Workshop 2 About Workshop 2 and 3 For Workshop 2, you’ll submit more fully-developed drafts of the poetry that you shared in Workshop 1, and you’ll provide feedback on your group members’ drafts, just as you did in Workshop 1. For Workshop 2: you should significantly revise what you’ve already written in your Workshop 1 poetry draft. In addition, you should add 2-3 pages of new poems (making your draft 4-6 pages). IMPORTANT: This class is more about the creative process than the creative product. With that in mind, you are strongly encouraged to take risks in your writing—experiment with a new point of view, try a different rhyme scheme, etc. There are no mistakes in the creative process, because even a “misstep” teaches you something important about writing craft, what will/will not work in your story/poetry, and why. Whether your risk-taking results in stronger creative work or not, risk-taking provides you with more opportunities for learning and reflection, which is a big part of the Final Portfolio reflective essay. Your course grade is based largely on the writing process you engage in, not how good your final story/poetry is. So go ahead, try something different. Ask “what if…” Be a true creator! The Workshop Responses For both workshops, you will provide your group members with a draft of your creative work. You will also provide your group members with feedback on their drafts. Providing drafts and feedback works the same way as it did in Workshop 1: You’ll submit a draft as an attachment on the appropriate Workshop discussion forum on Canvas, and you’ll provide written feedback to your group members’ work there, as well. Unlike Workshop 1, which was about brainstorming possibilities in your creative work, workshops 2 and 3 are more about developing your creative work by thinking about how to use the craft elements we’ve been exploring. That doesn’t mean that there’s no longer a place for brainstorming possibilities, though! Taking risks and learning from your successes and your “failures” is an important part of the creative process. Your responses to your group members’ drafts will be informal letters to the author that are 300 words long. In each response, you’ll address the following items: · In 1-3 brief sentences, summarize the plot situation (if responding to a story), or the specific subject that all of the poems revolve around (if responding to poetry). · If you’re responding to a reflective essay draft, you can skip this step. · Make some observations of how the author is using craft elements. You don’t need to comment on every single craft element, just focus on the ones that seem most significant in the work. For example, you might note that the author is sticking to a traditional plot structure (or not), or using setting, or imagery, or rhyme, in a unique way. · If you’re responding to a reflective essay draft, make observations on how detailed the author is being about how s/he describes craft elements. For .

1. Workshop 2
About Workshop 2 and 3
For Workshop 2, you’ll submit more fully-developed drafts of
the poetry that you shared in Workshop 1, and you’ll provide
feedback on your group members’ drafts, just as you did in
Workshop 1.
For Workshop 2:
you should significantly revise what you’ve already written in
your Workshop 1 poetry draft. In addition, you should add 2-3
pages of new poems (making your draft 4-6 pages).
IMPORTANT: This class is more about the creative process
than the creative product. With that in mind, you are strongly
encouraged to take risks in your writing—experiment with a
new point of view, try a different rhyme scheme, etc. There are
no mistakes in the creative process, because even a “misstep”
teaches you something important about writing craft, what
will/will not work in your story/poetry, and why.
Whether your risk-taking results in stronger creative work or
not, risk-taking provides you with more opportunities for
learning and reflection, which is a big part of the Final Portfolio
reflective essay. Your course grade is based largely on the
writing process you engage in, not how good your final
story/poetry is. So go ahead, try something different. Ask “what
if…” Be a true creator!
The Workshop Responses
For both workshops, you will provide your group members with
a draft of your creative work. You will also provide your group
members with feedback on their drafts. Providing drafts and
feedback works the same way as it did in Workshop 1: You’ll
submit a draft as an attachment on the appropriate Workshop
discussion forum on Canvas, and you’ll provide written

2. feedback to your group members’ work there, as well.
Unlike Workshop 1, which was about brainstorming
possibilities in your creative work, workshops 2 and 3 are more
about developing your creative work by thinking about how to
use the craft elements we’ve been exploring. That doesn’t mean
that there’s no longer a place for brainstorming possibilities,
though! Taking risks and learning from your successes and your
“failures” is an important part of the creative process.
Your responses to your group members’ drafts will be informal
letters to the author that are 300 words long.
In each response, you’ll address the following items:
· In 1-3 brief sentences, summarize the plot situation (if
responding to a story), or the specific subject that all of the
poems revolve around (if responding to poetry).
· If you’re responding to a reflective essay draft, you can skip
this step.
· Make some observations of how the author is using craft
elements. You don’t need to comment on every single craft
element, just focus on the ones that seem most significant in the
work. For example, you might note that the author is sticking to
a traditional plot structure (or not), or using setting, or imagery,
or rhyme, in a unique way.
· If you’re responding to a reflective essay draft, make
observations on how detailed the author is being about how s/he
describes craft elements. For example, describing plot situation,
rising action, climax, and resolution is detailed. Simply
describing a plot is not detailed. Describing specific rhyme
schemes (end rhyme, internal rhyme, near rhyme or perfect
rhyme) is detailed. Just saying rhyme is used or not is not
detailed.
· Note questions that the work raises for you as a reader.
Questions can address the content of the work, or the craft of
the work. For example, you might ask how Bob, who had two

3. broken legs on page 2, found himself dancing at a club on page
3. Or you might ask why the author chose the first person POV,
or why the author chose to use perfect end rhyme, or why the
author chose to center all of the poems on the page. Be sure to
explain why the work raises your questions (in other words,
don’t ask questions just for the sake of asking questions). Look
for areas in the work that make you curious or confused, and
develop questions from that.
· If you’re responding to a reflective essay draft, note questions
about the focus, organization, or content of the draft.
· Make suggestions for how the author might continue
developing the work, and explain the reasoning behind your
suggestions. For example, if you believe the story would be
more compelling if told from the POV of another character,
suggest that, and explain your reasoning. If you believe the
poem would be more effective without perfect end rhyme,
suggest that, and explain your reasoning. It will be up to the
author to decide whether or not to take your suggestions to
heart.
· If you’re responding to a reflective essay draft, make
suggestions on the focus, organization, details, or content of the
essay as you see fit.
Some tips on writing responses
· As creators, we always want to hear that someone loves our
work. It’s great to hear, “I loved your story! I can’t wait to read
the final draft!” So, if you read a work that you really like, then
tell the author you really liked it. But then move on—quickly.
Keep in mind that stating your pleasure/displeasure with the
work is not the purpose of the workshop response. The purpose
is to provide constructive feedback for the author. Focus on
that.
· Write the kind of thoughtful, detailed response that you hope
to receive from your group members about your own work.

4. · Be honest but be tactful. If there’s something about a work
that you hate, turn your reaction into a question and
constructive feedback.
Original poem：
“Life as a teen”
Every chance I get,
I use it to look at the trends,
I do not pay attention to issues that are political,
Neither do I associate myself with issues that are economical,
Rather I tend to take a liking in everything that I can impact a
difference on,
As a teen,
My brain is considered poor.
They make people suffer and call it a victorious win,
Nevertheless, who am I to stand in between?
I post about ridiculous things happening in the society,
And people call it crap,
Whereas a singer sings, the ABCs and they call it rap,
They say I lack solid grounds to blame the government,
While they continue feasting like hounds in their big tents,
Communities are in lack while leaders grab and tuck,

5. Politics is no longer about the livelihood of citizens,
Politicians have turned into farmers changing us into herded
hens,
Snakes have left the forest and managed to book mansions?
Misguided, we selected hyenas to guard goats,
Now they are feasting on our throats,
The elected have selected themselves, earthly gods,
Making electors their servants in their own compounds,
News have turned into horror stories,
Filled with woes and cries,
However, no one heeds to such calls,
Even though all that happens is seen and heard,
The awakening is feared, and all planned actions have been
cleared.
I do not believe in the Messiah,
I do not believe in running away to another land,
I might be young but am not giving up my land,
Where are the so-called heroes?
Why do we suffer from issues that had been foretold?

6. What happened to their remedies of gold?
Who will stand out and be bold,
Who will save us from our very own hold?
Where do we run to, to restore the old?
Medical Needs
Quality Management Integration Plan
Connie Farris
Colorado Technical University
Project Performance and Quality Assurance
(MPM357-1902A-02)
Jason Lewis
Running head: QUALITY MANAGEMENT INTEGRATION
PLAN 3
QUALITY MANAGEMENT INTEGRATION PLAN 3
Abstract
Medical Needs is in the process of setting up

7. business in Nashville and Memphis Tennessee. This company
will provide any medical device the doctor prescribes for the
patients, with an extensive line of medical products available.
They are hoping to be securely established by the fall of next
year. A risk analysis has been performed and the stakeholders
requested a quality analysis to ensure all the materials used will
meet FDA QS regulations and ISO 14971 device quality system
requirements This will include all vendor materials and the
equipment used to manufacture the devices in both locations. In
the next few weeks we will cover all aspects needed to complete
this step of the preparations to open these businesses.
QUALITY MANAGEMENT INTEGRATION PLAN 3
Quality Management Integration Plan
Table of Contents
Abstract2
Plan Quality Management Week 14
Perform Quality Management Week 2 TBD5
Perform Quality Assurance Week 3 TBD6
Control Quality Week 4 TBD7
Control Quality Week 5 TBD8
References9
Plan Quality Management Week 1Perform Quality Management
Week 2 TBD

9. Perform Quality Assurance Week 3 TBD

10. Control Quality Week 4 TBD

11. Control Quality Week 5 TBD

12. References: