Horse in Egg by Matthea Harvey 27 Poetry Is an Egg With a Horse Inside Matthea Harvey Our concerns as adults and as children are not so different. We want to be surprised, transformed, challenged, delighted, understood. For me, since an early age, poetry has been a place for all these things. Poetry is a rangy, uncontainable genre—it is a place for silliness and sadness, delight and despair, invention and ideas (and also, apparently, allitera- tion). Giving children poems that address the whole range of the world, not just the watered-down, “child appropriate” issues, makes them feel less alone. Corny as it sounds, if children find poems that express things they have themselves thought and poems that push them beyond what they have themselves imagined, they’ll have a friend for life. This is the story of how I found that friend. In the first poetry workshop I ever took (my junior year in college), my professor, Henri Cole, handed out a page of quotations about poetry from luminaries such as Yeats, Eliot, and Stevens. One of them read: “Poetry is an egg with a horse inside.” —Third grader OPEN THE DOOR 28 I have no idea who or what that third grader grew up to be (I’m guessing a poet, miniature-pony breeder, astronaut, or molecular gastronomist), but I still remember the thrill I felt seeing that quote included. I don’t remember the quotes by those beloved poetry stars, but decades later, I include that third grader’s quote in my handouts, and it seems to sur- prise and delight my students as much as it did and does me. Lucie Brock-Broido knows the quote too (maybe they were in a class together?), and once when I was in her office after visiting her class, she showed me her scrumptious collection of eggs with little horses inside. This spurred me to do a photo-illustration of my own because for the last six years, I’ve been taking photographs to title or illustrate my poems. I sorted through my collection of small horses (yes, I have such a collection; in fact I have drawers and drawers of miniature things) and finally found one horse that almost perfectly matched the brown eggs I had in the fridge. I cracked one open with a spoon, let all the egg white and yolk run out, and carefully inserted the horse, tail first. Voilà! He looked as though he was just making his way out—tottering on his spin- dly front legs, wondering if he would ever get the back two out and what on earth might be ahead of him. On a day when I’m truly open to the world (the pigeons pecking their shadows on the roof next door, the snow on the still-green trees), that’s what life feels like to me—a bit terrifying but pretty beautiful. When I’m on a plane and I hear the man three rows back saying, “I am a salmon geneticist,” I want to add “who was recently kissed in the mist” to make his statement even more Dr. Seuss–ish. When I hear tennis player Rafael Nadal say in an interview, “Hopefully the book will like to the people,” ...

1. Horse in Egg by Matthea Harvey
27
Poetry Is an Egg With
a Horse Inside
Matthea Harvey
Our concerns as adults and as children are not so different. We
want to
be surprised, transformed, challenged, delighted, understood.
For me,
since an early age, poetry has been a place for all these things.
Poetry
is a rangy, uncontainable genre—it is a place for silliness and
sadness,
delight and despair, invention and ideas (and also, apparently,
allitera-
tion). Giving children poems that address the whole range of the
world,
not just the watered-down, “child appropriate” issues, makes
them feel
less alone. Corny as it sounds, if children find poems that
express things
they have themselves thought and poems that push them beyond
what
they have themselves imagined, they’ll have a friend for life.
This is the
story of how I found that friend.

2. In the first poetry workshop I ever took (my junior year in
college),
my professor, Henri Cole, handed out a page of quotations about
poetry
from luminaries such as Yeats, Eliot, and Stevens. One of them
read:
“Poetry is an egg with a horse inside.”
—Third grader
OPEN THE DOOR
28
I have no idea who or what that third grader grew up to be (I’m
guessing
a poet, miniature-pony breeder, astronaut, or molecular
gastronomist),
but I still remember the thrill I felt seeing that quote included. I
don’t
remember the quotes by those beloved poetry stars, but decades
later,
I include that third grader’s quote in my handouts, and it seems
to sur-
prise and delight my students as much as it did and does me.
Lucie
Brock-Broido knows the quote too (maybe they were in a class
together?),
and once when I was in her office after visiting her class, she
showed me
her scrumptious collection of eggs with little horses inside.
This spurred me to do a photo-illustration of my own because

3. for
the last six years, I’ve been taking photographs to title or
illustrate my
poems. I sorted through my collection of small horses (yes, I
have such
a collection; in fact I have drawers and drawers of miniature
things) and
finally found one horse that almost perfectly matched the brown
eggs
I had in the fridge. I cracked one open with a spoon, let all the
egg white
and yolk run out, and carefully inserted the horse, tail first.
Voilà! He
looked as though he was just making his way out—tottering on
his spin-
dly front legs, wondering if he would ever get the back two out
and what
on earth might be ahead of him. On a day when I’m truly open
to the
world (the pigeons pecking their shadows on the roof next door,
the snow
on the still-green trees), that’s what life feels like to me—a bit
terrifying
but pretty beautiful. When I’m on a plane and I hear the man
three rows
back saying, “I am a salmon geneticist,” I want to add “who was
recently
kissed in the mist” to make his statement even more Dr. Seuss–
ish. When
I hear tennis player Rafael Nadal say in an interview,
“Hopefully the book
will like to the people,” I immediately imagine, if this weren’t
an acci-
dent of his somewhat limited English, what it would be like if
authors
truly felt this way and went peering into living rooms to see if

4. their books
looked contented. There are days when image and language and
story
positively buzz in the air.
Children feel this—they’re learning language, and they want to
play
with it. It’s why when my friends tell their children I’m a poet,
the kids
PART 1: ESSAYS
29
inevitably want to play rhyming games with me. And I am
happy to play!
Confession: I was a child rhymer. I drove my two older sisters
crazy by
rhyming all the time, and I mean all the time. Partly it was to
annoy them
(I was the youngest sister, after all), but mostly I just loved
rhyme. I still
do. My father liked to make up songs. One favorite was created
during a
trip to Denmark where we stayed in a cabin infested with
earwigs. One
of the verses was “Eine Earwig, der ist Klein, schläft immer am
Matthea’s
Bein” (which, translated, means, “One earwig is little and likes
to sleep
on Matthea’s leg,” though the rhyme doesn’t come through in
English).
Yukiko Kido’s wonderful book Snake Cake introduces kids to

5. fami-
lies of rhyme. (There are others in this series—notably Pig Wig,
Wet Pet,
and Quack Shack, written by Harriet Ziefert and illustrated by
Kido.) In
Snake Cake, it’s the -ake, -oat, and -ant word families, so the
child learns
the word snake, then bake, then mixes them together, coming up
with
such delightful combinations as “snake bake,” which is
accompanied by
a picture of a snake baking in the sunshine, for example. I gave
Snake
Cake to my friend Frances’s little son, Sebastian, really because
he loved
snakes, not because of the rhyme, but it was amazing how
quickly he
took to it. In the middle of lunch, he looked up at me with great
delight
and exclaimed, “Matthea quesadilla!” I’m not sure I’ve ever felt
quite
so proud (and understood). Children’s interest in rhyme is
innate, and
I think it should be celebrated—I’ve seen children wilt a little
after being
told that “real” poems don’t rhyme.
The first poem I remember giving me a sense of what poetry
could
possibly do was “Bed in Summer,” by Robert Louis Stevenson,
from
A Child’s Garden of Verses. Its rhyming was part of the appeal.
In winter I get up at night
And dress by yellow candle-light.
In summer, quite the other way,

6. I have to go to bed by day.
OPEN THE DOOR
30
I have to go to bed and see
The birds still hopping on the tree,
Or hear the grown-up people’s feet
Still going past me in the street.
And does it not seem hard to you,
When all the sky is clear and blue,
And I should like so much to play,
To have to go to bed by day.
Like children throughout time, I’d had this exact experience
(minus the
candlelight) and been mystified by it. Here was a poem that
articulated
those summer hours after 8:00 p.m., when it was clearly too
light to go
to sleep, and the winter mornings with the shrill alarm clock
waking me
when clearly I was supposed to be asleep. I deeply admired the
way my
bewilderment was put in a neat rhyming parcel, with Stevenson
saying it
much more succinctly than I ever could.
My older sister was a fan of Ogden Nash, Edward Lear, and
Edward
Gorey (whose macabre humor tickled my particular black velvet
heart as

7. well), so soon I was reveling in the wordplay of their poems for
children.
This one by Ogden Nash was and is a particular favorite.
The Shrimp
A shrimp who sought his lady shrimp
Could catch no glimpse,
Not even a glimp.
At times, translucence
Is rather a nuisance.
Is there anything more delightful than the idea that a partial
glimpse
would be a “glimp”?
PART 1: ESSAYS
31
As an adult, I discovered the marvelous children’s book
Scranimals,
illustrated by Peter Sis and written by Jack Prelutsky, whom the
Poetry
Foundation chose as the first children’s poet laureate in 2006.
Scranimals
is about hybrid animals (usually combined with flowers or food)
such as
the pandaffodil and the antelopetunia. Ask your young students
to cre-
ate hybrids of their own and watch them go to town writing
poems about
bearhubarb and puddingfish.

8. Fourth grade, though, may have been where I really caught the
poetry
bug. My teacher, Mr. Zuege, a man famous for spitting on the
first row
when he got excited, introduced us to May Swenson’s
unforgettable
“Southbound on the Freeway.”
A tourist came in from Orbitville,
parked in the air, and said:
The creatures of this star
are made of metal and glass.
Through the transparent parts
you can see their guts.
Their feet are round and roll
on diagrams or long
measuring tapes, dark
with white lines.
They have four eyes.
The two in the back are red.
Sometimes you can see a five-eyed
one, with a red eye turning
THE STRANGEST OF THEATRES
32
on the top of his head.

9. He must be special—
the others respect him
and go slow
when he passes, winding
among them from behind.
They all hiss as they glide,
like inches, down the marked
tapes. Those soft shapes,
shadowy inside
the hard bodies—are they
their guts or their brains?
I’ve never forgotten being given this alien view of a freeway,
pondering
how the creatures would look at the cars and think that they
were the only
inhabitants of the planet. And what did it mean about what the
aliens
looked like if they mistook people for their cars? Have your
students
imagine aliens landing in another place—a sports arena, a
McDonald’s,
a poetry reading, a birthday party. What might the aliens
conclude about
the world from that particular locale—that humans worship
boxes tied
up with ribbon, for example? What form do the aliens take, and
how does
that affect their perception? For that matter, how does physical
appear-
ance affect the way humans see the world?

10. Our concerns as adults and as children are not so different. We
want
to be surprised, transformed, delighted, understood.
But no one said it was a happy horse emerging from that egg.
There is
another, sadder poem that I carry around in my wallet. It was
given to me
PART 1: ESSAYS
33
by a poet who teaches poetry to children.
Sadness Is
Sadness is a sky blue
mountain
in the house.
—Jillian Bell (age eight)
I’m not sure I’ve ever read a poem that so precisely conveys the
hugeness
and strangeness of the way sadness can take over—the way that
when
you’re sad, sometimes you don’t fit into your surroundings; the
sun is
shining and you’re blue. Or your sadness transforms the
world—the wet
dog looks sad, not funny or sweet, and the garbage even sadder.
Poetry
helps both adults and children traverse complex emotional

11. terrain. It
can present a beautiful picture of bewilderment (a subject about
which
Fanny Howe has a wonderful essay), or it can make something
legible
that was blurred before. It helps people see into one another’s
heads,
helps them understand one another. How can that not be
incredibly
important? I think we should expose children not only to the
silly, funny,
and imaginative poems but also to angry, sad, and difficult
poems, as
well as poems that may make them snicker, as in this
eighteenth-century
Japanese haiku by Kobayashi Issa: “The straight hole / I make
by piss-
ing / in the snow by my door”.
In your classrooms (however defined), pick poems that will
speak to
kids’ lives—give them a poem about characters or situations
they know
already (Little Red Riding Hood, Derek Jeter, the Wonder Pets),
but also
give them poems that can crack open their understanding of the
world,
such as this mind-blowing haiku from Bashō—“year after year,
on the
monkey’s face, a monkey’s face”—or this one from Richard
Wright: “With
indignation / A little girl spanks her doll— / The sound of
spring rain.”
Give them poems that invent other worlds. One exercise I’ve
done with

12. Nuria Sheehan
Nuria Sheehan
THE STRANGEST OF THEATRES
34
both adults and children is to give them an entry from A
Dictionary of
Imaginary Places, by Alberto Manguel and Gianni Guadalupi,
and then ask
them to write a poem from the perspective of an inhabitant of
that world.
Don’t underestimate what your students can understand or how
com-
fortable they may be with not understanding. Make a small
anthology of
contemporary poems for them, and let them pick one they would
like to
memorize. Give them “Dream Song 28: Snow Line,” by John
Berryman,
Courtesy of Rebecca Kraatz
PART 1: ESSAYS
35

13. and talk about how he makes the voice sheep-like, how it
alternates
between “I” and “we” because of the way sheep often move in a
group,
how the sheep says of the sheepdog, “The barker nips me but
somehow
I feel / he too is on my side.” Ask them to choose an animal and
think
about how it might sound if it could speak English. Might the
cat sound
snooty? Would an excitable dog use lots of exclamation marks?
Would
the hedgehog use mostly consonants because of his prickly
exterior?
Courtesy of Paul Tunis and Kameron Quinlan
OPEN THE DOOR
36
Show children poetry that works with other genres, such as
poetry
comics. There are many examples of “The Poem as Comic
Strip” on
the Poetry Foundation website; there’s Poetry Comics: An
Animated
Anthology, by Dave Morice; Kenneth Koch’s The Art of the
Possible: Comics
Mainly Without Pictures; and Rebecca Kraatz’s House of Sugar,
which she
doesn’t classify as poetry but which couldn’t be more poetic.
Have kids
make comics out of poems they love. Have them illustrate one

14. another’s
poems, or bring in adult artists who will take the children’s
work seri-
ously and make it into something new. (One example I love of
this kind of
collaboration is a piece that writer and comics artist Paul Tunis
did with
student Kameron Quinlan). Have children make collages, then
switch
with a classmate and write a poem about the other child’s
image. Make
them into little poetry guerillas—have them write poems on a
foggy win-
dow and then take photographs as the poems fade away or print
their
poems on colored paper and hide them in interesting places
where peo-
ple will find them (in a deposit envelope at a bank, tucked into
a takeout
menu). Ask them to imagine the craziest ways they could get
poetry out
into the world—a haiku about headaches etched into a Tylenol,
a secu-
rity system that uses Emily Dickinson lines as laser tripwires,
notes of
perfume translated into letters of the alphabet so that when
someone
asks you what scent you’re wearing, the answer is a poem.
I’ve worked with Community-Word Project (CWP) in New York
City,
an organization that brings poetry into underserved schools.
CWP
has children write group poems, starting with “My world is …”
or “My
heart …,” which ended up with this memorable line: “My heart

15. reads red
science books.” Creating a poem that encompasses all their
voices, which
they can read aloud as a group, can give them a simultaneous
sense of
individuality and community. Or have them collaborate, as in
Joshua
Beckman and Matthew Rohrer’s book Nice Hat. Thanks., having
two
students alternate saying words (with a third transcribing) until
they’ve
written a poem as a pair. Another thing I love about CWP’s
teaching strat-
egy is that classes end with “Viva la palabra! Somos poetas!” or
“Long live
PART 1: ESSAYS
37
Renovated Mushroom (Tip-Top Tire Rubber Patch Kit) by Nina
Katchadourian.
Courtesy of the Artist and Catharine Clark Gallery, San
Francisco.
the word! We are poets!” I know so many adult poets who are
shy of the
word—what would happen if everyone had this experience of
being self-
identified as a poet early on?
Both “Sadness Is” and “Poetry Is an Egg With a Horse Inside”
are defi-
nitions of poetry. And maybe that’s the way into all of this:

16. teach children
early about the transformative swing door of simile, the rabbit
hole of
metaphor, and how poetry can be or do anything they want it to.
Let them
feel that poetry is full of exuberant possibility by playing a
game of “Poetry
Is”: Poetry is a burning cabin watched by foxes. Poetry is a
mushroom
with bicycle tire patches. (This one was inspired by Nina
Katchadourian’s
Renovated Mushroom artwork, in which she did exactly that.)
Poetry is a peacock in a pea coat. Poetry is a UFO made of
marshmal-
lows. Poetry is a bowlful of dead bees (a tip of the hat to Robert
Hass’s
THE STRANGEST OF THEATRES
38
“A Story About the Body”). As Stephanie Strickland writes,
“Poems are
words that take you through three kinds of doors: closed doors,
secret
doors, and doors you don’t know are there.” And Charles Simic:
“Poetry:
three mismatched shoes at the entrance of a dark alley.” If
poetry is all
these things, what can’t it do?
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4959 Topic: The Presentation
Number of Pages: 4 (Double Spaced) - 8 Slides
Number of sources: 3
Writing Style: APA
Type of document: PowerPoint Presentation
Academic Level:Master
Category: Computer Science
Language Style: English (U.S.)
Order Instructions:
Use one slide for each of the 8 points above. Include speaker
notes that explains each slide more fully.
CIS 500 – Information Systems for Decision-Making
© 2017 Strayer University. All Rights Reserved. This document
contains Strayer University Confidential and Proprietary

18. information
and may not be copied, further distributed, or otherwise
disclosed in whole or in part, without the expressed written
permission of
Strayer University.
CIS 500 Page 1 of 4
Assignment 2: The Presentation
Due Week 10 and worth 200 points
Congratulations. Your project has been staffed and you are
about to meet with the team for the first time.
Initial impressions are important and you’ll need visuals for
your presentation. Create a slide show (in
PowerPoint or similar software) in which you address the
following, in this order:
1. Goals: What the project hopes to accomplish.
2. Critical Success Factors: Identify at least 4 different
stakeholders; for each, list at least 2 things
that the stakeholder requires in order to deem the project
successful.
3. Acquisition strategy: Should the system be built in-house,
created by a contractor, purchased off-
the-shelf and customized, or leased as a service? Explain your
rationale.
4. Resources: For in-house development, what people/skills are

19. required and what development
lifecycle do you recommend? Otherwise, identify 3 candidate
organizations that can deliver the
system.
5. System functions: In a table format, summarize the types of
users for the system; the business
reason(s) each would use the system; the ways that the system
supports each of these needs;
and how this support differs from the current system.
6. Connectivity: Provide a diagram that shows how the system
will connect to the other information
systems and what data flows among them.
7. Security: List the most serious cybersecurity threats and
vulnerabilities of the new system.
Suggest strategies to address them.
8. Mobility: Identify the system’s capabilities for mobile use.
Include a title and summary slide. Use one slide for each of the
8 points above. Include speaker notes or
audio narration that explains each slide more fully.
Grading for this assignment will be based on answer quality,
logic / organization of the paper, and
language and writing skills, using the following rubric.

20. Points: 200 Assignment 2: The Presentation
Criteria
Unacceptable
Below 70% F
Fair
70-79% C
Proficient
80-89% B
Exemplary
90-100% A
1. Goals: What the
project hopes to
accomplish.
Weight: 10%
(20 points)
Did not
communicate what
the project hopes to
accomplish
Did not list project

21. goals
Communicated
what the project
hopes to
accomplish
Did not list project
goals
Communicated
what the project
hopes to
accomplish
Listed the project
goals
Communicated
importance of
project reaching its
goals
Connected project
goals to the
organizational
strategy
2. Critical Success Did not identify 4 Identified 4 Identified 4
Identified and

22. CIS 500 – Information Systems for Decision-Making
© 2017 Strayer University. All Rights Reserved. This document
contains Strayer University Confidential and Proprietary
information
and may not be copied, further distributed, or otherwise
disclosed in whole or in part, without the expressed written
permission of
Strayer University.
CIS 500 Page 2 of 4
Factors: Identify at least
4 different stakeholders;
for each, list at least 2
things that stakeholder
requires in order to deem
the project successful.
Weight: 10%
(20 points)
stakeholders
Listed things to
make project
successful, but did
not connect each
stakeholder

23. stakeholders
Listed less than 2
things each
stakeholder would
require to deem
project successful
stakeholders
Listed 2 things that
each stakeholder
would require to
deem the project
successful
justified the
selection of 4
stakeholders
Explained why each
stakeholder would
be most interested
in 2 things to deem
project successful
3. Acquisition strategy:
Should the system be
built in-house, created by
a contractor, purchased

24. off-the-shelf and
customized, or leased as
a service? Explain the
rationale for your choice.
Weight: 10%
(20 points)
Did not compare
acquisition
strategies
Did not determine
the best strategy for
the proposed
information system
Inadequately
explained the
rationale for
choosing the
acquisition strategy
Reasonable
comparison of
acquisition
strategies
Determined best

25. acquisition strategy
for the proposed
information system
Somewhat
explained the
rationale for
choosing the
acquisition strategy
Compared various
acquisition
strategies
Determined which
acquisition strategy
would be the best
for the proposed
system
Provided rationale
for choosing a
specific acquisition
strategy
Analyzed various
acquisition
strategies, or
presented an
acquisition strategy
that was not
previously

26. mentioned
Explained why
other acquisition
strategies would
potentially not work
Discussed cost
considerations
4. Resources: For in-
house development,
what people/skills are
required and what
development lifecycle do
you recommend?
Otherwise, identify 3
candidate organizations
that can deliver the
system.
Weight: 10%
(20 points)
Inadequately
determined
resources needed
for the acquisition
strategy

27. Limited
recommendation for
development
lifecycle for in-
house
development, or
three external
organizations that
can deliver the
system
Inadequate
justification
Determined
resources needed
for the acquisition
strategy, but did not
justify reasoning
Recommended a
project
development
lifecycle for in-
house
development, or
three external
organizations that
can deliver the
system, but did not
justify why they
were chosen

28. Determined and
justified resources
needed for chosen
acquisition strategy
Recommended a
project
development
lifecycle for in-
house
development, or
three external
organizations that
can deliver the
system.
Presented
resources not
previously
considered
Included risk
identification and
mitigation
procedures
Proposed a
combination of
resources and

29. strategy to organize
stakeholder efforts
toward project
completion
5. System functions: In a
table format, summarize
the types of users for the
system; the business
Failed to put in
table format
In table format:
Summarized some
In table format:
Summarized the
In table format:
Analyzed user
CIS 500 – Information Systems for Decision-Making

30. © 2017 Strayer University. All Rights Reserved. This document
contains Strayer University Confidential and Proprietary
information
and may not be copied, further distributed, or otherwise
disclosed in whole or in part, without the expressed written
permission of
Strayer University.
CIS 500 Page 3 of 4
reason(s) each would
use the system; the ways
that the system supports
each of these needs; and
how this support differs
from the current system.
Weight: 10%
(20 points)
Inadequate
summary of users
for the system
Limited explanation
of why users would
use the system
Inadequate
description of how
system supports
users

31. Inadequate
comparison of the
proposed system to
the old system
of the types of
users for the
system
Somewhat
explained business
reasons for system
use
Somewhat
described how the
system supports
users
Reasonable
comparison of the
proposed system to
the old information
system
types of users for
the information
system
Explained business

32. reasons why each
user type would use
the system
Described how the
system supports the
needs of each user
type
Determined how
this support differs
from the current
information system
experience and
user design
considerations
Explained design
changes that took
place between the
old and new system
Provided rationale
for the user types
identified
Discussed how to
reach out to user
types to test the

33. system
6. Connectivity: Provide a
diagram that shows the
other information
systems this one will
connect to, and what
data flows among them.
Weight: 10%
(20 points)
Failed to put in
diagram format
Inadequate diagram
showing your
system, hard to
follow, incomplete
Inadequate or hard
to follow the data
that would flow
among systems,
incomplete
In a diagram:
Showed other
information systems

34. that your system
would connect to,
but hard to follow
Demonstrated what
data would flow
among systems, but
hard to follow
In a diagram:
Showed other
existing information
systems that your
proposed system
would connect to
Demonstrated what
data would flow
between your and
other information
systems.
In a diagram:
Showed how you
selected existing
systems that your
system would
connect to

35. Explained how
diagram would be
updated and
maintained based
on changes in the
marketplace
7. Security: List the most
serious cybersecurity
threats and vulnerabilities
of the new system.
Suggest strategies to
address them.
Weight: 10%
(20 points)
Inadequate list of
cybersecurity
threats
Inadequate
strategies to
address each threat
Reasonable list of
cybersecurity
threats, failed to
show why they are
most serious

36. Identified strategies
to address each
threat
Listed the most
serious
cybersecurity
threats to your new
system
Proposed strategies
to address each
threat
Proposed how your
new system would
integrate with
Shadow IT, if at all
Demonstrated
strategies for
current users to
avoid threats
8. Mobility: Identify the
system’s capabilities for
mobile use.
Weight: 10%

37. Failed to identify
your system’s
capabilities for
mobile use,
incomplete
Identified your
system’s
capabilities for
mobile use, but not
comprehensive
Identified your
system’s
capabilities for
mobile use
Proposed situations
in which mobile use
would happen and
situations where its
limitations
CIS 500 – Information Systems for Decision-Making
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38. CIS 500 Page 4 of 4
(20 points)
9. Speaker / Audio
Notes: Include speaker
notes or audio narration
that explains each slide
more fully.
Weight: 10%
(20 points)
Inadequate speaker
notes or audio
narration, too much
or too little
information on each
slide provided
Somewhat detailed
speaker notes or
audio narration
explaining each
slide more fully

39. Included speaker
notes or audio
narration explaining
each slide more
fully
Speaker notes or
audio narration
succinct and direct,
persuasive
presentation
Discussed cost
considerations, and
risk identification &
mitigation
10. Clarity, persuasion,
proper communication,
writing mechanics, and
formatting requirements.
Weight: 10%
(20 points)
Unclear structure,
not persuasive,
major grammatical
errors
Somewhat clear
structure, limited

40. persuasion,
grammatical errors,
language too simple
or too wordy
Clear structure,
persuasive writing,
minor or no
grammatical errors,
length and format
within requirements,
plain language
No grammatical
errors, plain
language,
organized by topic,
references business
needs, connects to
technical specs,
persuasive