#I have a problem with both italics and commas

[waatermelon-sugaar]

Under My Skin: Chapter 1

Series masterlist

Word count = 4,6 k

Chapter Warnings = swearing, canon-typical violence, bad writing

Summary = You hate Poe Dameron. Simple, right?

Edit = Cross posted to AO3

Part 1 of 4 (I think)

Poe Dameron didn’t like you and you didn’t like Poe Dameron.

“Because!” You grouse to Rose as you make your way to the cantina, “he thinks he’s so much better than everyone else, no one could ever come close to his skills, and he always gets the best missions, and he’s good, but he’s not that good, he acts like he’s god's gift to women - no scratch that - to the galaxy, and he’s so arrogant!” You’re growling in frustration as you round the corner, suddenly lowering your voice as much as you can because Dameron is right there at the end of the corridor, deep in discussion with General Organa and Finn.

Rose’s only response is to whack you over the head as she walks through the swinging doors in the centre of the corridor. You’ve never been so glad you don’t have to walk past Dameron in your life. “What was that about?” You hiss as you catch up with Rose, grabbing your own tray and helping yourself to dinner. “You didn’t have to hit me in front of General Organa.” Rose snorts. “Yeah the General was the one you were worried about.”

Trays full, the two of you spot an empty booth and hurry towards it, sitting opposite each other. “What’s that supposed to mean?”

“You won’t shut up about Poe.” She jabs her fork at you, causing bits of potato to fall to the table. You can only gape, words escaping you momentarily.

Momentarily.

“What! I won’t - Dameron - he - he and I - urgh! - never in my life - he’s annoying!” You settle on finally, fully aware that you’re now whining. “He frustrates me!”

Rose raises an eyebrow, “Well maybe you need to work out those frustrations.” You shake your head, deciding to ignore her for now as you concentrate on eating. “You do need to get laid.”

You yelp, coughing when you try to swallow too quickly in shock. And then- “I can help with that, sweetheart.” You whip round, eyes narrowing when Dameron’s behind you, his flight suit tied around his waist, exposing his dirty vest and irritatingly strong arms. The only person who can beat him in arm wrestling is Finn - you can no longer count the amount of times he’s beaten you.

You take another scoop of dinner before talking with a full mouth. “Ok, one, I’m not your sweetheart, and two, Rose is wrong, and even if she was right, I definitely don’t need your help with-” you pause, swallow, and gesture vaguely in his general direction. “That.”

This, annoyingly, only seems to make him grin more. “That? You’re not gonna call it what it is?” You lean back, pulling your most unimpressed look onto your face, as he continues, still smirking, even having the audacity to wink at you. “Hot, animal sex.”

Rolling your eyes, you scoff, turning back to your dinner. “Whatever you say, Dameron.”

“Does it make you feel better, being mean to me?” Dameron asks as he squeezes onto the small piece of bench next to you. You huff, moving up so that you’re not touching. You don’t like him, but you’re not rude. 

Ignoring his question, you deflect. “Where’s Finn? Don’t you want to sit with him?” It takes more effort than it should to sound like you’re asking out of interest, and not because you want him to go away. Which you do.

“He’s still talking to Leia.” Your eyes flick to Rose, and she knows what you’re thinking. You twist your body to face Dameron, bringing a leg up under you. “Is this about the mission?” Her voice is low as she leans across the table, forgetting about the rest of her dinner.

The last few days have been hell. Rumours have been flying around base, centered around a box full of Jedi crystals. Kyber crystals, you’d told Rose the other day, not that the name cleared anything up. You’d poked around the base’s library on your datapad when you had the odd chance, but the Jedi were now the stuff of legend, just stories told to children about ‘the good old days’.  

The rumours made things worse - you’re not sure how much of it to believe - there were so few people who were even Force sensitive but as far as you were aware there were no Jedi left. Luke Skywalker was lost, and therefore probably dead. And even if Jedi did still exist, weren’t they supposed to be the good guys? Why hadn’t they come to help fight along with the Resistance?

But Dameron decides to play dumb. “What mission?” His eyes are too wide to be innocent and it annoys you. “Finn’s talking to Leia about…” he pauses, eyes desperately searching the cantina as he tries to think of a good excuse. “The quality of the food!” Turning to you, his eyes are intense. “I know you want more chocolate pudding.” You ignore how he knows that, instead focusing on glaring at him. “Dameron do you think I’m a good pilot?”

“Look,” he turns to face you, ignoring his own food even as you continue to eat, “it’s nothing to do with your skills as a pilot.” He pauses, but you interrupt before he can give you some empty platitude. “I think it is - otherwise why am I not being included?”

“Hey, will you listen,” he turns to you, poking his finger at you for emphasis. “This mission is top-secret and the risk of the First Order finding out is high so-” This time you properly interrupt, flicking his finger out of your personal space.

“So you just decide to talk about it in the corridor by the busy cantina, where everyone and their mother will see you?”

This shuts him up.

The two of you are looking into each other's faces, inches apart. And it’s annoying because Dameron is unfortunately handsome. Why? Why is he of all people so good looking? Rose coughs obnoxiously loud, causing the two of you to break eye contact and turn to look at her. You lean back from him, trying your best to look thoroughly unimpressed as he stands, picking up his tray and when he speaks, huffing, his voice is sharper than it was before.

“Look, I only came over to say that we’re going to have a mission briefing tomorrow at 6. Ok? So, just-” He leaves, mumbling the rest of the sentence under his breath as he walks across the cantina towards Rey, leaving you with your mouth hanging open, looking and feeling like an idiot.

“Well,” you say as you turn back to Rose. “That’s why I hate him.”

“You’ve got a mission, aren’t you pleased about that?” You can tell you’re annoying her now, but you roll your eyes. “Yeah, with Dameron. He’s just going to be hanging over my shoulder and passing judgement whenever he can. I’m not getting my hopes up.”

Every time you came back from a mission Dameron was there. Always. Just waiting to tell you what you should have done, how you should have flown, how he would have done it. As though the only reason he hadn’t done it was because he was too important.

You knew you didn’t fly how most people did, it had cost you marks in your final exams at school, and it cost you a place in a higher squadron, but it was hard to find the will to change when the poster boy for the Resistance saw nothing but incompetence when he looked at you. Bastard, you couldn’t help but think as you stabbed the last of your greens, wishing it was his face.

***

Oh shit, oh shit, oh shit.

The mission had been going so well. You’d dropped into the planet’s upper atmosphere, bypassing the planet’s security, got inside the compound, obtained the uber-secret box (your briefing hadn’t quite covered what was inside, annoyingly) and you’d been about to sneak out when you’d decided a bit more snooping was necessary.

The box had been in the centre of a library/museum set-up and even you could tell that these were rare books. So you’d told Dameron to inspect the objects while you scanned the books, pulling out a few that caught your eye.

The first warning you had been given was a blaster grazing your arm, causing you to yelp in pain, dropping the books and duck to the floor as another shot had ripped through the shelves - an inch or two above where your head had been. So a crap shot then.

Paper had fluttered down around you as you looked for Dameron. The shelves would provide good cover but unfortunately it also meant you couldn’t see your shooter. Pulling your blaster out from its holder, you aimed a couple of returning shots into the darkness at the edges of the room as you looked for Dameron.

You found him near the exit, standing over a number of droids. He’d been holding the box with one arm, the other bleeding heavily, but you’d managed to escape, tangling with another droid who’d punched you as you left the way you came, avoiding the crap shooter on your way out. You didn’t want the First Order to know who’d been there.

So now you and Dameron were walking back to the ship, cutting through undergrowth as you desperately tried to remember the way, face throbbing in pain. Dameron had fallen quiet very quickly, and you were alarmed to see how much blood he had lost so far. His face was pale and all you could think was that it was your fault. If you hadn’t’ve tried to poke around and look for other useful bits and pieces, you would have got out with no trouble.

Oh shit.

You were definitely lost now. You’d taken a gamble on the last turn and this was wrong. There should be a stream somewhere to your left which led back to the ship. Where was it? This was so wrong. And how were you going to admit this to Dameron? “Fuck, fuck, fuck!” You swore under your breath.

“What’s wrong?” Dameron’s voice wasn’t right. He’d lost a lot of his power, and you turned to face him, watching as a small drop of blood fell to the floor. You don’t want to say it, you know he’s going to hold this over your head later, your first truly important mission and you’ve fucked up so bad. “I -” you hesitate, mouth open, so unwilling to say it, especially to Poe, you have to force it out. “We’re lost...I don’t know the way back.”

And...oh god, you’re not going to start crying are you? You can feel the familiar burn on the back of your eyes so you blink, looking away from him. But Dameron starts struggling, using his injured arm to try and reach down, looking for something. You move closer, grabbing his wrist and forcing him to stop moving, to stop aggravating his injury. “What are you doing?” And your voice is mean and you don’t know why but his skin is cool, cooler than it should be causing your heart to skitter out of control.

Dameron looks up into your face and his eyes are a little unfocused. Shit. “Looking for a tracker - the ship -” His voice doesn’t sound normal. But you have to be the calm one, you have to be the one in charge so you push the panic down, trying to speak normally. “Where is it? You shouldn’t be using that arm.”

“In my pocket, I -” But you’re one step ahead, unceremoniously dropping his wrist and reaching in, pulling the tracker out. A thin disc with a central button, which you press, and a red light spins around the edge before settling a direction to your left, forcing you to turn about 45 degrees.

You set off, pushing through the undergrowth and snapping branches from trees, kicking any debris out of Poe’s path as he stumbles behind you. Panic is still rising in you, you can’t be the reason the Resistance’s best pilot dies. Oh fuck, oh fuck, fuckin’ motherfucker, please, please, plea-

You pause for a second, trying to get your breathing back under control, even as it skitters away from you. You glance back at Poe, who nods at you.

BB-8 is waiting back at the ship, preliminary checks before take-off having been completed. You help Poe lift into the co-pilot’s chair you’d been occupying earlier and squeezing into the pilot’s chair. You don’t remember the flight back, don’t remember dodging the planet’s security as you took off, all you remember is how pale and quiet Poe is. He watches you the whole way which would normally annoy you, but you don’t think his eyes are fully focused.

You’ve done better landings when you get back to the base, but you don’t really care, Poe’s breathing is different, you can’t stop the panic rising in you, and the second you’ve opened the door you’re yelling, voice already hoarse. “Medic! Medic! I need - I need a medic!” People swirl around you, when did they get here? But you don’t want to let go of Poe, one arm around his back, his uninjured one around your neck while you keep a tight hold of the box.

You fight as someone tries to unfurl your fingers, Poe’s weight disappearing and you’re crying now, hardly able to open your eyes. You don’t feel the sharp sting of the tranquilizer, instead blindly fighting the rising darkness inside you, unable to recognise it for what it is. Voices are all around you, muffled like you’re underwater and lights are appearing in bright spots above your head. You’re floating, falling backwards, further and further, until everything turns black.

***

The debrief was not fun.

Barely out of the medbay, you’d relayed to General Organa what had happened, how it had been your idea to stay back, how you’d got lost in the forest after, how you made a mess.

Due to your injuries, it had been just you and her, and even now, safely in your bunk, you couldn’t decide if that was better or worse than having to tell a whole command room. Sure, you’d been spared public humiliation, but at the cost of having General Organa’s full attention on your failure.

You’d pulled your curtain across your bunk, and you felt as though you might have to stay buried under your covers for at least a week to emotionally recover from the whole ordeal. The worst part of it was that General Organa hadn’t even seemed disappointed, or angry, just...like she expected it.

And Dameron was still in the medbay. It was coming up to 4 days later, but you’d maintained your distance, not sure your fragile heart could stand the pain of knowing his condition was your fault, no matter what anyone said.

You wanted to see him, to apologise, but at the same time the idea of facing him made you feel sick. It was your fault he was in the medbay, you should have prevented it. In fact, the only reason you even knew he was still in the medbay was because you assumed there would be some kind of announcement or celebration when he was better.

A knock on your door made you jump, and then frown, however the door began to open before you could respond which you supposed was kind of your fault, you should have locked it, now you were going to have to talk to someone-

And General Organa walks into the room.

You stand up so fast, you get a rush of blood to the head, your vision going black slightly at the edges. “General, I-” you start talking before you even know what you’re going to say, so shocked to see your hero in your room. Your eyes flick over to the mess of clothes you haven’t bothered to wash in the last week, tissues on the floor, half eaten snack bars and their wrappers littered around as you wished the room was a lot tidier.

“I wanted to check how you were getting on.” Her voice is soft, but still carries that familiar authority as she pulls out the chair from your desk and sits on it.

Your mind goes blank. General Organa...wanted to check...on you?

You manage to pull yourself together, sitting back down on your bed with a suddenly excellent posture. “Good, thank you General.” You can hardly look at her, it’s like she emits light, and it’s too bright, too much.

You’re hyper-aware of your every movement, this is the first time you’ve properly talked to her, you want her to like you, and oh my god she’s in your room? Her eyes never leave you, so you stare at your hands, fingers twisting in your lap. “Call me Leia.” She pauses, but it’s not enough time for the implications of that to sink in. “It’s understandable if you’re still feeling rough.” Oh stars you’re going to cry.

Your eyes are watery and you know looking down only increases the chances of them falling, but if you look up, she’ll see. “I wish I’d done things differently.” You say, and your voice sounds rough.

The room is swimming when you finally look up, but General Orga - Leia is smiling softly at you. “I think about every second of that mission and for every decision that I made, I wish, I wish I did the opposite thing.”

“Why?” The question is asked so simply, and there are so many answers, they crowd your mind. “You were successful, weren’t you?” Still you can only gape at her. Successful? Dameron is still in the medbay-

“I know what it’s like to blame yourself for a mission going sideways.” Leia continues, “But you retrieved the box, you’re both alive, Poe is healing well, the medics say the bleeding has stopped and his stomach is on the mend now.” His stomach? You frown, his stomach wasn’t injured, it was just his shoulder, but Leia mistakes your frown for further dissent.

“I know you think it was your fault because you said let’s stay behind, but what if you had found something important? And Poe agreed, didn’t he? It’s not just on you. You just have to learn when the risk is worth the reward.” With that, she stands, so you do too. “I’ll formally debrief the two of you together when Poe’s out of the medbay, but I thought you needed to know this.” You nod, unable to speak again, but this time for an entirely different reason.

It’s almost too late before you can speak again, Leia halfway out of the door, but she turns back when she hears your voice. “Thank you.” And you mean it. Leia didn’t say much, and nothing new, but she was right. The mission was technically a success. Things went wrong, but you were both alive.

Sitting back on your bed, you feel lighter, more like normal. And a part of that normality is annoyance towards a certain pilot. He was injured in his stomach? The more you think about it, the more a cold fury rises in you. Why wouldn’t he say? He was carrying that heavy box and - you let out a growl, surprisingly loud in the quiet room.

You make your way to the medbay, becoming angrier and angrier with each step. No wonder he had so much blood loss! How dare he not say anything! How could he not tell you? Did he not trust you?

You ignore the signs that tell you visiting hours are over, and maybe it’s the look in your eyes that stops any medics from reminding you as such when you march up to the front desk. “I need to see Poe Dameron, which room is he in?” You feel a tiny bit bad for being so demanding to an overworked medic, but you can’t think past how Poe Dameron lied to you.

You’re shaking as you walk to Dameron’s room, not bothering with pleasantries as you bang open the door. He’s lying in the bed, BB-8 charging in the corner and had you been calmer you would have noticed how Dameron jerked awake when you slammed his door shut. You ignore how he’s hooked up to various machines and drips, bandages covering his body.

“You were shot in the stomach?” Your voice is mean again.

Dameron just blinks groggily at you, a combination of drugs and tiredness, but you push down any pity, letting righteous anger flood your veins with fire. “What?” His voice is hoarse from misuse and sleep.

“You were shot in the stomach?” You repeat, keeping hold of that cold fury as you look down at his face. This extra minute is all Dameron needs to wake up properly and realise why you’re so upset. “No- just, just stabbed.”

“Just!” - and it’s like you’re watching yourself, no control over your actions and even to your own ears you sound hysterical, the volume of your voice rising.

“Why didn’t you say anything?” You demand as he presses a button, lifting the top half of his bed up. Tears are once again pricking your eyes, but this time you will not be crying, so you wipe them away quickly, past caring.

“Because,” Dameron huffs, realising that's not a full sentence. “I don’t know - you...you had enough on your plate, I didn’t want to add to it.”

“You should have told me.” Your voice is dangerous now, your whole body thrumming with an unshakeable anger, even as you stand completely still. A strong undercurrent continues to carry you onwards in the conversation, and you know you’ll need to leave before it runs out. “You carried that box for fuck knows how long, and what? You were just hiding your injury? You just wanted to be a hero, or embarrass me?”

Dameron stays silent, glare heavy in his eyebrows. It’s too much, you want, you need answers.

“ANSWER ME!” You roar, lashing out in defence.

“I had to!” He’s shouting now too, pushing against the bed with his strong arm. “It was hard enough to snap you out of it when we were in the compound - I wasn’t going to add to it - I had to know you could fly us home!”

His words are like they punched you, a heavy exhalation, and it’s as though all the anger was tightly held in your lungs. “I flew us home.” Your voice sounds small as you take a step back. Dameron’s found the one chink in your armour again, just like he did when you first met, the one weak spot of your insecurity and smashed it to smithereens.

There’s silence in the medbay, pushing against your eardrums as though to emphasise just how the loud the two of you were. There’s a brief flicker of curiosity in the back of mind, wondering why the nurses haven’t intervened yet.

You can’t look at Dameron anymore, instead taking in the number of different machines he’s hooked up to, watching the drips, how his heart rate starts to lower as he forces himself to calm down. “So you didn’t trust me?” You don’t want the answer, but you can’t stop the words.

He takes his time answering again, but you still don’t look at him, hands playing behind your back with the hem of your jumper. “If you don’t trust me - you should have asked Leia to switch me out!” Shut up, shut up, shut up, why can’t you stop talking, you stupid-

“Maybe I should’ve!” His voice doesn’t change, there’s no difference in his heart beat, although it’s on the high side of normal, matching yours, but something changed. There’s a split in the room, a chasm separating the two of you that wasn’t there before.

“Well why didn’t you?”

“Because I felt sorry for you!” Your eyes snap up, looking at his face in terror. “I wanted to give you a chance! I didn’t think you’d fuck up like that.” If Dameron’s earlier words were a punch to your gut, these sent you sprawling. Short of an atomic blast inside you, any feeling left inside you was obliterated. Hot embarrassment crawls up your arms and you want Dameron to feel the same pain.

“Fuck you.”

The words hang there, each second an eon. Poe instantly regrets his words, knowing he’s gone too far. He opens his mouth to apologise, but the words don���t come.

Neither of you say anything, glares still spitting red-hot fire, when you suddenly want to leave. You don’t want to see Dameron’s face again, not for a long time. So you clench your jaw, throwing up your middle finger and slamming the door behind you.

***

Isolating yourself doesn’t seem quite so appealing once you’ve left the medbay, so instead you make your way to Rose’s room, grabbing a bottle of firewater from the cantina as you pass. You need a drink.

When you arrive, you’re not sure you want to talk about the recent shitstorm your life has recently become so the first words out of your mouth when Rose opens the door is- “Do you like Jannah?”

It’s a little mean of a conversation to spring on your friend, but you’re a lot of things, and blind is not one of them. You’ve seen how the two mechanics look at each other. Especially when they think the other won’t see. Holding up the bottle as a peace offering, Rose smirks at you before leaving her door open as an invitation.

Rose denies having a crush on Jannah as you work through the bottle, only conceding on the point that Jannah is very pretty. You’re probably a little too quick to agree, blaming it on the drink that’s currently making you feel like you’re floating a couple of inches above the ground.

Comfortable silence falls on the two of you as you sit there, the floor a little cold under you, leaning against Rose’s bed.

“I’ve been thinking-” Rose starts but you interrupt before she can get any further.

“Dangerous.”

Rose doesn’t dignify this with a response, instead waiting until you wave a hand at her to continue.

“We’ve got a coordinating day off next cycle, if you wanna go to Sanctuary III. They’ll have a festival then, I can’t remember which but it should be good fun.” You can tell she’s keen, so you’ll go with her, but you find it hard to inject any enthusiasm into your voice.

Rose picks up on this, sighing as she refills her glass. “Alright don’t seem too keen on the idea.”

Your shrug, not really wanting to talk about the real reason you can’t find any excitement. “Sorry. I’ll go with you. It’ll be fun.”

“What’s wrong?” Her voice is gentle, and her hand is on your arm, and it’s so reassuring, so warm, your skin sings under her palm.

You talk to your feet as you tell Rose what Dameron said. “-and he - it was horrible, Rose,” you sniffle, tears springing into your eyes again. “And I - we’ve never got on, he’s, y’know, annoying, we’re always bickering, but I just - I never thought that he actually - it’s my fault he’s injured, and maybe he does hate me and-”

You stop your tirade and for the first time, just let yourself cry and breathe for a second. Rose’s arm comes around your shoulder and you lean into it, slightly. “It’s fine - I mean I never liked him anyway, now I can just move straight into the dislike section, maybe even hate I dunno.”

“Ok you should know that that’s not healthy first of all.” Rose’s voice floats out from above your head. “Second, I’m sure he didn’t mean it, and anyway, who cares what he thinks? Leia thought you did well. And third, this is all the more reason to do something on our day off!”

You give a weak chuckle and nod. You spent the rest of the night, playing cards and chatting about lighter topics until both of your eyes start to burn and you make your way to bed.  

***

Thanks for reading! Reblogs and comments mean the world to me 🥰🥰🥰

Chapter 2

[askyourwritergrandma]

Hey can you help me with some tips on writing flirting? I have two male characters that meet and are supposedly straight. How do I subtly show flirting with one of them and he realizes the other might be gay? The "gay" one is charming and the "straight" one is trying to seduce him. Thanks

Hello anon!

I think writing flirting is one of the more fun things you can do because while there is kind of a right and wrong way to go about it, you can have two characters flirting over basically anything. The opportunities for humor and good fun abound.

Even in your situation with subtlety and uncertain sexual orientation, you could just have them flirting over a stack of history textbooks. They could flirt over potholes. Flirt about their favorite Olympic sport. etc.

Ok, so a few basics:

Flirting is about tone and intention. This is why you can two people flirt over just about anything. In fact you can make any sentence a potentially flirty sentence as long as the intent and tone is right. Most of that tone is accomplished by grammar but you can throw in some narrative cheats too.

Take this conversation:

"Your brakes are completely shot. It's a miracle you're still alive driving around in this thing." "So, how long to fix it?" "You're not going anywhere tonight. Not in this car."

Standard grammar, no narrative. This comes across as probably not a pleasant conversation but a routine one also. No flirting at all. What we need to do first is test out how we can use grammar to our advantage. Italics, commas, different sentence structures and etc especially in dialogue is how you really make it human and emotive.

"Your brakes are completely shot. It's a miracle you're still alive driving around in this thing." "So," he said, "how long to fix it?" "You're not going anywhere tonight," he answered. "Not in this car."

So it's not perfect but we've changed the tone here. The emphasis we added changed it from some poor mechanic in a shop dully informing a random customer that he's going to be paying them so much money to a conversation that has slightly more personality. We also broke up the two bottom sentences which both implies a longer pause between the two sentences and can serve to really draw the reader's attention to both halves as separate.

Most importantly is the italics on the word "this" in the last one. Oh you're not going home in this car but my car? well it's warm and the brakes are fine. (wink, wink)

Because flirting involves a lot of body language and tone of voice to be successful, the next step is to add in more narrative cues.

Albert had never been so nervous to deliver an obvious diagnosis in his life. Nobody liked to hear they were going to be out hundreds of dollars, but dealing with the unknown reaction of customers was just part of the job. That's what this was, just his job. There was no reason to still be standing behind the counter, pretending to move papers around, watching the man on the other side patiently waiting to hear the news. But there he was, shuffling one paper on top the other, taking the last precious seconds to prepare himself for the unknown. "Your brakes are completely shot. It's a miracle you're still alive driving around in this thing." "So..." Harold wasn't looking at him with any spite. He hadn't even flinched at the news, like maybe he'd just been driving around making the problem worse so he could end up here right now. In fact, while most customers voices went high and hateful, Harold's whole body seemed to ease closer, lean into the counter as his voice settled into something warm and inviting. Even his lips were pulling into a friendly smile. "How long to fix it?" Forever. It was going to take days, possibly weeks. Hell, Albert could drag this out for months if it was going to end with Harold smiling at him like this. Maybe his voice was unsteady, and maybe he wasn't the smoothest but, he thought he did alright when he said: "You're not going anywhere tonight. Not in this car."

And now we have the real meat of our flirting. We know they're flirting because Albert is obviously very into the idea of it. He wants Harold's attention and he's hyper aware of everything that Harold does in response to what he says. He's reading into what he sees and his interpretations of Harold's actions are all romantic/flirty.

So a few things to try in your own story:

During scenes where someone is flirty, even if they aren't sure they're interested in guys, make it obvious that they want that other person's attention

Let the narrative be a little playful, let a bit of romantic fancy get into your descriptions. Is Harold wilting romantically into the countertop? We don't know, but Albert sure thinks so.

Flirting is like issuing an invitation. There's always the implication that you should return and continue.

Play around with your grammar and where you split your sentences because it makes a huge difference.

You can certainly concentrate on rapid heartbeats and minute descriptions of expressions/actions but make sure you add in emotions too. If you're going to show them clenching their fist out of deep desire to touch someone, tie those two concepts together.

Good luck friend! I hope this helped a bit.

[bubble-bones]

Writing Tag Game

Thank you for the tag @fiadhaisteach <3 <3 <3

How many works do you have on AO3?

20... when did that happen? lmao 

What’s your total AO3 word count?

Hoo boy. 841,987, apparently. That’s... more than I thought it was.

What are your top 5 fics by kudos?

Cyberpunk 2078: The Rebel Rath - 362 The Hunt - 137 Cyberpunk 2078: The Spicy Chapters - 106 Cyberpunk 2003: The Ballad of Buck Ravers - 101 Cyberpunk 2003: Never Fade Away - 100

Do you respond to comments, why or why not?

I used to respond to every comment I got, I think it’s a lot of on and off and whether I have the energy to do so after posting. I read every comment still, but most of the time I just post and scurry back to the dark hole I live in lmao

What’s the fic you’ve written with the angstiest ending?

Uhhhh... I don’t really do angst? At least, I don’t like writing angst without any payoff. I’ll let my characters suffer, but I’ll fix things up by the end. I hate angst with lasting effects. 

What’s the fic you’ve written with the happiest ending?

Considering I’ve actually only ever finished one long fic (The Rebel Path) I suppose that one? Though with 2003 being split into individual fics within a series, I’d say probably them considering each one so far has ended pretty nicely, but I don’t really consider them individual fics in my head given that they’re all one cohesive story. 

Do you write crossovers? If so, what is the strangest one you’ve written?

I never have, and I honestly have never thought about it until recently. But I’m not going to talk about what it is because I’m contemplating actually writing it.

Have you ever received hate on a fic?

Oh, yes. Multiple, the first few by anonymous people who were laughably bad and angry about... something really silly, imo (they’ve been memed on the discord since). Then I got some really unnecessary nastiness on 2003 a while back, where someone claimed to be offering “critique” - unasked for, mind you - and just tore all my characters to shreds and threw around some pretty weighty accusations which would all be disproven if they’d actually read the fic (also gave evidence that just... made no sense). It was not a good time, but I’m getting back into the groove of writing now. Sorta. 

Do you write smut? If so, what kind?

Hehehehehehehe yes. 2003 began entirely from a smut prompt - it’s mostly pretty tame, imo, but I have fun with it. I’ve only ever written f/m but I’m planning on changing that soon :)

Have you ever had a fic stolen?

Not that I know of. I hope not haha

Have you ever had a fic translated?

Nope. Honestly I like having my fics in English so I can interact with my readers

Have you ever co-written a fic before?

Yup! A Dove’s Dance With Wolves (my beloved), one of my John Wick fics, is co-written with the lovely postmodernsleaze! 

What’s your all-time favorite ship?

Oh boy. That’s a tough question. I’m legally obligated to say V/Johnny Silverhand, but I’m also very partial to John Wick/Helen Wick/Irina Volkava (oc hehe), f!Shep/Garrus, f!Lavellan/Solas, in no particular order. 

What’s a WIP that you want to finish but don’t think you ever will?

Oh, don’t say that lmao. The Hunt has been a wip for three years almost now, and I do want to go back and finish it someday. I have too much planned not too haha

What are your writing strengths?

I’ve been told I write character’s dialogue fittingly, and I have a blast writing characters (especially Johnny and V when they’re bickering). Lately I’ve also been enjoying how my scene writing and internal monologue/narration has been going. I also really obsess over my grammar lmao 

What are your writing weaknesses?

I definitely let my sentences trail on a bit sometimes. Lots of commas. Also I get ideas for more fics than I can handle and jump around between hyperfixations, a lot. I have a hard time actually sitting around to writing a lot of the time. Then, when I actually do get inspired I’ll start writing, blink, and it’s suddenly 5 hours in the future and I have a finished chapter. That doesn’t sound like a problem, but it is when you forget that time exists. 

What are your thoughts on writing dialogue in other languages in a fic?

Okay so I do this a lot, apparently. Often, I’ll either have the other language not even written directly, but have the character (whose pov it is) recognise that it’s not something they can understand, at least establish that the other character is talking. But if the character can understand that language (like in The Hunt with elven, or Wine, Blood or Paint / A Dove’s Dance with Wolves with Russian/Italian) the dialogue is written in italics (but English). Though that gets a little bit confusing when they’re speaking both in that language and also on the phone (I put phone dialogue in italics too) so if it’s both, I bold and italics it lmao. 

As for actually writing the other language, I try to avoid it. I only speak English and a tiny bit of French, so I try not to presume like I can accurately portray other languages. Like, the furthest I’ll go with it is a noun as in like a pet name or title, or just tiny snippets of dialogue. To do that, I’ll usually use good ol’ google translate - or, if I know someone that has knowledge of that language, I’ll go to them for help! It’s not the end of the world if it’s wrong, but I’d rather it be at least a good effort.

What was the first fandom you wrote for?

I think I might’ve wrote a tiny bit of Avatar the Last Airbender when I was a kid, but I never wrote more than a few paragraphs. After that, Naruto. I was very big into Naruto as a teenager, and yet only ever properly finished one fic? No, I’m not linking it lmao. Yes, it’s still out there on the internet. After Naruto I fell into Dragon Age and stayed there for years, only actually stopping when I started writing for Cyberpunk in December.

What’s your favorite fic you’ve written?

Ooooh that’s a tough one. That changes a lot depending on how much fun I’m having with something while writing it, honestly. I like my fics for different reasons, honestly. I think lately my favourite is When in Rome, because it’s the thing I’ve been writing most recently. I also adore my 2003 series, and yes I’m saying the whole series because I think of it as one cohesive thing. 2078 ofc because it’s the thing that got me into writing Cyberpunk and I met a lot of friends through it, but I’d definitely do it differently nowadays so the fic is more just nostalgic haha. And, ofc, The Hunt has a special place in my heart because I’ve been writing it for so long. 

This was a lot of fun to do! Ty for the tag <3

Tagging @overheardatthecontinental, @k9effect, @merylisk, @bean-cup, and anyone else who’s interested!

[bakugouscentedcaramel]

Ah yes, the time has come.

It's time to get your pen and paper because class is in session!

There's plenty of things I could talk about and I pretty much covered the basics down below, but I'm more than willing to help y'all out with anything specific!

I have to preface that I'm not an English major by any means nor do I have any experience writing professionally, the things listed below are purely based on my opinions and submissions I have received.

Writing is forever a learning process, there really isn't a right way of writing but there are definitely some things that will hinder your readers. Here is a list that I compiled both with my own experiences as well as some user submitted issues when it comes to reading works:

•Big blocks of text

° Typos/wrong word usage

•Using the same words

°Too spaced out/not indented where needed

• Dialogue runs into normal sentences

° Speakers/POVs change without notice

• Inconsistencies, either in general or story inconsistencies

°Lack of description/Too much description

• Bland/Artificial actions/dialogue

° Misuse of punctuation/lack thereof

• Capitalization errors

° Long winded sentences

• Using italics for actions

° Confusing formating

• Changing in Tenses

° Using wrong tags/falsely advertising (ex. Reader x Blank should have Y/N, not an OC/Authors name)

• Author notes/comics/pictures in middle of fic

° "~This is a transition~"

• Forcing a character to be OOC for sake of story

° Filler characters

• Not sticking to a specific genre/jumpy moods

Now don't be intimidated by this list! Some of these are pretty self explanatory so I won't go into a few of them. There are plenty of ways to avoid these and in some cases it is perfectly fine to use any of the above. 

Let's start off with the basics!

Sentence structure is the backbone of writing, but it's a very flexible rule. Obviously you have your subject, verb, object and whatnot, but the true art lies in word choice and length.

When it comes to sentences, size does matter. If your sentences are too short they will seem choppy and unfinished, whereas if they are long they will seem winded and unnatural. The biggest tool you can use to find out if a sentence is too short/long is by reading it aloud! If you run out of breath it's too long but if you finish abruptly it's too short.

Word choice is my favorite weapon to work with, I could describe a blue jay as a normal bird or as a mythical animal just by picking the right words!

"The blue jay flew across the field while it sang it's melody."

Or

"A creature with wings made of clouds swooped across the field whilst roaring out a devilish tune."

Word choice can easily convey tone/feeling so it's definitely an important element to writing! If you ever have trouble finding that perfect word try googling for synonyms! Also this website might help you find that one word that you just can't think of!

Grammar is also a very important part of writing. Using the right words and punctuation can be difficult sometimes but there are some easy fixes!

Spelling is an easy fix, if you forgot/don't know how to spell a word consulting a dictionary or Google is a surefire way of solving your problem. You can even find synonyms if you feel like you've used a word too much. 

Punctuation on the other can be a big more difficult, however. 

Here's a couple of sentences that helped me learn basic punctuation:

A comma splice walks into a bar, it has a drink then leaves. Commas are a means of sewing two sentences together to form a compound sentence. These are mainly used to list out things and to add fluidity to your works so they don't sound as choppy.

A question mark walks into a bar? Question marks are pretty self explanatory. They either raise a question or form uncertainty.

Two quotation marks "walk" into a bar. Quotations are used for both dialogue and metaphors. I personally love using them for sarcasm!

A gerund and an infinitive walk into a bar, drinking to drink. This one is a tougher one that I personally never learned from any of my classes. A gerund is basically a word that can act as a verb or a noun which would be "drinking". An infinitive is the base of a verb, in this case it's "drink".

The bar was walked into by a passive voice. A passive voice is when you emphasize the action and object of a sentence rather than the subject. You can find that a passive voice tends to use past tense where as an active voice uses present/future tense.

Three intransitives walk into a bar. They sit. They drink. They leave. An intransitive verb is an action verb, expressing a doable activity like arrive, go, lie, sneeze, sit, die, etc.

Some other things that I commonly see are the wrong usages of words. For example:

They: a group of individuals/pronoun "Yeah, they said he'd be here thirty minutes ago."

Their: a possessive pronoun "Leave their stuff alone!'

There: location "What's that over there?"

Then: event/action "Val went to the mall then skittered to the park."

Your: possessive "Your self esteem is lower than the Mariana's Trench!"

You're: a conjunctive "you are"

Affect: caused by actions "The fallen french fry really affected Val's mood."

Effect: caused by events "Climate change has a negative effect on my Cheerios."

Peaked: a summit "Val has peaked at 10:19pm"

Piqued: stimulate interest/curiosity "You have piqued Val's interest by mentioning food."

Do time: "Val is fixin' to do time if she keeps slacking."

Due time: "Val will come with hydration in due time."

Per say: not a thing

Per se: by/in itself "She didn't write this late at night, per se…"

There are different tools you can use to spice up your writings, from metaphors to innuendos, all the way to zeugmas! Let's go over the basic definitions of these bad boys.

Metaphor: a figure of speech that is not literally applicable. "The darkness surrounded us like a shroud." Obviously the darkness can't physically shroud anyone.

Innuendo: a sentence with a hidden meaning "Is that a gator in your pants or are you just happy to see me~" 

Zeugma: a sentence containing words that can be used literally and figuratively, like a love child of the two above. "Val and her coupon expired last week." This implies that not only did my Colgate coupon expire, but I died as well.

Paragraphs are a necessity when it comes to writing. Big blocks of text are an eyestrain to readers and it's easy to lose your place, even if it's only 150 words. It's always best to use Tab or at least 5 spaces when indenting. A paragraph should only be 5-7 sentences long, this is so it's not just multiple blocks of text

When to add a new paragraph:

° A new person comes in

• New idea/context

° Setting changes

• New person is speaking

° Time changes

• The "camera" moves

° Tone shifts

• 5-7 sentences has been reached

Paragraphs help you organize your work in a way and they make it easier for your readers' eyes!

POVs are also very important. First person and third person are by far the most common ones so I'll only touch on these two. It's very important to write a story in one strict POV as to not confuse the readers. You can however jump perspectives like Heroes of Olmpyus by Rick Rodian, as long as the ready can easily tell who is telling the story.

First person is a story that is told from first-hand experience. It's the same as if I told y'all the story on how I almost chopped off my thumb in woodshop class back in middle school. First person tends to use a lot of I's and my's

Third person is a story that is told from a narrators' point of view. Such as "Once upon a time" type of stories. I's and my's should only be used in dialogue

Dialogue is probably one of the most important features of any fic/story. Dialogue can push plots forward as well as add life to a character. Here's a simple exchanged:

"Hiya 'Splodey," Val chirped.

Katuski smirked, "M'dumbass."

Dialogue should always come with a pair of quotation marks. Commas and periods generally go inside the quotation marks whereas dashes, colons, and semicolons almost always go outside the quotation marks. Question marks and exclamation marks however can go either inside or outside, it goes by a case by case basis. Always indent whenever a different speaker is talking, running quotes into each other is a no-go because it causes confusion and eyestrain.

You have to be wary of using simple dialogue exchanges though, if they seem off try saying them out loud! Dialogue is one of my favorite things to write because you can weave personality into them, not to mention you can always hear people talking to get a better idea on how to write dialogue.

For example, I have a southern dialect, meaning I sound different than someone from the north! I use words like "y'all", "fixin'", "finna", "ain't" and have a different vocabulary than that of my northern friends. This means that the characters you're portraying should have their own way of speaking! This will not only add flavor to your dialogue but it also adds to their personalities/backgrounds.

Describing things can be just as valuable as dialogue, but it is a bit more complex. Sure we've all heard of the "show, don't tell" rule. Which is a good rule to follow, however too much showing is just as bad as telling. Again, reading out your work is a great way to tell if you're focusing too much on one thing. Another thing to keep in mind is importance, such as do we really need to know that the grass outside was bluegrass? Which in certain situations it would be! For example:

The grass around the disheveled house was brown and straw-like, with the exception of a ring of grass. Bluegrass. Which wasn't even native to this location.

This paints a pretty good spooky picture in the readers' mind and even adds the element suspense by the implied uncertainty.

I've only covered a small portion of writing so if y'all have any questions or need any help feel free to slide into my DMs or send in an ask! I love getting questions about writing and I'm always willing to help a fellow writer!

[batwake]

i might be dreaming (i might be dead)

[vixianna]

Beginning Writer Advice

I made this a brand new post so @mosellegreen and I can add on without derailing anyone else’s point. :) I hope this is useful for other writers!

-Description

There’s nothing wrong with description. Vivid description, lurid even. The problem is where you’re putting it. Think of the words on the page as your “camera”. You are the director of a film. Lots of things are happening in any scene. The camera decides what is the “foreground”(with the main action and characters) and what is “background”(with the background characters and setting). Your job is to focus that camera on the most interesting part of that scene. That means some basic description of the background and setting is necessary to “set the scene”, but you want to spend most of your description on the main action and characters. So, short sweet descriptions to sketch the scene itself, and much much more description of the main characters/action.

This also depends on your audience/genre. In a period piece romance novel, you’re gonna want to spend time lovingly describing that heroine’s dress for the ball. That’s an important indication of her personality, her upbringing, her social status, the type of ball it is, and it’s something the audience is gonna care about because her big entrance to the ball is important! In a thriller spy novel, what the heroine is wearing to the fancy shindig she’s infiltrating is less important than noting that the room has only two exits, that it’s filled with the rich and their body guards, that it’s dimly lit, that they don’t search items in the coat room, ect. What needs to be focused on changes with your audience/genre/scene purpose.

In that same romance novel, it might be important to describe the heroines big ball entrance, but not her every day attire. A simple description would suffice or none at all unless her clothing comes into play later!

-Sentence length variety.

It can be very easy to fall into the trap of writing sentences that are around the same length. But don’t just vary sentence length just because! Sentence length is an important part of setting tone and pace. Longer sentences take longer to read, and tend to be more relaxed(except or the sort of anxious ramble-y run-ons people have when they are panicked!). Shorter sentences are usually read as more tense/terse/angry. People get snippy and clipped when mad. It’s also a demonstration of personality. Someone who loves to hear themselves talk or who is more well educated might speak in long sentences with multiple semi-colons. A small child will speak in much shorter sentences.

Action descriptions or sudden surprises should mirror the emotion by being shorter length. This also means the time for longer vivid descriptions are typically in calmer situations. When reflecting, when hashing something out calmly to plan, when describing the beautiful vista of the secret world your heroes just discovered. These are guidelines though, because I’m praised for my tense situations, suspense, and action scenes, and I’ve never written a short sentence in my life!(lol) Instead, I build suspense and tension in action scenes through near constant long(er) sentences. Reading longer sentence causes “fatigue” in the reader, and during an action scene, that fatigue can help translate into growing tension and suspense. It also doesn’t give them a time to “rest” to recover from one shocking reveal to the next. That doesn’t mean there are no short sentences at all!(the sentences are still shorter than my average sentence…) Just that the entire action scene isn’t done in short clipped sentences. It’s more like longer sentences with short ones thrown in for effect. To really emphasize an action or add punch to a strike.

-PoV

This is something that takes a while to master. Second person isn’t common, though there are exceptions in certain fandoms like Undertale, but first and third are. I almost never write in first or limited third, but that’s because it doesn’t suit the types of stories I write. What PoV you pick should be based on what type of story you’re trying to write. First person is intimate and claustrophobic. The “camera” in this case is the eyes of the main character. It’s like if the story was about you. That’s perfect for the adding tension to a Thriller, Mystery, or Horror story. The reader only knows what your main character does and experiences, making the world inherently more limited and terrifying. Its intimacy is also perfect for a romance novel where you really want to get into the main character(s) head for all their emotez. Third Limited is great for action/adventure novels. Your camera hovers around a single person, but it’s not them. You can see around them and describe things that exist around them that they might not necessarily notice.(in first person the details you’d describe are filtered through the personality of the main character. A hard boiled detective is not gonna notice the brand of shoes his client is wearing(I mean unless he’s Sherlock lol). A fashionista could know what brand, cut, and what runway year a piece of clothing debuted.) You can still only see inside that specific person’s head. The camera can look around and look into one person, but it’s still pretty focused. I typically write in Third Omni, but that’s because I tend towards very large complex stories with multiple characters, settings, and events happening all at once. If I was stuck in First, lots of necessary details wouldn’t be conveyed. If I was in Third Limited, I wouldn’t be able to balance out my (large) cast of characters as well. I also tend to “head hop”, and no one cares. *shrug* It’s not as big of a deal or as confusing as people make it out to be.(dive in and out of the minds/perspectives of separate characters in a single scene)

I said Second Person is common in Undertale fandom, and that’s because of both the game itself, and the mechanics. Second person uses “you” and ascribes the actions to the reader. This is perfect for Choose-Your-Own-Adventure novels and fanfiction like in Undertale where it’s explicitly self-insert.

-Punctuation/flavor

Learn the rules of punctuation. There’s nothing wrong with the exclamation point, but it really should be used sparingly. It’s like italics. It’s there to really draw attention and emphasize something. Both bold and italics should be used sparingly as well. I tend towards using italics more often and almost never bold face type. And I can’t remember a time off the internet where it’s more casual where I’ve used both at once. One or the other is really all that’s needed. And try to stick to either one or the other in your entire work. Either emphasize things with bold face type, or do it with italics. So, don’t never use them, just use them much less often. A couple times a chapter(of a few thousand words) is just fine. Learn when to use semi-colons, colons, commas, ect. It’ll make your writing clearer, give you access to longer sentences, and you’ll be able to be the anti-Hemingway if you want.(I’ve written sentences with over 50 words in them because it needed to be long and also because I refuse to stop the idea isn’t finished yet lol).

-Character Construction

This is a harder one, and probably my last section. Characters come in two varieties. Flat characters(NPCs basically) or Rounded Characters(hopefully your main characters). Flat characters are always static, they are usually poorly sketched/defined, and they sometimes fall into straight archetype copies without deviation. There’s absolutely nothing wrong with flat characters! Every story needs them! The waitress at the little diner your main character stops in once for coffee doesn’t need a backstory with a motivating drive and a character arc. Some characters are meant to be props. And that’s what flat characters are; they are props. It’s not common(or well liked) in modern literature for main characters to be props. When you review fairy tales though, Main Characters are often Flat. They are often props. They have no character arc, and no real internal life. They were meant to teach lessons, like Aesop’s Fable characters.

If you are trying to capture the feel of a modern fairy tale or re-write a fairy tale, having a static and even flat character for a Main Character will probably be more effective. For the modern novel though, you’ll want a dynamic rounded character. “Dynamic” in this case means “has a character arc”. It means they change over the course of the story. “Rounded” means they have an internal life and a “full” character. This is much harder to explain and is typically where beginning writers run into trouble. They can get their characters to change, but they still feel kinda flat.

Real people, and Rounded Characters, are multi-faceted. They are contradictory. There exists in the same person the drive to make friends and the drive for isolation/solitude. The drive for ambition and fame, and the need for obscurity. The will to do, and laziness. Humans/people are a study in contradictions and balance. Even the biggest most extroverted ambitious people person needs time to themselves, privacy, and keeps secrets. In order to make a realistic character, a rounded one, they have to have balanced needs, and ultimately be contradictory. Humans have mental distortions and cognitive dissonance. They’ll believe two things, that when examined, ultimately contradict each other. Usually these distortions are minor, since cognitive dissonance makes us uncomfortable, but finding situations where these contradictions can come to the fore is what writing is about. And it’s where interesting character study takes place.

Someone who believes all criminals are evil, but that life is a right, might be flummoxed by a situation where someone stole medicine needed to keep them alive. Stealing is a crime, and criminals are wrong, but life is a right that can’t be abridged/denied. This person would then have to resolve this ideological contradiction in order to remain internally balanced.

Construct your characters with traits that can come into conflict. Construct your characters with traits that don’t “necessarily” connect. Someone could be a chef, and love motocross. They could be a kindergarten teacher, but be child free(a position of not wanting children of their own). Real people have collections of traits, hobbies, ideas that are horded from the culture around them. There isn’t necessarily a rhythm or reason for them, they just are.

Construct your characters to reflect the culture they live in. Someone who’s American might have very strong opinions about democracy, communism, socialism, ect. They might have very few real opinions on the leaders of an entirely different country though(Americans in general are myopic speaking as an American), but still feel nationalistic pride.(ie. America is the best country in the world). Someone who is LBGT and in the scene in the 60′s and 70′s might take part in Leather Culture, have a very different way of describing their sexuality/gender than we do now, have very different experiences with being “out”, experience their sexuality/gender differently than someone modern, ect. Remember, and this is super important when constructing characters, to keep the time, place, and culture in mind.

-Research

I lied lol. Research is the last section. All the previous sections pale in comparison to research. I can’t tell you how many times I’ve read beginning writer’s work whose problems could have been solved by “do more research”. There is one person’s original work I read for who had their mermaids writing on parchment. If you didn’t know, parchment is made of leatherized animal skin. If it gets wet, it’ll revert to animal skin and rot. Modern paper products wouldn’t work either, and it would be impossible to tan sea creature hide underwater. They needed to have come up with another writing method, and seeing how their mermaids had magic…

This covers everything from simple stuff like “what timezone is this in so I know how many hours difference is between these two settings?” to complicated stuff like “how long does it take a human body to exsanguinate when the jugular has been severed?”

It covers what technology was available during a time period(another writer wrote about telephones and white picket fences being around during what was supposed to be a colonial setting! And then when they brought it up they actually wanted it to be the early 1800′s(not colonial America lol), but those things still weren’t around then!), what the common terms for different groups were and the slang. It covers gender roles during the time period, what countries existed, what colonies, who owned them. It covers how anatomy actually works, how poisons affect the human/animal body, how a certain type of government operates.

Research, research, research some more. And if you aren’t sure research some more. This is also essential for character construction, especially for groups of people you aren’t personally familiar with(ie writing someone gay if you’re straight, or black if you’re white).

To conclude, research is your friend. Don’t get so bogged down that you don’t/never write, but please for the love of Frank, do research. If I have to read one more beginning writer’s work who doesn’t realize X technology wasn’t around in Y period, or that gender roles demanded Z during this time in this country, I’m gonna die.

[chronoscasuals]

Sentinels of the Multiverse: Adelphophage’s archives (part 4: Shattered Timelines/Wrath of the Cosmos villain promos)

Welcome all to Chronos Casuals. I’m ChronosMysty and today I’ll go over the last of the villain promos and the gauntlet.

Deadline: Angel of Extinction

This new Deadline is very much similar to the old deadline, only with a few extra quirks. • His devices are harder to kill. • Catastrophes being destroyed while he is on his front side causes deadline to deal 2 non-villain AOE fire damage. • Severed Ley-lines accelerate the environment destruction but are also less detrimental to trash-based heroes. • H-scaling health Moving on.

The Dreamer

The first half of the Dreamer fight plays very similar. The second half, however, has a tempo-regulating system that “rewards” heroes doing well with more projections (which is technically good, since the goal is to chew through them as fast as possible) but lays off on the extra projections if you’re a little slow on the projection destroying. (Do note that you’re still better off destroying them fast if possible.) My only gripe was that I played a game where I ended up seeing pretty much all the projections in the first half and the second half was mostly spent revealing duds (not to mention that shuffling back in the duds only increases he probability of hitting duds in later reveals, at least theoretically). The 3 Violent Nightmares in the deck are there to help prevent these situations, so I don’t think I would recommend changing it to discard them, this was just an off situation. (Then again, old Dreamer could encounter very similar situations, so that’s just an inherent problem of the deck.) Only thing I could think of is maybe adding an end of turn ability or adding to the start of turn ability (either before or after), “If there are no projections in play, shuffle the villain trash into the villain deck” or even just the projections, but that’s quite a bit more to keep track of an unlikely payoff that I’m not sure it would be worth it.

Infinitor

There isn’t one for Infinitor. Honestly, base infinitor is in a pretty good spot (although ally infinitor is ridiculously easy except in challenge or ultimate mode).

Iron Legacy: Justice for All

Oh boy, Iron Legacy. out of the three most difficult bosses pre-vengeance, at least iron legacy was kind enough to kill you or die within like 10 minutes.

The first thing you’ll probably check is whether the end of turn effects do less damage, and the front one certainly does (the back one does more IIRC but now targets the highest HP unless playing on Advanced. It also heals 1 point less IIRC.)

The second thing you’ll check and notice and is that his H-scaling mechanic revolves around H-2 Ongoings: he starts with that many (rather than H), but you’re probably not going to get him to less than H-2 Ongoings. Overall, he still hits like a ton of bricks and not being able to clear out all his Ongoings makes him a persistent threat, but those two fewer Ongoings at the start really do make a huge difference in making him beatable.

Kaargra Warfang: Ruler of the Pit

Remember what I said about Iron Legacy making the game nice and quick? yeah, Kaargra Warfang didn’t play like that. I think I can say without exaggeration that old Kaargra Warfang has more bookkeeping than OblivAeon.

I’m guessing you probably can’t read the altered Crowd’s favor and Bloodsworn Coliseum, so I’ll just type out their texts, with my commentary in parantheses and italics. Bloodsworn Coliseum [Cards] This card, the Crowd’s favour card and Title cards are not considered hero, villain or environment cards. (And apparently, the Oxford comma isn’t considered a thing either.) This card and the Crowd’s favour card are indestructible. When a target is destroyed, destroy any Titles under it. When a title is destroyed, put it in the title discard pile. (You mean Title Trash?) When the Title Deck is empty, shuffle the title discard pile into it. [Titles] End of the villain turn: Move one Title next to this card under the highest HP gladiator. Destroy all other titles next to this card. Then play Title cards until there are 3 titles next to this card.

Crowd’s Favor [Hero Favour] Add two tokens to the hero favour pool when... • a villain target is destroyed • A title is moved under a hero target If there are ever 4xH tokens in the hero favour pool and Kaargra Warfang is on the “Ruler of the Pit” side, flip her. (And she will then proceed to require you to ignore the text on this card and make it almost irrelevant except when Fickle Fans happens.)

You may notice that ability to gain Titles only happens 3 at a time and the gladiators can get one of them that you didn’t win during the previous round. You may notice that the purpose of Crowd’s favor is to get kaargra to get off her chair and into the fray so that you can beat her down to win. You may notice a complete lack of referencing bloodsworn pool tokens among those two above cards and ask, "Are they still relevant?” The answer: yes. At the end of the villain turn, kaargra deals each hero x projectile damage, where X is the number of tokens in the bloodsworn favour pool divided by 4, rounded down, and then adds 2 tokens to that pool. You’ll also notice that she’s a target that’s immune to damage. that’s pretty much just to avoid her flipping prematurely. This does have some other interactions, but a safeguard on the back side helps stop it from being too relevant.

Overall, the play experience is much more enjoyable and feels decently beatable if you get a good set of titles early on.

Kismet: Twist of Fate

Old Kismet was a great idea done poorly - it’s clear she wants to keep the Talisman, but it’s so easy to take it away from her and use it against her that the fight just doesn’t go anywhere. Her unsubtle trickster promo is fascinating, but it still hinges on the idea of giving the heroes an extremely useful power and giving them the option to attack it and put it back to get it a few turnslater on a different hero. This idea is quite different from either of those. Here, Kismet builds up power with Jinxes and releases a (usually small) AOE attack every turn. An indestructible Lady Luck makes destroying her Ongoings very unreliable. The talisman acts as the kill switch, as using it will put back all her non-Lady Luck ongoings, trigger a rather large AOE, give her back the Talisman at full health. The game becomes managing a cycle of jinxes and AOEs vs the potential massive burst damage. Oh yeah, and for some reason, she is somewhat reliably unable to be hurt by large damage attacks.

The battle is an interesting and unique experience, albeit a little frustrating when you’re trying to destroy an Ongoing when Lady Luck says “nope”.

La Capitan: Paradoxical Pirate

La Capitan has always been a fiddly battle. This version helps a lot with this, but it doesn’t make it stable.

First thing to note is that the Timeship actually plays a very different role in this fight, with its actual abilities rarely ever used, instead mostly just being a marker for whether the back side can deal damage or not. Additionally, Raiding Party triggering the end of turn clause that flips her and skips all other ‘end of villain turn’ clauses ensures you don’t get overly swarmed.

Honestly, I don’t have much to say about this fight. I still don’t enjoy this villain, but it’s better than the official card.

Progeny: The Messenger

I always found Progeny boring, due to it basically being the same fight throughout with little variation. This variation helps a bit, but overall, I still find it boring.

To go over the differences: • There’s only at most 1 Scion out at a time, generally. This actually fits a lot more flavor-wise. • The end of turn effect deals two instances of H to the highest HP hero target rather than 2 AOE, making him much less susceptible to damage fluctuations. (1 DR still has its place, though, as a number of cards in the deck deal damage in chunks of 1.) • he now flips in the middle of the fight in a mechanic very similar to Dark Souls’ heat-up, gaining an additional ability based on the current Scion.

And, yeah, that’s about it. It’s also cool to note that his health is 20xH, which makes sense given how most of his damage is sort-of H-based, either directly or indirectly.

And rather than change each vengeance villain, why not just change the rules of vengeance style entirely? Here we go:

The Gauntlet

This is an alternative to regular Vengeance play, in which the basic idea is that you only fight H of them, but only two at a time and they both “share” a turn at the start of the turn order. Additionally, they’ll collectively play H-1 cards per turn, keeping the pressure up.

Honestly, at H=3, you might as well play a regular vengeance game, although I can still see the appeal of using this gauntlet format. H=4 is quite fun. H=5 is soul-crushingly difficult, watching a new villain step in completely refreshed while you’re getting battered.

Anyway, my plan is to next look into the unique decks I have played against in Adelphophage’s archives, but before that, I’ll be making one more post soon after this one. I’ll see you all next time, and remember, keep it casual!

[makeitwithmike]

5 Powerful Writing Books For Mastering The Art of Web Copywriting

By Jini Maxin

Words sell your wares online… it’s true! Even if you load your website with images and rely on a high-res Instagram account, you still need well-written captions and concise CTAs.

Create a website minus any copy and see what happens. I bet Google spiders won’t crawl your pages. Your website won’t rank well in SERPs. And traffic won’t come your way.

Here’s why: because Google recognizes words and not images. Words are the true currency of the web.

But of course you need to string pearls and not potatoes together to create compelling content for your online wares. Whether it be it your product descriptions, website text, marketing eblasts, blog posts or newsletters, believe me when I say that every word you use has a definite role to play when it comes to your conversion rate.

If your words don’t mean a thing to users, it would defeat the very purpose of coming up with a good product or service in the first place, right?

But given that there are over 1,000,000,000 websites in the world competing for attention, it’s intimidating even trying to write well, let alone actually doing it. Here are five powerful books that will help you get on the right track.

1. ‘Web Copy That Sells’ by Maria Veloso

Do you think web copywriting and print copywriting are the same thing?

If, yes, then you are wrong my friend.

And you don’t have to just take my word for it. Read Web Copy That Sells by Mario Veloso and all your doubts will be allayed.

For me, this book was an eye-opener. As a fan of fictional books, I would go to great lengths to make sure my business blog posts sounded like one of the authors I was currently stuck on… be it J.K. Rowling, Stephen King, Clive Cussler, Kathy Reichs or Cecelia Ahern.

But then, Mario Veloso’s book came to my attention and I thought, what am I doing?! Sense, finally, struck.

Principles of print shouldn’t be applied to the web; the book made this point loud and clear. Your web copy is intended for one purpose: to make sales, not to win some Man Booker or Pulitzer Prize. You’ve still got to craft the copy but it should be fairly concise and to-the-point.

Bottom line: Cut the clutter. Inject some emotion.

That said, don’t stop reading fictional stuff. Do not, I repeat, do not stop reading fictional stuff. Because it gets your emotional juices flowing. And sometimes, you can derive some amazing concepts out of it. Check out my previous post here, which was heavily influenced by the Harry Potter series.

Key takeaways:

Write advertorial copy – no direct selling messages, please.

Use plain and simple words that will appeal to your target audience.

Keep the content scannable for people who read on smartphones or tablets.

Focus on bite-sized chunks and avoid corporate speak.

Use text boxes while introducing stories, testimonials and case studies.

Employ the cliffhanger principle to make people click to another page.

This is the ultimate book in web copywriting, in my opinion. It really gets you thinking about how to write perfect web copy and the psychology behind it. It teaches you how to mathematically calculate the selling ability of your website and trains you to write copy that gets readers salivating for your product or service.

2. ‘On Writing Well’ by William Zinsser

If you are planning to read only one book on writing this year, then this should be the book. I simply cannot stress enough how much this classic text on writing can help you improve your writing style. It’s practically a bible for those who love words.

When I came across it, I was super desperate to make my technical copy sound… well… super technical.

On Writing Well helped me figure out how and since then, honestly speaking, my writing has changed for the better.

It helps you focus enough on using short words, shorter sentences and shorter paragraphs. It teaches you that just because you’re writing technical copy, there’s no need to overstuff it with technical jargon that makes no sense to the general population (i.e., non-technical folks).

This is important because the majority of online readers include non-technical folks as well, and it’s equally important for them to figure what all the fuss is all about, especially if you are looking for more ‘likes’ and ‘shares’ for your post on social media.

Furthermore, the writing principles included in this book are generic in nature and thus can be applied to all domains of writing.

Key takeaways:

If any technical expert says your piece is ‘dumb’, that’s their problem, not yours. Strengthen your piece with your own experience and be sincere. Your best credential is yourself.

Think small. Decide what corner of your subject you’re going to bite off and be content to cover it and stop.

Express your opinions. Use ‘I’ wherever you can.

Find more about this book: The 30th Anniversary Edition On Writing Well by William Zinsser

3. ‘On Writing: A Memoir of the Craft’ by Stephen King

The lover of night and the macabre, Stephen King, has no fewer than 66 non-fiction books to his name. On Writing: 10th Anniversary Edition: A Memoir of the Craft is his one non-fiction offering and it’s insanely popular. Writers everywhere use it as a resource to read, think and act upon.

It’s part memoir, part craft of writing. It details King’s early years in the company of a single mother who encouraged him to write his own original stuff; his constant tug-of-war with his insecurities; his experience working in a laundry while writing his popular novel Carrie; and writing 2,000 words every damn day.

There’s a complete chapter on King’s writing ‘toolbox’ as well. However, the most important takeaway is his attitude to writing; which can be explained thus: “you must not come lightly to the blank page.”

Simply put, writing is hard work. Be prepared to put in the hours.

Key takeaway:

“One of the really bad things you can do to your writing is to dress up the vocabulary, looking for long words because you’re maybe a little ashamed of your short ones.”

4. ‘Syntax and Sin’ by Constance Hale

“One pearl is better than a whole necklace of potatoes.” That’s the opening line of Syntax and Sin and it had me hooked from the get-go – that’s why I used it in the start of this post.

The author, Constance Hale, aptly describes empty words as ‘potatoes’ and rich words as ‘pearls’. In her opinion, only a few words are fit to be strung into a sentence and it’s the job of the writer to identify them and pull them together – word by word.

The book partly deals with grammar rules, and partly with tips on how to produce ‘sinfully’ good prose. And, if you suffer from the misconceived notion that grammar books are dry and stuffy, rest assured that Syntax and Sin is nothing of the sort.

It’s one of the hippest grammar books I’ve ever read. The writing is out of this world, and the grammar lessons are extraordinary. It makes you want to write. It’s so inspirational.

Some of the examples of how to write the ‘perfect lead’ literally give you awestruck moments thanks to Hale’s straightforward approach and matter-of-fact tone.

If you are hoping to make the lead sentence of your blog posts stop the reader dead in their tracks, read this book.

Key takeaway:

“One pearl is better than a whole necklace of potatoes.”

5. ‘Penguin Guide To Punctuation’ by R.L. Trask

Do you know exactly when to use the capital letter ‘P’ for President and small letter ‘p’ for president? Do you know about the four types of commas? Or do you worry that your web copy is riddled with tiny errors that could cost you credibility?

If so, then you need to go order the Penguin Guide to Punctuation. The book literally proves that big things come in small packages. All 156 pages in length, it sheds light on the proper usage of colons, semi-colons, apostrophes, quotation marks, italics, boldface and much more in an easily digestible way.

This book is actually the only reference tool you need for grammar and punctuation.

Key takeaways:

Differences in American usage and British usage are very precise, and very important.

As a general rule, never use an apostrophe in writing plural forms. It is absolutely wrong to write pizza’s, video’s, fine wine’s, cream tea’s, and mountain bike’s.

Conclusion

Whether it’s one of them or all of them, the books above are of indispensable value to aspiring or indeed seasoned copywriters. Two other books, On Writing Life by Annie Dilliard and The War of Art by Steven Pressfield, are also great resources and well worth a read, especially the latter one.

Now, it’s your turn. Tell me, which writing books have inspired you to come up with better web copy, and other marketing communications?

I would love to hear what has helped you shoot up your dull sales.

Guest Author: Jini Maxin is a senior writer at OpenXcell – a top Mobile App Development Company. She has a masters degree in journalism and mass communications and is a frequent contributor to several top online publications and websites. Her favorite pastimes include reading books (both fiction and nonfiction) and being introspective. Get in touch with her on Linkedin and Twitter.

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strategic information system

  Strategic Information Systems M (INFS 5058) Assignment 1 (Individual) – Case 2 Due date: Wednesday 13 September 2017 11:55pm (Adelaide time) Word count: 1000 words (just an expectation; feel free to adjust to your need but be very concise and to the point) – the word count excludes Abstract, References, Title, Table of Contents or Appendices Weighting: 15% of the course marks 1.1. Case: Telstra Corportion Ltd. (http://ift.tt/1E1mVl4). Research this organisation through the publicly available information on internet. 1.2. Deliverables Deliverable Marks (%) 1.2.1. Part I – Understanding and Strategy Analysis 1.2.1.1. What are the top-five business challenges of Telstra (in the descending order of importance)?* 5 1.2.1.2. What are the top-five business priorities of Telstra (in the descending order of importance)? 5 1.2.1.3. Use Porter’s five forces model to assess the impact of IT in Telstra. Where do you see the balance of power?* 10 1.2.2. Part II – Strategizing 1.2.2.1. What should IT do to support the business of Telstra?* 5 1.2.2.2. What were best IT strategic steps taken by the CIO during the past three years?* 10 1.2.2.3. What were the worst IT strategic mistakes of the CIO during the past three years?* 10 1.2.2.4. What were the important IT actions or opportunities missed out by the CIO during the past three years? What he could have done better? How such actions would have improved the situation?* 10 1.2.2.5. What top strategic IT risks or challenges are faced by Telstra today? How can those strategic IT risks or challenges be addressed or mitigated?* 15 1.2.2.6. Identify the factors which contribute to “Red Ocean” for IT in Telstra as compared to other competitor telecoms in the industry. How can you create a “Blue Ocean” Strategy for Telstra IT? (Only identify the factors for competition, and you are not required to write down the complete strategy document for answering this question.)* 20 1.2.3. Adherence to the given Research Paper format 10 * mention any models or frameworks that you use from the course. Also, please refer to the sources of information or examples from industry. Submission: Submit your answers in a word file through learnonline on or before the due date. Formatting: • Structure your paper in the form of a research paper, and give a title to your research paper • Format details are available on the following pages INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 1 Instructions for Template of Assignment-1 Case-2 ( Give a Title to your Assignment) Baber Bhatti, Student ID: bhattibm003 (Auth name style) School of Information Technology & Mathematical Sciences University of South Australia Adelaide, South Australia Email: youremail@mymail.unisa.edu.au ABSTRACT (ABS HEADING) The abstract should summarise the contents of the paper in between 40 and 150 words. Please observe the flush left paragraph style on headings. The abstract should be in 10 points Georgia and should be justified (left and right flushed). Leave 6 points of space before the abstract. (Jnl body style) Author’s name (your name) and affiliation should be in 10 points Georgia. Leave 12 points of space before and 6 points after the paper title, 6 points of space before the author’s name(s) and no points of space before and after the author’s affiliation(s) (or email address). For all submissions, you will be asked to submit (1) title, authors, abstract, and keywords on front page and (2) the body of the submission without any author information starting on a new page. The paper title should be in 16 point, Ariel Rounded MT Bold. Author’s name and affiliation should be in 10 points Georgia. Leave 12 points of space before and 6 points after the paper title, 6 points of space before the author’s name(s) and no points of space before and after the author’s affiliation(s) (or email address). Keywords (Jnl body style, manual bold of the title Keywords only as shown), a set of keywords must be included, include no more than five keywords, separated by commas. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 2 1 INTRODUCTION – BODY OF THE SUBMISSION (HEADING 1) This document provides detailed instructions for authors on the form, presentation and layout of papers. Adherence to the instructions will help achieve a high quality of writing. (This is Jnl Body style) Full research papers should not exceed the following layout requirements: • Front page to include title, author details, abstract and keywords as shown on the previous page. This page does not include in the word count of the paper. • Page size should be A4. Allow for a 25 mm margin on both sides of each page, a 25 mm margin at the top of each page and a 25 mm margin at the bottom of each page. • Acknowledgements and Copyright statement can be added on a final page and are excluded from the word count. All text should be formatted according to the details of these instructions. ACIS papers are not supplied in hard copy. Please submit the Microsoft Word document (not PDF) and do not password protect your document. 2 DOCUMENT LAYOUT Paragraphs should commence at the left margin and should not be indented. Leave 6 points of space prior to each paragraph. All text should be in 10 points Georgia and justified (left and right flushed). All text is to be single-spaced. 2.1 Headers, Footers and Page Numbering (Heading 2) The page header should be 11 point Arial Narrow: • make sure that you enter a short title for your paper in the document header (up to 50 characters including spaces). • note page numbers are already provided in the footer of this template. • complete the copyright release at the end of this document and the acknowledgements section if needed. 3 MAJOR HEADING Major headings should be in upper case, 14 points Arial Rounded MT Bold, with 12 points of space prior to the heading and 6 points after. For headings words like ‘the’, ‘of’, ‘a’, ‘an’ are not capitalized unless it is the first word of the heading. 3.1 Minor Heading (Heading 2) Minor headings should be 12 points Arial Rounded MT Bold with the initial letters capitalised and 6 points space prior to the heading and 6 points after. 3.1.1 Very Minor Heading (Heading 3) Very minor headings should be in lower-case, 11 points Arial Rounded MT Bold, with 6 points space before the heading and 6 points space after. Within paragraphs, sub-points may be distinguished by bullets, dashes, bracketed letters or bracketed roman numerals, as follows: • First option (Bullet 1 style) § Second option (Bullet 2 style) a) Third option (Bullet 3 style) i. Fourth option (and Bullet 4 style) INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 3 4 FIGURES AND TABLES Any exhibits (tables, figures, illustrations etc.) should be placed as close as possible to the first reference made to it. Exhibits should be flush left, and numbered and identified by a brief description. Captions should be 11 points Georgia italic (Jnl caption style) and numbered consecutively (e.g., “Table 1” or “Figure 1”). Captions should be placed below the exhibit. Please note that the words “Figure” and “Table” should be spelled out (i.e., “Figure” rather than “Fig.”) wherever they occur. For example, see Figure 1. 4.1 Figures Please avoid inserting diagrams in the native format of graphic applications such as MS Visio. These can cause problems when converting the file to pdf. Diagrams should be inserted in a common graphic format such as jpeg or gif. The proceedings will be delivered in electronic format, and thus support colour for your figures. However, you are advised to refrain from using colour to deliver important information in your figures – not everyone has access to colour printers. Figure 1: ACIS logo (Jnl caption style) 4.2 Tables Inserting a table in the text can work well. See Table 1 below. The text of tables will format better if you use the special Table Text style (in this template file). If you do not use this style, then you may want to adjust the vertical spacing of the text in the tables. (In Word, use Format | Paragraph, and then the Line and Page Breaks tab. Generally, text in each field of a table looks better if it has equal spacing above and below it, as in Table 1.) Sample 1 Sample 2 Item 1 100 60 Item 2 120 325 Item 3 150 40 Table 1. A Sample Table (Table Caption Style) 5 IN-TEXT CITATION Citations should be in the MIS Quarterly style. For researchers who are using the Endnote Bibliographic software, be aware that different versions of the software change the styles, creating some inconsistencies. We therefore suggest that you download the ‘MISQ-Revised’ style file. Citations in the text should include the authors’ last names and year of publication. This involves references to Ajzen (1991) or to a publication (Ajzen 1991). When citing articles with two authors, both names should be cited in the text, for example, Ajzen and Fishbein (1980). Use “et al.” when citing articles with three or more authors (Applegate et al. 1996). When using multiple references, these should be ordered alphabetically, and separated by a semi-colon (Agarwal and Karahanna 2000; Ajzen and Fishbein 1980; Taylor and Todd 1995a; Vander Wal 2007). Multiple publications by the same author within the same year are differentiated as Taylor and Todd (1995a; 1995b). Where the author is unknown (Anonymous 2001), or is an organisation, an appropriate name, organisation name or acronym should be used, for example (ACS 2007; OECD 2003). When quoting text please use “smart quotes”. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 4 6 AUTHOR’S RESPONSIBILITIES AND COPYRIGHT Where relevant, authors are to ensure that the contents of their papers are cleared for publication, for example, by their employer, their client, the funding organisation and/or the copyright owner of any material which is reproduced. 7 CONCLUSION This submission guideline is intended to help guide you in the presentation of your work. By adhering to the guideline, you will help reducing the workload of Baber Bhatti and ensuring that your paper is well-presented. We thank you very much for your assistance and look forward to receiving the cameraready version of your paper. 8 REFERENCES The references should immediately follow the last section in the text. Do not start a new page. References in the text must be included in Reference section and vice versa. Sufficient descriptions should be given to enable the reader to locate all publications referred to in the text. They should be arranged in alphabetical order by surname of first-named author (or the title of the work for items with no author or editor listed) then date. For references to items in periodicals, include the author, title, journal, volume, number, month, year, pages. For authors, last names are given first, even for multiple authors. For references to reports or proceedings, use the author’s name and title of report, report number, source, editor and/or publisher as appropriate, city and state/country of publisher OR full name of conference as appropriate, including date and pages. For references to books, use the author’s name, title, publisher, city, state/country, year, page, or chapter. It is preferable that your references comprise only of published materials accessible to the public. However, if it is necessary to use unpublished works or private communications, these are to be mentioned within the text and included in the reference list. References to electronic documents should include an appropriate DOI if available, or Universal Resource Locator (URL) if not, and date of access. The use of ‘et al.’ in the list of references is prohibited. The names of all authors and editors must be listed. If you are using EndNote, please check your references to ensure that the settings are correct and that all authors are listed in the references. When formatting references, leave 6 points of space above each reference, and use a hanging indent of 1cm. (On the horizontal ruler, drag the Hanging Indent marker to the position at which you want the indent to start or use (Paragraph>Indentation>Special>Hanging to set the hanging indent.) The following are examples of entries for books, articles, proceedings, and websites: Agarwal, R., and Karahanna, E. 2000. “Time Flies When You’re Having Fun: Cognitive Absorption and Beliefs About Information Technology Usage,” MIS Quarterly (24:4), December, pp 665-694. Ajzen, I. 1991. “The Theory of Planned Behaviour,” Organizational Behaviour and Human Decision Processes (50:2), December, pp 179-211. Ajzen, I., and Fishbein, M. 1980. Understanding Attitude and Predicting Social Behaviour. Englewood Cliffs, NJ: Prentice-Hall. Applegate, L.M., Holsapple, C.W., Kalakota, R., Radermacher, F.J., and Whinston, A.B. 1996. “Electronic Commerce: Building Blocks of New Business Opportunity,” Journal of Organizational Computing and Electronic Commerce (6:1), January, pp 1-10. Bhattacherjee, A. 2000. “Acceptance of E-Commerce Services: The Case of Electronic Brokerages,” IEEE Transactions on Systems, Man and Cybernetics – Part A: Systems and Humans (30:4), July, pp 411-420. Lin, Angela Y; Parinyavuttichai, Nipon. 2015 “IS Project Management and Risk Escalation: Towards A Dynamic Model”. Australasian Journal of Information Systems, (19) DOI:http://ift.tt/2fbwN3C Retrieved: 21 Jun. 2015.. Taylor, S., and Todd, P. 1995a. “Assessing It Usage: The Role of Prior Experience,” MIS Quarterly (19:4), December, pp 561-570. Taylor, S., and Todd, P.A. 1995b. “Understanding Information Technology Usage – a Test of Competing Models,” Information Systems Research (6:2), June, pp 144-176. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 5 Vander Wal, T. 2007. “Folksonomy Coinage and Definition.” http://ift.tt/2wPUNTX Retrieved 14 April, 2008. Appendix 1 Appendices are the last section of the paper body. Do not start a new page. Acknowledgements The style “Abs heading” is used for this and the following numberless headings Acknowledgements should follow the appendices. Do not start a new page. This document was adapted from the Instructions for Authors from ICIS2007 (which in turn was adapted from the AMCIS templates), PACIS 2007, ACIS 2016, ACIS 2011, ACIS 2010, ACIS 2008, ACIS2007, ACIS 2006, and the ACIS 2005 Instructions, which were an extension of the ACIS 2004 instructions, much of which was adapted from the ACIS 2003 and ACIS 2002 Instructions, which were based on the ACIS’98 Instructions (which was adopted from ACIS’97 Instructions). These in turn were adapted from an “Instructions for Authors” written by Roger Clarke. The new format, use of the Creative Commons license and support for DOIs was added by John Lamp in 2015. Copyright The following copyright paragraph must be appended to the paper. Copyright: © 2017 authors. This is an open-access article distributed under the terms of the Creative Commons Attribution-NonCommercial 3.0 Australia License, which permits non-commercial use, distribution, and reproduction in any medium, without any credits to this paper.

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  Strategic Information Systems M (INFS 5058) Assignment 1 (Individual) – Case 2 Due date: Wednesday 13 September 2017 11:55pm (Adelaide time) Word count: 1000 words (just an expectation; feel free to adjust to your need but be very concise and to the point) – the word count excludes Abstract, References, Title, Table of Contents or Appendices Weighting: 15% of the course marks 1.1. Case: Telstra Corportion Ltd. (http://ift.tt/1E1mVl4). Research this organisation through the publicly available information on internet. 1.2. Deliverables Deliverable Marks (%) 1.2.1. Part I – Understanding and Strategy Analysis 1.2.1.1. What are the top-five business challenges of Telstra (in the descending order of importance)?* 5 1.2.1.2. What are the top-five business priorities of Telstra (in the descending order of importance)? 5 1.2.1.3. Use Porter’s five forces model to assess the impact of IT in Telstra. Where do you see the balance of power?* 10 1.2.2. Part II – Strategizing 1.2.2.1. What should IT do to support the business of Telstra?* 5 1.2.2.2. What were best IT strategic steps taken by the CIO during the past three years?* 10 1.2.2.3. What were the worst IT strategic mistakes of the CIO during the past three years?* 10 1.2.2.4. What were the important IT actions or opportunities missed out by the CIO during the past three years? What he could have done better? How such actions would have improved the situation?* 10 1.2.2.5. What top strategic IT risks or challenges are faced by Telstra today? How can those strategic IT risks or challenges be addressed or mitigated?* 15 1.2.2.6. Identify the factors which contribute to “Red Ocean” for IT in Telstra as compared to other competitor telecoms in the industry. How can you create a “Blue Ocean” Strategy for Telstra IT? (Only identify the factors for competition, and you are not required to write down the complete strategy document for answering this question.)* 20 1.2.3. Adherence to the given Research Paper format 10 * mention any models or frameworks that you use from the course. Also, please refer to the sources of information or examples from industry. Submission: Submit your answers in a word file through learnonline on or before the due date. Formatting: • Structure your paper in the form of a research paper, and give a title to your research paper • Format details are available on the following pages INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 1 Instructions for Template of Assignment-1 Case-2 ( Give a Title to your Assignment) Baber Bhatti, Student ID: bhattibm003 (Auth name style) School of Information Technology & Mathematical Sciences University of South Australia Adelaide, South Australia Email: youremail@mymail.unisa.edu.au ABSTRACT (ABS HEADING) The abstract should summarise the contents of the paper in between 40 and 150 words. Please observe the flush left paragraph style on headings. The abstract should be in 10 points Georgia and should be justified (left and right flushed). Leave 6 points of space before the abstract. (Jnl body style) Author’s name (your name) and affiliation should be in 10 points Georgia. Leave 12 points of space before and 6 points after the paper title, 6 points of space before the author’s name(s) and no points of space before and after the author’s affiliation(s) (or email address). For all submissions, you will be asked to submit (1) title, authors, abstract, and keywords on front page and (2) the body of the submission without any author information starting on a new page. The paper title should be in 16 point, Ariel Rounded MT Bold. Author’s name and affiliation should be in 10 points Georgia. Leave 12 points of space before and 6 points after the paper title, 6 points of space before the author’s name(s) and no points of space before and after the author’s affiliation(s) (or email address). Keywords (Jnl body style, manual bold of the title Keywords only as shown), a set of keywords must be included, include no more than five keywords, separated by commas. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 2 1 INTRODUCTION – BODY OF THE SUBMISSION (HEADING 1) This document provides detailed instructions for authors on the form, presentation and layout of papers. Adherence to the instructions will help achieve a high quality of writing. (This is Jnl Body style) Full research papers should not exceed the following layout requirements: • Front page to include title, author details, abstract and keywords as shown on the previous page. This page does not include in the word count of the paper. • Page size should be A4. Allow for a 25 mm margin on both sides of each page, a 25 mm margin at the top of each page and a 25 mm margin at the bottom of each page. • Acknowledgements and Copyright statement can be added on a final page and are excluded from the word count. All text should be formatted according to the details of these instructions. ACIS papers are not supplied in hard copy. Please submit the Microsoft Word document (not PDF) and do not password protect your document. 2 DOCUMENT LAYOUT Paragraphs should commence at the left margin and should not be indented. Leave 6 points of space prior to each paragraph. All text should be in 10 points Georgia and justified (left and right flushed). All text is to be single-spaced. 2.1 Headers, Footers and Page Numbering (Heading 2) The page header should be 11 point Arial Narrow: • make sure that you enter a short title for your paper in the document header (up to 50 characters including spaces). • note page numbers are already provided in the footer of this template. • complete the copyright release at the end of this document and the acknowledgements section if needed. 3 MAJOR HEADING Major headings should be in upper case, 14 points Arial Rounded MT Bold, with 12 points of space prior to the heading and 6 points after. For headings words like ‘the’, ‘of’, ‘a’, ‘an’ are not capitalized unless it is the first word of the heading. 3.1 Minor Heading (Heading 2) Minor headings should be 12 points Arial Rounded MT Bold with the initial letters capitalised and 6 points space prior to the heading and 6 points after. 3.1.1 Very Minor Heading (Heading 3) Very minor headings should be in lower-case, 11 points Arial Rounded MT Bold, with 6 points space before the heading and 6 points space after. Within paragraphs, sub-points may be distinguished by bullets, dashes, bracketed letters or bracketed roman numerals, as follows: • First option (Bullet 1 style) § Second option (Bullet 2 style) a) Third option (Bullet 3 style) i. Fourth option (and Bullet 4 style) INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 3 4 FIGURES AND TABLES Any exhibits (tables, figures, illustrations etc.) should be placed as close as possible to the first reference made to it. Exhibits should be flush left, and numbered and identified by a brief description. Captions should be 11 points Georgia italic (Jnl caption style) and numbered consecutively (e.g., “Table 1” or “Figure 1”). Captions should be placed below the exhibit. Please note that the words “Figure” and “Table” should be spelled out (i.e., “Figure” rather than “Fig.”) wherever they occur. For example, see Figure 1. 4.1 Figures Please avoid inserting diagrams in the native format of graphic applications such as MS Visio. These can cause problems when converting the file to pdf. Diagrams should be inserted in a common graphic format such as jpeg or gif. The proceedings will be delivered in electronic format, and thus support colour for your figures. However, you are advised to refrain from using colour to deliver important information in your figures – not everyone has access to colour printers. Figure 1: ACIS logo (Jnl caption style) 4.2 Tables Inserting a table in the text can work well. See Table 1 below. The text of tables will format better if you use the special Table Text style (in this template file). If you do not use this style, then you may want to adjust the vertical spacing of the text in the tables. (In Word, use Format | Paragraph, and then the Line and Page Breaks tab. Generally, text in each field of a table looks better if it has equal spacing above and below it, as in Table 1.) Sample 1 Sample 2 Item 1 100 60 Item 2 120 325 Item 3 150 40 Table 1. A Sample Table (Table Caption Style) 5 IN-TEXT CITATION Citations should be in the MIS Quarterly style. For researchers who are using the Endnote Bibliographic software, be aware that different versions of the software change the styles, creating some inconsistencies. We therefore suggest that you download the ‘MISQ-Revised’ style file. Citations in the text should include the authors’ last names and year of publication. This involves references to Ajzen (1991) or to a publication (Ajzen 1991). When citing articles with two authors, both names should be cited in the text, for example, Ajzen and Fishbein (1980). Use “et al.” when citing articles with three or more authors (Applegate et al. 1996). When using multiple references, these should be ordered alphabetically, and separated by a semi-colon (Agarwal and Karahanna 2000; Ajzen and Fishbein 1980; Taylor and Todd 1995a; Vander Wal 2007). Multiple publications by the same author within the same year are differentiated as Taylor and Todd (1995a; 1995b). Where the author is unknown (Anonymous 2001), or is an organisation, an appropriate name, organisation name or acronym should be used, for example (ACS 2007; OECD 2003). When quoting text please use “smart quotes”. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 4 6 AUTHOR’S RESPONSIBILITIES AND COPYRIGHT Where relevant, authors are to ensure that the contents of their papers are cleared for publication, for example, by their employer, their client, the funding organisation and/or the copyright owner of any material which is reproduced. 7 CONCLUSION This submission guideline is intended to help guide you in the presentation of your work. By adhering to the guideline, you will help reducing the workload of Baber Bhatti and ensuring that your paper is well-presented. We thank you very much for your assistance and look forward to receiving the cameraready version of your paper. 8 REFERENCES The references should immediately follow the last section in the text. Do not start a new page. References in the text must be included in Reference section and vice versa. Sufficient descriptions should be given to enable the reader to locate all publications referred to in the text. They should be arranged in alphabetical order by surname of first-named author (or the title of the work for items with no author or editor listed) then date. For references to items in periodicals, include the author, title, journal, volume, number, month, year, pages. For authors, last names are given first, even for multiple authors. For references to reports or proceedings, use the author’s name and title of report, report number, source, editor and/or publisher as appropriate, city and state/country of publisher OR full name of conference as appropriate, including date and pages. For references to books, use the author’s name, title, publisher, city, state/country, year, page, or chapter. It is preferable that your references comprise only of published materials accessible to the public. However, if it is necessary to use unpublished works or private communications, these are to be mentioned within the text and included in the reference list. References to electronic documents should include an appropriate DOI if available, or Universal Resource Locator (URL) if not, and date of access. The use of ‘et al.’ in the list of references is prohibited. The names of all authors and editors must be listed. If you are using EndNote, please check your references to ensure that the settings are correct and that all authors are listed in the references. When formatting references, leave 6 points of space above each reference, and use a hanging indent of 1cm. (On the horizontal ruler, drag the Hanging Indent marker to the position at which you want the indent to start or use (Paragraph>Indentation>Special>Hanging to set the hanging indent.) The following are examples of entries for books, articles, proceedings, and websites: Agarwal, R., and Karahanna, E. 2000. “Time Flies When You’re Having Fun: Cognitive Absorption and Beliefs About Information Technology Usage,” MIS Quarterly (24:4), December, pp 665-694. Ajzen, I. 1991. “The Theory of Planned Behaviour,” Organizational Behaviour and Human Decision Processes (50:2), December, pp 179-211. Ajzen, I., and Fishbein, M. 1980. Understanding Attitude and Predicting Social Behaviour. Englewood Cliffs, NJ: Prentice-Hall. Applegate, L.M., Holsapple, C.W., Kalakota, R., Radermacher, F.J., and Whinston, A.B. 1996. “Electronic Commerce: Building Blocks of New Business Opportunity,” Journal of Organizational Computing and Electronic Commerce (6:1), January, pp 1-10. Bhattacherjee, A. 2000. “Acceptance of E-Commerce Services: The Case of Electronic Brokerages,” IEEE Transactions on Systems, Man and Cybernetics – Part A: Systems and Humans (30:4), July, pp 411-420. Lin, Angela Y; Parinyavuttichai, Nipon. 2015 “IS Project Management and Risk Escalation: Towards A Dynamic Model”. Australasian Journal of Information Systems, (19) DOI:http://ift.tt/2fbwN3C Retrieved: 21 Jun. 2015.. Taylor, S., and Todd, P. 1995a. “Assessing It Usage: The Role of Prior Experience,” MIS Quarterly (19:4), December, pp 561-570. Taylor, S., and Todd, P.A. 1995b. “Understanding Information Technology Usage – a Test of Competing Models,” Information Systems Research (6:2), June, pp 144-176. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 5 Vander Wal, T. 2007. “Folksonomy Coinage and Definition.” http://ift.tt/2wPUNTX Retrieved 14 April, 2008. Appendix 1 Appendices are the last section of the paper body. Do not start a new page. Acknowledgements The style “Abs heading” is used for this and the following numberless headings Acknowledgements should follow the appendices. Do not start a new page. This document was adapted from the Instructions for Authors from ICIS2007 (which in turn was adapted from the AMCIS templates), PACIS 2007, ACIS 2016, ACIS 2011, ACIS 2010, ACIS 2008, ACIS2007, ACIS 2006, and the ACIS 2005 Instructions, which were an extension of the ACIS 2004 instructions, much of which was adapted from the ACIS 2003 and ACIS 2002 Instructions, which were based on the ACIS’98 Instructions (which was adopted from ACIS’97 Instructions). These in turn were adapted from an “Instructions for Authors” written by Roger Clarke. The new format, use of the Creative Commons license and support for DOIs was added by John Lamp in 2015. Copyright The following copyright paragraph must be appended to the paper. Copyright: © 2017 authors. This is an open-access article distributed under the terms of the Creative Commons Attribution-NonCommercial 3.0 Australia License, which permits non-commercial use, distribution, and reproduction in any medium, without any credits to this paper.

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strategic information system

  Strategic Information Systems M (INFS 5058) Assignment 1 (Individual) – Case 2 Due date: Wednesday 13 September 2017 11:55pm (Adelaide time) Word count: 1000 words (just an expectation; feel free to adjust to your need but be very concise and to the point) – the word count excludes Abstract, References, Title, Table of Contents or Appendices Weighting: 15% of the course marks 1.1. Case: Telstra Corportion Ltd. (http://ift.tt/1E1mVl4). Research this organisation through the publicly available information on internet. 1.2. Deliverables Deliverable Marks (%) 1.2.1. Part I – Understanding and Strategy Analysis 1.2.1.1. What are the top-five business challenges of Telstra (in the descending order of importance)?* 5 1.2.1.2. What are the top-five business priorities of Telstra (in the descending order of importance)? 5 1.2.1.3. Use Porter’s five forces model to assess the impact of IT in Telstra. Where do you see the balance of power?* 10 1.2.2. Part II – Strategizing 1.2.2.1. What should IT do to support the business of Telstra?* 5 1.2.2.2. What were best IT strategic steps taken by the CIO during the past three years?* 10 1.2.2.3. What were the worst IT strategic mistakes of the CIO during the past three years?* 10 1.2.2.4. What were the important IT actions or opportunities missed out by the CIO during the past three years? What he could have done better? How such actions would have improved the situation?* 10 1.2.2.5. What top strategic IT risks or challenges are faced by Telstra today? How can those strategic IT risks or challenges be addressed or mitigated?* 15 1.2.2.6. Identify the factors which contribute to “Red Ocean” for IT in Telstra as compared to other competitor telecoms in the industry. How can you create a “Blue Ocean” Strategy for Telstra IT? (Only identify the factors for competition, and you are not required to write down the complete strategy document for answering this question.)* 20 1.2.3. Adherence to the given Research Paper format 10 * mention any models or frameworks that you use from the course. Also, please refer to the sources of information or examples from industry. Submission: Submit your answers in a word file through learnonline on or before the due date. Formatting: • Structure your paper in the form of a research paper, and give a title to your research paper • Format details are available on the following pages INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 1 Instructions for Template of Assignment-1 Case-2 ( Give a Title to your Assignment) Baber Bhatti, Student ID: bhattibm003 (Auth name style) School of Information Technology & Mathematical Sciences University of South Australia Adelaide, South Australia Email: youremail@mymail.unisa.edu.au ABSTRACT (ABS HEADING) The abstract should summarise the contents of the paper in between 40 and 150 words. Please observe the flush left paragraph style on headings. The abstract should be in 10 points Georgia and should be justified (left and right flushed). Leave 6 points of space before the abstract. (Jnl body style) Author’s name (your name) and affiliation should be in 10 points Georgia. Leave 12 points of space before and 6 points after the paper title, 6 points of space before the author’s name(s) and no points of space before and after the author’s affiliation(s) (or email address). For all submissions, you will be asked to submit (1) title, authors, abstract, and keywords on front page and (2) the body of the submission without any author information starting on a new page. The paper title should be in 16 point, Ariel Rounded MT Bold. Author’s name and affiliation should be in 10 points Georgia. Leave 12 points of space before and 6 points after the paper title, 6 points of space before the author’s name(s) and no points of space before and after the author’s affiliation(s) (or email address). Keywords (Jnl body style, manual bold of the title Keywords only as shown), a set of keywords must be included, include no more than five keywords, separated by commas. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 2 1 INTRODUCTION – BODY OF THE SUBMISSION (HEADING 1) This document provides detailed instructions for authors on the form, presentation and layout of papers. Adherence to the instructions will help achieve a high quality of writing. (This is Jnl Body style) Full research papers should not exceed the following layout requirements: • Front page to include title, author details, abstract and keywords as shown on the previous page. This page does not include in the word count of the paper. • Page size should be A4. Allow for a 25 mm margin on both sides of each page, a 25 mm margin at the top of each page and a 25 mm margin at the bottom of each page. • Acknowledgements and Copyright statement can be added on a final page and are excluded from the word count. All text should be formatted according to the details of these instructions. ACIS papers are not supplied in hard copy. Please submit the Microsoft Word document (not PDF) and do not password protect your document. 2 DOCUMENT LAYOUT Paragraphs should commence at the left margin and should not be indented. Leave 6 points of space prior to each paragraph. All text should be in 10 points Georgia and justified (left and right flushed). All text is to be single-spaced. 2.1 Headers, Footers and Page Numbering (Heading 2) The page header should be 11 point Arial Narrow: • make sure that you enter a short title for your paper in the document header (up to 50 characters including spaces). • note page numbers are already provided in the footer of this template. • complete the copyright release at the end of this document and the acknowledgements section if needed. 3 MAJOR HEADING Major headings should be in upper case, 14 points Arial Rounded MT Bold, with 12 points of space prior to the heading and 6 points after. For headings words like ‘the’, ‘of’, ‘a’, ‘an’ are not capitalized unless it is the first word of the heading. 3.1 Minor Heading (Heading 2) Minor headings should be 12 points Arial Rounded MT Bold with the initial letters capitalised and 6 points space prior to the heading and 6 points after. 3.1.1 Very Minor Heading (Heading 3) Very minor headings should be in lower-case, 11 points Arial Rounded MT Bold, with 6 points space before the heading and 6 points space after. Within paragraphs, sub-points may be distinguished by bullets, dashes, bracketed letters or bracketed roman numerals, as follows: • First option (Bullet 1 style) § Second option (Bullet 2 style) a) Third option (Bullet 3 style) i. Fourth option (and Bullet 4 style) INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 3 4 FIGURES AND TABLES Any exhibits (tables, figures, illustrations etc.) should be placed as close as possible to the first reference made to it. Exhibits should be flush left, and numbered and identified by a brief description. Captions should be 11 points Georgia italic (Jnl caption style) and numbered consecutively (e.g., “Table 1” or “Figure 1”). Captions should be placed below the exhibit. Please note that the words “Figure” and “Table” should be spelled out (i.e., “Figure” rather than “Fig.”) wherever they occur. For example, see Figure 1. 4.1 Figures Please avoid inserting diagrams in the native format of graphic applications such as MS Visio. These can cause problems when converting the file to pdf. Diagrams should be inserted in a common graphic format such as jpeg or gif. The proceedings will be delivered in electronic format, and thus support colour for your figures. However, you are advised to refrain from using colour to deliver important information in your figures – not everyone has access to colour printers. Figure 1: ACIS logo (Jnl caption style) 4.2 Tables Inserting a table in the text can work well. See Table 1 below. The text of tables will format better if you use the special Table Text style (in this template file). If you do not use this style, then you may want to adjust the vertical spacing of the text in the tables. (In Word, use Format | Paragraph, and then the Line and Page Breaks tab. Generally, text in each field of a table looks better if it has equal spacing above and below it, as in Table 1.) Sample 1 Sample 2 Item 1 100 60 Item 2 120 325 Item 3 150 40 Table 1. A Sample Table (Table Caption Style) 5 IN-TEXT CITATION Citations should be in the MIS Quarterly style. For researchers who are using the Endnote Bibliographic software, be aware that different versions of the software change the styles, creating some inconsistencies. We therefore suggest that you download the ‘MISQ-Revised’ style file. Citations in the text should include the authors’ last names and year of publication. This involves references to Ajzen (1991) or to a publication (Ajzen 1991). When citing articles with two authors, both names should be cited in the text, for example, Ajzen and Fishbein (1980). Use “et al.” when citing articles with three or more authors (Applegate et al. 1996). When using multiple references, these should be ordered alphabetically, and separated by a semi-colon (Agarwal and Karahanna 2000; Ajzen and Fishbein 1980; Taylor and Todd 1995a; Vander Wal 2007). Multiple publications by the same author within the same year are differentiated as Taylor and Todd (1995a; 1995b). Where the author is unknown (Anonymous 2001), or is an organisation, an appropriate name, organisation name or acronym should be used, for example (ACS 2007; OECD 2003). When quoting text please use “smart quotes”. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 4 6 AUTHOR’S RESPONSIBILITIES AND COPYRIGHT Where relevant, authors are to ensure that the contents of their papers are cleared for publication, for example, by their employer, their client, the funding organisation and/or the copyright owner of any material which is reproduced. 7 CONCLUSION This submission guideline is intended to help guide you in the presentation of your work. By adhering to the guideline, you will help reducing the workload of Baber Bhatti and ensuring that your paper is well-presented. We thank you very much for your assistance and look forward to receiving the cameraready version of your paper. 8 REFERENCES The references should immediately follow the last section in the text. Do not start a new page. References in the text must be included in Reference section and vice versa. Sufficient descriptions should be given to enable the reader to locate all publications referred to in the text. They should be arranged in alphabetical order by surname of first-named author (or the title of the work for items with no author or editor listed) then date. For references to items in periodicals, include the author, title, journal, volume, number, month, year, pages. For authors, last names are given first, even for multiple authors. For references to reports or proceedings, use the author’s name and title of report, report number, source, editor and/or publisher as appropriate, city and state/country of publisher OR full name of conference as appropriate, including date and pages. For references to books, use the author’s name, title, publisher, city, state/country, year, page, or chapter. It is preferable that your references comprise only of published materials accessible to the public. However, if it is necessary to use unpublished works or private communications, these are to be mentioned within the text and included in the reference list. References to electronic documents should include an appropriate DOI if available, or Universal Resource Locator (URL) if not, and date of access. The use of ‘et al.’ in the list of references is prohibited. The names of all authors and editors must be listed. If you are using EndNote, please check your references to ensure that the settings are correct and that all authors are listed in the references. When formatting references, leave 6 points of space above each reference, and use a hanging indent of 1cm. (On the horizontal ruler, drag the Hanging Indent marker to the position at which you want the indent to start or use (Paragraph>Indentation>Special>Hanging to set the hanging indent.) The following are examples of entries for books, articles, proceedings, and websites: Agarwal, R., and Karahanna, E. 2000. “Time Flies When You’re Having Fun: Cognitive Absorption and Beliefs About Information Technology Usage,” MIS Quarterly (24:4), December, pp 665-694. Ajzen, I. 1991. “The Theory of Planned Behaviour,” Organizational Behaviour and Human Decision Processes (50:2), December, pp 179-211. Ajzen, I., and Fishbein, M. 1980. Understanding Attitude and Predicting Social Behaviour. Englewood Cliffs, NJ: Prentice-Hall. Applegate, L.M., Holsapple, C.W., Kalakota, R., Radermacher, F.J., and Whinston, A.B. 1996. “Electronic Commerce: Building Blocks of New Business Opportunity,” Journal of Organizational Computing and Electronic Commerce (6:1), January, pp 1-10. Bhattacherjee, A. 2000. “Acceptance of E-Commerce Services: The Case of Electronic Brokerages,” IEEE Transactions on Systems, Man and Cybernetics – Part A: Systems and Humans (30:4), July, pp 411-420. Lin, Angela Y; Parinyavuttichai, Nipon. 2015 “IS Project Management and Risk Escalation: Towards A Dynamic Model”. Australasian Journal of Information Systems, (19) DOI:http://ift.tt/2fbwN3C Retrieved: 21 Jun. 2015.. Taylor, S., and Todd, P. 1995a. “Assessing It Usage: The Role of Prior Experience,” MIS Quarterly (19:4), December, pp 561-570. Taylor, S., and Todd, P.A. 1995b. “Understanding Information Technology Usage – a Test of Competing Models,” Information Systems Research (6:2), June, pp 144-176. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 5 Vander Wal, T. 2007. “Folksonomy Coinage and Definition.” http://ift.tt/2wPUNTX Retrieved 14 April, 2008. Appendix 1 Appendices are the last section of the paper body. Do not start a new page. Acknowledgements The style “Abs heading” is used for this and the following numberless headings Acknowledgements should follow the appendices. Do not start a new page. This document was adapted from the Instructions for Authors from ICIS2007 (which in turn was adapted from the AMCIS templates), PACIS 2007, ACIS 2016, ACIS 2011, ACIS 2010, ACIS 2008, ACIS2007, ACIS 2006, and the ACIS 2005 Instructions, which were an extension of the ACIS 2004 instructions, much of which was adapted from the ACIS 2003 and ACIS 2002 Instructions, which were based on the ACIS’98 Instructions (which was adopted from ACIS’97 Instructions). These in turn were adapted from an “Instructions for Authors” written by Roger Clarke. The new format, use of the Creative Commons license and support for DOIs was added by John Lamp in 2015. Copyright The following copyright paragraph must be appended to the paper. Copyright: © 2017 authors. This is an open-access article distributed under the terms of the Creative Commons Attribution-NonCommercial 3.0 Australia License, which permits non-commercial use, distribution, and reproduction in any medium, without any credits to this paper.

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  Strategic Information Systems M (INFS 5058) Assignment 1 (Individual) – Case 2 Due date: Wednesday 13 September 2017 11:55pm (Adelaide time) Word count: 1000 words (just an expectation; feel free to adjust to your need but be very concise and to the point) – the word count excludes Abstract, References, Title, Table of Contents or Appendices Weighting: 15% of the course marks 1.1. Case: Telstra Corportion Ltd. (http://ift.tt/1E1mVl4). Research this organisation through the publicly available information on internet. 1.2. Deliverables Deliverable Marks (%) 1.2.1. Part I – Understanding and Strategy Analysis 1.2.1.1. What are the top-five business challenges of Telstra (in the descending order of importance)?* 5 1.2.1.2. What are the top-five business priorities of Telstra (in the descending order of importance)? 5 1.2.1.3. Use Porter’s five forces model to assess the impact of IT in Telstra. Where do you see the balance of power?* 10 1.2.2. Part II – Strategizing 1.2.2.1. What should IT do to support the business of Telstra?* 5 1.2.2.2. What were best IT strategic steps taken by the CIO during the past three years?* 10 1.2.2.3. What were the worst IT strategic mistakes of the CIO during the past three years?* 10 1.2.2.4. What were the important IT actions or opportunities missed out by the CIO during the past three years? What he could have done better? How such actions would have improved the situation?* 10 1.2.2.5. What top strategic IT risks or challenges are faced by Telstra today? How can those strategic IT risks or challenges be addressed or mitigated?* 15 1.2.2.6. Identify the factors which contribute to “Red Ocean” for IT in Telstra as compared to other competitor telecoms in the industry. How can you create a “Blue Ocean” Strategy for Telstra IT? (Only identify the factors for competition, and you are not required to write down the complete strategy document for answering this question.)* 20 1.2.3. Adherence to the given Research Paper format 10 * mention any models or frameworks that you use from the course. Also, please refer to the sources of information or examples from industry. Submission: Submit your answers in a word file through learnonline on or before the due date. Formatting: • Structure your paper in the form of a research paper, and give a title to your research paper • Format details are available on the following pages INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 1 Instructions for Template of Assignment-1 Case-2 ( Give a Title to your Assignment) Baber Bhatti, Student ID: bhattibm003 (Auth name style) School of Information Technology & Mathematical Sciences University of South Australia Adelaide, South Australia Email: youremail@mymail.unisa.edu.au ABSTRACT (ABS HEADING) The abstract should summarise the contents of the paper in between 40 and 150 words. Please observe the flush left paragraph style on headings. The abstract should be in 10 points Georgia and should be justified (left and right flushed). Leave 6 points of space before the abstract. (Jnl body style) Author’s name (your name) and affiliation should be in 10 points Georgia. Leave 12 points of space before and 6 points after the paper title, 6 points of space before the author’s name(s) and no points of space before and after the author’s affiliation(s) (or email address). For all submissions, you will be asked to submit (1) title, authors, abstract, and keywords on front page and (2) the body of the submission without any author information starting on a new page. The paper title should be in 16 point, Ariel Rounded MT Bold. Author’s name and affiliation should be in 10 points Georgia. Leave 12 points of space before and 6 points after the paper title, 6 points of space before the author’s name(s) and no points of space before and after the author’s affiliation(s) (or email address). Keywords (Jnl body style, manual bold of the title Keywords only as shown), a set of keywords must be included, include no more than five keywords, separated by commas. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 2 1 INTRODUCTION – BODY OF THE SUBMISSION (HEADING 1) This document provides detailed instructions for authors on the form, presentation and layout of papers. Adherence to the instructions will help achieve a high quality of writing. (This is Jnl Body style) Full research papers should not exceed the following layout requirements: • Front page to include title, author details, abstract and keywords as shown on the previous page. This page does not include in the word count of the paper. • Page size should be A4. Allow for a 25 mm margin on both sides of each page, a 25 mm margin at the top of each page and a 25 mm margin at the bottom of each page. • Acknowledgements and Copyright statement can be added on a final page and are excluded from the word count. All text should be formatted according to the details of these instructions. ACIS papers are not supplied in hard copy. Please submit the Microsoft Word document (not PDF) and do not password protect your document. 2 DOCUMENT LAYOUT Paragraphs should commence at the left margin and should not be indented. Leave 6 points of space prior to each paragraph. All text should be in 10 points Georgia and justified (left and right flushed). All text is to be single-spaced. 2.1 Headers, Footers and Page Numbering (Heading 2) The page header should be 11 point Arial Narrow: • make sure that you enter a short title for your paper in the document header (up to 50 characters including spaces). • note page numbers are already provided in the footer of this template. • complete the copyright release at the end of this document and the acknowledgements section if needed. 3 MAJOR HEADING Major headings should be in upper case, 14 points Arial Rounded MT Bold, with 12 points of space prior to the heading and 6 points after. For headings words like ‘the’, ‘of’, ‘a’, ‘an’ are not capitalized unless it is the first word of the heading. 3.1 Minor Heading (Heading 2) Minor headings should be 12 points Arial Rounded MT Bold with the initial letters capitalised and 6 points space prior to the heading and 6 points after. 3.1.1 Very Minor Heading (Heading 3) Very minor headings should be in lower-case, 11 points Arial Rounded MT Bold, with 6 points space before the heading and 6 points space after. Within paragraphs, sub-points may be distinguished by bullets, dashes, bracketed letters or bracketed roman numerals, as follows: • First option (Bullet 1 style) § Second option (Bullet 2 style) a) Third option (Bullet 3 style) i. Fourth option (and Bullet 4 style) INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 3 4 FIGURES AND TABLES Any exhibits (tables, figures, illustrations etc.) should be placed as close as possible to the first reference made to it. Exhibits should be flush left, and numbered and identified by a brief description. Captions should be 11 points Georgia italic (Jnl caption style) and numbered consecutively (e.g., “Table 1” or “Figure 1”). Captions should be placed below the exhibit. Please note that the words “Figure” and “Table” should be spelled out (i.e., “Figure” rather than “Fig.”) wherever they occur. For example, see Figure 1. 4.1 Figures Please avoid inserting diagrams in the native format of graphic applications such as MS Visio. These can cause problems when converting the file to pdf. Diagrams should be inserted in a common graphic format such as jpeg or gif. The proceedings will be delivered in electronic format, and thus support colour for your figures. However, you are advised to refrain from using colour to deliver important information in your figures – not everyone has access to colour printers. Figure 1: ACIS logo (Jnl caption style) 4.2 Tables Inserting a table in the text can work well. See Table 1 below. The text of tables will format better if you use the special Table Text style (in this template file). If you do not use this style, then you may want to adjust the vertical spacing of the text in the tables. (In Word, use Format | Paragraph, and then the Line and Page Breaks tab. Generally, text in each field of a table looks better if it has equal spacing above and below it, as in Table 1.) Sample 1 Sample 2 Item 1 100 60 Item 2 120 325 Item 3 150 40 Table 1. A Sample Table (Table Caption Style) 5 IN-TEXT CITATION Citations should be in the MIS Quarterly style. For researchers who are using the Endnote Bibliographic software, be aware that different versions of the software change the styles, creating some inconsistencies. We therefore suggest that you download the ‘MISQ-Revised’ style file. Citations in the text should include the authors’ last names and year of publication. This involves references to Ajzen (1991) or to a publication (Ajzen 1991). When citing articles with two authors, both names should be cited in the text, for example, Ajzen and Fishbein (1980). Use “et al.” when citing articles with three or more authors (Applegate et al. 1996). When using multiple references, these should be ordered alphabetically, and separated by a semi-colon (Agarwal and Karahanna 2000; Ajzen and Fishbein 1980; Taylor and Todd 1995a; Vander Wal 2007). Multiple publications by the same author within the same year are differentiated as Taylor and Todd (1995a; 1995b). Where the author is unknown (Anonymous 2001), or is an organisation, an appropriate name, organisation name or acronym should be used, for example (ACS 2007; OECD 2003). When quoting text please use “smart quotes”. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 4 6 AUTHOR’S RESPONSIBILITIES AND COPYRIGHT Where relevant, authors are to ensure that the contents of their papers are cleared for publication, for example, by their employer, their client, the funding organisation and/or the copyright owner of any material which is reproduced. 7 CONCLUSION This submission guideline is intended to help guide you in the presentation of your work. By adhering to the guideline, you will help reducing the workload of Baber Bhatti and ensuring that your paper is well-presented. We thank you very much for your assistance and look forward to receiving the cameraready version of your paper. 8 REFERENCES The references should immediately follow the last section in the text. Do not start a new page. References in the text must be included in Reference section and vice versa. Sufficient descriptions should be given to enable the reader to locate all publications referred to in the text. They should be arranged in alphabetical order by surname of first-named author (or the title of the work for items with no author or editor listed) then date. For references to items in periodicals, include the author, title, journal, volume, number, month, year, pages. For authors, last names are given first, even for multiple authors. For references to reports or proceedings, use the author’s name and title of report, report number, source, editor and/or publisher as appropriate, city and state/country of publisher OR full name of conference as appropriate, including date and pages. For references to books, use the author’s name, title, publisher, city, state/country, year, page, or chapter. It is preferable that your references comprise only of published materials accessible to the public. However, if it is necessary to use unpublished works or private communications, these are to be mentioned within the text and included in the reference list. References to electronic documents should include an appropriate DOI if available, or Universal Resource Locator (URL) if not, and date of access. The use of ‘et al.’ in the list of references is prohibited. The names of all authors and editors must be listed. If you are using EndNote, please check your references to ensure that the settings are correct and that all authors are listed in the references. When formatting references, leave 6 points of space above each reference, and use a hanging indent of 1cm. (On the horizontal ruler, drag the Hanging Indent marker to the position at which you want the indent to start or use (Paragraph>Indentation>Special>Hanging to set the hanging indent.) The following are examples of entries for books, articles, proceedings, and websites: Agarwal, R., and Karahanna, E. 2000. “Time Flies When You’re Having Fun: Cognitive Absorption and Beliefs About Information Technology Usage,” MIS Quarterly (24:4), December, pp 665-694. Ajzen, I. 1991. “The Theory of Planned Behaviour,” Organizational Behaviour and Human Decision Processes (50:2), December, pp 179-211. Ajzen, I., and Fishbein, M. 1980. Understanding Attitude and Predicting Social Behaviour. Englewood Cliffs, NJ: Prentice-Hall. Applegate, L.M., Holsapple, C.W., Kalakota, R., Radermacher, F.J., and Whinston, A.B. 1996. “Electronic Commerce: Building Blocks of New Business Opportunity,” Journal of Organizational Computing and Electronic Commerce (6:1), January, pp 1-10. Bhattacherjee, A. 2000. “Acceptance of E-Commerce Services: The Case of Electronic Brokerages,” IEEE Transactions on Systems, Man and Cybernetics – Part A: Systems and Humans (30:4), July, pp 411-420. Lin, Angela Y; Parinyavuttichai, Nipon. 2015 “IS Project Management and Risk Escalation: Towards A Dynamic Model”. Australasian Journal of Information Systems, (19) DOI:http://ift.tt/2fbwN3C Retrieved: 21 Jun. 2015.. Taylor, S., and Todd, P. 1995a. “Assessing It Usage: The Role of Prior Experience,” MIS Quarterly (19:4), December, pp 561-570. Taylor, S., and Todd, P.A. 1995b. “Understanding Information Technology Usage – a Test of Competing Models,” Information Systems Research (6:2), June, pp 144-176. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 5 Vander Wal, T. 2007. “Folksonomy Coinage and Definition.” http://ift.tt/2wPUNTX Retrieved 14 April, 2008. Appendix 1 Appendices are the last section of the paper body. Do not start a new page. Acknowledgements The style “Abs heading” is used for this and the following numberless headings Acknowledgements should follow the appendices. Do not start a new page. This document was adapted from the Instructions for Authors from ICIS2007 (which in turn was adapted from the AMCIS templates), PACIS 2007, ACIS 2016, ACIS 2011, ACIS 2010, ACIS 2008, ACIS2007, ACIS 2006, and the ACIS 2005 Instructions, which were an extension of the ACIS 2004 instructions, much of which was adapted from the ACIS 2003 and ACIS 2002 Instructions, which were based on the ACIS’98 Instructions (which was adopted from ACIS’97 Instructions). These in turn were adapted from an “Instructions for Authors” written by Roger Clarke. The new format, use of the Creative Commons license and support for DOIs was added by John Lamp in 2015. Copyright The following copyright paragraph must be appended to the paper. Copyright: © 2017 authors. This is an open-access article distributed under the terms of the Creative Commons Attribution-NonCommercial 3.0 Australia License, which permits non-commercial use, distribution, and reproduction in any medium, without any credits to this paper.

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strategic information system

  Strategic Information Systems M (INFS 5058) Assignment 1 (Individual) – Case 2 Due date: Wednesday 13 September 2017 11:55pm (Adelaide time) Word count: 1000 words (just an expectation; feel free to adjust to your need but be very concise and to the point) – the word count excludes Abstract, References, Title, Table of Contents or Appendices Weighting: 15% of the course marks 1.1. Case: Telstra Corportion Ltd. (http://ift.tt/1E1mVl4). Research this organisation through the publicly available information on internet. 1.2. Deliverables Deliverable Marks (%) 1.2.1. Part I – Understanding and Strategy Analysis 1.2.1.1. What are the top-five business challenges of Telstra (in the descending order of importance)?* 5 1.2.1.2. What are the top-five business priorities of Telstra (in the descending order of importance)? 5 1.2.1.3. Use Porter’s five forces model to assess the impact of IT in Telstra. Where do you see the balance of power?* 10 1.2.2. Part II – Strategizing 1.2.2.1. What should IT do to support the business of Telstra?* 5 1.2.2.2. What were best IT strategic steps taken by the CIO during the past three years?* 10 1.2.2.3. What were the worst IT strategic mistakes of the CIO during the past three years?* 10 1.2.2.4. What were the important IT actions or opportunities missed out by the CIO during the past three years? What he could have done better? How such actions would have improved the situation?* 10 1.2.2.5. What top strategic IT risks or challenges are faced by Telstra today? How can those strategic IT risks or challenges be addressed or mitigated?* 15 1.2.2.6. Identify the factors which contribute to “Red Ocean” for IT in Telstra as compared to other competitor telecoms in the industry. How can you create a “Blue Ocean” Strategy for Telstra IT? (Only identify the factors for competition, and you are not required to write down the complete strategy document for answering this question.)* 20 1.2.3. Adherence to the given Research Paper format 10 * mention any models or frameworks that you use from the course. Also, please refer to the sources of information or examples from industry. Submission: Submit your answers in a word file through learnonline on or before the due date. Formatting: • Structure your paper in the form of a research paper, and give a title to your research paper • Format details are available on the following pages INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 1 Instructions for Template of Assignment-1 Case-2 ( Give a Title to your Assignment) Baber Bhatti, Student ID: bhattibm003 (Auth name style) School of Information Technology & Mathematical Sciences University of South Australia Adelaide, South Australia Email: youremail@mymail.unisa.edu.au ABSTRACT (ABS HEADING) The abstract should summarise the contents of the paper in between 40 and 150 words. Please observe the flush left paragraph style on headings. The abstract should be in 10 points Georgia and should be justified (left and right flushed). Leave 6 points of space before the abstract. (Jnl body style) Author’s name (your name) and affiliation should be in 10 points Georgia. Leave 12 points of space before and 6 points after the paper title, 6 points of space before the author’s name(s) and no points of space before and after the author’s affiliation(s) (or email address). For all submissions, you will be asked to submit (1) title, authors, abstract, and keywords on front page and (2) the body of the submission without any author information starting on a new page. The paper title should be in 16 point, Ariel Rounded MT Bold. Author’s name and affiliation should be in 10 points Georgia. Leave 12 points of space before and 6 points after the paper title, 6 points of space before the author’s name(s) and no points of space before and after the author’s affiliation(s) (or email address). Keywords (Jnl body style, manual bold of the title Keywords only as shown), a set of keywords must be included, include no more than five keywords, separated by commas. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 2 1 INTRODUCTION – BODY OF THE SUBMISSION (HEADING 1) This document provides detailed instructions for authors on the form, presentation and layout of papers. Adherence to the instructions will help achieve a high quality of writing. (This is Jnl Body style) Full research papers should not exceed the following layout requirements: • Front page to include title, author details, abstract and keywords as shown on the previous page. This page does not include in the word count of the paper. • Page size should be A4. Allow for a 25 mm margin on both sides of each page, a 25 mm margin at the top of each page and a 25 mm margin at the bottom of each page. • Acknowledgements and Copyright statement can be added on a final page and are excluded from the word count. All text should be formatted according to the details of these instructions. ACIS papers are not supplied in hard copy. Please submit the Microsoft Word document (not PDF) and do not password protect your document. 2 DOCUMENT LAYOUT Paragraphs should commence at the left margin and should not be indented. Leave 6 points of space prior to each paragraph. All text should be in 10 points Georgia and justified (left and right flushed). All text is to be single-spaced. 2.1 Headers, Footers and Page Numbering (Heading 2) The page header should be 11 point Arial Narrow: • make sure that you enter a short title for your paper in the document header (up to 50 characters including spaces). • note page numbers are already provided in the footer of this template. • complete the copyright release at the end of this document and the acknowledgements section if needed. 3 MAJOR HEADING Major headings should be in upper case, 14 points Arial Rounded MT Bold, with 12 points of space prior to the heading and 6 points after. For headings words like ‘the’, ‘of’, ‘a’, ‘an’ are not capitalized unless it is the first word of the heading. 3.1 Minor Heading (Heading 2) Minor headings should be 12 points Arial Rounded MT Bold with the initial letters capitalised and 6 points space prior to the heading and 6 points after. 3.1.1 Very Minor Heading (Heading 3) Very minor headings should be in lower-case, 11 points Arial Rounded MT Bold, with 6 points space before the heading and 6 points space after. Within paragraphs, sub-points may be distinguished by bullets, dashes, bracketed letters or bracketed roman numerals, as follows: • First option (Bullet 1 style) § Second option (Bullet 2 style) a) Third option (Bullet 3 style) i. Fourth option (and Bullet 4 style) INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 3 4 FIGURES AND TABLES Any exhibits (tables, figures, illustrations etc.) should be placed as close as possible to the first reference made to it. Exhibits should be flush left, and numbered and identified by a brief description. Captions should be 11 points Georgia italic (Jnl caption style) and numbered consecutively (e.g., “Table 1” or “Figure 1”). Captions should be placed below the exhibit. Please note that the words “Figure” and “Table” should be spelled out (i.e., “Figure” rather than “Fig.”) wherever they occur. For example, see Figure 1. 4.1 Figures Please avoid inserting diagrams in the native format of graphic applications such as MS Visio. These can cause problems when converting the file to pdf. Diagrams should be inserted in a common graphic format such as jpeg or gif. The proceedings will be delivered in electronic format, and thus support colour for your figures. However, you are advised to refrain from using colour to deliver important information in your figures – not everyone has access to colour printers. Figure 1: ACIS logo (Jnl caption style) 4.2 Tables Inserting a table in the text can work well. See Table 1 below. The text of tables will format better if you use the special Table Text style (in this template file). If you do not use this style, then you may want to adjust the vertical spacing of the text in the tables. (In Word, use Format | Paragraph, and then the Line and Page Breaks tab. Generally, text in each field of a table looks better if it has equal spacing above and below it, as in Table 1.) Sample 1 Sample 2 Item 1 100 60 Item 2 120 325 Item 3 150 40 Table 1. A Sample Table (Table Caption Style) 5 IN-TEXT CITATION Citations should be in the MIS Quarterly style. For researchers who are using the Endnote Bibliographic software, be aware that different versions of the software change the styles, creating some inconsistencies. We therefore suggest that you download the ‘MISQ-Revised’ style file. Citations in the text should include the authors’ last names and year of publication. This involves references to Ajzen (1991) or to a publication (Ajzen 1991). When citing articles with two authors, both names should be cited in the text, for example, Ajzen and Fishbein (1980). Use “et al.” when citing articles with three or more authors (Applegate et al. 1996). When using multiple references, these should be ordered alphabetically, and separated by a semi-colon (Agarwal and Karahanna 2000; Ajzen and Fishbein 1980; Taylor and Todd 1995a; Vander Wal 2007). Multiple publications by the same author within the same year are differentiated as Taylor and Todd (1995a; 1995b). Where the author is unknown (Anonymous 2001), or is an organisation, an appropriate name, organisation name or acronym should be used, for example (ACS 2007; OECD 2003). When quoting text please use “smart quotes”. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 4 6 AUTHOR’S RESPONSIBILITIES AND COPYRIGHT Where relevant, authors are to ensure that the contents of their papers are cleared for publication, for example, by their employer, their client, the funding organisation and/or the copyright owner of any material which is reproduced. 7 CONCLUSION This submission guideline is intended to help guide you in the presentation of your work. By adhering to the guideline, you will help reducing the workload of Baber Bhatti and ensuring that your paper is well-presented. We thank you very much for your assistance and look forward to receiving the cameraready version of your paper. 8 REFERENCES The references should immediately follow the last section in the text. Do not start a new page. References in the text must be included in Reference section and vice versa. Sufficient descriptions should be given to enable the reader to locate all publications referred to in the text. They should be arranged in alphabetical order by surname of first-named author (or the title of the work for items with no author or editor listed) then date. For references to items in periodicals, include the author, title, journal, volume, number, month, year, pages. For authors, last names are given first, even for multiple authors. For references to reports or proceedings, use the author’s name and title of report, report number, source, editor and/or publisher as appropriate, city and state/country of publisher OR full name of conference as appropriate, including date and pages. For references to books, use the author’s name, title, publisher, city, state/country, year, page, or chapter. It is preferable that your references comprise only of published materials accessible to the public. However, if it is necessary to use unpublished works or private communications, these are to be mentioned within the text and included in the reference list. References to electronic documents should include an appropriate DOI if available, or Universal Resource Locator (URL) if not, and date of access. The use of ‘et al.’ in the list of references is prohibited. The names of all authors and editors must be listed. If you are using EndNote, please check your references to ensure that the settings are correct and that all authors are listed in the references. When formatting references, leave 6 points of space above each reference, and use a hanging indent of 1cm. (On the horizontal ruler, drag the Hanging Indent marker to the position at which you want the indent to start or use (Paragraph>Indentation>Special>Hanging to set the hanging indent.) The following are examples of entries for books, articles, proceedings, and websites: Agarwal, R., and Karahanna, E. 2000. “Time Flies When You’re Having Fun: Cognitive Absorption and Beliefs About Information Technology Usage,” MIS Quarterly (24:4), December, pp 665-694. Ajzen, I. 1991. “The Theory of Planned Behaviour,” Organizational Behaviour and Human Decision Processes (50:2), December, pp 179-211. Ajzen, I., and Fishbein, M. 1980. Understanding Attitude and Predicting Social Behaviour. Englewood Cliffs, NJ: Prentice-Hall. Applegate, L.M., Holsapple, C.W., Kalakota, R., Radermacher, F.J., and Whinston, A.B. 1996. “Electronic Commerce: Building Blocks of New Business Opportunity,” Journal of Organizational Computing and Electronic Commerce (6:1), January, pp 1-10. Bhattacherjee, A. 2000. “Acceptance of E-Commerce Services: The Case of Electronic Brokerages,” IEEE Transactions on Systems, Man and Cybernetics – Part A: Systems and Humans (30:4), July, pp 411-420. Lin, Angela Y; Parinyavuttichai, Nipon. 2015 “IS Project Management and Risk Escalation: Towards A Dynamic Model”. Australasian Journal of Information Systems, (19) DOI:http://ift.tt/2fbwN3C Retrieved: 21 Jun. 2015.. Taylor, S., and Todd, P. 1995a. “Assessing It Usage: The Role of Prior Experience,” MIS Quarterly (19:4), December, pp 561-570. Taylor, S., and Todd, P.A. 1995b. “Understanding Information Technology Usage – a Test of Competing Models,” Information Systems Research (6:2), June, pp 144-176. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 5 Vander Wal, T. 2007. “Folksonomy Coinage and Definition.” http://ift.tt/2wPUNTX Retrieved 14 April, 2008. Appendix 1 Appendices are the last section of the paper body. Do not start a new page. Acknowledgements The style “Abs heading” is used for this and the following numberless headings Acknowledgements should follow the appendices. Do not start a new page. This document was adapted from the Instructions for Authors from ICIS2007 (which in turn was adapted from the AMCIS templates), PACIS 2007, ACIS 2016, ACIS 2011, ACIS 2010, ACIS 2008, ACIS2007, ACIS 2006, and the ACIS 2005 Instructions, which were an extension of the ACIS 2004 instructions, much of which was adapted from the ACIS 2003 and ACIS 2002 Instructions, which were based on the ACIS’98 Instructions (which was adopted from ACIS’97 Instructions). These in turn were adapted from an “Instructions for Authors” written by Roger Clarke. The new format, use of the Creative Commons license and support for DOIs was added by John Lamp in 2015. Copyright The following copyright paragraph must be appended to the paper. Copyright: © 2017 authors. This is an open-access article distributed under the terms of the Creative Commons Attribution-NonCommercial 3.0 Australia License, which permits non-commercial use, distribution, and reproduction in any medium, without any credits to this paper.

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  Strategic Information Systems M (INFS 5058) Assignment 1 (Individual) – Case 2 Due date: Wednesday 13 September 2017 11:55pm (Adelaide time) Word count: 1000 words (just an expectation; feel free to adjust to your need but be very concise and to the point) – the word count excludes Abstract, References, Title, Table of Contents or Appendices Weighting: 15% of the course marks 1.1. Case: Telstra Corportion Ltd. (http://ift.tt/1E1mVl4). Research this organisation through the publicly available information on internet. 1.2. Deliverables Deliverable Marks (%) 1.2.1. Part I – Understanding and Strategy Analysis 1.2.1.1. What are the top-five business challenges of Telstra (in the descending order of importance)?* 5 1.2.1.2. What are the top-five business priorities of Telstra (in the descending order of importance)? 5 1.2.1.3. Use Porter’s five forces model to assess the impact of IT in Telstra. Where do you see the balance of power?* 10 1.2.2. Part II – Strategizing 1.2.2.1. What should IT do to support the business of Telstra?* 5 1.2.2.2. What were best IT strategic steps taken by the CIO during the past three years?* 10 1.2.2.3. What were the worst IT strategic mistakes of the CIO during the past three years?* 10 1.2.2.4. What were the important IT actions or opportunities missed out by the CIO during the past three years? What he could have done better? How such actions would have improved the situation?* 10 1.2.2.5. What top strategic IT risks or challenges are faced by Telstra today? How can those strategic IT risks or challenges be addressed or mitigated?* 15 1.2.2.6. Identify the factors which contribute to “Red Ocean” for IT in Telstra as compared to other competitor telecoms in the industry. How can you create a “Blue Ocean” Strategy for Telstra IT? (Only identify the factors for competition, and you are not required to write down the complete strategy document for answering this question.)* 20 1.2.3. Adherence to the given Research Paper format 10 * mention any models or frameworks that you use from the course. Also, please refer to the sources of information or examples from industry. Submission: Submit your answers in a word file through learnonline on or before the due date. Formatting: • Structure your paper in the form of a research paper, and give a title to your research paper • Format details are available on the following pages INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 1 Instructions for Template of Assignment-1 Case-2 ( Give a Title to your Assignment) Baber Bhatti, Student ID: bhattibm003 (Auth name style) School of Information Technology & Mathematical Sciences University of South Australia Adelaide, South Australia Email: youremail@mymail.unisa.edu.au ABSTRACT (ABS HEADING) The abstract should summarise the contents of the paper in between 40 and 150 words. Please observe the flush left paragraph style on headings. The abstract should be in 10 points Georgia and should be justified (left and right flushed). Leave 6 points of space before the abstract. (Jnl body style) Author’s name (your name) and affiliation should be in 10 points Georgia. Leave 12 points of space before and 6 points after the paper title, 6 points of space before the author’s name(s) and no points of space before and after the author’s affiliation(s) (or email address). For all submissions, you will be asked to submit (1) title, authors, abstract, and keywords on front page and (2) the body of the submission without any author information starting on a new page. The paper title should be in 16 point, Ariel Rounded MT Bold. Author’s name and affiliation should be in 10 points Georgia. Leave 12 points of space before and 6 points after the paper title, 6 points of space before the author’s name(s) and no points of space before and after the author’s affiliation(s) (or email address). Keywords (Jnl body style, manual bold of the title Keywords only as shown), a set of keywords must be included, include no more than five keywords, separated by commas. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 2 1 INTRODUCTION – BODY OF THE SUBMISSION (HEADING 1) This document provides detailed instructions for authors on the form, presentation and layout of papers. Adherence to the instructions will help achieve a high quality of writing. (This is Jnl Body style) Full research papers should not exceed the following layout requirements: • Front page to include title, author details, abstract and keywords as shown on the previous page. This page does not include in the word count of the paper. • Page size should be A4. Allow for a 25 mm margin on both sides of each page, a 25 mm margin at the top of each page and a 25 mm margin at the bottom of each page. • Acknowledgements and Copyright statement can be added on a final page and are excluded from the word count. All text should be formatted according to the details of these instructions. ACIS papers are not supplied in hard copy. Please submit the Microsoft Word document (not PDF) and do not password protect your document. 2 DOCUMENT LAYOUT Paragraphs should commence at the left margin and should not be indented. Leave 6 points of space prior to each paragraph. All text should be in 10 points Georgia and justified (left and right flushed). All text is to be single-spaced. 2.1 Headers, Footers and Page Numbering (Heading 2) The page header should be 11 point Arial Narrow: • make sure that you enter a short title for your paper in the document header (up to 50 characters including spaces). • note page numbers are already provided in the footer of this template. • complete the copyright release at the end of this document and the acknowledgements section if needed. 3 MAJOR HEADING Major headings should be in upper case, 14 points Arial Rounded MT Bold, with 12 points of space prior to the heading and 6 points after. For headings words like ‘the’, ‘of’, ‘a’, ‘an’ are not capitalized unless it is the first word of the heading. 3.1 Minor Heading (Heading 2) Minor headings should be 12 points Arial Rounded MT Bold with the initial letters capitalised and 6 points space prior to the heading and 6 points after. 3.1.1 Very Minor Heading (Heading 3) Very minor headings should be in lower-case, 11 points Arial Rounded MT Bold, with 6 points space before the heading and 6 points space after. Within paragraphs, sub-points may be distinguished by bullets, dashes, bracketed letters or bracketed roman numerals, as follows: • First option (Bullet 1 style) § Second option (Bullet 2 style) a) Third option (Bullet 3 style) i. Fourth option (and Bullet 4 style) INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 3 4 FIGURES AND TABLES Any exhibits (tables, figures, illustrations etc.) should be placed as close as possible to the first reference made to it. Exhibits should be flush left, and numbered and identified by a brief description. Captions should be 11 points Georgia italic (Jnl caption style) and numbered consecutively (e.g., “Table 1” or “Figure 1”). Captions should be placed below the exhibit. Please note that the words “Figure” and “Table” should be spelled out (i.e., “Figure” rather than “Fig.”) wherever they occur. For example, see Figure 1. 4.1 Figures Please avoid inserting diagrams in the native format of graphic applications such as MS Visio. These can cause problems when converting the file to pdf. Diagrams should be inserted in a common graphic format such as jpeg or gif. The proceedings will be delivered in electronic format, and thus support colour for your figures. However, you are advised to refrain from using colour to deliver important information in your figures – not everyone has access to colour printers. Figure 1: ACIS logo (Jnl caption style) 4.2 Tables Inserting a table in the text can work well. See Table 1 below. The text of tables will format better if you use the special Table Text style (in this template file). If you do not use this style, then you may want to adjust the vertical spacing of the text in the tables. (In Word, use Format | Paragraph, and then the Line and Page Breaks tab. Generally, text in each field of a table looks better if it has equal spacing above and below it, as in Table 1.) Sample 1 Sample 2 Item 1 100 60 Item 2 120 325 Item 3 150 40 Table 1. A Sample Table (Table Caption Style) 5 IN-TEXT CITATION Citations should be in the MIS Quarterly style. For researchers who are using the Endnote Bibliographic software, be aware that different versions of the software change the styles, creating some inconsistencies. We therefore suggest that you download the ‘MISQ-Revised’ style file. Citations in the text should include the authors’ last names and year of publication. This involves references to Ajzen (1991) or to a publication (Ajzen 1991). When citing articles with two authors, both names should be cited in the text, for example, Ajzen and Fishbein (1980). Use “et al.” when citing articles with three or more authors (Applegate et al. 1996). When using multiple references, these should be ordered alphabetically, and separated by a semi-colon (Agarwal and Karahanna 2000; Ajzen and Fishbein 1980; Taylor and Todd 1995a; Vander Wal 2007). Multiple publications by the same author within the same year are differentiated as Taylor and Todd (1995a; 1995b). Where the author is unknown (Anonymous 2001), or is an organisation, an appropriate name, organisation name or acronym should be used, for example (ACS 2007; OECD 2003). When quoting text please use “smart quotes”. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 4 6 AUTHOR’S RESPONSIBILITIES AND COPYRIGHT Where relevant, authors are to ensure that the contents of their papers are cleared for publication, for example, by their employer, their client, the funding organisation and/or the copyright owner of any material which is reproduced. 7 CONCLUSION This submission guideline is intended to help guide you in the presentation of your work. By adhering to the guideline, you will help reducing the workload of Baber Bhatti and ensuring that your paper is well-presented. We thank you very much for your assistance and look forward to receiving the cameraready version of your paper. 8 REFERENCES The references should immediately follow the last section in the text. Do not start a new page. References in the text must be included in Reference section and vice versa. Sufficient descriptions should be given to enable the reader to locate all publications referred to in the text. They should be arranged in alphabetical order by surname of first-named author (or the title of the work for items with no author or editor listed) then date. For references to items in periodicals, include the author, title, journal, volume, number, month, year, pages. For authors, last names are given first, even for multiple authors. For references to reports or proceedings, use the author’s name and title of report, report number, source, editor and/or publisher as appropriate, city and state/country of publisher OR full name of conference as appropriate, including date and pages. For references to books, use the author’s name, title, publisher, city, state/country, year, page, or chapter. It is preferable that your references comprise only of published materials accessible to the public. However, if it is necessary to use unpublished works or private communications, these are to be mentioned within the text and included in the reference list. References to electronic documents should include an appropriate DOI if available, or Universal Resource Locator (URL) if not, and date of access. The use of ‘et al.’ in the list of references is prohibited. The names of all authors and editors must be listed. If you are using EndNote, please check your references to ensure that the settings are correct and that all authors are listed in the references. When formatting references, leave 6 points of space above each reference, and use a hanging indent of 1cm. (On the horizontal ruler, drag the Hanging Indent marker to the position at which you want the indent to start or use (Paragraph>Indentation>Special>Hanging to set the hanging indent.) The following are examples of entries for books, articles, proceedings, and websites: Agarwal, R., and Karahanna, E. 2000. “Time Flies When You’re Having Fun: Cognitive Absorption and Beliefs About Information Technology Usage,” MIS Quarterly (24:4), December, pp 665-694. Ajzen, I. 1991. “The Theory of Planned Behaviour,” Organizational Behaviour and Human Decision Processes (50:2), December, pp 179-211. Ajzen, I., and Fishbein, M. 1980. Understanding Attitude and Predicting Social Behaviour. Englewood Cliffs, NJ: Prentice-Hall. Applegate, L.M., Holsapple, C.W., Kalakota, R., Radermacher, F.J., and Whinston, A.B. 1996. “Electronic Commerce: Building Blocks of New Business Opportunity,” Journal of Organizational Computing and Electronic Commerce (6:1), January, pp 1-10. Bhattacherjee, A. 2000. “Acceptance of E-Commerce Services: The Case of Electronic Brokerages,” IEEE Transactions on Systems, Man and Cybernetics – Part A: Systems and Humans (30:4), July, pp 411-420. Lin, Angela Y; Parinyavuttichai, Nipon. 2015 “IS Project Management and Risk Escalation: Towards A Dynamic Model”. Australasian Journal of Information Systems, (19) DOI:http://ift.tt/2fbwN3C Retrieved: 21 Jun. 2015.. Taylor, S., and Todd, P. 1995a. “Assessing It Usage: The Role of Prior Experience,” MIS Quarterly (19:4), December, pp 561-570. Taylor, S., and Todd, P.A. 1995b. “Understanding Information Technology Usage – a Test of Competing Models,” Information Systems Research (6:2), June, pp 144-176. INFS 5058 Assignment 1 Case 2 Family Name(s) 2017, University of South Australia Short version of title of your assignment 5 Vander Wal, T. 2007. “Folksonomy Coinage and Definition.” http://ift.tt/2wPUNTX Retrieved 14 April, 2008. Appendix 1 Appendices are the last section of the paper body. Do not start a new page. Acknowledgements The style “Abs heading” is used for this and the following numberless headings Acknowledgements should follow the appendices. Do not start a new page. This document was adapted from the Instructions for Authors from ICIS2007 (which in turn was adapted from the AMCIS templates), PACIS 2007, ACIS 2016, ACIS 2011, ACIS 2010, ACIS 2008, ACIS2007, ACIS 2006, and the ACIS 2005 Instructions, which were an extension of the ACIS 2004 instructions, much of which was adapted from the ACIS 2003 and ACIS 2002 Instructions, which were based on the ACIS’98 Instructions (which was adopted from ACIS’97 Instructions). These in turn were adapted from an “Instructions for Authors” written by Roger Clarke. The new format, use of the Creative Commons license and support for DOIs was added by John Lamp in 2015. Copyright The following copyright paragraph must be appended to the paper. Copyright: © 2017 authors. This is an open-access article distributed under the terms of the Creative Commons Attribution-NonCommercial 3.0 Australia License, which permits non-commercial use, distribution, and reproduction in any medium, without any credits to this paper.

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