1) Consider the model presented by Tenex-Greenhouse. Why (or why not) would you participate in the Greenhouse? Address the question from the point of view…

1) Consider the model presented by Tenex-Greenhouse. Why (or why not) would you participate in the Greenhouse? Address the question from the point of view of: The entrepreneur and The Tenex Angel.

2) What is the Greenhouse’s “ideal deal” given it s resources and competitive postitioning or advantage?

3) If you were Dr. Brady Samuelson, would you pursue/accept an investment from the Greenhouse? From Samuelson’s and Ruderman’s perspective what terms and conditions would be most essential?

Sample Solution
The most effective method to Read Like a Writer Guides1orSubmit my paper for examination By Mike Bunn In 1997, I was an ongoing college alumni living in London for a half year and working at the Palace Theater possessed by Andrew Lloyd Webber. The Palace was a lovely red block, four-story theater in the core of London’s popular West End, and eight times each week it housed a three-hour execution of the melodic Les Miserables. In view of out of date fire-security laws, each performance center in the city was required to have a certain number of staff individuals inside viewing the exhibition if there should arise an occurrence of a crisis. My activity (notwithstanding wearing a red tuxedo coat) was to sit inside the dim performance center with the benefactors and ensure nothing turned out badly. It didn’t appear to make a difference to my boss that I had no preparation in security and no thought where we kept the fire quenchers. I was almost certain that if there was any difficulty, I would be running down the back stairs, leaving the benefactors to battle for themselves. I had no expectation of biting the dust in a splendid red tuxedo. There was a Red Coat positioned on every one of the performance center’s four stories, and we as a whole took a break by sitting discreetly in the back, perusing books with modest electric lamps. It is difficult attempting to peruse in the diminish light of a theater—spotlight or no electric lamp—and it is considerably harder with screeches and yells and discharges originating from the stage. I needed to concentrate eagerly on every single word, frequently rehashing a solitary sentence a few times. Now and then I got diverted and needed to re-read whole passages. As I battled to peruse right now, started to understand that the manner in which I was perusing—each word in turn—was the very same way that the writer had composed the content. I understood composing is a word-by-word, sentence-by-sentence process. The extreme focus required to peruse in the performance center helped me perceive a portion of the fascinating ways that writers string words into phrases into passages into whole books. I came to understand that all composing comprises of a progression of decisions. I was an English major in school, yet I don’t think I at any point pondered perusing. I read constantly. I read for my classes and on the PC and now and then for no particular reason, however I never truly contemplated the significant associations among perusing and composing, and how perusing with a certain goal in mind could likewise make me a superior essayist. At the point when you Read Like a Writer (RLW) you work to recognize a portion of the decisions the writer made so you can more readily see how such decisions may emerge in your own composition. The thought is to deliberately analyze the things you read, taking a gander at the writerly procedures in the content so as to choose in the event that you should receive comparable (or the equivalent) systems in your composition. You are perusing to find out about composition. Rather than perusing for content or to all the more likely comprehend the thoughts in the composition (which you will naturally do somewhat at any rate), you are attempting to see how the bit of composing was assembled by the writer and what you can find out about composition by perusing a specific book. As you read right now, consider how the decisions the writer made and the methods that he/she utilized are affecting your own reactions as a peruser. What is it about the manner in which this content is composed that causes you to feel and react the manner in which you do? The objective as you read like an essayist is to find what you accept are the most significant writerly decisions spoke to in the content—decisions as enormous as the general structure or as little as a solitary word utilized just once—to think about the impact of those decisions on potential perusers (counting yourself). At that point you can go above and beyond and envision what various decisions the creator may have made rather, and what impact those various decisions would have on perusers. Let’s assume you are perusing an exposition in class that starts with a short statement from President Barack Obama about the war in Iraq. As an author, what’s your opinion of this system? Do you think it is successful to start the article with a statement? Consider the possibility that the exposition started with a statement from another person. Consider the possibility that it was an any longer statement from President Obama, or a statement from the President about an option that is other than the war. Furthermore, here is the place we find a good pace significant part: Would you need to attempt this system in your own composition? OK need to begin your own exposition with a statement? Do you figure it is viable to start your exposition with a statement from President Obama? Shouldn’t something be said about a statement from another person? You could make yourself a rundown. What are the points of interest and hindrances of beginning with a statement? Shouldn’t something be said about the preferences and impediments of beginning with a statement from the President? How might different perusers react to this procedure? Would certain perusers (state Democrats or dissidents) welcome an exposition that began with a statement from President Obama superior to anything different perusers (state Republicans or moderates)? What might be the favorable circumstances and impediments of beginning with a statement from a less troublesome individual? Shouldn’t something be said about beginning with a statement from somebody increasingly troublesome? The objective is to deliberately consider the decisions the writer made and the procedures that the individual in question utilized, and afterward choose whether you need to settle on those equivalent decisions or utilize those equivalent strategies in your own composition. Writer and educator Wendy Bishop clarifies how her perusing procedure changed when she started to peruse like an author: It wasn’t until I guaranteed the sentence as my region of want, intrigue, and aptitude—until I needed to be an author composing better—that I needed to look underneath my underlying readings. . . I began asking, how—how did the author get me to feel, how did the essayist state something so it stays in my memory when numerous different things also effectively drop out, how did the author convey his/her aims about type, about incongruity? (119–20) Cleric moved from basically revealing her own responses to the things she read to endeavoring to reveal how the writer drove her (and different perusers) to have those responses. This push to reveal how writers construct writings is the thing that makes Reading Like a Writer so valuable for understudy essayists. More often than not we read for data. We read a formula to figure out how to heat lasagna. We read the games page to check whether our school dominated the match, Facebook to see who has remarked on our announcement, a history book to find out about the Vietnam War, and the prospectus to see when the following composing task is expected. Perusing Like a Writer requests something totally different. In 1940, a well known writer and pundit named Allen Tate examined two distinct methods for perusing: There are numerous approaches to peruse, however for the most part talking there are two different ways. They relate to the two manners by which we might be keen on a bit of engineering. In the event that the structure has Corinthian segments, we can follow the cause and improvement of Corinthian segments; we are intrigued as antiquarians. In any case, in the event that we are intrigued as engineers, we could conceivably think about the historical backdrop of the Corinthian style; we should, in any case, thoroughly understand the development of the structure, down to the last nail or peg in the bars. We must know this on the off chance that we are going to set up structures ourselves. (506) While I know nothing about Corinthian sections (and uncertainty that I will ever need to know anything about Corinthian segments), Allen Tate’s allegory of perusing as though you were a designer is an incredible method to consider RLW. At the point when you read like an essayist, you are attempting to make sense of how the content you are perusing was developed with the goal that you figure out how to “construct” one for yourself. Writer David Jauss makes a comparative correlation when he composes that “perusing won’t enable you much except if you to figure out how to peruse like an essayist. You should take a gander at a book the manner in which a craftsman takes a gander at a house another person constructed, inspecting the subtleties so as to perceive how it was made” (64). Maybe I should change the name and call this Reading Like an Architect, or Reading Like a Carpenter. In a manner those names bode well. You are perusing to perceive how something was developed with the goal that you can build something comparable yourself. For most undergrads, RLW is another approach to peruse, and it tends to be hard to learn from the start. Making things considerably progressively troublesome is that your school composing teacher may anticipate that you should peruse thusly for class yet never show you how to do it. The person in question may not disclose to you that you should peruse along these lines. This is on the grounds that most composing educators are so centered around training composing that they neglect to show understudies how they need them to peruse. That is the thing that this article is for. Notwithstanding the way that your school composing teacher may anticipate that you should peruse like an author, this sort of perusing is likewise one of the absolute best approaches to figure out how to compose well. Perusing like an author can assist you with seeing how the way toward composing is a progression of settling on decisions, and in doing as such, can assist you with perceiving significant choices you may face and procedures you should utilize when dealing with your own composition. Perusing along these lines turns into a chance to contemplate composing. Charles Moran, a teacher of English at the University of Massachusetts, urges us to peruse like journalists on the grounds that: At the point when we read like authors, we comprehend and partake in the composition. We see the decisions the essayist has made, and we perceive how the author has adapted to the outcomes of those decisions . . . We “see” what the essayist is doing on the grounds that we read as journalists; we see since we have kept in touch with ourselves and know the domain, know its vibe, know a portion of the moves ourselves.(61) You are as of now a writer, and that implies you have a worked in advantage when perusing like an essayist. The entirety of your past composing encounters—inside the study hall and out—can add to your prosperity with RLW. Since you “have stated” things yourself, similarly as Moran proposes, you are better ready to “see” the decision>GET ANSWER Let’s block ads! (Why?)

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