Human services Unit 4 assignment

Intake Form Assignment

This week, you will be completing an intake form for a client. In the Unit 3 Reading, you were introduced to the concept of an intake form on page 82 (Box 3.1). Completing an intake form is a very common practice for human services professionals, and, as you can imagine, is a task that takes effective listening skills. In this activity, you are going to have the opportunity to complete an intake form for a client.

Please note that though you will be completing this Assignment in the course space, you have unlimited time to complete this task, so you should not feel any more pressure than if you were to complete the form and submit it to the Dropbox. You can re-enter the Assignment and change your answers later if you need to as well.

The sample intake form in your text is different from what you will be completing in this task. Each agency or office has slightly different intake forms, but the general idea is the same. To familiarize yourself with the intake form you will be completing, click here to see a sample intake form. This form explains what information is required in each field. You can see from the very beginning that you will need to use your listening skills as well as observe nonverbal cues and pay attention to the client very closely.

Next, you can take a look at a completed intake form. In Discussion this week, you met Luz. To review her story, click here. Then take a look at Luz’s completed intake form to see how her information is compiled. Feel free to use the sample intake form with the instructions for the fields as well as Luz’s intake form to help you as you complete your intake form activity. You may also want to havethis blank intake form handy.

Intake Form Client

You have your choice of one of four clients to use for this Assignment. Go to the California Homeless Youth Project website, and watch the following four interviews:

The Street Through My Eyes

My Son Saved My Life

From Pillar to Post

Homeless Youth Finds Success With Transitional Housing

Source: California Homeless Youth: Video Wall. Retrieved fromhttp://cahomelessyouth.library.ca.gov/Videos/All_Videos/voices02.html.

Please keep in mind that some of the language used in the interviews is graphic, reflecting the harshness of the clients lives.

After you have watched all four videos, select one of the videos as your client for the intake form. Remember, the completed example intake form, Luz’s intake form, and the information in Chapter 3 page 81–83 will be your guide to successfully completing an assessment based on the client you select. You can watch the video as many times as you need to while you complete the form as well, so take your time. You may even want to note your client’s information before you get started so that you will feel more prepared.

When you are ready, click the Begin Assignment button and respond to each section.

Place your answers in the boxes provided in this form. Boxes will expand as needed.

Please see the attachments and pleas answer all the questions:

General information and instructions:

• Review
  text pages 137–139 in Chapter 4. These pages cover step 9 in the
  planning process, assessing the social context of negotiation.
• The
  field analysis tool is helpful when negotiators have to consider
  multiple parties—on their own side and on the other side—who can affect a
  negotiation outcome, and whose needs and interests must be considered.
• Take note that the soccer field (see diagram below) is a metaphor for a two-party multi-stakeholder contract negotiation.

Specific information and instructions:

• Assume
  that you are the negotiator who is tasked with a salary (on call time,
  step increases, overtime for captains and majors) and benefits
  (insurance while employed, insurance after retirement, accrual of leave
  time, retirement multipliers) dispute between a large municipal county
  with a strong mayor and the sheriff’s department for the county.
• You
  are negotiating the contract on behalf of the sheriff’s office. The
  purpose of this activity is to give you an opportunity to construct a
  field analysis on your relationship with a specific other negotiator.
  This tool should be helpful when negotiators have to consider multiple
  parties—on their own side and on the other side—who can affect a
  negotiation outcome, and whose needs and interests must be considered.
• The field has the following stakeholders.
  • On the field would be members of your team and members of the other team (A, B).
  • On the sidelines are backup players, coaches, trainers, and other team personnel (C).
  • In the stands are fans who are watching the negotiation, members of the media, and other direct observers (D).
  • The elements outside the stadium—the location of the stadium, the weather, and other “context factors” which can shape how the game evolves and is played (E)
• Questions are presented in identical pairs (1, 2; 3, 4; 5, 6; and 7, 8) but answers will not necessarily be the same.
• Questions 7 and 8 have four sub-parts, which require answers in each sub-part.
• Place your answers in the boxes provided in this form. Boxes will expand as needed.

Juan Doe was born on May 15, 1960 in Bogota, Colombia. He is currently seeking asylum in the U.S. based on his fear of persecution in Colombia. His asylum application can be found on pages 259-276 of your textbook. His written declaration/story of why he should be granted asylum can be found in your textbook on pages 271-276*.

You are a paralegal working at the law firm of Langley, Copeland & Best, LLP located at 519 Eastern Parkway in Weston, Florida 33751. Mr. Doe has contacted your firm for representation. Because one of the associate attorneys, Alana Harper, knows that you are taking an immigration course at National Paralegal College, she asks that you review the asylum application and the written declaration and write her an opinion letter (for review by an attorney before it is finalized, of course) stating whether Mr. Doe’s asylum application will likely be granted based on what you have learned thus far in your class about the requirements for a grant of asylum.

Based on what your opinion letter states, Alana will present the contents of the letter to the partners to see if this case is worth taking.

Will supply the text after bid is accepted.

You’re going to practice writing a one-minute play.
Yes, YOU are the director, playwright and producer!

Here are your tasks:

1) Spend some time with the website of the
one-minute play festival found here:

http://www.oneminuteplayfestival.com — check out
some of the links to the one-minute plays that are featured in the festival.
What do you notice? Another possiblity is to look up “one-minute
plays” on YouTube and see what you find.

2) Now, write your own one-minute play using no
fewer than two characters. Be sure to include pertinent stage directions.

3) Have fun! Don’t worry about writing a master piece.
Just work on putting together a one-page or one-minute play that features a
couple worthwhile characters who have something to say! You’re free to take
complete liberty with this assignment.

4) Check out the “dialogue tips”

5) Share your play with us!

Dialogue Tips

WHAT
IS DIALOGUE?

When it comes to fiction or drama, dialogue is
several things:

1. A conversation between two or more people.

2. Conversation between characters in a drama or
narrative.

3. The lines or passages in a script that are
intended to be spoken.

4. A literary work written in the form of a
conversation

In this week’s assignment, you’re interested in
writing a dialogue between several people.

In other words, you get to choose the characters in
your play and how many characters you

want. Who knows, maybe you even feature yourself in
the play! 🙂

TEN RULES WHEN IT COMES TO WRITING DIALOGUE:

1. Dialogue needs to have a point. It has to move
the story along, reflect a character’s

inner character and conflicts, expose secrets, goals,
and wounds. Often in dialogue,

it’s what’s not said that’s important.

2. Contains differing points of view. When two
people are conversing, their dialogue

needs to reflect their characters and show they are
at odds, with totally different

motivations. This is what makes dialogue
interesting.

3. Has more content that ordinary conversation. It’s
all about context. Use juicy verbs,

edit superfluous words and keep sentences simple.
Reveal complex characters with

simplicity. Again, often what’s not said that is
most important and revealing. Most

“real” speech contains fragments, “ums” and idioms.
Don’t include those. Don’t have

your character say something unless it’s pertinent
to the story or the character.

4. Avoid monologues. This is as true in dialogue as
in life. Readers will get bored.

Break long bouts of dialogue with some action. Get a
character to pour tea or clean

out an ear. This comes back to #1.

5. Show a character’s lack of self-understanding in
his/her dialogue. Dig into the

subtext of the dialogue and try to figure out what
it is that you as the author knows,

but that the character doesn’t know about
him/herself.

6. Don’t try and explain things in dialogue. None of
us like listening to the “know-it-all”

person who has to explain everything along the way.
Don’t let your dialogue or

characters be that person (unless that is their
character). Let the reader have some

fun and try and figure it out by themselves.

7. Use dialogue to create tension. Dialogue is a
great way to show characters in

crisis, which in turns shows a character’s true
colors. There are several ways to

create tension in writing, and dialogue is one of
the better ones.

8. Mix up the speech patterns to differentiate
characters. One character might talk in

long sentences, another in one-word answers. Listen
to people around you and try

and pick up ideas for differing the ways people
speak in dialogue. This will make

your overall text more interesting to read.

9. Study the rhythms and repetitions of authors you
admire. The best often repeat

words or sounds, and use rhythms and patterns to
give dialogue interest.

10. Keep dialogue tags simple and use sparingly. “He
said” is perfectly fine. Don’t try

and convey meaning in a dialogue tag by writing “He
said, sadly.” Make your

dialogue convey the character’s sadness. Also, you
don’t need to say “he/she said”

with every sentence of dialogue if it’s clear to the
reader who is speaking. Take out

the extra ones.

FINALLY, A NOTE ON PROPER MECHANICS IN DIALOGUE:

When you revise dialogue, be sure to punctuate it
correctly so that your readers can see

who is talking and where a line of dialogue begins
or ends. The rules for using quotation

marks, commas, and end marks of punctuation are
listed below.

● Use quotation marks before and after a character’s
exact words. Place a period

inside closing quotation marks.

e.g., “Peter and Esteban are joining us.”

● Use a comma to set off the speaker’s tag (he said)
from the beginning of a

quotation. Place the comma inside closing quotation
marks when the speaker’s tag

follows the quotation.

e.g., Harry said, “Come on, Ray. It’ll be
fun.”

“Let’s go,” Gilda said.

● Use quotation marks around each part of a divided
quotation. Remember to set off

the speaker’s tag with commas.

e.g., “I’m not sure,” said Ray, “that
I feel like it.”

● Place a question mark or an exclamation point
inside the quotation marks when it is

part of the quotation.

e.g., “When will we be back?” Ray asked.

“Hooray!” said Debbi.

● Place a question mark or an exclamation point
outside the quotation marks when it

is not part of the quotation.

e.g., Did I hear Ray say, “Okay”?

I can’t believe he said, “Okay”!

● Start a new paragraph when you move from one
speaker to another.

e.g., “How long a hike is it?” Ray asked.
“I don’t know whether I have the energy.”

“I think,” said Iris, “that it’s
about seven miles to the top.”

This is not a regular essay for college/school course work. I am applying for a college and as a part of application process, I need to do two essay which will impact the decision on my application so please I need someone professional who can spend some good amount of time to do it.

Now

Instruction for writing both essay is attached.

I will share all my details and experience through the chat which will help you compose the essay. I want it to be really deep which should create a strong remark and motivate them for selecting me.

I have two essay example which I did for my friend but I don’t think it was that effective as she was put on the waitlist and luckily she got selected.

Revise twice for grammatical mistakes, proofread …. proofread …proofread before giving me.

Thanks