The document discusses techniques for gathering user stories in Agile software development. It describes trawling as gathering requirements like catching fish in a net, acknowledging some requirements will be missed. Unlike waterfall which aims to gather all requirements upfront, Agile acknowledges not all user stories can be identified initially. Techniques discussed include user interviews, questionnaires, observation, and story-writing workshops where participants generate many stories without priorities on paper cards to facilitate iterative prototyping of conceptual workflows. The focus should be on quantity of stories rather than quality during workshops.

1. USER STORIES APPLIED:
FOR AGILE SOFTWARE
DEVELOPMENT
CHAPTER 4 GATHERING STORIES
David Ko

2. Trawling: the process of gathering
requirements
 Different-sized nets can
be used to capture
different-sized
requirements
 The idea that
requirements, like
fish, mature and possibly
die.
 You won't catch all of the
fish in an area by trawling
 A skilled requirements
trawler will know where to
look for requirements

3. The key difference between
Waterfall and Agile
 Gathering Requirement process
 Waterfall
 emphasis on getting all the requirements right and
written early in the project
 Agile
 acknowledge that it is impossible to get all of the user
stories in one pass

4. One of the advantages of
working with stories is that it is
very easy to write them at
different levels of detail.

5. Even though we acknowledge the
impossibility of writing all of the
stories for a project.

6. We should still make an initial
upfront attempt to write those that
we can,
even if many are written at a very
high level

7. We can then evolve that story into
smaller, more useful stories later.

8. Techniques of gathering
requirements
 User interviews
 Questionnaires
 Observation
 Story-writing workshops

9. User interviews
 One of the keys to success with interviews is
the selection of interviewees
 The best technique for getting to the essence
of a user's needs is through the questions you
ask.

10. Open-Ended and Context-Free
Questions
 give no room for anything other than a simple
yes or no
 do not include an implied answer or
preference

11. Questionnaires
 It is useful for a large user population.
 Questionnaires do not lend themselves to
follow up questions

12. Disadv
 If you give the user a list of choices, then you
may miss hearing about the features you've
never thought of.
 Alternatively, if the user is allowed to respond
with free-form text it will be difficult to tabulate
answers.

13. Observation
 You can learn a lot from observing someone
using my software
 Unfortunately, opportunities for user
observation are rare
 unless
you are developing for in-house
customers.

14. Story-writing workshops
 We need different kinds of participants to
attend this meeting
 Participants write as many stories as they can
 No priorities are associated with the stories at
this point
 the customer will have a chance to do that later

15. A good story-writing workshop
 Combines the best elements of brainstorming
with low-fidelity prototyping
 paper, note cards, or a white board
 The prototype is built up iteratively
 Not to identify actual screens and fields
 Rather, the conceptual workflows are identified

16. A low-fidelity prototype for
BigMoneyJobs

17. Process
 Identify one user role or persona first
 Draw the empty box and tell the participants
that it’s the main screen
 Ask them what they can do here (action)
 For each action, draw a line to a new
box, label that box, and write a story.
 Repeat the process using each role or
persona so the order does not matter

18. Throw It Away
 Be sure to throw away or erase the low-fidelity
prototype within a few days of creating it.
 A prototype is not a long-term artifact of your
development process
 You don't want to cause any confusion by
keeping it around.

19. During a story writing
workshop the focus
should be on quantity
rather than quality.

20. Even if you'll eventually keep
your stories electronically, during
the story-writing workshop use
cards.

21. You do not want to get bogged
down in lengthy debate over each
story.
If a story is redundant with or
becomes replaced by a better
story later, then you can just rip up
the story.