TAT tests in SSB consisting of 11 impulse and one blank is modification of original TAT to be suitable for mass testing to find suitability of a candidate for Armed Forces Overall picture of a candidate profile is generated by assessing all 12 stories written and assess level of presence of 15 Officers’ Like qualities on a 10 point scale with highest as 1 and least at 10 Being human these 15 traits or qualities which must be present to various degree depending upon cleanness of personality of the candidate Highest rating which a candidate has achieved is overall 5 with sprinkling from 5 to 8 in various OLQs SSB test is a go and no go test in Engg Terms or Pass or fail and not to check personality disorder of all candidates However report on possible failing in each qualities are noted and allowed to pass if in the opinion of Assessor he can improve after training with ample motivation and insight Since it is an assessment for possible performance in future ,hence McClelland ‘s need of Achievement Motivation ,Affiliation and Power is vital. If a candidate has to show these needs then he must act or project action through protagonist or Hero. Achievement and relationship directly indicates Factor 1 and 2.If result is success the Factor 3 and 4 must necessarily be present Ten Scale scoring guide can help an Assessor to be more accurate and realistic

1. Compiled by Col Mukteshwar Prasad(Retd),
Mtech(IITD),CE(I),FIE(I),FIETE,FISLE,FInstOD,AMCSI
Contact -9007224278, e-mail –
muktesh_prasad@yahoo.co.in
for book ”Decoding Services Selection Board” and SSB
guidance and training at Shivnandani Edu and Defence
Academy
Decoding TAT 3 & 4- McClelland ‘s need and Interpretation
of card 1 based on Achievement & Relationship
Ref- T.A.T. Card 1 Scoring Guide
Longitudinal Immigrant Student Adaptation Study
Carola Suárez-Orozco and Irina L. G. Todorova

2. Introduction
 TAT tests in SSB consisting of 11 impulse and one blank is modification of
original TAT to be suitable for mass testing to find suitability of a candidate for
Armed Forces
 Overall picture of a candidate profile is generated by assessing all 12 stories
written and assess level of presence of 15 Officers’ Like qualities on a 10 point
scale with highest as 1 and least at 10
 Being human these 15 traits or qualities which must be present to various
degree depending upon cleanness of personality of the candidate
 Highest rating which a candidate has achieved is overall 5 with sprinkling from 5
to 8 in various OLQs
 SSB test is a go and no go test in Engg Terms or Pass or fail and not to check
personality disorder of all candidates
 However report on possible failing in each qualities are noted and allowed to
pass if in the opinion of Assessor he can improve after training with ample
motivation and insight
 Since it is an assessment for possible performance in future ,hence
McClelland ‘s need of Achievement Motivation ,Affiliation and
Power is vital.
 If a candidate has to show these needs then he must act or project action
through protagonist or Hero.
 Achievement and relationship directly indicates Factor 1 and 2.If result is
success the Factor 3 and 4 must necessarily be present
 Ten Scale scoring guide can help an Assessor to be more accurate

3. Introduction
 Themes of achievement and relationships are derived inductively after
reading stories written .
 Hence The ten Scale can act as a reference guide for sorting through
ambiguous narratives or resolving disagreements in how scorers
assessed a particular item for a specific narrative.
 The Ten Scales
 Introduction
 The first three scales, namely
 1. Definition of Success,
 2.Attribution of Success and
 3.Resolution,
 (1,2 and 3 are geared towards projective narratives that tell an
achievement story )

4. Introduction
 Stories may be
 A classic McClelland story of achievement motivation or
 Another kind of personal achievement such as
 Harmonious relations with friends or family.
 Attribution or otherwise of success or failure
 Resolution to the story or not
 NRC (Not Related Comment) if the story is not as story about any
kind of achievement
 Interpretation must be chosen according to evidence supplied by the candidate.
 Assessor should not project his thoughts onto the narrative.
 The scales for following require that you choose one item that best
represents the story.
 Definition of Success,
 Resolution,
 Concerns with Adequacy,
 Engaged in Task,
 Source of External Pressure, and

5. Introduction
 For the following we may choose as many items for which there is
explicit evidence in the narrative.
 Attribution of Success,
 Expressed Affect and
 Impediment scales
 In the Interpersonal Relationships Scale one can choose
one description of the nature of the relationship for each type of
relationship described.
 For the purpose of understanding Card No 1 of Murray has been
taken

7. McClelland’s Needs Theory/Three Need
Theory/Learned Need Theory
 McClelland’s Needs Theory –He believed that the specific
needs of the individual are acquired over a period of time and
gets molded with one’s experience of the life.
 McClelland has identified three basic motivating needs
 Need for Power,
 Need for Affiliation and
 Need for Achievement
 Need for Power (n-pow):
 Power is the ability to induce or influence the behavior of others.
 The people with high power needs seek high-level
positions in the organization, so as to exercise influence
and control over others.
 Generally, they are outspoken, forceful, demanding,
practical/realistic-not sentimental, and like to get involved in

8. McClelland’s Needs Theory/Three Need
Theory/Learned Need Theory
 Need for Affiliation (n-affil):
 People with high need for affiliation derives pleasure
from being loved by all and tend to avoid the pain of
being rejected.
 Human beings social animals like to interact and be with
others where they feel, people accept them.
 Thus, people with these needs like to
 Maintain the pleasant social relationships,
 Enjoy the sense of intimacy and
 Like to help and console others at the time of trouble.

9. McClelland’s Needs Theory/Three Need Theory/Learned
Need Theory
 Need for Achievement (n-ach): McClelland found that some people
have an intense desire to achieve.
 He has identified the following characteristics of high achievers:
 High achievers take the moderate risks, i.e. a calculated risk while
performing the activities in the management context.
 This is opposite to the belief that high achievers take high risk.
 High achievers seek to obtain the immediate feedback for the work
done by them, so as to know their progress towards the goal.
 Once the goal is set, the high achiever puts himself completely
into the job, until it gets completed successfully.
 He will not be satisfied until he has given his 100% in the task
assigned to him.
 A person with a high need for achievement accomplishes the task
that is intrinsically satisfying and is not necessarily accompanied
by the material rewards.
 Though he wants to earn money, but satisfaction in the
accomplishment of work itself gives him more pleasure than merely
the cash reward.

10. Card 1

11. Card 1
 1.Description of Card-A boy is sitting at a table looking at a violin placed
on the table in front of him.
 2.Frequent Plots-Typical stories emerging from this card revolve around
 Either a self-motivated boy who is daydreaming about becoming an
outstanding violinist, or
 A rebellious boy being forced by his parents, or some other significant
authority figure, to play the violin.
 3.General Discussion-This is often considered to be the most useful
picture in the entire TAT (Bellak & Abrams, 1997).
 It usually elicits stories describing how the subject deals with the
general issue of impulse versus control, or,
 in a wider sense, the conflict between personal demands and
external controlling agents.
 It also aids in providing information about the client’s relationship with his
or her parents, by making It relatively easy to see whether the parents
are viewed as
 Domineering,
 Controlling,
 In-different,
 Helpful,
 Understanding, or
 Protecting (Bellak & Abrams, 1997).

12. 1.Definition of Success
The “definition of success” scale assesses how the storyteller conceptualizes
success (or failure). SCORE ONLY ONE ITEM FROM THIS SCALE. If there
are
two themes score the dominant one. If that is not obvious, then score the one
that ends with a resolution.
1. Fame
/High
Level of
success
When a student tells a story in which the outcome is
career
fame (or loss of career fame) such as being a concert
violinist or a star in the NBA, the definition of success is
“fame.” This includes publicity around a specific event,
such as being put in the newspaper for performing well.
Score this item when the story tells about achieving high
levels of success and mastery in career, talent,
community,
etc., even if fame is not mentioned.
Masterin
g Task
When the story is mainly about learning to do
something,
such as learning to play the violin, learning a language,
learning a subject at school. Again, this is scored
independently of whether the task is actually mastered or
not -- the important thing is whether they conceive of

13. 1.Definition of Success…
3 Situation
al
Success
Stories that describe being successful in a particular
situation, usually a one-time event. Examples are
performing at a concert, doing a test at school, fixing a
broken violin, doing a homework problem, etc.
4 Relational
Harmony
When the story is primarily about relational tensions -
whether they successfully resolved or not, or if the story is
about the evolution of a relationship.
5 Not Failing If the protagonist is 1) preoccupied with the possibility or
inevitability of failure, or 2) defines the success in terms of
not having failed such as “she didn’t forget the notes,
therefore they applauded”.
6 Satisfactio
n
When the protagonist in the story attains a goal for the sake
of having the skill, taking pleasure in the sense of
accomplishment. Satisfaction is also scored when the story
tells about following one's calling or heart, including in the
face of pressure to do something else.
7 NRC No Related Content -- indicates that the story is not a
story about achievement. If the story has a score of NRC in
this scale, it will also have NRC for the following two scales

14. 2.Attribution of Success
To what does the storyteller attribute the success (or failure), assuming the story is an
achievement story? YOU CAN SCORE MORE THAN ONE ITEM FROM THIS SCALE,
but only if they are present in pretty much equal strength. If one of them clearly
dominates, use just that item.
1. Innate
talent
If the storyteller attributes the outcome to talent or innate ability
(or lack thereof) then assign an “innate talent” rating. For example, if
a violinist in unable to perform well because he is tone deaf then the
lack of success is due to a lack of innate talent.
2 Personal
Effort
If the storyteller attributes a successful outcome to hard work,
practice or effort, then assign the “personal effort” rating. This can
include stories which state that one can depend only on self, that
much practice is needed to learn a task. Sustained effort must be
evident even if 'hard work' is
not explicitly stated.
3 Help of
Others
When the protagonist succeeds because a teacher, relative or
other person assists or models a process, then success is due to the
“help of others.” It is not necessary for someone to have actually
helped – only that success or the possibility of it is attributed to that
help. Talking to others about a problem is also coded “help of others”.
This item does not contradict with the presence of "Personal Effort"
and they can be scored together.

15. 2.Attribution of Success….
To what does the storyteller attribute the success (or failure), assuming the story is an
achievement story? YOU CAN SCORE MORE THAN ONE ITEM FROM THIS SCALE,
but only if they are present in pretty much equal strength. If one of them clearly
dominates, use just that item.
4 Faith When success follows on the heels of prayer or an explicit
appeal to a higher power, then that success is attributed to “faith.”
5. Fate or
Chance
If the narrator tells a story of success (or failure) where the
outcome is a matter of fate, inevitable or by chance, then a “fate or
chance” rating is assigned.
No
attributaion
of success
If the story teller relates a success story but doesn’t attribute
the success (or failure) to anything, including fate or chance, then a
no attribution rating is given.
NRC When the story is not an achievement story, then score “NRC”
for no related content.

16. 3.Resolution
The “resolution” item assesses the nature of the story’s resolution. Was
the story a success or failure, or did it end in another way? SCORE
ONLY ONE ITEM FROM THIS SCALE.

17. 3.Resolution…
1. Success When the teller relates a story with a successful outcome,
then the resolution is “success.” Any task that is completed
is a success.
2 Failure or poor
performance
When the teller relates a story, which ends in failure or a
poor performance, then the resolution is “failure or poor
performance.” This usually , (but not necessarily) includes
statements of “can’t”, “fail”, “can’t do it”.
3 Escape/Avoid If the storyteller concludes with the protagonist escaping –
by physically or psychologically removing him or herself –
then the resolution is “escape.”
4 Giving Up This is scored if the story contains explicit mention or
suggestion of giving up, not being able to go on. It is
different from the previous item in that the protagonist
doesn't only distance oneself from the activity, but also
cannot continue, gives up in general and usually expects
not to come back to the task.
5 None When the story structure begs a resolution but none is
forthcoming then score “none.”
6 NRC When the story is not an achievement story, then score
“NRC” for no related content.

18. 4.Concerns with Adequacy
Is the protagonist worried about abilities, skills, etc.?
1. PRESEN
T
Concerns with adequacy are present if they are
wondering
if they can accomplish the task, worried about whether they
have the necessary skills, talents, or ability to learn them.
In some cases "can't do it" is explicitly stated, in others sign
of low-self esteem are present.
2 NOT
PRESEN
T
Even if they lack the skills, but are not concerned or
uncomfortable with that, score "Not present". For example,
not-knowing to play the violin but learning pretty smoothly
without worry is a situation which will have this score.

19. 5.Engagement
What is the protagonist's relationship to the task or activity which is described
in
the story?
1. ENGAGE
D
When the protagonist is active in the task, interested,
doing
it, even if s/he doesn't like it.
2 Disengag
ed
Not motivated, not trying, disinterested, bored,
completely
distanced.
3 NRC Score NRC when there is no task or activity in the story
with which to be engaged. Note the difference between
NRC and “disengaged”.

20. 6.Source of External Pressure
The “external pressure” scale shows whether there is pressure from others -- to
achieve, perform, or take a particular action -- and where it is coming from. The
simple presence of these people or situations does not automatically mean that
there is pressure from them -- there has to be a sense of tension, commands,
authority, worry about how the presentation will go, etc. Usually the child
doesn’t want to do it and is being forced, or he is not positive about doing it, but
the circumstances are such that s/he persists. For example, homework that is
difficult is scored as “external pressure from school”.
1. PARENT
S
Pressure from mother, father or other adult in that role.
2 PEERS Pressure from classmates, friends, gangs.
3 Schools/
Work/
Performa
nce
Pressure from teachers, testing situations, homework, jobs,
or concert and other types of performance situations.
4 NRC If there is no external pressure, then score as NRC.

21. 7.Response to External Pressure
This scale assesses how the protagonist responds to the external pressure
scored
above, if it is present. Is the protagonist compliant with the pressure, or does
s/he avoid compliance?
1. AVOIDANT If the protagonist resists or avoids the external
pressure,
then score as avoidant.
2 COMPLIAN
T
If the protagonist is compliant with the pressure, then
score
as compliant.
3 NRC NRC If there is no external pressure, then score as NRC.

22. 8.Interpersonal Relations
The “interpersonal relations” scale assesses the protagonist’s relations with
family, peers, teachers, an audience (such as in performance situations) and a
generalized “other” people along a positive (+), negative (-), neutral axis. Look
for explicit mention of these types of interpersonal relationships in the
narrative.
Once you locate them, assess whether the tenor of the relationship is positive,
negative or neutral. Make sure you have identified explicit evidence in the text
for labeling a relationship positive or negative. If there is none, then assess the
relationship as neutral. If the relationship changes and there is both conflict
and
connection, this does not add up to a neutral score -- score "both". If there is
no
mention of this type of relationship – a peer relationship for example – then
rate
the item as NRC.

23. 8.Interpersonal Relations…
1. FAMILY Mention of anyone in a kinship or fictive kinship
relationship -- parents, siblings, uncles, cousins.
2 PEERS Friends, schoolmates, competitors in musical competitions.
3 TEACHER
S
Anyone specified as a teacher or anyone that is not a
relative or peer acting as a teacher..
5. OTHERS Anyone else mentioned that does not fit into the first four
categories. For example, the protagonist is upset and does
not want to be around “anyone.” “Anyone” explicitly
mentions an interpersonal relationship but does not specify
with whom. In other cases the story refers to "a man".
No
attributaion
of success
If the story teller relates a success story but doesn’t attribute
the success (or failure) to anything, including fate or
chance, then a no attribution rating is given.
NRC When the story is not an achievement story, then score
“NRC” for no related content.

24. 9.Expressed Affect
The “Expressed Affect” scale assesses the range of emotions explicitly expressed in
the narrative. SCORE AS MANY FOR WHICH THERE IS TEXTUALEVIDENCE. Be
mindful of not projecting your affect onto the story. Score a '99‘ if another affect that is
not included in this scale appears in the story.
1
.
ANXIETY Nervousness, worry, fear or concern.
2 ANGER Anger, rage, being mad at someone or about something.
3 Positive/Happ
y
Happiness, joy, pride, etc.
4 Sad/Depresse
d
Sadness, unhappiness, depression, crying, etc.
5 Flat/Numb Flat/ Numb Score when the storyteller fails to mention affect in
a situation that evokes feelings in the average reader. For example,
the narrator relates a story of surviving a rape, but expresses no
affect in the telling.
6 Shame Shame, humiliation, embarrassment, guilt, etc.

25. 9.Expressed Affect….
The “Expressed Affect” scale assesses the range of emotions explicitly expressed in
the narrative. SCORE AS MANY FOR WHICH THERE IS TEXTUAL EVIDENCE. Be
mindful of not projecting your affect onto the story. Score a '99’if another affect that is
not included in this scale appears in the story.
7 Upset/Bad Score this when they say "… felt bad" or when there is
general discomfort or unease, yet it is not as strong as sad/
depressed.
8 Frustrated When frustration, disappointment, discouragement are
mentioned.
9 Bored Disinterest in task or activity.
10 Tired/sick Tiredness, illness or hunger.
11 NRC No feelings conveyed. Note the difference between NRC
and Flat/Numb. With NRC, the protagonist does not
express affect, but the situation doesn’t beg such
expression. With Flat/Numb, the protagonist does not
express affect, but the nature of the narrative begs such
expression.

26. 10.Impediment
This scale describes the tensions, barriers, and problems faced by the protagonist in
the story. They are scored if they are mentioned, independent of whether they are
overcome or not. SCORE AS MANY FOR WHICH THERE IS TEXTUAL EVIDENCE.
Score a '99' if another impediment that is not included in this scale appears in the story.
1
.
Lack of
Knowledge
Not having the skills, not knowing a language, how to play
the violin, to do the homework, etc.
2 Discriminatio
n/
Hostility
Includes more covert and more overt negative attitudes of
others, including violence, beatings, punishment, scolding,
making fun, etc.
3 Poverty Explicit mention of poverty, being poor, or having to save
money, to make ends meet.
4 Illness/Tired An illness or lack of energy is getting in the way.
5 Broken Violin When the story mentions a broken violin, whether
accidentally or purposefully broken.
6 Unfocused/
Bored
When what is getting in the way is lack of focus,
distraction, dislike of task or situation, boredom.

27. 10.Impediment
This scale describes the tensions, barriers, and problems faced by the protagonist in
the story. They are scored if they are mentioned, independent of whether they are
overcome or not. SCORE AS MANY FOR WHICH THERE IS TEXTUAL EVIDENCE.
Score a '99' if another impediment that is not included in this scale appears in the story.
7 "Problems" Score this when unspecified problems, difficulties or
troubles are mentioned.
8 Substance
Abuse
When drugs, cigarettes, alcohol are mentioned --
independent of whether the protagonist or someone else is
using, including when there is pressure by others to use.
9 Confusion When the protagonist can't decide what to do, is confused,
disoriented, uncertain, undecided, "I don't know.
10 Parent
disapproves
of
child
playing
violin
Situations in which the child wants to play the violin, but
the parents are forbidding or have another idea of what the
child should be doing/playing.
11 Loneliness/
No
One to Help.
When the protagonist is lonely, alone and disliking it, when
there is no one to help when help is needed.
12 NRC No impediment.

29.  His name is Mark and Mark is having problem
playing Violin like his teacher can and he wants
to be like his teacher. He has been playing
Violin for 2 years and he can’t seem to play like
his teacher does. So one day he talked to his
teacher and teacher told him that he has been
playing violin for 25 years and that it takes a lot
of practice so all Marks can do is to keep
practicing so he can learn to play just like his
teacher
 So Mark makes commitment to himself that
everyday after school he is going to practice for
2 hour.So after 25 years Mark is teaching Music
class and he is playing like his teacher played

30. Ten Scoring Guide Interpretation
1.Definition of Success Mastering Task
2.Attribution of Success Personal Effort ,Help of
others(Teacher)
3.Resolution Success
4.Concerns with Adequacy PRESENT
5.Engagement Engaged
6.Source of External
Pressure
NRC
7.Response to External
Pressure
NRC
8.Interpersonal Relations Teacher +ve
9.Expressed Affect Anxiety,frustrated