposes of this assignment, let us restrict our attention to the Chicago area. An extensive marketing campaign is being planned in eight Chicagoland suburbs. For the purposes of this assignment, you may group the campaigns for the eight suburbs, so there is just one Chicagoland campaign as opposed to eight separate ones.

The Chicagoland marketing campaign comprises three major efforts, which are distinct but interrelated, meaning that there are dependencies between activities in the three efforts: Publicity, events, and sales/marketing. Here is a brief description of each of the three efforts:

1. Publicity: News of the event needs to be disseminated. This will be done via mailings (of a

brochure) and media (radio and TV ads). Mailings require graphics design, developing a

brochure (based on the graphics design and content provided by the sales/marketing effort),

and a two-part mailing campaign: paper-mail as well as e-mail. The paper-mail campaign is to

occur a week after the email campaign has ended (because the email campaign will generate

some leads on who should be targeted in the paper-mail campaign). The media component has

two aspects: radio ads and TV ads, each of which requires scripting and slotting (when to run the

ads). Some details associated with the various activities are:

a. Graphics design is based on “intelligence” provided by the sales/marketing effort that provides

the graphics design team a draft proposal of the key types of messages to include and also some

content to back-up those messages. (The graphics design team may further refine the content.)

Graphics design takes 8 business days (after the draft proposal has been received). Its total cost is

approximately $5,000.2. 3.

b. The brochure takes 4 business days (after graphics design is completed) to finalize and the cost is

about $2,000

c. The e-mail campaign commences right after the brochure is ready and takes 1 business day (cost

$6,000). A week after the email campaign ends, the paper-mail campaign commences and lasts 3

business days (cost $5,000).

d. Scripting for the radio and TV ads take 3 business days and 7 business days (respectively), costs

being $2,000 and $5,000 (respectively). The scripting is also based on the draft proposal from

sales/marketing. The slotting effort for the radio and TV ads takes 2 business days each (at a cost

of $1,000 each). The radio ad slotting uses a radio listener report done by the sales/marketing

team, and the TV ad slotting uses a TV watchers report, also done by the sales/marketing team.

The radio and TV ads run over a period of 10 business days, commencing immediately after

slotting has been finalized.

Events: The events effort comprises venue identification and setup, catering, and agenda

finalization (speakers, entertainment, giveaways, etc.). Venue identification and setup as well as

catering are contracted out to companies who can be trusted to complete on time and budget.

Venue identification takes 5 business days (cost $2,000 for eight venues) and must be

completed before the brochures are finalized (simply because the addresses are needed for the

brochures). Venue setup is the act of determining how much space to rent at the venue, how

the space will be organized, etc. This cannot be started until after the mailing campaigns (paper

and email), radio and TV ads have run (because campaign statistics/viewership is used to

estimate event attendance). Venue setup (for all 8 venues) takes 6 business days and costs

$5,000.

Catering cannot be started until after the mailing campaigns (paper and email), radio and TV ads

have run, and (for all 8 venues) takes 6 business days to finalize, with catering costs dependent

on projected attendance. From historical data, catering costs are estimated to average $4,000

per venue.

Agenda finalization requires contracting (for speakers, entertainment, etc.) and product

promotion planning (displaying, demonstrating, giveaways, etc. of products). The contracting

and promotion planning are both dependent on projected attendance. Contracting (for all 8

venues) takes 6 business days and the total costs are anticipated to be around $60,000 (which

includes speaker fees). Total promotion planning duration is 10 business days (cost $35,000,

which includes product giveaways).

Sales/marketing: This effort comprises (market) message development, marketing analysis,

surveys, and legal approval. Message development is broken into two parts: draft proposal development (5 business days, $5000) and executive approval (2 business days, $1,000). The message development does not start until after the surveys are completed. The survey effort comprises focus groups (10 business days, $15,000) and web surveys (4 business days, $6,000). Marketing analysis includes development of a radio listener report and a TV watchers report, each of which takes 3 days and costs $2,000. The surveying effort requires legal approval (2 days, $1,000 for each approval) prior to conducting focus groups and web surveys, and the draft proposal requires legal approval after it is developed (and before it is released to the

promotions team).

**## TeamCharterexample.docx**

**Team Charter: Grey, Timothy, and Spencer**

**Communication Plan**

Grey will be responsible for the Communication Plan. Our team will coordinate primarily through email and group chat to ensure rapid responses and accountability. Weekly virtual meetings will be held to track progress, clarify responsibilities, and discuss challenges. All updates and meeting notes will be stored in a shared document repository for transparency.

**Conflict Management Plan**

Grey will also be responsible for the Conflict Management Plan. In cases of conflict, the first step will be direct communication between the involved parties. If unresolved, the issue will be escalated to the team as a whole during scheduled meetings. For non-responsiveness, a reminder will be sent after one day, followed by escalation to the professor if no communication occurs within three days. Emergency situations will be accommodated by redistributing tasks.

**Document Management Plan**

Spencer will manage the Document Management Plan. All team documents will be stored in a central shared drive (e.g., Google Drive or OneDrive) with clearly labeled folders for drafts, finalized documents, and reference materials. Version control will be maintained by including dates in file names and only one person at a time making edits to avoid conflicts.

**Quality Plan**

Spencer will also oversee the Quality Plan. All documents and deliverables will undergo peer review by at least one other team member before submission. Formatting will follow APA guidelines, and a standardized template will be used to maintain consistency. Final review sessions will be conducted prior to submission to ensure accuracy, completeness, and professionalism.

**Roles & Responsibilities**

Timothy will lead the Roles & Responsibilities section. Work will be divided among the team to ensure balanced workload distribution. Grey will handle Communication and Conflict Management, Spencer will oversee Document Management and Quality, and Timothy will coordinate overall team responsibilities and finalize role assignments. A fictitious customer role will be assumed by one designated team member to provide realistic project dynamics, and this role will be rotated if necessary. Everything will be completed on or before 1 September 2025.

**Quality Plan**

**Purpose and quality objectives**

Our goal is to deliver a four-page Team Charter that is fit for purpose and meets stakeholder expectations: clear, complete, consistent, and aligned to the assignment brief. In PMBOK 7e terms, quality activities should both move the deliverable quickly to the point of delivery and prevent or catch defects early to avoid rework, while aligning with explicit acceptance criteria.

**Acceptance criteria and “Definition of Done”**

The assignment’s Quality Plan must ensure the final submission:

1. addresses all five required charter elements and fits within four double-spaced pages;

2. demonstrates high-level integration of PMBOK 6e Integration and Scope processes and PMBOK 7e principles;

3. uses consistent voice, APA citations, and polished mechanics; and

4. evidences a coherent team process (communication, conflict handling, roles).
We will operationalize these through a simple Definition of Done checklist that includes content coverage, style/format checks, and evidence that deliverables have been “verified” and then “accepted,” consistent with the path from Control Quality to Validate Scope and into Close Project or Phase.

**Standards and sources of truth**

Content must reflect the required readings: PMBOK 6e (Scope 5.1–5.6 at the appropriate high-level depth), PMBOK 7e Delivery Performance Domain (focus on value, deliverables, DoD), and the Team Charter instructions (Quality Plan and Document Management Plan expectations).

**Quality assurance (build quality in)**

Given our dispersed schedule (Grey in Japan/Philippines; Timothy in Tennessee; Spencer ramping up mid-week), we will design the workflow to surface issues early, reducing the cost of change. Each contributor drafts against the DoD by
**Monday 12:00 Eastern** (which is
**00:00 Tuesday PHT** and
**01:00 Tuesday JST**), enabling an early integrated review and defect prevention before we’re forced into costly late edits.

Practices:

•
**Calibrated outline** tied to the assignment rubric and readings before drafting (prevents scope and quality drift).

•
**Peer dialog** in Signal for ambiguities and edge cases; quick decisions reduce “done drift.”

**Quality control (verification and acceptance)**

We will use a two-gate approach:

•
**Gate 1 – Verification:** Monday consolidated draft is checked against the DoD, assignment guidelines, and references (content coverage, flow, APA, mechanics).

•
**Gate 2 – Acceptance:** A designated “customer” proxy performs a final acceptance read. This mirrors PMBOK’s flow from verified deliverables (Control Quality) to accepted deliverables (Validate Scope).

**Customer proxy:** Assign Spencer as the acceptance authority for this charter (he offered to take on larger sections and is assembling pieces). The instructor remains the ultimate customer; Spencer acts as our internal proxy for formal acceptance before submission. (This also satisfies the “customer role” requirement.)

**Metrics, thresholds, and escalation**

We will track three simple measures: a) completeness (all required elements present), b) conformance (APA/style/format), and c) coherence (logical flow across sections). Threshold: zero critical gaps; minor style issues acceptable if corrected by Tuesday morning. If Gate 1 uncovers material gaps, the section owner has a two-hour window to remediate; if not feasible, the compiler makes targeted edits. This satisfies the Quality Plan line items in the Team Charter Guidelines.

**Interface with Scope management**

Our quality controls reinforce scope discipline: we will
**Validate Scope** by comparing the assembled draft to the scope baseline implied by the charter instructions; any material scope change triggers a quick change decision in Signal (major change = consensus vote; minor edit = editor decision).

**Knowledge capture**

After submission, we log two lessons learned: one process improvement and one content insight, to seed the course repository. This aligns to Manage Project Knowledge in the weekly lecture.

**Document Management Plan**

**Repository and single source of truth**

We will use a shared Google Docs folder as the
**authoring** space and maintain a
**Master Charter** document as the single source of truth. Only the compiler edits the Master directly; contributors draft in their own files and paste into the Master during the integration window. This prevents collisions when “multiple team members contribute to the same document” and preserves integrity, per the Charter Guidelines.

**Access:** All teammates (Grey, Timothy, Spencer, plus the fourth member if they appear) have edit access; the compiler owns the folder and ensures backups.
**Communications:** Signal remains the rapid channel for coordination (already established in the thread). Meeting minutes, if any, are short and posted to the group space, as requested in the guidelines.

**Versioning and file naming**

Drafts use the pattern: Team#_Charter_<Section>_<Initials>_v0.1_YYYYMMDD-HHMM. The Master carries v1.0-Submitted upon finalization and is exported to PDF for submission. The version log sits at the top of the Master with date, editor, and a one-line change note. This lightweight configuration control mirrors PMBOK guidance to keep acceptance criteria and WBS-level attributes clear in the supporting “dictionary” for each deliverable segment.

**Contribution workflow and deadlines**

1.
**Drafting:** Each owner produces their section by
**Monday12:00 Eastern** (00:00 Tuesday PHT; 01:00 Tuesday JST).

2.
**Integration:** The compiler integrates from 12:00–16:00 Eastern and requests clarifications in Signal.

3.
**Gate 1 Verification:** 16:00–18:00 Eastern.

4.
**Gate 2 Acceptance:** 18:00–20:00 Eastern by the customer proxy.

5.
**Submission package:** Tuesday morning Eastern.
This cadence emphasizes early value and interim deliverables, consistent with PMBOK 7e’s Delivery of Value perspective.

**Change control within documents**

Minor editorial changes (grammar, local rewrites for cohesion) may be executed by the compiler without prior approval. Substantive content changes (adding or removing required elements) are flagged with a comment and decided in Signal via quick voting. This aligns with the integration/change-control flow highlighted in the Unit 2 lecture: small changes can be handled informally; larger ones should be explicitly decided and traced.

**Referencing and traceability**

We will cite PMBOK 6e/7e and the Unit 2 materials directly in text and reference list. A simple trace table (kept in the Master’s appendix) maps the five required charter elements to the exact paragraphs where they are addressed. This brings the spirit of a requirements traceability matrix to a short paper, ensuring every requirement adds value and is verifiably covered.

**Formatting and polish**

Style is APA, 12-pt font, double spacing, and consistent headings. We avoid overuse of lists and hyphens to maintain flow and a professional tone, as requested by the instructor’s guidelines for quality and coherence.

**Risk controls for distributed work**

Time-zone and availability risks (Grey traveling; fourth member absent) are mitigated by the Monday noon Eastern internal deadline and a single compiler. If a section is not delivered by the internal deadline, the compiler drafts a placeholder to maintain flow, then tags the owner for edits within the verification window. This keeps us oriented to deliverables instead of activities, a distinction Davidson stresses when “laying out your plan.”

**## GizmotronsProductRolloutcopy.docx**

**DELIVERABLE**

This deliverable requires you to create a project charter, a WBS in pictorial inverted-

tree format, and an MS Project file for the project.

The WBS pictorial can be put together using any software you wish. One easy way to do this is

to use the MS Excel org chart template. Stormboard (which currently has a free subscription),

Visio, MS PowerPoint, etc. are other tools you may wish to consider. A neat and
**very legible**

hand-drawn version is also acceptable.

Your Microsoft Project file must clearly reflect the structure of your WBS inverted-tree pictorial,

should show all activities under each work package, their duration, and their dependencies

(predecessors), as well as clearly show the critical path (or paths) colored in RED. In addition,

add a column to your MS Project file labeled "OWNER" and place in it, for each activity, the

name of the team member who identified that activity and provided and verified correctness of

the duration and predecessors of that activity.

**Gizmotron’s Product Rollout**

The selected project should bring out real-world consideration and challenges, so it should not be too simple or trivial. Here are basic assignment requirements which will ensure that your project is not too easy or too challenging:

Make sure that there are three or four main deliverables (first level of WBS)

Have between 10 to 16 work packages (“leaves” of the WBS)

Have between 25 to 40 activities

The activities should have a reasonable amount of concurrency, meaning that it should be

possible to perform some of them in parallel.

Gizmotron’s Product Rollout

Note: The information in the project description below provides most but not all information that you will need to develop reasonably sound scope, schedule, and cost baselines for the product rollout project. There are some deliberate minor gaps in the information that will require you to use some common sense and judgment, even some plausible intuition/guesswork in a very few cases. Seldom will youencounter real life projects that are detailed to 100% accuracy and perfection, so this project is intended

to demonstrate that there is some room for judgment, flexibility, reasonable assumptions, and common

sense in project management, as opposed to investing unreasonable amounts of time and effort in

striving for complete perfection and accuracy (which are usually not attainable anyway!). Hence, there is

no one right “solution” here. Different teams could come up with slightly different scope, schedule, and

cost baselines. When you work through this assignment as a team, do not waste time quibbling over infinitesimal details. Strive for a “roughly right” but logically and practically sound approach which you can defend if you need to.

Gizmotron is rolling out a new product in several metropolitan areas in the US. For the purposes of this assignment, let us restrict our attention to the Chicago area. An extensive marketing campaign is being planned in eight Chicagoland suburbs. For the purposes of this assignment, you may group the campaigns for the eight suburbs, so there is just one Chicagoland campaign as opposed to eight separate ones.

The Chicagoland marketing campaign comprises three major efforts, which are distinct but interrelated, meaning that there are dependencies between activities in the three efforts: Publicity, events, and sales/marketing. Here is a brief description of each of the three efforts:

1. Publicity: News of the event needs to be disseminated. This will be done via mailings (of a

brochure) and media (radio and TV ads). Mailings require graphics design, developing a

brochure (based on the graphics design and content provided by the sales/marketing effort),

and a two-part mailing campaign: paper-mail as well as e-mail. The paper-mail campaign is to

occur a week after the email campaign has ended (because the email campaign will generate

some leads on who should be targeted in the paper-mail campaign). The media component has

two aspects: radio ads and TV ads, each of which requires scripting and slotting (when to run the

ads). Some details associated with the various activities are:

a. Graphics design is based on “intelligence” provided by the sales/marketing effort that provides

the graphics design team a draft proposal of the key types of messages to include and also some

content to back-up those messages. (The graphics design team may further refine the content.)

Graphics design takes 8 business days (after the draft proposal has been received). Its total cost is

approximately $5,000.2. 3.

b. The brochure takes 4 business days (after graphics design is completed) to finalize and the cost is

about $2,000

c. The e-mail campaign commences right after the brochure is ready and takes 1 business day (cost

$6,000). A week after the email campaign ends, the paper-mail campaign commences and lasts 3

business days (cost $5,000).

d. Scripting for the radio and TV ads take 3 business days and 7 business days (respectively), costs

being $2,000 and $5,000 (respectively). The scripting is also based on the draft proposal from

sales/marketing. The slotting effort for the radio and TV ads takes 2 business days each (at a cost

of $1,000 each). The radio ad slotting uses a radio listener report done by the sales/marketing

team, and the TV ad slotting uses a TV watchers report, also done by the sales/marketing team.

The radio and TV ads run over a period of 10 business days, commencing immediately after

slotting has been finalized.

Events: The events effort comprises venue identification and setup, catering, and agenda

finalization (speakers, entertainment, giveaways, etc.). Venue identification and setup as well as

catering are contracted out to companies who can be trusted to complete on time and budget.

Venue identification takes 5 business days (cost $2,000 for eight venues) and must be

completed before the brochures are finalized (simply because the addresses are needed for the

brochures). Venue setup is the act of determining how much space to rent at the venue, how

the space will be organized, etc. This cannot be started until after the mailing campaigns (paper

and email), radio and TV ads have run (because campaign statistics/viewership is used to

estimate event attendance). Venue setup (for all 8 venues) takes 6 business days and costs

$5,000.

Catering cannot be started until after the mailing campaigns (paper and email), radio and TV ads

have run, and (for all 8 venues) takes 6 business days to finalize, with catering costs dependent

on projected attendance. From historical data, catering costs are estimated to average $4,000

per venue.

Agenda finalization requires contracting (for speakers, entertainment, etc.) and product

promotion planning (displaying, demonstrating, giveaways, etc. of products). The contracting

and promotion planning are both dependent on projected attendance. Contracting (for all 8

venues) takes 6 business days and the total costs are anticipated to be around $60,000 (which

includes speaker fees). Total promotion planning duration is 10 business days (cost $35,000,

which includes product giveaways).

Sales/marketing: This effort comprises (market) message development, marketing analysis,

surveys, and legal approval. Message development is broken into two parts: draft proposal development (5 business days, $5000) and executive approval (2 business days, $1,000). The message development does not start until after the surveys are completed. The survey effort comprises focus groups (10 business days, $15,000) and web surveys (4 business days, $6,000). Marketing analysis includes development of a radio listener report and a TV watchers report, each of which takes 3 days and costs $2,000. The surveying effort requires legal approval (2 days, $1,000 for each approval) prior to conducting focus groups and web surveys, and the draft proposal requires legal approval after it is developed (and before it is released to the

promotions team).

**## TeamCharterexample.docx**

**Team Charter: Grey, Timothy, and Spencer**

**Communication Plan**

Grey will be responsible for the Communication Plan. Our team will coordinate primarily through email and group chat to ensure rapid responses and accountability. Weekly virtual meetings will be held to track progress, clarify responsibilities, and discuss challenges. All updates and meeting notes will be stored in a shared document repository for transparency.

**Conflict Management Plan**

Grey will also be responsible for the Conflict Management Plan. In cases of conflict, the first step will be direct communication between the involved parties. If unresolved, the issue will be escalated to the team as a whole during scheduled meetings. For non-responsiveness, a reminder will be sent after one day, followed by escalation to the professor if no communication occurs within three days. Emergency situations will be accommodated by redistributing tasks.

**Document Management Plan**

Spencer will manage the Document Management Plan. All team documents will be stored in a central shared drive (e.g., Google Drive or OneDrive) with clearly labeled folders for drafts, finalized documents, and reference materials. Version control will be maintained by including dates in file names and only one person at a time making edits to avoid conflicts.

**Quality Plan**

Spencer will also oversee the Quality Plan. All documents and deliverables will undergo peer review by at least one other team member before submission. Formatting will follow APA guidelines, and a standardized template will be used to maintain consistency. Final review sessions will be conducted prior to submission to ensure accuracy, completeness, and professionalism.

**Roles & Responsibilities**

Timothy will lead the Roles & Responsibilities section. Work will be divided among the team to ensure balanced workload distribution. Grey will handle Communication and Conflict Management, Spencer will oversee Document Management and Quality, and Timothy will coordinate overall team responsibilities and finalize role assignments. A fictitious customer role will be assumed by one designated team member to provide realistic project dynamics, and this role will be rotated if necessary. Everything will be completed on or before 1 September 2025.

**Quality Plan**

**Purpose and quality objectives**

Our goal is to deliver a four-page Team Charter that is fit for purpose and meets stakeholder expectations: clear, complete, consistent, and aligned to the assignment brief. In PMBOK 7e terms, quality activities should both move the deliverable quickly to the point of delivery and prevent or catch defects early to avoid rework, while aligning with explicit acceptance criteria.

**Acceptance criteria and “Definition of Done”**

The assignment’s Quality Plan must ensure the final submission:

1. addresses all five required charter elements and fits within four double-spaced pages;

2. demonstrates high-level integration of PMBOK 6e Integration and Scope processes and PMBOK 7e principles;

3. uses consistent voice, APA citations, and polished mechanics; and

4. evidences a coherent team process (communication, conflict handling, roles).
We will operationalize these through a simple Definition of Done checklist that includes content coverage, style/format checks, and evidence that deliverables have been “verified” and then “accepted,” consistent with the path from Control Quality to Validate Scope and into Close Project or Phase.

**Standards and sources of truth**

Content must reflect the required readings: PMBOK 6e (Scope 5.1–5.6 at the appropriate high-level depth), PMBOK 7e Delivery Performance Domain (focus on value, deliverables, DoD), and the Team Charter instructions (Quality Plan and Document Management Plan expectations).

**Quality assurance (build quality in)**

Given our dispersed schedule (Grey in Japan/Philippines; Timothy in Tennessee; Spencer ramping up mid-week), we will design the workflow to surface issues early, reducing the cost of change. Each contributor drafts against the DoD by
**Monday 12:00 Eastern** (which is
**00:00 Tuesday PHT** and
**01:00 Tuesday JST**), enabling an early integrated review and defect prevention before we’re forced into costly late edits.

Practices:

•
**Calibrated outline** tied to the assignment rubric and readings before drafting (prevents scope and quality drift).

•
**Peer dialog** in Signal for ambiguities and edge cases; quick decisions reduce “done drift.”

**Quality control (verification and acceptance)**

We will use a two-gate approach:

•
**Gate 1 – Verification:** Monday consolidated draft is checked against the DoD, assignment guidelines, and references (content coverage, flow, APA, mechanics).

•
**Gate 2 – Acceptance:** A designated “customer” proxy performs a final acceptance read. This mirrors PMBOK’s flow from verified deliverables (Control Quality) to accepted deliverables (Validate Scope).

**Customer proxy:** Assign Spencer as the acceptance authority for this charter (he offered to take on larger sections and is assembling pieces). The instructor remains the ultimate customer; Spencer acts as our internal proxy for formal acceptance before submission. (This also satisfies the “customer role” requirement.)

**Metrics, thresholds, and escalation**

We will track three simple measures: a) completeness (all required elements present), b) conformance (APA/style/format), and c) coherence (logical flow across sections). Threshold: zero critical gaps; minor style issues acceptable if corrected by Tuesday morning. If Gate 1 uncovers material gaps, the section owner has a two-hour window to remediate; if not feasible, the compiler makes targeted edits. This satisfies the Quality Plan line items in the Team Charter Guidelines.

**Interface with Scope management**

Our quality controls reinforce scope discipline: we will
**Validate Scope** by comparing the assembled draft to the scope baseline implied by the charter instructions; any material scope change triggers a quick change decision in Signal (major change = consensus vote; minor edit = editor decision).

**Knowledge capture**

After submission, we log two lessons learned: one process improvement and one content insight, to seed the course repository. This aligns to Manage Project Knowledge in the weekly lecture.

**Document Management Plan**

**Repository and single source of truth**

We will use a shared Google Docs folder as the
**authoring** space and maintain a
**Master Charter** document as the single source of truth. Only the compiler edits the Master directly; contributors draft in their own files and paste into the Master during the integration window. This prevents collisions when “multiple team members contribute to the same document” and preserves integrity, per the Charter Guidelines.

**Access:** All teammates (Grey, Timothy, Spencer, plus the fourth member if they appear) have edit access; the compiler owns the folder and ensures backups.
**Communications:** Signal remains the rapid channel for coordination (already established in the thread). Meeting minutes, if any, are short and posted to the group space, as requested in the guidelines.

**Versioning and file naming**

Drafts use the pattern: Team#_Charter_<Section>_<Initials>_v0.1_YYYYMMDD-HHMM. The Master carries v1.0-Submitted upon finalization and is exported to PDF for submission. The version log sits at the top of the Master with date, editor, and a one-line change note. This lightweight configuration control mirrors PMBOK guidance to keep acceptance criteria and WBS-level attributes clear in the supporting “dictionary” for each deliverable segment.

**Contribution workflow and deadlines**

1.
**Drafting:** Each owner produces their section by
**Monday12:00 Eastern** (00:00 Tuesday PHT; 01:00 Tuesday JST).

2.
**Integration:** The compiler integrates from 12:00–16:00 Eastern and requests clarifications in Signal.

3.
**Gate 1 Verification:** 16:00–18:00 Eastern.

4.
**Gate 2 Acceptance:** 18:00–20:00 Eastern by the customer proxy.

5.
**Submission package:** Tuesday morning Eastern.
This cadence emphasizes early value and interim deliverables, consistent with PMBOK 7e’s Delivery of Value perspective.

**Change control within documents**

Minor editorial changes (grammar, local rewrites for cohesion) may be executed by the compiler without prior approval. Substantive content changes (adding or removing required elements) are flagged with a comment and decided in Signal via quick voting. This aligns with the integration/change-control flow highlighted in the Unit 2 lecture: small changes can be handled informally; larger ones should be explicitly decided and traced.

**Referencing and traceability**

We will cite PMBOK 6e/7e and the Unit 2 materials directly in text and reference list. A simple trace table (kept in the Master’s appendix) maps the five required charter elements to the exact paragraphs where they are addressed. This brings the spirit of a requirements traceability matrix to a short paper, ensuring every requirement adds value and is verifiably covered.

**Formatting and polish**

Style is APA, 12-pt font, double spacing, and consistent headings. We avoid overuse of lists and hyphens to maintain flow and a professional tone, as requested by the instructor’s guidelines for quality and coherence.

**Risk controls for distributed work**

Time-zone and availability risks (Grey traveling; fourth member absent) are mitigated by the Monday noon Eastern internal deadline and a single compiler. If a section is not delivered by the internal deadline, the compiler drafts a placeholder to maintain flow, then tags the owner for edits within the verification window. This keeps us oriented to deliverables instead of activities, a distinction Davidson stresses when “laying out your plan.”

– 1
– 2

November 5, 2026
[Solved] Biology Microbiology Homework

✓ Verified Academic Solution Available

Executive Solution Overview

– ## Unit5Discussionreply.docx **## Unit5Discussionreply.docx** Joyeuse Ntungane posted Aug 16, 2025 4:04 AM **Define Climate change** Climate change means long-term changes in weather patterns, such as higher temperatures, changes in rainfall, and more extreme storms. Most of it is caused by people…

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Assignment Prompt & Instructions

– ## Unit5Discussionreply.docx

**## Unit5Discussionreply.docx**

Joyeuse Ntungane posted Aug 16, 2025 4:04 AM

**Define Climate change** Climate change means long-term changes in weather patterns, such as higher temperatures, changes in rainfall, and more extreme storms. Most of it is caused by people burning fuels, cutting down forests, and releasing gases that trap heat in the air.

**Example** In Nepal, a 1°C rise in average temperature caused malaria to spread into 27 new districts, even in mountain areas over 2000 m above sea level.

**Title of Article 1** Williams PC, Bartlett AW, Howard-Jones A, et al. Impact of climate change and biodiversity collapse on the global emergence and spread of infectious diseases.
_J Paediatr Child Health_.

**Microorganism Impacted by Climate Change —**
**_Borrelia burgdorferi_** _Borrelia burgdorferi_ is the bacteria that causes Lyme disease. It is spread by
_Ixodes_ ticks. Warmer winters and longer summers allow ticks to live in more places and reproduce for more months of the year. This means more people are at risk in areas where Lyme disease did not exist before.
One thing I found interesting is that in Russia, both Lyme disease and tick-borne encephalitis have increased because the warmer climate is better for ticks.
In the future, more tick-borne illnesses are likely. To fight this, we need better tick monitoring, more public education on prevention, and research on vaccines.

Reply:

Katie Acosta posted Jul 16, 2025 11:42 PM

Define Climate change: Climate change refers to long-term changes in weather patterns. These shifts could be natural, but since the 1800s, the main cause for climate change has been driven by human activities.1

Example: An example of climate change is the burning of fossil fuels that create greenhouse gas emissions that raise the temperatures in earths atmosphere. 1

Title of Article 1-

> Temperature, sediment resuspension, and salinity drive the prevalence of
_Vibrio vulnificus_ in the coastal Baltic Sea

Microorganism Impacted by Climate Change Picked-

> The microbe is
_Vibrio vulnificus_.

>
_Vibrio vulnificus_ is impacted by climate change due to elevated sea surface temperatures.2 Data from a recent experiment demonstrates that temperature and sediment resuspension has increased the prevalence of the pathogenic microbe
_Vibrio vulnificus_.2 This has caused a rise in
_Vibrio_-related infections among humans near the Baltic Sea.2

> One of the interesting things I learned was how Baltic Sea surface temperatures are currently three times higher than the global ocean warming average.2

> One future implication of this microbe being impacted by climate change is that future longer heatwaves in the Baltic Sea area will increase the prevalence of
_Vibrio vulnificus_ which causes a public health concern.2 Furthermore, climate change will increase the occurrence of natural disasters in the Baltic Sea which will increase sediment resuspension and also increase the prevalence of
_Vibrio vulnificus_.2

Personal opinion on climate change impact-

> I think climate change does have a significant impact on the spread of infectious diseases. Since microbes tend to grow better at higher temperatures and climate change creates warmer temperatures, I think pathogens are appearing in new areas that have developed more favorable conditions. Besides trying to significantly slow down the process of climate change, I think one of the ways we can deal with the increased spread of disease is improving global vaccine distribution as uncommon diseases spread to new areas.

Reply:

**## Unit5Discussionreply.docx**

Joyeuse Ntungane posted Aug 16, 2025 4:04 AM

**Define Climate change** Climate change means long-term changes in weather patterns, such as higher temperatures, changes in rainfall, and more extreme storms. Most of it is caused by people burning fuels, cutting down forests, and releasing gases that trap heat in the air.

**Example** In Nepal, a 1°C rise in average temperature caused malaria to spread into 27 new districts, even in mountain areas over 2000 m above sea level.

**Title of Article 1** Williams PC, Bartlett AW, Howard-Jones A, et al. Impact of climate change and biodiversity collapse on the global emergence and spread of infectious diseases.
_J Paediatr Child Health_.

**Microorganism Impacted by Climate Change —**
**_Borrelia burgdorferi_** _Borrelia burgdorferi_ is the bacteria that causes Lyme disease. It is spread by
_Ixodes_ ticks. Warmer winters and longer summers allow ticks to live in more places and reproduce for more months of the year. This means more people are at risk in areas where Lyme disease did not exist before.
One thing I found interesting is that in Russia, both Lyme disease and tick-borne encephalitis have increased because the warmer climate is better for ticks.
In the future, more tick-borne illnesses are likely. To fight this, we need better tick monitoring, more public education on prevention, and research on vaccines.

Reply:

Katie Acosta posted Jul 16, 2025 11:42 PM

Define Climate change: Climate change refers to long-term changes in weather patterns. These shifts could be natural, but since the 1800s, the main cause for climate change has been driven by human activities.1

Example: An example of climate change is the burning of fossil fuels that create greenhouse gas emissions that raise the temperatures in earths atmosphere. 1

Title of Article 1-

> Temperature, sediment resuspension, and salinity drive the prevalence of
_Vibrio vulnificus_ in the coastal Baltic Sea

Microorganism Impacted by Climate Change Picked-

> The microbe is
_Vibrio vulnificus_.

>
_Vibrio vulnificus_ is impacted by climate change due to elevated sea surface temperatures.2 Data from a recent experiment demonstrates that temperature and sediment resuspension has increased the prevalence of the pathogenic microbe
_Vibrio vulnificus_.2 This has caused a rise in
_Vibrio_-related infections among humans near the Baltic Sea.2

> One of the interesting things I learned was how Baltic Sea surface temperatures are currently three times higher than the global ocean warming average.2

> One future implication of this microbe being impacted by climate change is that future longer heatwaves in the Baltic Sea area will increase the prevalence of
_Vibrio vulnificus_ which causes a public health concern.2 Furthermore, climate change will increase the occurrence of natural disasters in the Baltic Sea which will increase sediment resuspension and also increase the prevalence of
_Vibrio vulnificus_.2

Personal opinion on climate change impact-

> I think climate change does have a significant impact on the spread of infectious diseases. Since microbes tend to grow better at higher temperatures and climate change creates warmer temperatures, I think pathogens are appearing in new areas that have developed more favorable conditions. Besides trying to significantly slow down the process of climate change, I think one of the ways we can deal with the increased spread of disease is improving global vaccine distribution as uncommon diseases spread to new areas.

Reply:

November 5, 2026
[Solved] Week 3 Discussion- Account for Managment Decision Making

✓ Verified Academic Solution Available

Executive Solution Overview

**Using Generative Artificial Intelligence in Budgeting and Planning** As generative AI models become more adaptable and accessible to organizations of all sizes, their uses in many managerial functions will increase. Since the models provide the ability to easily analyze large datasets and to captu…

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Assignment Prompt & Instructions

**Using Generative Artificial Intelligence in Budgeting and Planning**
As generative AI models become more adaptable and accessible to organizations of all sizes, their uses in many managerial functions will increase. Since the models provide the ability to easily analyze large datasets and to capture and replicate patterns and structures found in the data, their use in operational planning, forecasting, budgeting, and reporting seems to be a natural fit.
In this Discussion, you will consider the subjects of the past 2 weeks, strategic planning, forecasting, budgeting, and balanced score cards, and how generative AI can be utilized in these managerial accounting functions.
**To prepare for this Discussion:**
– Review this week's Learning Resources.
– Conduct a search of the Walden Library for more information on generative artificial intelligence.
– Consider the subjects from the past 2 weeks and the methods used to produce artifacts needed for each.
**Post** an analysis of the role of generative AI in strategic planning, budgeting, forecasting and balanced scorecards in an organization, to include the following:
– Provide a detailed example of how generative AI might be used in the strategic planning, budgeting, and forecasting processes or in the development and reporting of a balanced scorecard.
– Describe an advantage and disadvantage an organization might experience when using generative AI for either of these functions.
\
Week3LearningResources-AccountforManagmentDecisionMaking.docx](https://www.sweetstudy.com/files/week3learningresources-accountformanagmentdecisionmaking-docx "Week3LearningResources-AccountforManagmentDecisionMaking.docx")

November 5, 2026
[Solved] Please respond to the two students discussion posts with a minimum of 75 words per post.

✓ Verified Academic Solution Available

Executive Solution Overview

– ## WeekFourdiscussionRepliesHM.docx **## WeekFourdiscussionRepliesHM.docx** Please respond to the two students' discussion posts with a minimum of 75 words per post. Vincent Hughley At XYZ Company, comprehending and adjusting to supply and demand plays a major role in making smart business decisio…

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Assignment Prompt & Instructions

– ## WeekFourdiscussionRepliesHM.docx

**## WeekFourdiscussionRepliesHM.docx**

Please respond to the two students' discussion posts with a minimum of 75 words per post.

Vincent Hughley

At XYZ Company, comprehending and adjusting to supply and demand plays a major role in making smart business decisions. These basic economic principles help the company figure out how much of a product to produce, how to price it, and when to scale up or down. For example, if there's a spike in customer demand, knowing how to adjust supply quickly can help the company meet that demand and boost profits. On the other hand, if demand drops, producing too much could lead to wasted resources and higher costs (Mankiw, 2021).

Being aware of what drives shifts in supply and demand like changes in customer preferences, competitor pricing, or even economic trends can give XYZ a real advantage (Krugman & Wells, 2020). It also helps the company stay flexible. Knowing how sensitive customers are to price changes, a concept called price elasticity, helps XYZ set prices that attract buyers without sacrificing too much revenue (Frank et al., 2021). Supply and demand are everyday tools that help XYZ stay competitive and grow.

**References**
Frank, R. H., Bernanke, B. S., Antonovics, K., & Heffetz, O. (2021).
_Principles of microeconomics_ (8th ed.). McGraw-Hill Education.
Krugman, P., & Wells, R. (2020).
_Microeconomics_ (6th ed.). Worth Publishers.
Mankiw, N. G. (2021).
_Principles of economics_ (9th ed.). Cengage Learning.

Saul Alba

Supply and demand theory is part of microeconomic principles used to define how the pricing of XYZ Company's products was recently determined. In order to remain competitive in the market, XYZ must price its products according to shifts in consumer preferences and behavior. For example, if there is a demand for eco-friendly products, XYZ Company will need to start adjusting their production levels to align with the shifts in consumer behavior. This results from price elasticity, which is a microeconomic concept that defines how the production level of certain goods or services can adjust to changes in demand. Price elasticity theory was beneficial to XYZ Company when determining how much the current product pricing affects the decrease in sales volume. Moreover, profits can be maximized if the current goods' pricing reflects this variance. Other outside influences, such as a shift or increase in consumer income, also affects the supply and demand exerted on XYZ Company's goods. It is important to consider how these changes in market behavior will influence the company’s long-term production and pricing decisions (Halimatussakdiah & Yuniasih, 2020).

Moreover, the other related concept of supply and demand, which is greatly impact the economy of external factors in supply and demand is the purchasing power. The power of consumers is greatly influenced by other economic external factors such as inflation rate, recession and when demand is adversely affected. These are certain macroeconomic factors that can greatly affect demand from consumers, hence, XYZ Company must ensure close monitoring of these patterns in its demand forecast in order to determine its supply, and production requirements. During times of economic recessions, the demand of consumers often shift from luxury goods to business goods; hence, it is necessary that the supply chain and production of XYZ must rather dedicate its time focusing on the supply and use of more business goods. Adaptation of the strategy requires knowledge on aggregate demand and supply in maintaining a steady inventory rate without exceeding production limits. Knowing how microeconomics, such as consumer choice, can affect XYZ Company’s production/ forecasting would help the firm a great deal in meeting demands as they come up. Therefore, understanding these elements of economic environment helps XYZ in maintaining the firm’s profitability as well, while keeping the company’s efficiency and effectiveness in the ever changing economic factor (Ramadhan & Permana, 2020).

**References**

Halimatussakdiah, H., & Yuniasih, R. (2020). Pricing Strategies Evaluation in Radio Industry’s Firm (Case Study at PT XYZ).
_Sriwijaya International Journal of Dynamic Economics and Business_, 299–314.
[https://sijdeb.unsri.ac.id/index.php/SIJDEB/article/view/198](https://sijdeb.unsri.ac.id/index.php/SIJDEB/article/view/198)

Ramadhan, R., & Permana, D. (2020). Effect Of Product Quality, Price Perception, Purchase Decisions Distribution, and Implications on Customer Satisfaction at Pt. Xyz.
_Academia.Edu_.
[https://doi.org/10.37648/IJRST.V10I02.007](https://doi.org/10.37648/IJRST.V10I02.007)

**## WeekFourdiscussionRepliesHM.docx**

Please respond to the two students' discussion posts with a minimum of 75 words per post.

Vincent Hughley

At XYZ Company, comprehending and adjusting to supply and demand plays a major role in making smart business decisions. These basic economic principles help the company figure out how much of a product to produce, how to price it, and when to scale up or down. For example, if there's a spike in customer demand, knowing how to adjust supply quickly can help the company meet that demand and boost profits. On the other hand, if demand drops, producing too much could lead to wasted resources and higher costs (Mankiw, 2021).

Being aware of what drives shifts in supply and demand like changes in customer preferences, competitor pricing, or even economic trends can give XYZ a real advantage (Krugman & Wells, 2020). It also helps the company stay flexible. Knowing how sensitive customers are to price changes, a concept called price elasticity, helps XYZ set prices that attract buyers without sacrificing too much revenue (Frank et al., 2021). Supply and demand are everyday tools that help XYZ stay competitive and grow.

**References**
Frank, R. H., Bernanke, B. S., Antonovics, K., & Heffetz, O. (2021).
_Principles of microeconomics_ (8th ed.). McGraw-Hill Education.
Krugman, P., & Wells, R. (2020).
_Microeconomics_ (6th ed.). Worth Publishers.
Mankiw, N. G. (2021).
_Principles of economics_ (9th ed.). Cengage Learning.

Saul Alba

Supply and demand theory is part of microeconomic principles used to define how the pricing of XYZ Company's products was recently determined. In order to remain competitive in the market, XYZ must price its products according to shifts in consumer preferences and behavior. For example, if there is a demand for eco-friendly products, XYZ Company will need to start adjusting their production levels to align with the shifts in consumer behavior. This results from price elasticity, which is a microeconomic concept that defines how the production level of certain goods or services can adjust to changes in demand. Price elasticity theory was beneficial to XYZ Company when determining how much the current product pricing affects the decrease in sales volume. Moreover, profits can be maximized if the current goods' pricing reflects this variance. Other outside influences, such as a shift or increase in consumer income, also affects the supply and demand exerted on XYZ Company's goods. It is important to consider how these changes in market behavior will influence the company’s long-term production and pricing decisions (Halimatussakdiah & Yuniasih, 2020).

Moreover, the other related concept of supply and demand, which is greatly impact the economy of external factors in supply and demand is the purchasing power. The power of consumers is greatly influenced by other economic external factors such as inflation rate, recession and when demand is adversely affected. These are certain macroeconomic factors that can greatly affect demand from consumers, hence, XYZ Company must ensure close monitoring of these patterns in its demand forecast in order to determine its supply, and production requirements. During times of economic recessions, the demand of consumers often shift from luxury goods to business goods; hence, it is necessary that the supply chain and production of XYZ must rather dedicate its time focusing on the supply and use of more business goods. Adaptation of the strategy requires knowledge on aggregate demand and supply in maintaining a steady inventory rate without exceeding production limits. Knowing how microeconomics, such as consumer choice, can affect XYZ Company’s production/ forecasting would help the firm a great deal in meeting demands as they come up. Therefore, understanding these elements of economic environment helps XYZ in maintaining the firm’s profitability as well, while keeping the company’s efficiency and effectiveness in the ever changing economic factor (Ramadhan & Permana, 2020).

**References**

Halimatussakdiah, H., & Yuniasih, R. (2020). Pricing Strategies Evaluation in Radio Industry’s Firm (Case Study at PT XYZ).
_Sriwijaya International Journal of Dynamic Economics and Business_, 299–314.
[https://sijdeb.unsri.ac.id/index.php/SIJDEB/article/view/198](https://sijdeb.unsri.ac.id/index.php/SIJDEB/article/view/198)

Ramadhan, R., & Permana, D. (2020). Effect Of Product Quality, Price Perception, Purchase Decisions Distribution, and Implications on Customer Satisfaction at Pt. Xyz.
_Academia.Edu_.
[https://doi.org/10.37648/IJRST.V10I02.007](https://doi.org/10.37648/IJRST.V10I02.007)

November 5, 2026
[Solved] Assigment .Apa seven . All instructions attached.

✓ Verified Academic Solution Available

Executive Solution Overview

– ## Module2assigment.docx **## Module2assigment.docx** **Module 2:** **_Overview of EBP Process and Translation_** **Instructions:** As a DNP scholar, you are expected to perform an academic search of scholarly peer-review journal articles on a given topic. For this assignment, you will choose an a…

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Assignment Prompt & Instructions

– ## Module2assigment.docx

**## Module2assigment.docx**

**Module 2:**
**_Overview of EBP Process and Translation_**

**Instructions:**

As a DNP scholar, you are expected to perform an academic search of scholarly peer-review journal articles on a given topic. For this assignment, you will choose an article from a peer-review journal database, including but not limited to CINAHL, MEDLINE, Pub MED, NIH, Google Scholar, and AGM Virtual Library. Once you have your article, you will read and analyze the document and be able to answer the following questions:

1. What is the purpose of the study?

2. What type of methodology the researcher utilizes and why?

3. How do the results of the study contribute to the research question?

**Use an Essay Format**

· You must present your writing double-spaced, in a Times New Roman, Arial, or Courier New font, with a font size of 12.

· Pay attention to grammar rules (spelling and syntax).

· Your work must be original and not contain material copied from books or the internet.

· When citing the work of other authors, including citations and references, use APA style to respect their intellectual property and avoid plagiarism.

· Remember that your writing must have a header or a cover page that includes the name of the institution, the program, the course code, the title of the activity, your name and student number, and the assignment's due date.

Contribute a minimum of 5 pages. It should include at least 2 academic sources, formatted and cited in APA.

**## Module2assigment.docx**

**Module 2:**
**_Overview of EBP Process and Translation_**

**Instructions:**

As a DNP scholar, you are expected to perform an academic search of scholarly peer-review journal articles on a given topic. For this assignment, you will choose an article from a peer-review journal database, including but not limited to CINAHL, MEDLINE, Pub MED, NIH, Google Scholar, and AGM Virtual Library. Once you have your article, you will read and analyze the document and be able to answer the following questions:

1. What is the purpose of the study?

2. What type of methodology the researcher utilizes and why?

3. How do the results of the study contribute to the research question?

**Use an Essay Format**

· You must present your writing double-spaced, in a Times New Roman, Arial, or Courier New font, with a font size of 12.

· Pay attention to grammar rules (spelling and syntax).

· Your work must be original and not contain material copied from books or the internet.

· When citing the work of other authors, including citations and references, use APA style to respect their intellectual property and avoid plagiarism.

· Remember that your writing must have a header or a cover page that includes the name of the institution, the program, the course code, the title of the activity, your name and student number, and the assignment's due date.

Contribute a minimum of 5 pages. It should include at least 2 academic sources, formatted and cited in APA.

November 5, 2026
[Solved] plannn

✓ Verified Academic Solution Available

Executive Solution Overview

– ## plannn.pdf **## plannn.pdf** Chpter 2: Teacher relationships Answer the following: What are the positive aspects of the teacher’s management? What problems are occurring? What are some possible solutions to the situation, and how would they affect learning? Demonstrate your understanding of the…

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Assignment Prompt & Instructions

– ## plannn.pdf

**## plannn.pdf**

Chpter 2: Teacher relationships

Answer the following:

What are the positive aspects of the teacher’s management?

What problems are occurring?

What are some possible solutions to the situation, and how would they affect
learning?

Demonstrate your understanding of the module information by relating the
information to the case study. Be explicit. Use apa format and site correctly. TEXT
BOOK LOGIN usename: zhightower@augusta.edu password: Kirtavious1$
https://nam02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fstore.cognell
a.com%2F&data=05%7C02%7CNPARKS%40augusta.edu%7Cca99494d66b04685fede0
8ddd8eb5839%7C8783ac6bd05b4292b483e65f1fdfee91%7C0%7C0%7C638905227498
101192%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuM
DAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&
sdata=TOgwJX4Gt5l9zd3xVXC2cKlpTTabI0TJDMDLNtAyaKo%3D&reserved=0

Develop a Classroom Management Plan for a Positive
Learning Environment Project

Overview

For this project, you will create a comprehensive classroom management plan that
creates a positive learning environment for a chosen age group, taking into consideration
their specific needs, challenges and developmental milestones. You will choose an age
group to focus on (e.g., elementary). The format of the written plan is flexible but must
cover each of the following components: age group overview, physical classroom
environment, cognitive environment, social environment, communication strategies, and
evaluation and monitoring.

Instructions

For this assignment, you will write a report detailing each component of the classroom
environment plan, including research findings, physical classroom environment, cognitive
environment, communication strategies, social activities and evaluation methods. You will
also explain the importance of the humanistic learning theory and how you integrate the
concept into your practice. Include a thoughtful and critical analysis of what you have read,

[mailto:zhightower@augusta.edu](mailto:zhightower@augusta.edu)

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demonstrating an understanding of key classroom management concepts drawn from the
module resources and your own research.

Project Components

1. Age Group Overview (10% of the final grade) – You will research and provide
a brief overview of the needs of your chosen age group, including
developmental milestones and common challenges.

2. Physical Classroom Environment (20% of the final grade) – You will design
a classroom layout and physical environment that supports the social and
emotional development of your chosen age group. This should include
elements such as seating arrangements, classroom decorations and
materials.

3. Cognitive Environment (20% of the final grade) – You will establish a set of
age-appropriate classroom rules and procedures that promote a positive and
supportive learning environment. This may include guidelines for behavior,
routines and expectations for student interactions.

4. Social Environment (20% of the final grade) – You will design age-
appropriate social activities that can be integrated into the classroom
curriculum. These activities should promote self-awareness, communication
skills, social awareness and relationship skills.

5. Communication Strategies (20% of the final grade) – You will develop
strategies for effective communication with students, parents and other
stakeholders in order to support the social and emotional development of
your chosen age group. This may involve active listening, conflict resolution
and positive reinforcement techniques.

6. Evaluation and Monitoring (10% of the final grade) – You will outline
methods for evaluating and monitoring the effectiveness of your classroom
environment as well as adjustments based on data-driven decisions.

Assignment Guidelines and Rubric

• Your assignment should be 1000–1250 words in length.

• The paper should be double-spaced with 1-inch margins all around and use 12-
point Times New Roman font.

• Use at least 4 citations from either the module resources or your own reading.

• This assignment is subject to review by Turnitin.

**## plannn.pdf**

Chpter 2: Teacher relationships

Answer the following:

What are the positive aspects of the teacher’s management?

What problems are occurring?

What are some possible solutions to the situation, and how would they affect
learning?

Demonstrate your understanding of the module information by relating the
information to the case study. Be explicit. Use apa format and site correctly. TEXT
BOOK LOGIN usename: zhightower@augusta.edu password: Kirtavious1$
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a.com%2F&data=05%7C02%7CNPARKS%40augusta.edu%7Cca99494d66b04685fede0
8ddd8eb5839%7C8783ac6bd05b4292b483e65f1fdfee91%7C0%7C0%7C638905227498
101192%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuM
DAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&
sdata=TOgwJX4Gt5l9zd3xVXC2cKlpTTabI0TJDMDLNtAyaKo%3D&reserved=0

Develop a Classroom Management Plan for a Positive
Learning Environment Project

Overview

For this project, you will create a comprehensive classroom management plan that
creates a positive learning environment for a chosen age group, taking into consideration
their specific needs, challenges and developmental milestones. You will choose an age
group to focus on (e.g., elementary). The format of the written plan is flexible but must
cover each of the following components: age group overview, physical classroom
environment, cognitive environment, social environment, communication strategies, and
evaluation and monitoring.

Instructions

For this assignment, you will write a report detailing each component of the classroom
environment plan, including research findings, physical classroom environment, cognitive
environment, communication strategies, social activities and evaluation methods. You will
also explain the importance of the humanistic learning theory and how you integrate the
concept into your practice. Include a thoughtful and critical analysis of what you have read,

[mailto:zhightower@augusta.edu](mailto:zhightower@augusta.edu)

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demonstrating an understanding of key classroom management concepts drawn from the
module resources and your own research.

Project Components

1. Age Group Overview (10% of the final grade) – You will research and provide
a brief overview of the needs of your chosen age group, including
developmental milestones and common challenges.

2. Physical Classroom Environment (20% of the final grade) – You will design
a classroom layout and physical environment that supports the social and
emotional development of your chosen age group. This should include
elements such as seating arrangements, classroom decorations and
materials.

3. Cognitive Environment (20% of the final grade) – You will establish a set of
age-appropriate classroom rules and procedures that promote a positive and
supportive learning environment. This may include guidelines for behavior,
routines and expectations for student interactions.

4. Social Environment (20% of the final grade) – You will design age-
appropriate social activities that can be integrated into the classroom
curriculum. These activities should promote self-awareness, communication
skills, social awareness and relationship skills.

5. Communication Strategies (20% of the final grade) – You will develop
strategies for effective communication with students, parents and other
stakeholders in order to support the social and emotional development of
your chosen age group. This may involve active listening, conflict resolution
and positive reinforcement techniques.

6. Evaluation and Monitoring (10% of the final grade) – You will outline
methods for evaluating and monitoring the effectiveness of your classroom
environment as well as adjustments based on data-driven decisions.

Assignment Guidelines and Rubric

• Your assignment should be 1000–1250 words in length.

• The paper should be double-spaced with 1-inch margins all around and use 12-
point Times New Roman font.

• Use at least 4 citations from either the module resources or your own reading.

• This assignment is subject to review by Turnitin.

November 5, 2026
[Solved] HIS QUESTION-B39

✓ Verified Academic Solution Available

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In-depth study guidance and analytical solution covering HIS QUESTION-B39.

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November 5, 2026
[Solved] Psychology ABA 502- Assignment 1

✓ Verified Academic Solution Available

Executive Solution Overview

Please see attached! – ## Assignment1Instructions.docx – ## ABA502Assignment1GradingRubric-StudentVersion.pdf **## Assignment1Instructions.docx** **ABA 502: Principles of Behavior Analysis** **Assignment 1** 1. **State and define the** **two types of Motivating Operations.** 2. **Provide** **2 exa…

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Assignment Prompt & Instructions

Please see attached!

– ## Assignment1Instructions.docx

– ## ABA502Assignment1GradingRubric-StudentVersion.pdf

**## Assignment1Instructions.docx**

**ABA 502: Principles of Behavior Analysis**

**Assignment 1**

1.
**State and define the**
**two types of Motivating Operations.**

2.
**Provide**
**2 examples to illustrate**
**each type of Motivating Operation (MO). Note: you should submit 4 examples in total.**

3.
**When you explain your examples, be sure to specify the two effects of the motivating operation in the example with respect to (1) the value of the consequence and (2) the frequency of the associated behaviors.**

4.
**You must include at least one image (graph, flowchart, etc.) to visually support your examples.**

5.
**Label each part of your image (i.e., the MOs, the Sds, the behaviors, the consequences, etc.).**

**Note: Be sure to come up with your own examples and explanations. You can generate ideas from online research, but you SHOULD NOT simply copy something you found online. This is considered to be plagiarism.**

**Please note:** Your assignment should be submitted in a
**Word Document** format
**using Times New Roman 12.** The assignment must use APA format  (See link to APA publication style in the course site resources.) Please include an appropriate heading on your paper and references to support methods or procedures used.

**Please be sure to save your work using the naming convention:**

Student last name, first name, ABA 502 Assignment 1

**## ABA502Assignment1GradingRubric-StudentVersion.pdf**

Rubric for ABA502 Assignment 1
Grading item

Completely accurate in

content and clearly

articulated

Partially inaccurate in

content OR somewhat

unclear in articulation

Partially inaccurate in

content AND unclear in

articulation

Item is missing or

completely inaccurate

in content

Definition of EO

10 7 3 0

Definition of AO

10 7 3 0

EO Example 1

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

(Based on items correct)

0

EO Example 2

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

(Based on items correct)

0

AO Example 1

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

Based on items correct)

0

AO Example 2

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

(Based on items correct)

0

Labeled Image

• MO

• Sd

• Behavior

• Consequence

10

(2.5 points per item)

—

Based on # items correct

—

Based on # items correct

Also, 3 points for some

other type of image

0

Overall Writing (clarity, APA style

formatting)

10 7 3 0

Final Grade Max. 100 pts.

APA Style Links:

1) Sample student paper using APA style: https://apastyle.apa.org/style-grammar-guidelines/paper-format/student-annotated.pdf

2) Student Paper Setup Guide: https://apastyle.apa.org/instructional-aids/student-paper-setup-guide.pdf

3) Heading Levels Template for a Student Paper: https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf

4) Student Title Page Guide: https://apastyle.apa.org/instructional-aids/student-title-page-guide.pdf

5) Reference Examples: https://apastyle.apa.org/style-grammar-guidelines/references/examples

[https://apastyle.apa.org/style-grammar-guidelines/paper-format/student-annotated.pdf](https://apastyle.apa.org/style-grammar-guidelines/paper-format/student-annotated.pdf)

[https://apastyle.apa.org/instructional-aids/student-paper-setup-guide.pdf](https://apastyle.apa.org/instructional-aids/student-paper-setup-guide.pdf)

[https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf](https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf)

[https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf](https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf)

[https://apastyle.apa.org/instructional-aids/student-title-page-guide.pdf](https://apastyle.apa.org/instructional-aids/student-title-page-guide.pdf)

[https://apastyle.apa.org/style-grammar-guidelines/references/examples](https://apastyle.apa.org/style-grammar-guidelines/references/examples)

**## ABA502Assignment1GradingRubric-StudentVersion.pdf**

Rubric for ABA502 Assignment 1
Grading item

Completely accurate in

content and clearly

articulated

Partially inaccurate in

content OR somewhat

unclear in articulation

Partially inaccurate in

content AND unclear in

articulation

Item is missing or

completely inaccurate

in content

Definition of EO

10 7 3 0

Definition of AO

10 7 3 0

EO Example 1

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

(Based on items correct)

0

EO Example 2

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

(Based on items correct)

0

AO Example 1

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

Based on items correct)

0

AO Example 2

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

(Based on items correct)

0

Labeled Image

• MO

• Sd

• Behavior

• Consequence

10

(2.5 points per item)

—

Based on # items correct

—

Based on # items correct

Also, 3 points for some

other type of image

0

Overall Writing (clarity, APA style

formatting)

10 7 3 0

Final Grade Max. 100 pts.

APA Style Links:

1) Sample student paper using APA style: https://apastyle.apa.org/style-grammar-guidelines/paper-format/student-annotated.pdf

2) Student Paper Setup Guide: https://apastyle.apa.org/instructional-aids/student-paper-setup-guide.pdf

3) Heading Levels Template for a Student Paper: https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf

4) Student Title Page Guide: https://apastyle.apa.org/instructional-aids/student-title-page-guide.pdf

5) Reference Examples: https://apastyle.apa.org/style-grammar-guidelines/references/examples

[https://apastyle.apa.org/style-grammar-guidelines/paper-format/student-annotated.pdf](https://apastyle.apa.org/style-grammar-guidelines/paper-format/student-annotated.pdf)

[https://apastyle.apa.org/instructional-aids/student-paper-setup-guide.pdf](https://apastyle.apa.org/instructional-aids/student-paper-setup-guide.pdf)

[https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf](https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf)

[https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf](https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf)

[https://apastyle.apa.org/instructional-aids/student-title-page-guide.pdf](https://apastyle.apa.org/instructional-aids/student-title-page-guide.pdf)

[https://apastyle.apa.org/style-grammar-guidelines/references/examples](https://apastyle.apa.org/style-grammar-guidelines/references/examples)

**## Assignment1Instructions.docx**

**ABA 502: Principles of Behavior Analysis**

**Assignment 1**

1.
**State and define the**
**two types of Motivating Operations.**

2.
**Provide**
**2 examples to illustrate**
**each type of Motivating Operation (MO). Note: you should submit 4 examples in total.**

3.
**When you explain your examples, be sure to specify the two effects of the motivating operation in the example with respect to (1) the value of the consequence and (2) the frequency of the associated behaviors.**

4.
**You must include at least one image (graph, flowchart, etc.) to visually support your examples.**

5.
**Label each part of your image (i.e., the MOs, the Sds, the behaviors, the consequences, etc.).**

**Note: Be sure to come up with your own examples and explanations. You can generate ideas from online research, but you SHOULD NOT simply copy something you found online. This is considered to be plagiarism.**

**Please note:** Your assignment should be submitted in a
**Word Document** format
**using Times New Roman 12.** The assignment must use APA format  (See link to APA publication style in the course site resources.) Please include an appropriate heading on your paper and references to support methods or procedures used.

**Please be sure to save your work using the naming convention:**

Student last name, first name, ABA 502 Assignment 1

**## ABA502Assignment1GradingRubric-StudentVersion.pdf**

Rubric for ABA502 Assignment 1
Grading item

Completely accurate in

content and clearly

articulated

Partially inaccurate in

content OR somewhat

unclear in articulation

Partially inaccurate in

content AND unclear in

articulation

Item is missing or

completely inaccurate

in content

Definition of EO

10 7 3 0

Definition of AO

10 7 3 0

EO Example 1

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

(Based on items correct)

0

EO Example 2

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

(Based on items correct)

0

AO Example 1

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

Based on items correct)

0

AO Example 2

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

(Based on items correct)

0

Labeled Image

• MO

• Sd

• Behavior

• Consequence

10

(2.5 points per item)

—

Based on # items correct

—

Based on # items correct

Also, 3 points for some

other type of image

0

Overall Writing (clarity, APA style

formatting)

10 7 3 0

Final Grade Max. 100 pts.

APA Style Links:

1) Sample student paper using APA style: https://apastyle.apa.org/style-grammar-guidelines/paper-format/student-annotated.pdf

2) Student Paper Setup Guide: https://apastyle.apa.org/instructional-aids/student-paper-setup-guide.pdf

3) Heading Levels Template for a Student Paper: https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf

4) Student Title Page Guide: https://apastyle.apa.org/instructional-aids/student-title-page-guide.pdf

5) Reference Examples: https://apastyle.apa.org/style-grammar-guidelines/references/examples

[https://apastyle.apa.org/style-grammar-guidelines/paper-format/student-annotated.pdf](https://apastyle.apa.org/style-grammar-guidelines/paper-format/student-annotated.pdf)

[https://apastyle.apa.org/instructional-aids/student-paper-setup-guide.pdf](https://apastyle.apa.org/instructional-aids/student-paper-setup-guide.pdf)

[https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf](https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf)

[https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf](https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf)

[https://apastyle.apa.org/instructional-aids/student-title-page-guide.pdf](https://apastyle.apa.org/instructional-aids/student-title-page-guide.pdf)

[https://apastyle.apa.org/style-grammar-guidelines/references/examples](https://apastyle.apa.org/style-grammar-guidelines/references/examples)

**## Assignment1Instructions.docx**

**ABA 502: Principles of Behavior Analysis**

**Assignment 1**

1.
**State and define the**
**two types of Motivating Operations.**

2.
**Provide**
**2 examples to illustrate**
**each type of Motivating Operation (MO). Note: you should submit 4 examples in total.**

3.
**When you explain your examples, be sure to specify the two effects of the motivating operation in the example with respect to (1) the value of the consequence and (2) the frequency of the associated behaviors.**

4.
**You must include at least one image (graph, flowchart, etc.) to visually support your examples.**

5.
**Label each part of your image (i.e., the MOs, the Sds, the behaviors, the consequences, etc.).**

**Note: Be sure to come up with your own examples and explanations. You can generate ideas from online research, but you SHOULD NOT simply copy something you found online. This is considered to be plagiarism.**

**Please note:** Your assignment should be submitted in a
**Word Document** format
**using Times New Roman 12.** The assignment must use APA format  (See link to APA publication style in the course site resources.) Please include an appropriate heading on your paper and references to support methods or procedures used.

**Please be sure to save your work using the naming convention:**

Student last name, first name, ABA 502 Assignment 1

**## ABA502Assignment1GradingRubric-StudentVersion.pdf**

Rubric for ABA502 Assignment 1
Grading item

Completely accurate in

content and clearly

articulated

Partially inaccurate in

content OR somewhat

unclear in articulation

Partially inaccurate in

content AND unclear in

articulation

Item is missing or

completely inaccurate

in content

Definition of EO

10 7 3 0

Definition of AO

10 7 3 0

EO Example 1

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

(Based on items correct)

0

EO Example 2

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

(Based on items correct)

0

AO Example 1

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

Based on items correct)

0

AO Example 2

• Scenario

• Change in value of consequence

• Change in frequency of behavior

15

(5 points per item)

10

(Based on items correct)

5

(Based on items correct)

0

Labeled Image

• MO

• Sd

• Behavior

• Consequence

10

(2.5 points per item)

—

Based on # items correct

—

Based on # items correct

Also, 3 points for some

other type of image

0

Overall Writing (clarity, APA style

formatting)

10 7 3 0

Final Grade Max. 100 pts.

APA Style Links:

1) Sample student paper using APA style: https://apastyle.apa.org/style-grammar-guidelines/paper-format/student-annotated.pdf

2) Student Paper Setup Guide: https://apastyle.apa.org/instructional-aids/student-paper-setup-guide.pdf

3) Heading Levels Template for a Student Paper: https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf

4) Student Title Page Guide: https://apastyle.apa.org/instructional-aids/student-title-page-guide.pdf

5) Reference Examples: https://apastyle.apa.org/style-grammar-guidelines/references/examples

[https://apastyle.apa.org/style-grammar-guidelines/paper-format/student-annotated.pdf](https://apastyle.apa.org/style-grammar-guidelines/paper-format/student-annotated.pdf)

[https://apastyle.apa.org/instructional-aids/student-paper-setup-guide.pdf](https://apastyle.apa.org/instructional-aids/student-paper-setup-guide.pdf)

[https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf](https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf)

[https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf](https://apastyle.apa.org/instructional-aids/heading-template-student-paper.pdf)

[https://apastyle.apa.org/instructional-aids/student-title-page-guide.pdf](https://apastyle.apa.org/instructional-aids/student-title-page-guide.pdf)

[https://apastyle.apa.org/style-grammar-guidelines/references/examples](https://apastyle.apa.org/style-grammar-guidelines/references/examples)

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Executive Solution Overview

– ## CreateaVisualOriginStory.docx – ## Mod1-BuildingyourTeamActivity.pdf **## CreateaVisualOriginStory.docx** **Create a Visual Origin Story** In Module 1 you are to complete the team-building exercise " [Visual Origin Story: Adventures in collaborative storytelling](https://asu.instructure.com/cou…

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Assignment Prompt & Instructions

– ## CreateaVisualOriginStory.docx

– ## Mod1-BuildingyourTeamActivity.pdf

**## CreateaVisualOriginStory.docx**

**Create a Visual Origin Story**

In Module 1 you are to complete the team-building exercise "
[Visual Origin Story: Adventures in collaborative storytelling](https://asu.instructure.com/courses/233075/files/112496319/download?wrap=1)

." This exercise is from the book:
[Murdoch-Kitt, K. M., & Emans, D. J. (2020). Intercultural collaboration by design drawing from differences, distances, and disciplines through visual thinking. New York, N.Y: Routledge.Links to an external site.](https://ebookcentral-proquest-com.ezproxy1.lib.asu.edu/lib/asulib-ebooks/detail.action?pq-origsite=primo&docID=6023756)

Origin stories exist in every human culture and are used to offer explanations about how something came into existence. Creating a Visual Origin Story combines lateral and visual thinking as your team envisions its collective capabilities and imagines a positive trajectory together. For example, the team’s co-authored origin story might describe teammates’ superpowers and how they work together to “fight the evils of the world.” The activity involves both asynchronous components with low social presence (your independent work) and synchronous moments with high social presence (coming together with your team to discuss and create). Working together synchronously at the end stage of this activity is required.

**Phase 1:** **Personal Avatar, To be Completed Individually Prior to Team Meeting**

1.
**Brainstorm:** Create an avatar—an image that will represent your personality—to share with your new teammates. Feeling stuck? This exercise in lateral thinking will help you come up with some imaginative ways to represent yourself.

First, grab a pen and paper to write down your responses to the following:

• A verb for an activity that you like to do, ending in -ING (“flying,” “jumping,” etc.)
• Favorite color(s)
• Your favorite snack food
• An adjective that best describes you
• Aspects of your identity that are important to you (cultural, ethnic, religious, sexual orientation, etc.)
• Your favorite creature, real or imagined
• Favorite musical artist
• Favorite board or video game
• A particular hidden talent of yours
• Name of the street or town where you grew up
• Name(s) of your pet(s) (if applicable)

2.
**Imagine:** Next, combine any number of selections from the previous list to develop a fun description of yourself. Perhaps you are a superhero who can make tacos appear with the snap of your fingers? Or do you feel you embody a hybrid of your two favorite animals? Come up with two to four options for yourself by combining answers, adding descriptive features, or editing as needed. Examples of how you might describe your new superhero self:
“I’m a…”
• Flying Kimchi Horse
• Laughing Aqua Robot
• Yodeling League of Insects
• Bouncing Extroverted Cheeto

3.
**Visualize:** Continue to working individually to
**create a visual representation of yourself based on what you have imagined, making sure to connect to any personality or skills you might bring to the team.** Some ideas to get you started include:

· Draw on top of a photograph

· Create an illustration or caricature (a bowl of kimchi wearing sunglasses, a potato chip with a face, etc.)

· Collage together items from magazines or newspapers

· Develop other creative representations, such as a hand puppet constructed from fabric or other material

· Use one of these free programs to create your avatar:

· Adobe Avatar Maker:
[https://www.adobe.com/express/create/avatarLinks to an external site.](https://www.adobe.com/express/create/avatar)

·
[Links to an external site.](https://www.adobe.com/express/create/avatar) Get Avataaars:
[https://getavataaars.com/Links to an external site.](https://getavataaars.com/)

· Superherotar:
[https://superherotar.framiq.com/Links to an external site.](https://superherotar.framiq.com/)

***** Please note that your avatar can be either a collage-type image that represents you or a character that you create that is symbolic of you.
**There is no one right way to create your avatar**, the important thing is that you create an image that represents you and that you are able to use the image to introduce yourself to your team.

| |
| — |
| **Tips**<br>• <br>**Individual avatar:** Have fun creating your own individual avatars first, then share them with your team to describe your personality or things you love. The avatar can be as quirky and strange as you want it to be, as long as you can speak about how it connects to your personality. Robots, horses, insects, objects, humans, and more are all welcome to the party!<br> <br>•<br>**Combining avatars:** Think of interesting ways to combine the avatars together. Don’t just make a matrix of fragmented parts and call things done. Instead, think about how the parts fit together in interesting new ways. What new creatures could you create? What hybrid object might be constructed to represent the team?<br> <br>• <br>**Brainstorming:** Throughout the process of working together, think about the different collaborative storytelling techniques that might help your team brainstorm together. Perhaps one person adds an element to another person’s contribution or you might have an open back-and-forth discussion where multiple stories take place in a shared world. Have fun and share ideas!<br> <br>• <br>**Stay playful:** This does not need to be a serious activity and, in fact, keeping the mood light will build positive feelings among your team. If you will be working on a serious topic later in the process, activities such as this one provide a useful emotional counterpoint to relieve some of the stress and tension that can result from working with challenging topics. |

**## Mod1-BuildingyourTeamActivity.pdf**

132

3.5

Visual Origin Story:
Adventures in collaborative storytelling

Joining a team means learning about new people. Taking the time to weave

together imagery can make a team feel more cohesive and complete, even when

they’re located on opposite sides of the earth and have never met in person. The

Visual Origin Story activity evolved from one of our first forays into using visual

narratives for the purpose of team-building prior to starting work on the actual

project.

This activity strikes a balance between author-driven contributions and

reader-driven co-creations, with the aim of merging visuals to create one repre-

sentative team image, or avatar, and constructing a narrative about it. Teammates

create their own individual avatars first, then work together on the team avatar

and story. As with structured dialogue, we found that these teams benefitted

from a structured opportunity for positive and upbeat personal interactions be-

fore rolling up their sleeves to dig into a challenging topic together.

Collaborative storytelling

The process of telling and crafting stories through the creation of characters, set-

tings, and situations as part of a storyline can take many forms and utilize many

kinds of creative mechanics. Collaborative storytelling is determined by the shared

contributions of a team and can be co-created in a variety of ways. Narrators

might build on each other’s contributions by adding new elements to the end of

Establish Trust 133

a sequence without altering the previous contributions. Another approach might

be to craft a story together through parallel contributions, which enables editing

of prior contributions, and can be done synchronously or asynchronously. Multi-

ple stories can also be shared simultaneously within collaborative spaces, such as

the Fourth Space, virtual worlds, or games.

You have likely participated in some form of collaborative and/or interactive

storytelling at one point in your life. New digital tools have increased collabo-

rative and interactive storytelling formats from online spaces to video gaming

worlds. These evolving formats continue to blur the lines between author-driven

and reader-drives approaches in terms of who plays the role of narrator or listener.

In context: Visual narratives and teambuilding

“What do a robot, a horse, an insect, and an outgoing personality possibly have
in common?” One of our teammates wondered this aloud as she browsed
through the array of images she had received from her teammates.

As she read their explanations, though, she started to imagine how the
positive characteristics of the individuals represented in the images could
come together into a single entity that could illustrate the team. She printed
out the images, cut them out of paper, and began assembling them into dif-
ferent configurations. A smile crept across her face as she said, “I can’t wait to
see what they are creating with all of these different parts!”

As she documented and shared her creation with the team, along with a
short story about this fantastical beast, she asked her teammates to chime in
with suggestions, additions, and changes.

“I was feeling hesitant about this project because the topic seems so tough,” she
explained to them in writing as she posted her image in the shared online com-
munity, “but now I feel really motivated to get started and to work with you all.”

Cultural roles in storytelling

We have found that remote teams who engage with collaborative storytelling

build feelings of unanimity, mutual understanding, trust, and a sense of commu-

nity. Professor of Sociology Donna Eder (1988) points out the social constructs

of “narrator” and “listener” are variable across cultures. Some cultures embrace

the idea of a single storyteller and attentive listeners, while others challenge this

notion. In Mayan culture, for example, there was a clearly defined “responder”

among the listeners whose role included asking important questions, making

comments, and sometimes completing sentences. This type of engagement trans-

forms storytelling into a more collaborative activity and reinforces friendship and

solidarity. Showing agreement, providing additional information, and offering

opinions inherent in these practices can also help guide conflict resolution.

134 Establish Trust

Benefits & outcomes

• Create a team name, avatar, and origin story
• Participate in playful lateral thinking as a team
• Remember characteristics of your team by manipulating visual informa-

tion together
• Imagine and co-create a shared world for your work together

Activity

Visual Origin Story

Origin stories exist in every human culture and are used to offer explanations about

how something came into existence. Creating a Visual Origin Story combines

lateral and visual thinking to as your team envisions its collective capabilities

and imagines a positive trajectory together. For example, the team’s co-authored

origin story might describe teammates’ superpowers and how they work to-

gether to “fight the evils of the world.” The activity involves both asynchronous

components with low social presence (your independent work) and synchronous

moments with high social presence (coming together with your team to discuss

and create). Working together synchronously at the end stage of this activity is

recommended, if possible.

People: Individual/local colleagues/remote teammates

Duration: 1 hour (plus 1–2 days to combine avatars)

Technology: Internet access & web browser

Other resources: Pen, paper, or word processing software

Low-bandwidth version: Printer, photocopier, scissors, tape, pen, paper

Tips

• Individual avatar: Have fun creating your own individual avatars first,
then share them with your team to describe your personality or things
you love. The avatar can be as quirky and strange as you want it to be, as
long as you can speak about how it connects to your personality. Robots,
horses, insects, objects, humans, and more are all welcome to the party!

• Combining avatars: Think of interesting ways to combine the avatars
together. Don’t just make a matrix of fragmented parts and call things
done. Instead, think about how the parts fit together in interesting new
ways. What new creatures could you create? What hybrid object might
be constructed to represent the team?

Establish Trust 135

• Brainstorming: Throughout the process of working together, think
about the different collaborative storytelling techniques that might help
your team brainstorm together. Perhaps one person adds an element
to another person’s contribution or you might have an open back-and-
forth discussion where multiple stories take place in a shared world. Have
fun and share ideas!

• Stay playful: This does not need to be a serious activity and, in fact,
keeping the mood light will build positive feelings among your team. If
you will be working on a serious topic later in the process, activities such
as this one provide a useful emotional counterpoint to relieve some of the
stress and tension that can result from working with challenging topics.

Personal avatar

Phase 1: Working individually

1. Brainstorm: Create an avatar—an image that will represent your

personality—to share your new teammates. Feeling stuck? This exercise in

lateral thinking will help you come up with some imaginative ways to rep-

resent yourself. First, grab a pen and paper to write down your responses to

the following:

• A verb for an activity that you like to do, ending in -ING (“flying,”

“jumping,” etc.)

• Favorite color(s)

• Your favorite snack food

• An adjective that best describes you

• Your favorite creature, real or imagined

• Favorite musical artist

• Favorite board or video game

• A particular hidden talent of yours

• Name of the street or town where you grew up

• Name(s) of your pet(s) (if applicable)

2. Imagine: Next, combine any number of selections from the previous list to de-

velop a fun description of yourself. Perhaps you are a superhero who can make

tacos appear with the snap of your fingers? Or do you feel you embody a hybrid

of your two favorite animals? Come up with two to four options for yourself by

combining answers, adding descriptive features, or editing as needed.

Examples of how you might describe your new superhero self:

“I’m a…”

• Flying Kimchi Horse

• Laughing Aqua Robot

• Yodeling League of Insects

• Bouncing Extroverted Cheeto

136 Establish Trust

3. Visualize: Continue to working individually to create a visual representa-

tion of yourself based on what you have imagined, making sure to connect

to any personality or skills you might bring to the team. Some ideas to get

you started include:

• Draw on top of a photograph

• Create an illustration or caricature (a bowl of kimchi wearing sun-

glasses, a Cheeto with a face, etc.)

• Collage together items from magazines or newspapers

• Develop other creative representations, such as a hand puppet con-

structed from fabric or other materials

Unified team visual

Phase 2: With remote teammates

4. Discuss: Meet via video or messaging to share all of your fun individual

avatars in a shared document. Make sure to explain all the qualities and ele-

ments you have embedded in your creation. Ultimately, your goal will be to

combine these images into one team avatar.

Brainstorm different ways you might combine your individual images into a

single team avatar.

Examples of how to discuss combining avatars into a single team image:

“What do a robot, a horse, an insect, and an outgoing personality possibly have

in common? What about a mythical robot-insect-horse, driven by a miniature

lady?”

“Yes, let’s draw it!”

“Here’s what I think the body could look like…”

5. Combine & Document: Working together, combine the individual av-

atars together to create one unified team visual. Depending on the chosen

materials, you may need to photograph, photocopy, or scan the results in

order to share them with your teammates.

Some options to combine your images include:

• Analog collage: Print several copies of the individual images. Cut

them out and then tape the images together to make a new composite

image; consider bringing other physical materials (fabric, paints, etc.)

into the process to make the experience more lively, multisensory, and

exciting.

• Analog drawing: Studying each person’s individual contribution,

consider how could you bring elements from each individual avatar

into a single image? Sketch some ideas on paper to document and

share.

Establish Trust 137

• Digital table: Insert a table into your shared document (the num-

ber of rows should correspond to the number of teammates. Place se-

lected images side-by-side. Experiment with different placements and

orientations.

• Digital composition: Use free or paid image-editing software to

combine images digitally into a single composition.

6. Merge together: Work in rounds to discuss each person’s visuals. This

process may require multiple rounds of discussion, selection, and revision.

• For larger teams, you might vote to select one person’s creation to vis-

ually represent your team.

• Smaller teams might experiment by combining elements from all team-

mates. Discuss preferred approaches with your teammates.

7. Name your team: Give your unified team visual a name. This name should

capture the spirit of the team as reflected in the visual itself.

Team origin story

Phase 3: With remote teammates

8. Write: Based on the narrative elements of your new unified team visual, use

a similar approach to co-author a brief fictional origin story about the team,

including key strengths and possible adventures.

9. Finalize: For the duration of your time working together, the final team

name, avatar, and origin story will represent your team in group critiques

and other forums.

10. Discuss: Take some time to discuss what you have learned about through

this collaborative storyboarding experience. Use the following guide for

discussion.

DISCUSSION GUIDE

• What did this activity teach you about collaborative storytelling?

• What kind of cultural content or meaning is embedded in your team name

and combined image? Ask teammates to clarify or explain elements of their

images.

• Did learning about your teammates during this process make you feel closer

to them?

• How did this process help your team establish trust and build a relationship?

References

Bal, Mieke, and Christine Van Boheemen. 2009. Narratology: Introduction to the Theory of

Narrative. 3rd ed. Toronto; Buffalo: University of Toronto Press.

Boyd, Danah. 2010. “Social Network Sites as Networked Publics: Affordances, Dynam-

ics, and Implications.” In A Networked Self, 47–66. London: Routledge. doi:10.4324/

9780203876527-8.

138 Establish Trust

Dennis, Alan R., and Susan T. Kinney. 1998. “Testing Media Richness Theory in the

New Media: The Effects of Cues, Feedback, and Task Equivocality.” Information Sys-

tems Research 9 (3): 256–74. doi:10.1287/isre.9.3.256.

Eder, Donna. 1988. “Building Cohesion through Collaborative Narration.” Social Psy-

chology Quarterly 51 (3): 225–35. doi:10.2307/2786921.

Hall, Sean. 2012. This Means This, This Means That: A User’s Guide to Semiotics. 2nd

ed. London: Laurence King Publishing. http://laurenceking.com/product/

This+Means+This,+This+Means+That:+A+User%27s+Guide+to+Semiotics.htm.

Kosara, Robert, and Jock Mackinlay. 2013. “Storytelling: The Next Step for Visualiza-

tion.” Computer 46 (5): 44–50. doi:10.1109/MC.2013.36.

McLuhan, Marshall, and Quentin Fiore. 1967. “The Medium Is the Message.” New York

123: 126–8.

Robert, Lionel P., and Alan R. Dennis. 2005. “Paradox of Richness: A Cognitive Model

of Media Choice.” IEEE Transactions on Professional Communication 48 (1): 10–21.

doi:10.1109/TPC.2004.843292.

Segel, Edward, and Jeffrey Heer. 2010. “Narrative Visualization: Telling Stories with

Data.” IEEE Transactions on Visualization and Computer Graphics 16 (6): 1139–48.

doi:10.1109/TVCG.2010.179.

Short, John, Ederyn Williams, and Bruce Christie. 1976. The Social Psychology of Telecom-

munications. London; New York: Wiley.

**## Mod1-BuildingyourTeamActivity.pdf**

132

3.5

Visual Origin Story:
Adventures in collaborative storytelling

Joining a team means learning about new people. Taking the time to weave

together imagery can make a team feel more cohesive and complete, even when

they’re located on opposite sides of the earth and have never met in person. The

Visual Origin Story activity evolved from one of our first forays into using visual

narratives for the purpose of team-building prior to starting work on the actual

project.

This activity strikes a balance between author-driven contributions and

reader-driven co-creations, with the aim of merging visuals to create one repre-

sentative team image, or avatar, and constructing a narrative about it. Teammates

create their own individual avatars first, then work together on the team avatar

and story. As with structured dialogue, we found that these teams benefitted

from a structured opportunity for positive and upbeat personal interactions be-

fore rolling up their sleeves to dig into a challenging topic together.

Collaborative storytelling

The process of telling and crafting stories through the creation of characters, set-

tings, and situations as part of a storyline can take many forms and utilize many

kinds of creative mechanics. Collaborative storytelling is determined by the shared

contributions of a team and can be co-created in a variety of ways. Narrators

might build on each other’s contributions by adding new elements to the end of

Establish Trust 133

a sequence without altering the previous contributions. Another approach might

be to craft a story together through parallel contributions, which enables editing

of prior contributions, and can be done synchronously or asynchronously. Multi-

ple stories can also be shared simultaneously within collaborative spaces, such as

the Fourth Space, virtual worlds, or games.

You have likely participated in some form of collaborative and/or interactive

storytelling at one point in your life. New digital tools have increased collabo-

rative and interactive storytelling formats from online spaces to video gaming

worlds. These evolving formats continue to blur the lines between author-driven

and reader-drives approaches in terms of who plays the role of narrator or listener.

In context: Visual narratives and teambuilding

“What do a robot, a horse, an insect, and an outgoing personality possibly have
in common?” One of our teammates wondered this aloud as she browsed
through the array of images she had received from her teammates.

As she read their explanations, though, she started to imagine how the
positive characteristics of the individuals represented in the images could
come together into a single entity that could illustrate the team. She printed
out the images, cut them out of paper, and began assembling them into dif-
ferent configurations. A smile crept across her face as she said, “I can’t wait to
see what they are creating with all of these different parts!”

As she documented and shared her creation with the team, along with a
short story about this fantastical beast, she asked her teammates to chime in
with suggestions, additions, and changes.

“I was feeling hesitant about this project because the topic seems so tough,” she
explained to them in writing as she posted her image in the shared online com-
munity, “but now I feel really motivated to get started and to work with you all.”

Cultural roles in storytelling

We have found that remote teams who engage with collaborative storytelling

build feelings of unanimity, mutual understanding, trust, and a sense of commu-

nity. Professor of Sociology Donna Eder (1988) points out the social constructs

of “narrator” and “listener” are variable across cultures. Some cultures embrace

the idea of a single storyteller and attentive listeners, while others challenge this

notion. In Mayan culture, for example, there was a clearly defined “responder”

among the listeners whose role included asking important questions, making

comments, and sometimes completing sentences. This type of engagement trans-

forms storytelling into a more collaborative activity and reinforces friendship and

solidarity. Showing agreement, providing additional information, and offering

opinions inherent in these practices can also help guide conflict resolution.

134 Establish Trust

Benefits & outcomes

• Create a team name, avatar, and origin story
• Participate in playful lateral thinking as a team
• Remember characteristics of your team by manipulating visual informa-

tion together
• Imagine and co-create a shared world for your work together

Activity

Visual Origin Story

Origin stories exist in every human culture and are used to offer explanations about

how something came into existence. Creating a Visual Origin Story combines

lateral and visual thinking to as your team envisions its collective capabilities

and imagines a positive trajectory together. For example, the team’s co-authored

origin story might describe teammates’ superpowers and how they work to-

gether to “fight the evils of the world.” The activity involves both asynchronous

components with low social presence (your independent work) and synchronous

moments with high social presence (coming together with your team to discuss

and create). Working together synchronously at the end stage of this activity is

recommended, if possible.

People: Individual/local colleagues/remote teammates

Duration: 1 hour (plus 1–2 days to combine avatars)

Technology: Internet access & web browser

Other resources: Pen, paper, or word processing software

Low-bandwidth version: Printer, photocopier, scissors, tape, pen, paper

Tips

• Individual avatar: Have fun creating your own individual avatars first,
then share them with your team to describe your personality or things
you love. The avatar can be as quirky and strange as you want it to be, as
long as you can speak about how it connects to your personality. Robots,
horses, insects, objects, humans, and more are all welcome to the party!

• Combining avatars: Think of interesting ways to combine the avatars
together. Don’t just make a matrix of fragmented parts and call things
done. Instead, think about how the parts fit together in interesting new
ways. What new creatures could you create? What hybrid object might
be constructed to represent the team?

Establish Trust 135

• Brainstorming: Throughout the process of working together, think
about the different collaborative storytelling techniques that might help
your team brainstorm together. Perhaps one person adds an element
to another person’s contribution or you might have an open back-and-
forth discussion where multiple stories take place in a shared world. Have
fun and share ideas!

• Stay playful: This does not need to be a serious activity and, in fact,
keeping the mood light will build positive feelings among your team. If
you will be working on a serious topic later in the process, activities such
as this one provide a useful emotional counterpoint to relieve some of the
stress and tension that can result from working with challenging topics.

Personal avatar

Phase 1: Working individually

1. Brainstorm: Create an avatar—an image that will represent your

personality—to share your new teammates. Feeling stuck? This exercise in

lateral thinking will help you come up with some imaginative ways to rep-

resent yourself. First, grab a pen and paper to write down your responses to

the following:

• A verb for an activity that you like to do, ending in -ING (“flying,”

“jumping,” etc.)

• Favorite color(s)

• Your favorite snack food

• An adjective that best describes you

• Your favorite creature, real or imagined

• Favorite musical artist

• Favorite board or video game

• A particular hidden talent of yours

• Name of the street or town where you grew up

• Name(s) of your pet(s) (if applicable)

2. Imagine: Next, combine any number of selections from the previous list to de-

velop a fun description of yourself. Perhaps you are a superhero who can make

tacos appear with the snap of your fingers? Or do you feel you embody a hybrid

of your two favorite animals? Come up with two to four options for yourself by

combining answers, adding descriptive features, or editing as needed.

Examples of how you might describe your new superhero self:

“I’m a…”

• Flying Kimchi Horse

• Laughing Aqua Robot

• Yodeling League of Insects

• Bouncing Extroverted Cheeto

136 Establish Trust

3. Visualize: Continue to working individually to create a visual representa-

tion of yourself based on what you have imagined, making sure to connect

to any personality or skills you might bring to the team. Some ideas to get

you started include:

• Draw on top of a photograph

• Create an illustration or caricature (a bowl of kimchi wearing sun-

glasses, a Cheeto with a face, etc.)

• Collage together items from magazines or newspapers

• Develop other creative representations, such as a hand puppet con-

structed from fabric or other materials

Unified team visual

Phase 2: With remote teammates

4. Discuss: Meet via video or messaging to share all of your fun individual

avatars in a shared document. Make sure to explain all the qualities and ele-

ments you have embedded in your creation. Ultimately, your goal will be to

combine these images into one team avatar.

Brainstorm different ways you might combine your individual images into a

single team avatar.

Examples of how to discuss combining avatars into a single team image:

“What do a robot, a horse, an insect, and an outgoing personality possibly have

in common? What about a mythical robot-insect-horse, driven by a miniature

lady?”

“Yes, let’s draw it!”

“Here’s what I think the body could look like…”

5. Combine & Document: Working together, combine the individual av-

atars together to create one unified team visual. Depending on the chosen

materials, you may need to photograph, photocopy, or scan the results in

order to share them with your teammates.

Some options to combine your images include:

• Analog collage: Print several copies of the individual images. Cut

them out and then tape the images together to make a new composite

image; consider bringing other physical materials (fabric, paints, etc.)

into the process to make the experience more lively, multisensory, and

exciting.

• Analog drawing: Studying each person’s individual contribution,

consider how could you bring elements from each individual avatar

into a single image? Sketch some ideas on paper to document and

share.

Establish Trust 137

• Digital table: Insert a table into your shared document (the num-

ber of rows should correspond to the number of teammates. Place se-

lected images side-by-side. Experiment with different placements and

orientations.

• Digital composition: Use free or paid image-editing software to

combine images digitally into a single composition.

6. Merge together: Work in rounds to discuss each person’s visuals. This

process may require multiple rounds of discussion, selection, and revision.

• For larger teams, you might vote to select one person’s creation to vis-

ually represent your team.

• Smaller teams might experiment by combining elements from all team-

mates. Discuss preferred approaches with your teammates.

7. Name your team: Give your unified team visual a name. This name should

capture the spirit of the team as reflected in the visual itself.

Team origin story

Phase 3: With remote teammates

8. Write: Based on the narrative elements of your new unified team visual, use

a similar approach to co-author a brief fictional origin story about the team,

including key strengths and possible adventures.

9. Finalize: For the duration of your time working together, the final team

name, avatar, and origin story will represent your team in group critiques

and other forums.

10. Discuss: Take some time to discuss what you have learned about through

this collaborative storyboarding experience. Use the following guide for

discussion.

DISCUSSION GUIDE

• What did this activity teach you about collaborative storytelling?

• What kind of cultural content or meaning is embedded in your team name

and combined image? Ask teammates to clarify or explain elements of their

images.

• Did learning about your teammates during this process make you feel closer

to them?

• How did this process help your team establish trust and build a relationship?

References

Bal, Mieke, and Christine Van Boheemen. 2009. Narratology: Introduction to the Theory of

Narrative. 3rd ed. Toronto; Buffalo: University of Toronto Press.

Boyd, Danah. 2010. “Social Network Sites as Networked Publics: Affordances, Dynam-

ics, and Implications.” In A Networked Self, 47–66. London: Routledge. doi:10.4324/

9780203876527-8.

138 Establish Trust

Dennis, Alan R., and Susan T. Kinney. 1998. “Testing Media Richness Theory in the

New Media: The Effects of Cues, Feedback, and Task Equivocality.” Information Sys-

tems Research 9 (3): 256–74. doi:10.1287/isre.9.3.256.

Eder, Donna. 1988. “Building Cohesion through Collaborative Narration.” Social Psy-

chology Quarterly 51 (3): 225–35. doi:10.2307/2786921.

Hall, Sean. 2012. This Means This, This Means That: A User’s Guide to Semiotics. 2nd

ed. London: Laurence King Publishing. http://laurenceking.com/product/

This+Means+This,+This+Means+That:+A+User%27s+Guide+to+Semiotics.htm.

Kosara, Robert, and Jock Mackinlay. 2013. “Storytelling: The Next Step for Visualiza-

tion.” Computer 46 (5): 44–50. doi:10.1109/MC.2013.36.

McLuhan, Marshall, and Quentin Fiore. 1967. “The Medium Is the Message.” New York

123: 126–8.

Robert, Lionel P., and Alan R. Dennis. 2005. “Paradox of Richness: A Cognitive Model

of Media Choice.” IEEE Transactions on Professional Communication 48 (1): 10–21.

doi:10.1109/TPC.2004.843292.

Segel, Edward, and Jeffrey Heer. 2010. “Narrative Visualization: Telling Stories with

Data.” IEEE Transactions on Visualization and Computer Graphics 16 (6): 1139–48.

doi:10.1109/TVCG.2010.179.

Short, John, Ederyn Williams, and Bruce Christie. 1976. The Social Psychology of Telecom-

munications. London; New York: Wiley.

**## CreateaVisualOriginStory.docx**

**Create a Visual Origin Story**

In Module 1 you are to complete the team-building exercise "
[Visual Origin Story: Adventures in collaborative storytelling](https://asu.instructure.com/courses/233075/files/112496319/download?wrap=1)

." This exercise is from the book:
[Murdoch-Kitt, K. M., & Emans, D. J. (2020). Intercultural collaboration by design drawing from differences, distances, and disciplines through visual thinking. New York, N.Y: Routledge.Links to an external site.](https://ebookcentral-proquest-com.ezproxy1.lib.asu.edu/lib/asulib-ebooks/detail.action?pq-origsite=primo&docID=6023756)

Origin stories exist in every human culture and are used to offer explanations about how something came into existence. Creating a Visual Origin Story combines lateral and visual thinking as your team envisions its collective capabilities and imagines a positive trajectory together. For example, the team’s co-authored origin story might describe teammates’ superpowers and how they work together to “fight the evils of the world.” The activity involves both asynchronous components with low social presence (your independent work) and synchronous moments with high social presence (coming together with your team to discuss and create). Working together synchronously at the end stage of this activity is required.

**Phase 1:** **Personal Avatar, To be Completed Individually Prior to Team Meeting**

1.
**Brainstorm:** Create an avatar—an image that will represent your personality—to share with your new teammates. Feeling stuck? This exercise in lateral thinking will help you come up with some imaginative ways to represent yourself.

First, grab a pen and paper to write down your responses to the following:

• A verb for an activity that you like to do, ending in -ING (“flying,” “jumping,” etc.)
• Favorite color(s)
• Your favorite snack food
• An adjective that best describes you
• Aspects of your identity that are important to you (cultural, ethnic, religious, sexual orientation, etc.)
• Your favorite creature, real or imagined
• Favorite musical artist
• Favorite board or video game
• A particular hidden talent of yours
• Name of the street or town where you grew up
• Name(s) of your pet(s) (if applicable)

2.
**Imagine:** Next, combine any number of selections from the previous list to develop a fun description of yourself. Perhaps you are a superhero who can make tacos appear with the snap of your fingers? Or do you feel you embody a hybrid of your two favorite animals? Come up with two to four options for yourself by combining answers, adding descriptive features, or editing as needed. Examples of how you might describe your new superhero self:
“I’m a…”
• Flying Kimchi Horse
• Laughing Aqua Robot
• Yodeling League of Insects
• Bouncing Extroverted Cheeto

3.
**Visualize:** Continue to working individually to
**create a visual representation of yourself based on what you have imagined, making sure to connect to any personality or skills you might bring to the team.** Some ideas to get you started include:

· Draw on top of a photograph

· Create an illustration or caricature (a bowl of kimchi wearing sunglasses, a potato chip with a face, etc.)

· Collage together items from magazines or newspapers

· Develop other creative representations, such as a hand puppet constructed from fabric or other material

· Use one of these free programs to create your avatar:

· Adobe Avatar Maker:
[https://www.adobe.com/express/create/avatarLinks to an external site.](https://www.adobe.com/express/create/avatar)

·
[Links to an external site.](https://www.adobe.com/express/create/avatar) Get Avataaars:
[https://getavataaars.com/Links to an external site.](https://getavataaars.com/)

· Superherotar:
[https://superherotar.framiq.com/Links to an external site.](https://superherotar.framiq.com/)

***** Please note that your avatar can be either a collage-type image that represents you or a character that you create that is symbolic of you.
**There is no one right way to create your avatar**, the important thing is that you create an image that represents you and that you are able to use the image to introduce yourself to your team.

| |
| — |
| **Tips**<br>• <br>**Individual avatar:** Have fun creating your own individual avatars first, then share them with your team to describe your personality or things you love. The avatar can be as quirky and strange as you want it to be, as long as you can speak about how it connects to your personality. Robots, horses, insects, objects, humans, and more are all welcome to the party!<br> <br>•<br>**Combining avatars:** Think of interesting ways to combine the avatars together. Don’t just make a matrix of fragmented parts and call things done. Instead, think about how the parts fit together in interesting new ways. What new creatures could you create? What hybrid object might be constructed to represent the team?<br> <br>• <br>**Brainstorming:** Throughout the process of working together, think about the different collaborative storytelling techniques that might help your team brainstorm together. Perhaps one person adds an element to another person’s contribution or you might have an open back-and-forth discussion where multiple stories take place in a shared world. Have fun and share ideas!<br> <br>• <br>**Stay playful:** This does not need to be a serious activity and, in fact, keeping the mood light will build positive feelings among your team. If you will be working on a serious topic later in the process, activities such as this one provide a useful emotional counterpoint to relieve some of the stress and tension that can result from working with challenging topics. |

**## Mod1-BuildingyourTeamActivity.pdf**

132

3.5

Visual Origin Story:
Adventures in collaborative storytelling

Joining a team means learning about new people. Taking the time to weave

together imagery can make a team feel more cohesive and complete, even when

they’re located on opposite sides of the earth and have never met in person. The

Visual Origin Story activity evolved from one of our first forays into using visual

narratives for the purpose of team-building prior to starting work on the actual

project.

This activity strikes a balance between author-driven contributions and

reader-driven co-creations, with the aim of merging visuals to create one repre-

sentative team image, or avatar, and constructing a narrative about it. Teammates

create their own individual avatars first, then work together on the team avatar

and story. As with structured dialogue, we found that these teams benefitted

from a structured opportunity for positive and upbeat personal interactions be-

fore rolling up their sleeves to dig into a challenging topic together.

Collaborative storytelling

The process of telling and crafting stories through the creation of characters, set-

tings, and situations as part of a storyline can take many forms and utilize many

kinds of creative mechanics. Collaborative storytelling is determined by the shared

contributions of a team and can be co-created in a variety of ways. Narrators

might build on each other’s contributions by adding new elements to the end of

Establish Trust 133

a sequence without altering the previous contributions. Another approach might

be to craft a story together through parallel contributions, which enables editing

of prior contributions, and can be done synchronously or asynchronously. Multi-

ple stories can also be shared simultaneously within collaborative spaces, such as

the Fourth Space, virtual worlds, or games.

You have likely participated in some form of collaborative and/or interactive

storytelling at one point in your life. New digital tools have increased collabo-

rative and interactive storytelling formats from online spaces to video gaming

worlds. These evolving formats continue to blur the lines between author-driven

and reader-drives approaches in terms of who plays the role of narrator or listener.

In context: Visual narratives and teambuilding

“What do a robot, a horse, an insect, and an outgoing personality possibly have
in common?” One of our teammates wondered this aloud as she browsed
through the array of images she had received from her teammates.

As she read their explanations, though, she started to imagine how the
positive characteristics of the individuals represented in the images could
come together into a single entity that could illustrate the team. She printed
out the images, cut them out of paper, and began assembling them into dif-
ferent configurations. A smile crept across her face as she said, “I can’t wait to
see what they are creating with all of these different parts!”

As she documented and shared her creation with the team, along with a
short story about this fantastical beast, she asked her teammates to chime in
with suggestions, additions, and changes.

“I was feeling hesitant about this project because the topic seems so tough,” she
explained to them in writing as she posted her image in the shared online com-
munity, “but now I feel really motivated to get started and to work with you all.”

Cultural roles in storytelling

We have found that remote teams who engage with collaborative storytelling

build feelings of unanimity, mutual understanding, trust, and a sense of commu-

nity. Professor of Sociology Donna Eder (1988) points out the social constructs

of “narrator” and “listener” are variable across cultures. Some cultures embrace

the idea of a single storyteller and attentive listeners, while others challenge this

notion. In Mayan culture, for example, there was a clearly defined “responder”

among the listeners whose role included asking important questions, making

comments, and sometimes completing sentences. This type of engagement trans-

forms storytelling into a more collaborative activity and reinforces friendship and

solidarity. Showing agreement, providing additional information, and offering

opinions inherent in these practices can also help guide conflict resolution.

134 Establish Trust

Benefits & outcomes

• Create a team name, avatar, and origin story
• Participate in playful lateral thinking as a team
• Remember characteristics of your team by manipulating visual informa-

tion together
• Imagine and co-create a shared world for your work together

Activity

Visual Origin Story

Origin stories exist in every human culture and are used to offer explanations about

how something came into existence. Creating a Visual Origin Story combines

lateral and visual thinking to as your team envisions its collective capabilities

and imagines a positive trajectory together. For example, the team’s co-authored

origin story might describe teammates’ superpowers and how they work to-

gether to “fight the evils of the world.” The activity involves both asynchronous

components with low social presence (your independent work) and synchronous

moments with high social presence (coming together with your team to discuss

and create). Working together synchronously at the end stage of this activity is

recommended, if possible.

People: Individual/local colleagues/remote teammates

Duration: 1 hour (plus 1–2 days to combine avatars)

Technology: Internet access & web browser

Other resources: Pen, paper, or word processing software

Low-bandwidth version: Printer, photocopier, scissors, tape, pen, paper

Tips

• Individual avatar: Have fun creating your own individual avatars first,
then share them with your team to describe your personality or things
you love. The avatar can be as quirky and strange as you want it to be, as
long as you can speak about how it connects to your personality. Robots,
horses, insects, objects, humans, and more are all welcome to the party!

• Combining avatars: Think of interesting ways to combine the avatars
together. Don’t just make a matrix of fragmented parts and call things
done. Instead, think about how the parts fit together in interesting new
ways. What new creatures could you create? What hybrid object might
be constructed to represent the team?

Establish Trust 135

• Brainstorming: Throughout the process of working together, think
about the different collaborative storytelling techniques that might help
your team brainstorm together. Perhaps one person adds an element
to another person’s contribution or you might have an open back-and-
forth discussion where multiple stories take place in a shared world. Have
fun and share ideas!

• Stay playful: This does not need to be a serious activity and, in fact,
keeping the mood light will build positive feelings among your team. If
you will be working on a serious topic later in the process, activities such
as this one provide a useful emotional counterpoint to relieve some of the
stress and tension that can result from working with challenging topics.

Personal avatar

Phase 1: Working individually

1. Brainstorm: Create an avatar—an image that will represent your

personality—to share your new teammates. Feeling stuck? This exercise in

lateral thinking will help you come up with some imaginative ways to rep-

resent yourself. First, grab a pen and paper to write down your responses to

the following:

• A verb for an activity that you like to do, ending in -ING (“flying,”

“jumping,” etc.)

• Favorite color(s)

• Your favorite snack food

• An adjective that best describes you

• Your favorite creature, real or imagined

• Favorite musical artist

• Favorite board or video game

• A particular hidden talent of yours

• Name of the street or town where you grew up

• Name(s) of your pet(s) (if applicable)

2. Imagine: Next, combine any number of selections from the previous list to de-

velop a fun description of yourself. Perhaps you are a superhero who can make

tacos appear with the snap of your fingers? Or do you feel you embody a hybrid

of your two favorite animals? Come up with two to four options for yourself by

combining answers, adding descriptive features, or editing as needed.

Examples of how you might describe your new superhero self:

“I’m a…”

• Flying Kimchi Horse

• Laughing Aqua Robot

• Yodeling League of Insects

• Bouncing Extroverted Cheeto

136 Establish Trust

3. Visualize: Continue to working individually to create a visual representa-

tion of yourself based on what you have imagined, making sure to connect

to any personality or skills you might bring to the team. Some ideas to get

you started include:

• Draw on top of a photograph

• Create an illustration or caricature (a bowl of kimchi wearing sun-

glasses, a Cheeto with a face, etc.)

• Collage together items from magazines or newspapers

• Develop other creative representations, such as a hand puppet con-

structed from fabric or other materials

Unified team visual

Phase 2: With remote teammates

4. Discuss: Meet via video or messaging to share all of your fun individual

avatars in a shared document. Make sure to explain all the qualities and ele-

ments you have embedded in your creation. Ultimately, your goal will be to

combine these images into one team avatar.

Brainstorm different ways you might combine your individual images into a

single team avatar.

Examples of how to discuss combining avatars into a single team image:

“What do a robot, a horse, an insect, and an outgoing personality possibly have

in common? What about a mythical robot-insect-horse, driven by a miniature

lady?”

“Yes, let’s draw it!”

“Here’s what I think the body could look like…”

5. Combine & Document: Working together, combine the individual av-

atars together to create one unified team visual. Depending on the chosen

materials, you may need to photograph, photocopy, or scan the results in

order to share them with your teammates.

Some options to combine your images include:

• Analog collage: Print several copies of the individual images. Cut

them out and then tape the images together to make a new composite

image; consider bringing other physical materials (fabric, paints, etc.)

into the process to make the experience more lively, multisensory, and

exciting.

• Analog drawing: Studying each person’s individual contribution,

consider how could you bring elements from each individual avatar

into a single image? Sketch some ideas on paper to document and

share.

Establish Trust 137

• Digital table: Insert a table into your shared document (the num-

ber of rows should correspond to the number of teammates. Place se-

lected images side-by-side. Experiment with different placements and

orientations.

• Digital composition: Use free or paid image-editing software to

combine images digitally into a single composition.

6. Merge together: Work in rounds to discuss each person’s visuals. This

process may require multiple rounds of discussion, selection, and revision.

• For larger teams, you might vote to select one person’s creation to vis-

ually represent your team.

• Smaller teams might experiment by combining elements from all team-

mates. Discuss preferred approaches with your teammates.

7. Name your team: Give your unified team visual a name. This name should

capture the spirit of the team as reflected in the visual itself.

Team origin story

Phase 3: With remote teammates

8. Write: Based on the narrative elements of your new unified team visual, use

a similar approach to co-author a brief fictional origin story about the team,

including key strengths and possible adventures.

9. Finalize: For the duration of your time working together, the final team

name, avatar, and origin story will represent your team in group critiques

and other forums.

10. Discuss: Take some time to discuss what you have learned about through

this collaborative storyboarding experience. Use the following guide for

discussion.

DISCUSSION GUIDE

• What did this activity teach you about collaborative storytelling?

• What kind of cultural content or meaning is embedded in your team name

and combined image? Ask teammates to clarify or explain elements of their

images.

• Did learning about your teammates during this process make you feel closer

to them?

• How did this process help your team establish trust and build a relationship?

References

Bal, Mieke, and Christine Van Boheemen. 2009. Narratology: Introduction to the Theory of

Narrative. 3rd ed. Toronto; Buffalo: University of Toronto Press.

Boyd, Danah. 2010. “Social Network Sites as Networked Publics: Affordances, Dynam-

ics, and Implications.” In A Networked Self, 47–66. London: Routledge. doi:10.4324/

9780203876527-8.

138 Establish Trust

Dennis, Alan R., and Susan T. Kinney. 1998. “Testing Media Richness Theory in the

New Media: The Effects of Cues, Feedback, and Task Equivocality.” Information Sys-

tems Research 9 (3): 256–74. doi:10.1287/isre.9.3.256.

Eder, Donna. 1988. “Building Cohesion through Collaborative Narration.” Social Psy-

chology Quarterly 51 (3): 225–35. doi:10.2307/2786921.

Hall, Sean. 2012. This Means This, This Means That: A User’s Guide to Semiotics. 2nd

ed. London: Laurence King Publishing. http://laurenceking.com/product/

This+Means+This,+This+Means+That:+A+User%27s+Guide+to+Semiotics.htm.

Kosara, Robert, and Jock Mackinlay. 2013. “Storytelling: The Next Step for Visualiza-

tion.” Computer 46 (5): 44–50. doi:10.1109/MC.2013.36.

McLuhan, Marshall, and Quentin Fiore. 1967. “The Medium Is the Message.” New York

123: 126–8.

Robert, Lionel P., and Alan R. Dennis. 2005. “Paradox of Richness: A Cognitive Model

of Media Choice.” IEEE Transactions on Professional Communication 48 (1): 10–21.

doi:10.1109/TPC.2004.843292.

Segel, Edward, and Jeffrey Heer. 2010. “Narrative Visualization: Telling Stories with

Data.” IEEE Transactions on Visualization and Computer Graphics 16 (6): 1139–48.

doi:10.1109/TVCG.2010.179.

Short, John, Ederyn Williams, and Bruce Christie. 1976. The Social Psychology of Telecom-

munications. London; New York: Wiley.

**## CreateaVisualOriginStory.docx**

**Create a Visual Origin Story**

In Module 1 you are to complete the team-building exercise "
[Visual Origin Story: Adventures in collaborative storytelling](https://asu.instructure.com/courses/233075/files/112496319/download?wrap=1)

." This exercise is from the book:
[Murdoch-Kitt, K. M., & Emans, D. J. (2020). Intercultural collaboration by design drawing from differences, distances, and disciplines through visual thinking. New York, N.Y: Routledge.Links to an external site.](https://ebookcentral-proquest-com.ezproxy1.lib.asu.edu/lib/asulib-ebooks/detail.action?pq-origsite=primo&docID=6023756)

Origin stories exist in every human culture and are used to offer explanations about how something came into existence. Creating a Visual Origin Story combines lateral and visual thinking as your team envisions its collective capabilities and imagines a positive trajectory together. For example, the team’s co-authored origin story might describe teammates’ superpowers and how they work together to “fight the evils of the world.” The activity involves both asynchronous components with low social presence (your independent work) and synchronous moments with high social presence (coming together with your team to discuss and create). Working together synchronously at the end stage of this activity is required.

**Phase 1:** **Personal Avatar, To be Completed Individually Prior to Team Meeting**

1.
**Brainstorm:** Create an avatar—an image that will represent your personality—to share with your new teammates. Feeling stuck? This exercise in lateral thinking will help you come up with some imaginative ways to represent yourself.

First, grab a pen and paper to write down your responses to the following:

• A verb for an activity that you like to do, ending in -ING (“flying,” “jumping,” etc.)
• Favorite color(s)
• Your favorite snack food
• An adjective that best describes you
• Aspects of your identity that are important to you (cultural, ethnic, religious, sexual orientation, etc.)
• Your favorite creature, real or imagined
• Favorite musical artist
• Favorite board or video game
• A particular hidden talent of yours
• Name of the street or town where you grew up
• Name(s) of your pet(s) (if applicable)

2.
**Imagine:** Next, combine any number of selections from the previous list to develop a fun description of yourself. Perhaps you are a superhero who can make tacos appear with the snap of your fingers? Or do you feel you embody a hybrid of your two favorite animals? Come up with two to four options for yourself by combining answers, adding descriptive features, or editing as needed. Examples of how you might describe your new superhero self:
“I’m a…”
• Flying Kimchi Horse
• Laughing Aqua Robot
• Yodeling League of Insects
• Bouncing Extroverted Cheeto

3.
**Visualize:** Continue to working individually to
**create a visual representation of yourself based on what you have imagined, making sure to connect to any personality or skills you might bring to the team.** Some ideas to get you started include:

· Draw on top of a photograph

· Create an illustration or caricature (a bowl of kimchi wearing sunglasses, a potato chip with a face, etc.)

· Collage together items from magazines or newspapers

· Develop other creative representations, such as a hand puppet constructed from fabric or other material

· Use one of these free programs to create your avatar:

· Adobe Avatar Maker:
[https://www.adobe.com/express/create/avatarLinks to an external site.](https://www.adobe.com/express/create/avatar)

·
[Links to an external site.](https://www.adobe.com/express/create/avatar) Get Avataaars:
[https://getavataaars.com/Links to an external site.](https://getavataaars.com/)

· Superherotar:
[https://superherotar.framiq.com/Links to an external site.](https://superherotar.framiq.com/)

***** Please note that your avatar can be either a collage-type image that represents you or a character that you create that is symbolic of you.
**There is no one right way to create your avatar**, the important thing is that you create an image that represents you and that you are able to use the image to introduce yourself to your team.

| |
| — |
| **Tips**<br>• <br>**Individual avatar:** Have fun creating your own individual avatars first, then share them with your team to describe your personality or things you love. The avatar can be as quirky and strange as you want it to be, as long as you can speak about how it connects to your personality. Robots, horses, insects, objects, humans, and more are all welcome to the party!<br> <br>•<br>**Combining avatars:** Think of interesting ways to combine the avatars together. Don’t just make a matrix of fragmented parts and call things done. Instead, think about how the parts fit together in interesting new ways. What new creatures could you create? What hybrid object might be constructed to represent the team?<br> <br>• <br>**Brainstorming:** Throughout the process of working together, think about the different collaborative storytelling techniques that might help your team brainstorm together. Perhaps one person adds an element to another person’s contribution or you might have an open back-and-forth discussion where multiple stories take place in a shared world. Have fun and share ideas!<br> <br>• <br>**Stay playful:** This does not need to be a serious activity and, in fact, keeping the mood light will build positive feelings among your team. If you will be working on a serious topic later in the process, activities such as this one provide a useful emotional counterpoint to relieve some of the stress and tension that can result from working with challenging topics. |

**## Mod1-BuildingyourTeamActivity.pdf**

132

3.5

Visual Origin Story:
Adventures in collaborative storytelling

Joining a team means learning about new people. Taking the time to weave

together imagery can make a team feel more cohesive and complete, even when

they’re located on opposite sides of the earth and have never met in person. The

Visual Origin Story activity evolved from one of our first forays into using visual

narratives for the purpose of team-building prior to starting work on the actual

project.

This activity strikes a balance between author-driven contributions and

reader-driven co-creations, with the aim of merging visuals to create one repre-

sentative team image, or avatar, and constructing a narrative about it. Teammates

create their own individual avatars first, then work together on the team avatar

and story. As with structured dialogue, we found that these teams benefitted

from a structured opportunity for positive and upbeat personal interactions be-

fore rolling up their sleeves to dig into a challenging topic together.

Collaborative storytelling

The process of telling and crafting stories through the creation of characters, set-

tings, and situations as part of a storyline can take many forms and utilize many

kinds of creative mechanics. Collaborative storytelling is determined by the shared

contributions of a team and can be co-created in a variety of ways. Narrators

might build on each other’s contributions by adding new elements to the end of

Establish Trust 133

a sequence without altering the previous contributions. Another approach might

be to craft a story together through parallel contributions, which enables editing

of prior contributions, and can be done synchronously or asynchronously. Multi-

ple stories can also be shared simultaneously within collaborative spaces, such as

the Fourth Space, virtual worlds, or games.

You have likely participated in some form of collaborative and/or interactive

storytelling at one point in your life. New digital tools have increased collabo-

rative and interactive storytelling formats from online spaces to video gaming

worlds. These evolving formats continue to blur the lines between author-driven

and reader-drives approaches in terms of who plays the role of narrator or listener.

In context: Visual narratives and teambuilding

“What do a robot, a horse, an insect, and an outgoing personality possibly have
in common?” One of our teammates wondered this aloud as she browsed
through the array of images she had received from her teammates.

As she read their explanations, though, she started to imagine how the
positive characteristics of the individuals represented in the images could
come together into a single entity that could illustrate the team. She printed
out the images, cut them out of paper, and began assembling them into dif-
ferent configurations. A smile crept across her face as she said, “I can’t wait to
see what they are creating with all of these different parts!”

As she documented and shared her creation with the team, along with a
short story about this fantastical beast, she asked her teammates to chime in
with suggestions, additions, and changes.

“I was feeling hesitant about this project because the topic seems so tough,” she
explained to them in writing as she posted her image in the shared online com-
munity, “but now I feel really motivated to get started and to work with you all.”

Cultural roles in storytelling

We have found that remote teams who engage with collaborative storytelling

build feelings of unanimity, mutual understanding, trust, and a sense of commu-

nity. Professor of Sociology Donna Eder (1988) points out the social constructs

of “narrator” and “listener” are variable across cultures. Some cultures embrace

the idea of a single storyteller and attentive listeners, while others challenge this

notion. In Mayan culture, for example, there was a clearly defined “responder”

among the listeners whose role included asking important questions, making

comments, and sometimes completing sentences. This type of engagement trans-

forms storytelling into a more collaborative activity and reinforces friendship and

solidarity. Showing agreement, providing additional information, and offering

opinions inherent in these practices can also help guide conflict resolution.

134 Establish Trust

Benefits & outcomes

• Create a team name, avatar, and origin story
• Participate in playful lateral thinking as a team
• Remember characteristics of your team by manipulating visual informa-

tion together
• Imagine and co-create a shared world for your work together

Activity

Visual Origin Story

Origin stories exist in every human culture and are used to offer explanations about

how something came into existence. Creating a Visual Origin Story combines

lateral and visual thinking to as your team envisions its collective capabilities

and imagines a positive trajectory together. For example, the team’s co-authored

origin story might describe teammates’ superpowers and how they work to-

gether to “fight the evils of the world.” The activity involves both asynchronous

components with low social presence (your independent work) and synchronous

moments with high social presence (coming together with your team to discuss

and create). Working together synchronously at the end stage of this activity is

recommended, if possible.

People: Individual/local colleagues/remote teammates

Duration: 1 hour (plus 1–2 days to combine avatars)

Technology: Internet access & web browser

Other resources: Pen, paper, or word processing software

Low-bandwidth version: Printer, photocopier, scissors, tape, pen, paper

Tips

• Individual avatar: Have fun creating your own individual avatars first,
then share them with your team to describe your personality or things
you love. The avatar can be as quirky and strange as you want it to be, as
long as you can speak about how it connects to your personality. Robots,
horses, insects, objects, humans, and more are all welcome to the party!

• Combining avatars: Think of interesting ways to combine the avatars
together. Don’t just make a matrix of fragmented parts and call things
done. Instead, think about how the parts fit together in interesting new
ways. What new creatures could you create? What hybrid object might
be constructed to represent the team?

Establish Trust 135

• Brainstorming: Throughout the process of working together, think
about the different collaborative storytelling techniques that might help
your team brainstorm together. Perhaps one person adds an element
to another person’s contribution or you might have an open back-and-
forth discussion where multiple stories take place in a shared world. Have
fun and share ideas!

• Stay playful: This does not need to be a serious activity and, in fact,
keeping the mood light will build positive feelings among your team. If
you will be working on a serious topic later in the process, activities such
as this one provide a useful emotional counterpoint to relieve some of the
stress and tension that can result from working with challenging topics.

Personal avatar

Phase 1: Working individually

1. Brainstorm: Create an avatar—an image that will represent your

personality—to share your new teammates. Feeling stuck? This exercise in

lateral thinking will help you come up with some imaginative ways to rep-

resent yourself. First, grab a pen and paper to write down your responses to

the following:

• A verb for an activity that you like to do, ending in -ING (“flying,”

“jumping,” etc.)

• Favorite color(s)

• Your favorite snack food

• An adjective that best describes you

• Your favorite creature, real or imagined

• Favorite musical artist

• Favorite board or video game

• A particular hidden talent of yours

• Name of the street or town where you grew up

• Name(s) of your pet(s) (if applicable)

2. Imagine: Next, combine any number of selections from the previous list to de-

velop a fun description of yourself. Perhaps you are a superhero who can make

tacos appear with the snap of your fingers? Or do you feel you embody a hybrid

of your two favorite animals? Come up with two to four options for yourself by

combining answers, adding descriptive features, or editing as needed.

Examples of how you might describe your new superhero self:

“I’m a…”

• Flying Kimchi Horse

• Laughing Aqua Robot

• Yodeling League of Insects

• Bouncing Extroverted Cheeto

136 Establish Trust

3. Visualize: Continue to working individually to create a visual representa-

tion of yourself based on what you have imagined, making sure to connect

to any personality or skills you might bring to the team. Some ideas to get

you started include:

• Draw on top of a photograph

• Create an illustration or caricature (a bowl of kimchi wearing sun-

glasses, a Cheeto with a face, etc.)

• Collage together items from magazines or newspapers

• Develop other creative representations, such as a hand puppet con-

structed from fabric or other materials

Unified team visual

Phase 2: With remote teammates

4. Discuss: Meet via video or messaging to share all of your fun individual

avatars in a shared document. Make sure to explain all the qualities and ele-

ments you have embedded in your creation. Ultimately, your goal will be to

combine these images into one team avatar.

Brainstorm different ways you might combine your individual images into a

single team avatar.

Examples of how to discuss combining avatars into a single team image:

“What do a robot, a horse, an insect, and an outgoing personality possibly have

in common? What about a mythical robot-insect-horse, driven by a miniature

lady?”

“Yes, let’s draw it!”

“Here’s what I think the body could look like…”

5. Combine & Document: Working together, combine the individual av-

atars together to create one unified team visual. Depending on the chosen

materials, you may need to photograph, photocopy, or scan the results in

order to share them with your teammates.

Some options to combine your images include:

• Analog collage: Print several copies of the individual images. Cut

them out and then tape the images together to make a new composite

image; consider bringing other physical materials (fabric, paints, etc.)

into the process to make the experience more lively, multisensory, and

exciting.

• Analog drawing: Studying each person’s individual contribution,

consider how could you bring elements from each individual avatar

into a single image? Sketch some ideas on paper to document and

share.

Establish Trust 137

• Digital table: Insert a table into your shared document (the num-

ber of rows should correspond to the number of teammates. Place se-

lected images side-by-side. Experiment with different placements and

orientations.

• Digital composition: Use free or paid image-editing software to

combine images digitally into a single composition.

6. Merge together: Work in rounds to discuss each person’s visuals. This

process may require multiple rounds of discussion, selection, and revision.

• For larger teams, you might vote to select one person’s creation to vis-

ually represent your team.

• Smaller teams might experiment by combining elements from all team-

mates. Discuss preferred approaches with your teammates.

7. Name your team: Give your unified team visual a name. This name should

capture the spirit of the team as reflected in the visual itself.

Team origin story

Phase 3: With remote teammates

8. Write: Based on the narrative elements of your new unified team visual, use

a similar approach to co-author a brief fictional origin story about the team,

including key strengths and possible adventures.

9. Finalize: For the duration of your time working together, the final team

name, avatar, and origin story will represent your team in group critiques

and other forums.

10. Discuss: Take some time to discuss what you have learned about through

this collaborative storyboarding experience. Use the following guide for

discussion.

DISCUSSION GUIDE

• What did this activity teach you about collaborative storytelling?

• What kind of cultural content or meaning is embedded in your team name

and combined image? Ask teammates to clarify or explain elements of their

images.

• Did learning about your teammates during this process make you feel closer

to them?

• How did this process help your team establish trust and build a relationship?

References

Bal, Mieke, and Christine Van Boheemen. 2009. Narratology: Introduction to the Theory of

Narrative. 3rd ed. Toronto; Buffalo: University of Toronto Press.

Boyd, Danah. 2010. “Social Network Sites as Networked Publics: Affordances, Dynam-

ics, and Implications.” In A Networked Self, 47–66. London: Routledge. doi:10.4324/

9780203876527-8.

138 Establish Trust

Dennis, Alan R., and Susan T. Kinney. 1998. “Testing Media Richness Theory in the

New Media: The Effects of Cues, Feedback, and Task Equivocality.” Information Sys-

tems Research 9 (3): 256–74. doi:10.1287/isre.9.3.256.

Eder, Donna. 1988. “Building Cohesion through Collaborative Narration.” Social Psy-

chology Quarterly 51 (3): 225–35. doi:10.2307/2786921.

Hall, Sean. 2012. This Means This, This Means That: A User’s Guide to Semiotics. 2nd

ed. London: Laurence King Publishing. http://laurenceking.com/product/

This+Means+This,+This+Means+That:+A+User%27s+Guide+to+Semiotics.htm.

Kosara, Robert, and Jock Mackinlay. 2013. “Storytelling: The Next Step for Visualiza-

tion.” Computer 46 (5): 44–50. doi:10.1109/MC.2013.36.

McLuhan, Marshall, and Quentin Fiore. 1967. “The Medium Is the Message.” New York

123: 126–8.

Robert, Lionel P., and Alan R. Dennis. 2005. “Paradox of Richness: A Cognitive Model

of Media Choice.” IEEE Transactions on Professional Communication 48 (1): 10–21.

doi:10.1109/TPC.2004.843292.

Segel, Edward, and Jeffrey Heer. 2010. “Narrative Visualization: Telling Stories with

Data.” IEEE Transactions on Visualization and Computer Graphics 16 (6): 1139–48.

doi:10.1109/TVCG.2010.179.

Short, John, Ederyn Williams, and Bruce Christie. 1976. The Social Psychology of Telecom-

munications. London; New York: Wiley.

– 1
– 2

November 5, 2026