Decision Analysis for Management Judgment Essay Example | Topics and Well Written Essays - 750 words

Decision Analysis for Management Judgment - Essay Example Heuristics are simple and efficient rules which are using by the managers of an organization when they will go to take any important decision or making any judgment. There are three types of Heuristics and those are Availability Heuristic, Representative Heuristic, and Base-Rate Heuristic. Availability Heuristic helps to bring some plan or judgment in mind very easily and make a decision in a simple way. Representative Heuristic helps in a comparison between information and mental prototypes. Base-Rate Heuristic is a mental shortcut which helps to make decisions by using probability (Gilovich, Griffin, and Kahneman, 2002, pp. 549-554). Notion of SMARTA comprehensive plan should be made by the manager to do work and implement a plan in a smart way. Hard work is required but in the present market scenario, smart work is more needed than the hard work. Otherwise, there will be no value only for hard work. Then also a growth of the organization will be improved in a smart way. The smart method also can be used to set management objectives. Here ‘S’ means specific, ‘M’ for measurable, ‘A’ for achievable, ‘R’ means realistic and ‘T’ indicates time-based which is very much essential to set the proper objectives of a business.Simulation can be explained as a form of science. This scientific tool can be used in experimental purpose without exposure to risk. Some real world factors and some good underlying assumptions help to do this experiment.

Oprah Winfrey Essay Example for Free

Oprah Winfrey Essay Oprah Gail Winfrey is one of the most influential people today despite coming from a broken family and being a rebellious teen in her adolescence (Mowbray 2003). Oprah remains as a symbol of success in the United States and all over the globe as she has been included in the richest African Americans of the 20th century (Noon 2007) and as one of the most philanthropic African American of all time. Oprah started the Angel Network in the year 1998, a program that encourages other people to help those who are underprivileged. To this day, Oprah’s Angel Network has raised over 51,000,000 dollars. 100 percent of the funds generated go directly to various charity programs as Oprah takes care of administrative costs in running the charity. As mentioned earlier, Oprah was included in the list for America’s 50 most generous philanthropists as she has contributed about 250 million dollars to several charities and fundraising programs including a 10 million dollar donation to the victims of Hurricane Katrina. Oprah even visited South Africa in order to raise the people’s awareness regarding the plight of children afflicted with AIDS and stricken with poverty through her show Oprah’s Christmas Kindness. She appealed to televiewers to donate for these children and people around the globe heeded her call and donated over 7,000,000 dollars. Oprah also invested her time and money for the Oprah Winfrey Leadership Academy for Girls in Johannesburg, South Africa which initially started as Oprah’s promise to Nelson Mandela. The academy aims to provide little girls with a safe place to nurture their dreams allow them to be equipped with the necessary education they would need to succeed. Oprah is certainly considered as a god sent to our society as she exemplifies genuine kindness and concern for the underprivileged people and does not hesitate to lend her time and effort to make a positive change in other people’s lives.

John Adams versus John Quincy Adams Essay -- essays research papers

Even though John Adams (1735-1826) and John Quincy Adams (1767-1848) were father and son, also they were our President in the United States but they are not the same. The differences are their early lives, the early political career, and major presidential actions. The early lives of John Adams and John Quincy Adams are different. John Adams?s father, who also named John, sent his son ? young Adams to Harvard College at age fifteen, and he expected him to become a minister. His father was working hard to make young Adams?s life different than his own which was to become an educated person. However, John Adams did not want to become a minister. After he graduated in 1755, he taught school for few years in Worcester, and that allowed him to think about his career choice. After much reflection, he decided to become a lawyer, and studied law in the office of James Putnam, a prominent lawyer in Worcester. In 1758, he was admitted to the bar. He put the skill to good use as a lawyer, often recording cases he observed so that he could study and reflect upon them. His report of the 1761 argument of James Otis in the superior court of Massachusetts as to the legality of Writs of Assistance is a good example. On the other hand, John Quincy?s fat her which is John Adams did not push him to become a minister. Moreover, John Adams brought young Adams to France (1778 ? 1779) and to the Netherlands (1780 ? 1782) to acquire his early education at institutions at the University of Leiden. John Adams let his son explored the world more than his own father did. At age fourteen, young Adams accompanied Francis Dana on a mission to St. Petersburg, Russia, to gain recognition to the new republic. He also spent time in Finland, Sweden, Den... ... appointed him. He felt he deserve credit for helping to set this country on the right path towards freedom, prosperity, and loyalty to the country. Although they might not appreciate it now, his confident future generations will follow his lead to make this country the best it can be. For that generation he could offer this, once you set your goals, never give up. He had numerous jobs as minister and ambassadors to many different countries before he finally won the election to become the President. The path he traveled was not easy, but I think he believed his hard work paid off. I think if he still alive today he would probably take revenge on all those crooked politicians he had been hearing about who take bribes and shred confidential documents. They deteriorate the fabric this country was built on, and it will be a long time before it is fully repaired.

Creative Writing Aptitude Essay

Being a writer is someone who uses writing on a regular basis. You have to be a writer before you can be a good writer. It’s about being good or at least good enough. But students don’t see themselves as writers at all because they have been structurally defined as deficient. This means that a student is someone who does not write up to a certain standard of performance with academic discourse. A writer does not simply write at someone else’s command but on their own initiative. So as a writer and a student you need an independent plan into which you fit into a certain given curriculum and writing assignments. That doesn’t mean you should be single-minded, but rhetoric and composition needs be a place where students should realize they need to take control for their educational experience. Rhetoric and composition have become a part of how we do things since we have been young. We are eventually taught in school the types of writing we will need to use in our everyday situations to help us communicate to others for a specific purpose and effectively. This writing informs, persuades, or explains what it is we want the audience to know or come away with. R & C studies use academic essays, papers, memos, or class handouts while creative writing studies primarily create literary works. Students are not there to compare one another as writers, artists, or human beings in general. It is a way for each of us to develop our own writing style and self-expression. It builds up the individual’s ability to express his or her own thoughts and technique more clearly by engaging into writing to get our mind working. Creative writing and compositions studies†¦ seem to operate with a distinct sense of a constituency for its teaching, an audience for its writing, and a function it performs† (Lardner, 770). Creative writing is a way to express what you feel inside your heart or the ideas that are in your head. It gives the writers a means for expressing their views of their surroundings and their world. Individuality exists in creative writing because the work is never the same as someone else’s. It is a personal expression that comes from each individual writer at each individual moment. However, the true test of creativity occurs when the writing can be said to give readers an experience. For that the reason the writing is called Creative because it creates an experience in the minds of its readers. Examples of some these writing forms are: poetry, fiction, and creative nonfiction. Each form has its own concepts involved with R & C because creative writing uses your self-expression as a big part of development than formality. Let’s start off with poetry. Poetry is possibly the most comprehensive way we have of expressing ourselves. Poetry works at a deep level of emotion. â€Å"To feel emotion is at least to feel. The crime against life, the worst of all crimes, is not to feel† (MacLeish, 66). Poetry opens up your emotions and helps you express anything through the use of metaphors, images, and feelings. â€Å"Often the poet operates by suggestion and implication† as well (Adams, 11). Poetry starts in odd phrases, an image, a tune in the head, a deeply incoherent pain. The originating emotion still congests the lines or, in striving for uniqueness, the work becomes untidy, exaggerated or confused. So each property (meaning, association, weight, color, duration, shape, texture, etc. ) changes as words are combined into phrases, rhythms, lines, stanzas and eventually completed poems. Out of those properties the poetry is built, even if the end cannot be entirely foreseen. In responding to what has been written; feeling it, understanding it, and extending its potential with imagination, honesty and sensitivity that very fine lines, vocal use, ample sympathies, kindness of heart and a consideration for the human condition become essential. But poetry is nothing without extended labor. In contrast to the development of a delicate tension between speaker and subject, between various parts of a poem and between the feelings warring within the speaker,† there also can be a â€Å"considerable looseness and vagueness† (Adams, 15). You can either have a clear understanding of what you think the poetry is portraying or you can be at a complete loss. Poetry trains the personality needed to be an artist, an unlimited capacity to be honest and take pains. It calls for self-criticism, which becomes essential as a writer’s talents develop. Criticism also â€Å"hones† skills that involve the poet’s needs by close reading, clarification and evaluation. It also requires the analysis and growth out of the very development between audience response and the poet. â€Å"The poet writes to [an audience] representing artistic perfection rather than to a reader chosen at random† (Adams, 143). Poetry may be complex, requiring a good deal of sorting out, but there has to be an immediate impact of some sort that allows the reviewer to be in awe. Poets need to know what’s been done before, and how comparisons may be objectively undertaken. The next form I will discuss is fiction. Fiction is most definitely my favorite. The first thing you need to know is the age group you are writing for. You can write for children, teenagers, young adults, adults, etc. This is perhaps a really important step before writing because you need to know what your audience wants and expects. After you have selected your age group then take the time to see what is out there in the age range that you want to write for. If the current rage is spaceships and outer space themes then writing about cowboys just won’t cut it unless the cowboy is somehow swept into outer space. You also need to research what you will be writing about because some of the time you won’t know much about the topic you’ve chosen. â€Å"Research gives you a chance to investigate all those subjects you’ve always wanted to know about and it gives the breath of life and authenticity to your work† (Kubis, 150). Once you’ve done some research, now it is time to get started. Remember all fiction has a beginning, middle and an end. You need to start your story at the point that something happens to change it all by giving your characters a problem. It must be a worthwhile dilemma. For example, a girl who wants to move out of her parents house and is trying to find an apartment that she really wants when her parents refuse to help her because she can do it on her own is not an interesting problem. On the other hand, a lady who has three days to move out of her parent’s house is a more intriguing problem. Give your audience a reason to support your main character. â€Å"You want to achieve a character that is so real, so human, it seems inevitable that [she] does the thing you’ve determined [she] must do† (Kubis, 49). Your story should progress toward the middle, the climax of your story. â€Å"The hero had to solve the dilemma [herself], without having outside forces do it for [her]† (Kubis, 3). It should climax into a problem that is worth caring about, and â€Å"it should influence the outcome of the story†¦ [but it] does not necessarily resolve the story [only] provides information that leads to the resolution† (kubis, 113). From there you need to let the readers know how it was adequately resolved with a positive result or a defeat. Then there is view point is which the story being told. Who is telling the story or through whose eyes is the story being related? Is it a narrator, the main character, a secondary character? Once you start with a viewpoint stick with it. Do not switch from character to character. Also stay away from over used phrases. Over done phrases are a definite no. Describing something ‘as black as night’ is too boring. Look for a different way of saying the same thing. You could say ‘black ink dark’ or ‘all encompassing black’. Make a list of all the overdone phrases you can think of and then practice saying them a different way. Nothing is ever said in your story that doesn’t lead you somewhere. Know how to correspond properly. It will make all the difference to a readers understanding of what you are trying to say. Never throw in information that does not lead your story forward. Try to find a fresh way of telling a story by saying it again but differently. If everyone is writing about pirates it can get pretty boring after awhile if you use a similar plot line like everyone else. Find a fresh way of telling the same story, maybe from a captive’s point of view or how someone became an unwilling pirate. Use the phrase what if. Ask what if such and such happens what would be the result and if this happened what would be the outcome. This is the time to use your imagination. Get creative and see where it leads you. The last form I will talk about is creative nonfiction. Not a lot of people know what it is and it can take on different styles: a narrative, personal essays, memoir, travel writing, food writing, biography, literary journalism, short stories, etc. It’s where you research a topic just as a journalist does but the writer must write in scenes. They don’t think of facts as the basic building blocks of their stories; they think scenes instead. A scene in creative nonfiction occurs in a specific place (where); usually the narrator and one or more others are there (who); at a particular time (when); something happens (what); people converse (dialog or captured conversation); and sometimes someone thinks about something. We like to see scenes in front of us since life does seem to occur as a series of scenes. To get a story from a particular subject you may have to be pokey by uncovering innermost thoughts and feelings of those interviewed. There’s highly involved research effort required that the writer should be willing and financially able to stick with a story for weeks, months, or even years. The creative nonfiction writer can’t work out of his or her memory and imagination alone, he or she must conduct research out in the real world, the raucous world, the dirty world. You should go around collecting facts from dusty records at City Hall, interviewing experts, and talking with the people involved. Also talk with the people immediately involved in the tory to flush out, and add fresh ideas, ideas you might never have come up with on your own, provide different angles, views, perspectives, and insights on the person or the topic under study. This requirement to work away from the studio or the study turns some writers away from this form of writing. Others love that side of the profession, it’s what draws them in. An important consideration before you begin to write in scenes is choosing the structure of your writing in the first place. â€Å"Structure is the arrangement of parts and all the techniques you use to hold the parts together and make it do what it is intended to do† (Gerard, 156). Most creative nonfiction writers may have a structure well in mind before writing at all because the material is promoted in the subconscious. Having the security of structure, or even just some structure, enables the writer to relax and play with any number of creative possibilities to perk up each scene. Since creative nonfiction is typically written scene by scene and is usually joined or separated by passages from a running account of what is happening at the moment, you need to study and perfect the structure. Some of these potential scenes will be embedded in the narrative synopsis, but it’s important to first identify the scenes that make up a story. The writer needs to select only those events that seem to have the greatest potential and then organize them into what seems will be the best sequence, which is not always chronological. â€Å"The hardest part of writing creative nonfiction is that you’re stuck with what really happened – you can’t make it up† (Gerard, 5). The goal is to communicate information, just as a reporter does, but in the way you construct a story. The relationship between the one who tells the story and the story itself may help determine if the story should be told in the first or third person point of view. Some say the third person point of view is the most difficult but the most rewarding since the author has to stay more out the way. In writing in first person narrative you need to learn how to get out of the way by being subjective but maintain objectivity. Just remember that you are the first person or narrator. It’s a balancing act but it has to do with finding a voice. Once the voice is found, the writer can posture, say things not meant, imply things not said, and have fun. Once you find the right voice for a piece of writing, it allows warmth, concern, compassion, flattery, and shared imperfections. You can also show something about a person by letting the reader hear him or her speak when people appear, particularly when they begin to converse, to help the story come to life. We have to learn to watch people unusually close, especially for anything unusual or distinct. Include in your report poses, posturing, habitual gestures, mannerisms, appearances, and glances. Writers frequently describe a group’s entertainment as a way to understand the group frequently looks at the way people dress. Writing about the typical daily life of a person helps illuminate a book and brings in the focus. The creative nonfiction writer can and should occasionally vividly describe the day-to-day life of one person. You should capture conversations and also show the reader how things look to your character in the world, leaving the reader to interpret what it all means. Although usually done sparingly, you might introduce your thoughts on the situation or the people. This emotional content enables you to create dramatic, vivid, accurate scenes. Creative nonfiction is the ability to capture the personal and the private by making it mean something significant to a larger audience. It also provides intellectual substance that will affect readers perhaps even provoke them to action or to change. The relationships of Creative Writing and R & C to one another deserve attention in a number of ways. When we put words onto a paper, it’s our own individual way of expressing what we want to say. As I stated earlier, poetry is possibly the most comprehensive way we have of expressing ourselves. Poetry works at a deep level of emotion. The fact that poetry and prose have coincided in a long line in rhetorical study is, of course, a rewarding area of study. In fact, there’s much to be learned about audience and rhetorical situation by positioning oneself as the writer of poems. Even though rhetoricians might cringe at the idea of having students write styles of poetry, this area of study would be of great benefit to those examining the practice of rhetoric. It might also help rhetoric’s become better communicators to examine their own language to become more fluid, more colorful, and more imaginative. Also it would benefit all audiences to think of writing as a beautiful relationship of language and author. That’s if only because the process has such potential to benefit from the voices and views of others on their own journeys and might allow a fuller recognition of ways composition studies and creative writing coincide.

Combating Compassion Fatigue

Running Head: Combating Compassion Fatigue Combating Compassion Fatigue Raynell Giron Grand Canyon University HLT 310V Sep. 29th, 2012 Combating Compassion Fatigue This writer will define and identify the keys components to compassion fatigue. This writer will also expound upon the warning signs of compassion fatigue and some interventions that can be put into place by the care giver to help avoid compassion fatigue.This writer will further give some helpful coping skills that can be used to manage compassion fatigue and the resources a care giver can turn too in the event they experience compassion fatigue. Compassion fatigue has been defined as a combination of physical, emotional, and spiritual depletion associated with caring for patients in significant emotional pain and physical distress (Anewalt, 2009). It can also include depression, apathy, and impaired judgement.It is considered a unique form of burnout that affects individuals in care giving roles (Lombardo, 2011). While c ompassion fatigue can sometimes be precipitated by burn out, that is not always the case. Burn out is defined as â€Å"a syndrome of emotional exhaustion, depersonalization, and reduced accomplishments that can occur among individuals who do ‘people work’ of some kind†Ã‚  (Maslach & Jackson, 1986, p. 1). While the symptoms of both are similar, the warning signs differ greatly. Some of the warning signs a care giver may be experiencing compassion atigue include work-related symptoms, physical symptoms, and emotional symptoms (Lombardo, 2011). Some of the work related symptoms may include avoidance or dread of working with certain patients, reduced ability to feel empathy towards patients or families, frequent use of sick days, and lack of joyfulness (Lombardo, 2011). Some of the physical warning signs include headaches, digestive problems, inability to sleep, insomnia, too much sleep, and cardiac symptoms such as chest pain/pressure, palpitations, and tachycardia (Lombardo, 2011).Emotional signs of compassion fatigue can include mood swings, restlessness, irritability, oversensitivity, anxiety, excessive use of substances like nicotine, alcohol, and illicit drugs, depression, anger and resentment, loss of objectivity, memory issues, poor concentration, focus, and judgment (Lombardo, 2011). While a care giver can experience any of the above symptoms at any time during their career, it is important to note that a combination of any of the above symptoms would be used to determine whether or not a person is experiencing compassion fatigue.Possible factors leading to compassion fatigue can be classified according to personality characteristics, previous exposure to trauma, empathy and emotional energy, response to stressors, and work/organizational characteristics (Sabo, 2011). Research clearly demonstrates that working with patients who are in pain, suffering, or at end of life may take a toll on the psychosocial health and well being of nurses (Sabo, 2011). To determine whether or not a health care giver is experiencing compassion fatigue an assessment tool has been developed.The following is a basic assessment that can be done by the nurse to help determine the risk of compassion fatigue. Description/evaluation of one’s work setting and working conditions; one’s tendency to become over involved; one’s usual coping strategies and management of life crises; one’s usual activities to replenish self physically, mentally, emotionally, and spiritually; and one’s openness for learning new skills to enhance personal and professional well being (Lombardo 2011). Some interventions that could be used to help reduce the incidence of ompassion fatigue include early recognition of signs and symptoms, staying physically fit, staying well rested, develop healthy and supportive relationships outside of the work environment, and implement diversions like journal writing, counseling, or enjoyable recreat ional activities to help combat compassion fatigue (Panos, 2007). One could also seek guidance from a mentor or counselor. Koloroutis (2007) identified three core relationships for transforming practice using relationship-based nursing including the nurse’s relationship with patients and families, the nurse’s relationship with self, and the nurse’s relationship with colleagues.The nurse’s relationship with self is a core concept in managing compassion fatigue. Nurses need to be assertive, to express personal needs and values, and to view work-life balance as an achievable outcome. This relationship with self is essential for optimizing one’s health, for being empathic with others, and for being a productive member of a work group within a healthcare facility (Lombardo, 2011). The coping strategies for dealing with compassion fatigue fall along the same line as those of prevention.If one were to find that one is experiencing compassion fatigue some coping strategies would include exercise, maintaining a personal life that includes healthy relationships, develop a sense of humor, set limits between work and home activities, and broaden your horizons. The Compassion Fatigue Awareness project has developed as a result of more and more care givers experiencing this trauma. This project gives resources for workshops, training, and counseling for care givers. ConclusionIn conclusion, compassion fatigue can take its toll on care givers and cause dissatisfaction for the care giver and their patients. It is imperative that care givers learn to recognize their limitations, know themselves on a spiritual level and just how much they are able to give of themselves in a work environment without over extending themselves which could then lead to compassion fatigue and/or burn out. It is also important for the care giver to implement strategies to help avoid burn out and compassion fatigue.These strategies could include those listed above as well as time for mediation at work, create a relaxing environment at work by transforming the work station, or just finding the time to discuss complex patient situations with supportive co-workers.References Anewalt, P. (2009). Fired up or burned out? Understanding the importance of professional boundaries in home health care hospice. Home Healthcare Nurse, 27(10), 591-597. Koloroutis, M. (2007). Relationship-based care: A model for transforming practice. Minneapolis, MN: Creative Health Care Management, Inc. Lombardo, B. , Eyre, C. , (Jan 31, 2011) â€Å"Compassion Fatigue: A Nurse’s Primer†Ã‚  OJIN: The Online Journal of Issues in Nursing  Vol. 16, No. 1, Manuscript 3. Retrieved Sept. 29th, 2012 from: http://www. nursingworld. org/MainMenuCategories/ANAMarketplace/ANAPeriodicals/OJIN/TableofContents/Vol-16-2011/No1-Jan-2011/Compassion-Fatigue-A-Nurses-Primer. html Maslach, C. , & Jackson, S. (1986). Maslach Burnout Inventory Manual  (2 ed. ). Palo Alto: Consult ing Psychologists Press. Panos, A (February, 2007). Promoting resiliency in trauma workers. Poster presented at the 9th World Congress on Stress, Trauma, and Coping, Baltimore, MD. Sabo, B. , (Jan 31, 2011) â€Å"Reflecting on the Concept of Compassion Fatigue†OJIN: The Online Journal of Issues in Nursing  Vol. 16, No. 1, Manuscript 1. Retrieved Sept. 29th, 2012 from: http://www. nursingworld. org/MainMenuCategories/ANAMarketplace/ANAPeriodicals/OJIN/TableofContents/Vol-16-2011/No1-Jan-2011/Concept-of-Compassion-Fatigue Combating Compassion Fatigue Running Head: Combating Compassion Fatigue Combating Compassion Fatigue Raynell Giron Grand Canyon University HLT 310V Sep. 29th, 2012 Combating Compassion Fatigue This writer will define and identify the keys components to compassion fatigue. This writer will also expound upon the warning signs of compassion fatigue and some interventions that can be put into place by the care giver to help avoid compassion fatigue.This writer will further give some helpful coping skills that can be used to manage compassion fatigue and the resources a care giver can turn too in the event they experience compassion fatigue. Compassion fatigue has been defined as a combination of physical, emotional, and spiritual depletion associated with caring for patients in significant emotional pain and physical distress (Anewalt, 2009). It can also include depression, apathy, and impaired judgement.It is considered a unique form of burnout that affects individuals in care giving roles (Lombardo, 2011). While c ompassion fatigue can sometimes be precipitated by burn out, that is not always the case. Burn out is defined as â€Å"a syndrome of emotional exhaustion, depersonalization, and reduced accomplishments that can occur among individuals who do ‘people work’ of some kind†Ã‚  (Maslach & Jackson, 1986, p. 1). While the symptoms of both are similar, the warning signs differ greatly. Some of the warning signs a care giver may be experiencing compassion atigue include work-related symptoms, physical symptoms, and emotional symptoms (Lombardo, 2011). Some of the work related symptoms may include avoidance or dread of working with certain patients, reduced ability to feel empathy towards patients or families, frequent use of sick days, and lack of joyfulness (Lombardo, 2011). Some of the physical warning signs include headaches, digestive problems, inability to sleep, insomnia, too much sleep, and cardiac symptoms such as chest pain/pressure, palpitations, and tachycardia (Lombardo, 2011).Emotional signs of compassion fatigue can include mood swings, restlessness, irritability, oversensitivity, anxiety, excessive use of substances like nicotine, alcohol, and illicit drugs, depression, anger and resentment, loss of objectivity, memory issues, poor concentration, focus, and judgment (Lombardo, 2011). While a care giver can experience any of the above symptoms at any time during their career, it is important to note that a combination of any of the above symptoms would be used to determine whether or not a person is experiencing compassion fatigue.Possible factors leading to compassion fatigue can be classified according to personality characteristics, previous exposure to trauma, empathy and emotional energy, response to stressors, and work/organizational characteristics (Sabo, 2011). Research clearly demonstrates that working with patients who are in pain, suffering, or at end of life may take a toll on the psychosocial health and well being of nurses (Sabo, 2011). To determine whether or not a health care giver is experiencing compassion fatigue an assessment tool has been developed.The following is a basic assessment that can be done by the nurse to help determine the risk of compassion fatigue. Description/evaluation of one’s work setting and working conditions; one’s tendency to become over involved; one’s usual coping strategies and management of life crises; one’s usual activities to replenish self physically, mentally, emotionally, and spiritually; and one’s openness for learning new skills to enhance personal and professional well being (Lombardo 2011). Some interventions that could be used to help reduce the incidence of ompassion fatigue include early recognition of signs and symptoms, staying physically fit, staying well rested, develop healthy and supportive relationships outside of the work environment, and implement diversions like journal writing, counseling, or enjoyable recreat ional activities to help combat compassion fatigue (Panos, 2007). One could also seek guidance from a mentor or counselor. Koloroutis (2007) identified three core relationships for transforming practice using relationship-based nursing including the nurse’s relationship with patients and families, the nurse’s relationship with self, and the nurse’s relationship with colleagues.The nurse’s relationship with self is a core concept in managing compassion fatigue. Nurses need to be assertive, to express personal needs and values, and to view work-life balance as an achievable outcome. This relationship with self is essential for optimizing one’s health, for being empathic with others, and for being a productive member of a work group within a healthcare facility (Lombardo, 2011). The coping strategies for dealing with compassion fatigue fall along the same line as those of prevention.If one were to find that one is experiencing compassion fatigue some coping strategies would include exercise, maintaining a personal life that includes healthy relationships, develop a sense of humor, set limits between work and home activities, and broaden your horizons. The Compassion Fatigue Awareness project has developed as a result of more and more care givers experiencing this trauma. This project gives resources for workshops, training, and counseling for care givers. ConclusionIn conclusion, compassion fatigue can take its toll on care givers and cause dissatisfaction for the care giver and their patients. It is imperative that care givers learn to recognize their limitations, know themselves on a spiritual level and just how much they are able to give of themselves in a work environment without over extending themselves which could then lead to compassion fatigue and/or burn out. It is also important for the care giver to implement strategies to help avoid burn out and compassion fatigue.These strategies could include those listed above as well as time for mediation at work, create a relaxing environment at work by transforming the work station, or just finding the time to discuss complex patient situations with supportive co-workers.References Anewalt, P. (2009). Fired up or burned out? Understanding the importance of professional boundaries in home health care hospice. Home Healthcare Nurse, 27(10), 591-597. Koloroutis, M. (2007). Relationship-based care: A model for transforming practice. Minneapolis, MN: Creative Health Care Management, Inc. Lombardo, B. , Eyre, C. , (Jan 31, 2011) â€Å"Compassion Fatigue: A Nurse’s Primer†Ã‚  OJIN: The Online Journal of Issues in Nursing  Vol. 16, No. 1, Manuscript 3. Retrieved Sept. 29th, 2012 from: http://www. nursingworld. org/MainMenuCategories/ANAMarketplace/ANAPeriodicals/OJIN/TableofContents/Vol-16-2011/No1-Jan-2011/Compassion-Fatigue-A-Nurses-Primer. html Maslach, C. , & Jackson, S. (1986). Maslach Burnout Inventory Manual  (2 ed. ). Palo Alto: Consult ing Psychologists Press. Panos, A (February, 2007). Promoting resiliency in trauma workers. Poster presented at the 9th World Congress on Stress, Trauma, and Coping, Baltimore, MD. Sabo, B. , (Jan 31, 2011) â€Å"Reflecting on the Concept of Compassion Fatigue†OJIN: The Online Journal of Issues in Nursing  Vol. 16, No. 1, Manuscript 1. Retrieved Sept. 29th, 2012 from: http://www. nursingworld. org/MainMenuCategories/ANAMarketplace/ANAPeriodicals/OJIN/TableofContents/Vol-16-2011/No1-Jan-2011/Concept-of-Compassion-Fatigue