Prepare a financial plan for the company you select for your business plan, this should be a company that you
start versus an existing publicly traded company. This financial plan will be included in your final business plan
in your capstone course. Be creative and think about a franchise or business that you have always wanted to
Describe the business that you would like to start, including the type of business (what industry, product
Create the business case, which is your justification of why the business is needed in the market.
Determine why funding is needed for the company.
Determine the sources of funding. Considerself-funding, borrowing, equity, venture capital, etc.
Evaluate the requirements of each funding source you determined appropriate.
Analyze the associated risks of each funding source.
Decide which sources are the best fit for your company based on the requirements of each. Justify your
Estimate the cost of capital for both short-term and long-term funding sources. Research current estimated
APRs for your selected sources of funding. Consider creating a table or chart to display this information.
Create a profit-and-loss statement for a 3-year period. Project revenue, stating realistic assumptions, such as
growth per year, in your projections. You will have to develop these numbers and provide details.
Estimate direct costs, including capital, marketing, labor, and supply costs, which should be included in your
P&L statements for all 3 years
of her mother. Strength that was learned through experience, not instruction. The subjective identity of the narrator is, in a sense, inextricable from the Girl, a ‘we’ of mother-daughter identity. The Girl’s minor presence ‘ two brief and seemingly inconsequential challenges ‘ suggests that perhaps it is the Girl who is narrating and working out her own identity through speaking, through recreating and re-enacting (with language) the complicated relationship with her mother, the complicated identity of learning to be a girl/woman, a (re)enactment through assembling the severe and protective and loving and damning instructions on how to be. The motives behind the sternness seem to be protective (despite their sometimes cruelty), and through this protectiveness the identities of the mother, and her mother, and her mother and the Girl, and her daughter, and her daughter. Implicated in this merging as readers; having been addressed as ‘you’ throughout, it is hard to escape thinking about ourselves in the Girl’s place, the imposition of authority as we’ve experienced it, as imposed by our own parents, the ways these impositions can both protect and limit us. There is an anxious even urgent quality to the writing ‘ its nervousness rooted in doubts about the assumptions on which the instructions depend (assumptions about gender roles and division of labor, courtship, social appropriateness, and most severely/menacingly sexual identity, i.e. ‘like the slut I have warned you against becoming’ ‘ ‘you are not a boy, you know’ .. ‘the kind of woman the baker won’t let near the bread’). We are addressed directly ‘ you you you. But then someone speaks on our behalf, a small voice: but I don’t sing benna on Sundays, what if the baker won’t let me feel the bread? ‘Girl’ is written in a verbal style as dialogue / monologue / performance. The writing has force, feels urgent, the stakes feel high as if there are consequences for not following instructions, although we are not told what the consequences might be. >GET ANSWER