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Cut the face off the crab. Remove the abdomen. Remove the gills.

Take a pair of scissors from your kitchen and use this to cut the face off the crab. The face includes the crab's eyes and mouth. Cut a straight line across the front of the crab, just behind the eyes and mouth, to remove the face. It is generally easier to use scissors to remove the face. However, not all scissors will be sharp enough. If your scissors fail to cut through the crab, use a sharp knife instead to make the cut. The abdomen of the crab is the small flap of shell on the underside of the crab. You do not need any special tools to remove the abdomen. Pull it off with your fingers. You will see the gills underneath the abdomen. They resemble small, beige tongues. To remove the gills, grab them with your fingers and pull them off.

Rinse out the guts. Break the crab open to get the meat. Cook your crab. Finished!

Once unwanted materials are removed from the crab, it can be cleaned using water. Hold the crab under running tap water to rinse out the guts. These are the greenish brown substances found inside the crab. Keep rinsing the crab until the guts are completely removed. Now, you can get to the meat of the crab. This can be cooked after it is extracted. Turn the crab upside down. Hold it with both sides and place both thumbs underneath the crab, near the midline of the crab's back. As you push with your thumbs, pull down with your hands. The crab will crack open. You should be left with two even sections of crab meat. Crab sections can be cooked in boiling water. Cook them for 12 minutes. Use a light amount of salt to flavor the crab. If you want, you can serve your crab with melted butter.

Kill the crab first, if necessary. Thaw a frozen crab. Allow the crab to cool and dry.

If you purchased a live crab, it is necessary to kill it before cooking it. The simplest way to kill a live crab is to immerse the crab in boiling water for 60 seconds. Then, use tongs to remove the crab from the water and place it in an ice bath to cool. If you are using frozen crab, thaw it out before cleaning it. Fill a sink with cool water and immerse the crab in the sink. After about 15 to 20 minutes, it should be thawed enough to clean. If you boiled your crab, let it become cool to the touch before cleaning it. You should also let it dry off first, as handling a wet crab can be difficult. If you thawed your crab in water, let it dry before cleaning it.

Find a camera to use. Drag out props and costumes. Set up a scene by moving things around in your location. Shoot that scene. Set up and shoot the remaining scenes. Encourage your actors to make gestures and facial expressions. Give your actors lots of breaks. Take more video than you think you need.

These days, it's pretty easy to find cameras to shoot movies. You can use a smartphone, a tablet, a digital camera, or, if you have one around, a better quality film camera. It should be able to record audio, as well. Make sure you know the camera really well before you begin shooting. Play around with it first or look at tutorials online if you don't know how to use it. Just remember movies take up a lot of memory. You may need to download your videos to a computer with more memory from time to time so that you have enough space to keep shooting. Always ask before you borrow a camera or smartphone! Also, be very careful with borrowed equipment. Props are things that you use in your movie, like swords, cups, books, or anything object that moves the story along. Costumes are what the people in the story wear. You can use everyday clothes or pull out old Halloween costumes. Try to make them fit the story and your characters. For instance, a 12-year-old girl who likes adventure might wear sturdy but fun boots, a long pair of shorts, a colorful t-shirt, and her hair up. Look around your house for props you can use. Remember to ask before borrowing them. If you need something extra, try asking your parents if they have what you need, borrowing from a neighbor, or asking your parents to take you to a thrift store. Props don't have to be "real." For instance, if you need a sword, you can make one out of cardboard and foil. When you first go in to shoot a scene, look around. Is the lighting good? You should be able to see your characters pretty well. Is everything in the room that you need for the scene? If you need a coffee mug for the scene, make sure it's there. Think about how the room or area will look on screen and adjust the room. It can help to hold up your hands in a square (to show you how much you'd see) or simply look through your camera without recording. If the lighting is bad, adjust as needed. Turn on lights or open curtains. Try not to blind your actors, though! For instance, if you have 2 characters talking to each other, you may want to be able to see them in one shot. That means you may need to move chairs around so they're closer together. After each person has memorized their lines for a scene, you can start filming. You say "Action" to start the scene, and then it begins. Your characters should move around like you've written in the script and say their lines to each other. You can change things if the scene isn't working. Try to help people out if they seem a little lost. For instance, if someone doesn't know how to act in a scene, try to give them motivation. You could say, "How would you feel if you just found a treasure map? Wouldn't you be a little curious first and then get more and more excited? How would that make you act?" Repeat the action of setting up each scene. Look at each one carefully to make sure you've got it set properly. Then, shoot each scene as you set it up. Acting involves more than just saying the lines. Your actors need to react to each other like they would in real life. If someone says something mean, the person they're saying it to will look angry or hurt, for instance. So if you notice an actor is smiling after another character says something mean, stop and talk to them. You could say, "When that person says something mean, react like they're saying it to your personally. Wouldn't you frown or look upset?" Kids and adults can have short attention spans, and they may not want to act for hours on end. Try shooting a single scene in a day, for instance, so you don't overwhelm your actors. If they want to do more, that's great. Just make sure you're listening to what they're saying. If they're bored with it for today, stop and do something else! When you cut down your movie, you'll need more footage than you think. It takes lots and lots of footage to get the shots that you want. Then you can pick and choose to create your perfect movie. For instance, try shooting the same scene at least a couple of times. That way, you can pick the best shots if something goes wrong in the scene at some point. It can help to shoot the scene from different spots in the room. That way, you can cut between different shots. For instance, if you shoot from the perspective of the stairs, then from the kitchen, you can move between those two perspectives as your characters are talking. Plus, if you need to use footage from different videos, you can do it without making the movie look like it's jumping by switching to a different angle.

Brainstorm ideas by yourself or with friends. Decide who the main character is going to be. Write down your basic story in 2-3 sentences. Make sure your story has a high point. Break your story into scenes. Write a short description of each scene. Put your story in script format. Add the dialogue. Make a list of all the characters in your story. Finish out all your scenes to complete the story.

What do you want your movie to be about? Do you want an exciting adventure? Do you want a fantasy story? Do you want a love story? You could also try action, mystery, or science fiction. If you're not sure where to start, think about your favorite movies. You don't want to copy them, but you can make a similar movie. You can also mix and match ideas. You don't have to choose just one! But, try not to let it get too crazy. Save some ideas for the next movie. You can even make a movie based on one of your favorite books or stories! The main character is the person who leads the story. For instance, in the film Brave, Merida is the main character. She's the hero, and the story is all about what happens to her and what decisions she makes. You can have more than one main character, such as Nemo and Marlin in Finding Nemo. Basically, your main character will drive the story forward. Your movie is all about them and what they do. "Story" is also known as "plot." Basically, it's just what happens. Writing it down in a few short sentences can help keep you focused. Think about what happens to your main character. Maybe you want them to go on a journey to find treasure. That's the end of the story, so your sentences could be: "Jessie finds a map in her attic with a mysterious place marked on it. She decides to find the place! Along the way, she meets Robbie, a very smart young boy in the neighborhood, and they follow the map and find treasure." You can also write it as "What if?" statement, such as "What if a girl finds a map in her attic that leads her to a buried treasure?" When first starting your story, your character is going through normal life. They need something to set them off on a journey, such as the map in the example. They need to be working towards something, which results in the high point of the story, called the climax. The climax is the most exhilarating part of the story. It's the point where a suspect is about to get caught in a mystery, or in our case, it could be the point where Jessie finds the treasure on the map... or finds out there's nothing there. A scene is a smaller section of a movie. One scene is usually made up of unbroken time and action. In other words, each scene stands by itself, kind of like a chapter in a book. For instance, say your character starts out hanging out downstairs, bored, with her mom. That's 1 scene. Then, she is searching the attic and finds a map, scene 2. Downstairs again, she asks her mom if she can go see her friend, scene 3. Try writing a couple of sentences for each scene you want to create. You're writing out your story from start to finish. Just describe each scene one by one. For instance, you might write: Scene 1: Jessie is hanging out downstairs looking bored and watching the clock. Her mom tells her to do her homework, but Jessie says it's already done. Her mom tells her to go find something to do, so she sighs and goes upstairs. Scene 2: Jessie is in the attic of the house, moving things around and looking in boxes. She's looking in the bottom of an old wardrobe when something catches her finger at the bottom. She peels up a board and finds the treasure map. Scene 3: Jessie is downstairs, asking her mom if she can go talk to her friend. Her mom says yes and she runs down the block. Script format is a little strange. Start by listing where the scene is. Then, you can add a description of the room and anything that's happening in the scene. For example, for scene 1 and 2, you might write it like this: Scene 1Living room, mid-afternoon.The living room is cozy with a sofa and 2 arm chairs. Light streams in from large windows. Jessie, 12, is lounging in a chair, looking bored, while her mother looks on from the kitchen. Scene 2Attic, a few minutes later.The attic is dusty and filled with boxes and other random stuff. Jessie, 12, is digging through boxes and moving around the room. The dialogue is what the characters say to each other. Sometimes, a character can even talk to themselves if no one is around. Dialogue can sound a little off if you just write it, so try saying it out loud! Think about how you talk to your friends and how you'd talk to your parents or teachers. It's different, isn't it? That should be reflected in your dialogue. Use italics to show that some lines aren't spoken, but rather, performed by the actor instead. Keep going through the dialogue and action notes until you finish with the scene. For the first scene, you might start out writing: Jessie: I'm so boooored.Jessie sighs and leans on her arm.Mom: If you're that bored, go do your homework.Jessie rolls her eyes.Jessie: I already did my homework. You need people to play each character. That means you need to know how many you have first. Write down each character and something about them, such as their name, age, and personality. For example, you might write, "Jessie is a 12-year-old kid who likes books and plays soccer. She is always getting into trouble because she goes off on adventures." Write out dialogue, description, and action for each scene in your story. Once you're done, you can get started on the next part!

Pick a location or two. Ask people to be in your movie. Cast your characters. Try a stop-action movie if you don't have a cast. Run through the script a few times. Rehearse each scene with blocking.

If this is your first movie, keep it simple. Choose 1 or 2 places where you can shoot your movie, not more. It can even be just inside your home with props borrowed from around the house! You can shoot in your backyard or at your local park. If you want to shoot in a building, ask the owner if you can use it first. Pick a place that fits your movie. For instance, most scary movies aren't filmed outside in bright sunshine, and an adventure story may need more than 1 location. See if your friends want to play parts. Let them know they'll have to memorize lines which can be a little hard! Your parents or siblings might also want to get in on the action. For instance, you could say, "Hey, I'm making a movie! Do you want to be in it? You'd have to memorize some lines, but it could be a lot of fun!" "Casting" means putting people in different roles. Once you gather everyone together, have them read different lines. That way, you can see which person is best for each character in your story. Then, decide who you want in each role based on how they read and whether they fit the part or not. You can always change your characters around if no one fits a character exactly. Be flexible. Give each person a copy of the script to read. You can highlight their parts to help them out. Make sure you give each person who's interested something to do. If they don't want to act, have them help set up scenes or assist people with memorizing their lines. "Stop-action" just means you use small figures and take pictures of them. Each time you take a picture, you move the figures a little. When you put the pictures together in a movie format, it looks like the figures are moving. For instance, you could use dolls, action figures, clay, or even building blocks as your stop-action figures. Start by having everyone sit around and talk through the script. That is, you can read the description and action, and each other person can read their lines out loud. This helps them get an idea of how the movie will work. It also lets you make changes if things aren't quite working. Work in the location you're going to be using, and go over the lines in each scene. As you do, set up blocking. Blocking is where the actors will move while they're being filmed. Blocking is important because you want them to stay on camera. You also want to make sure they face the camera most of the time. For instance, you might rehearse how Jessie's mom will come in from the kitchen in the opening living room scene, always facing the camera.

Use movie-making software to edit your film. Take out what you don't need. Order your scenes. Add transitions between scenes. Put in music to help set the mood. Finish your film off with opening and closing credits.

Most computers come with movie-editing software, like iMovie or Windows Movie Maker. You can use the software to take out parts of your videos and put other parts together. You can also use it to add transitions, music, and credits. You can also try apps like Magisto, Toontastic, GoAnimate, or Animoto. If you don't know how to use the software you have, try looking up tutorials online. You probably shot some scenes over and over. Start by moving what you don't need out of your main movie. Try to pick the videos where your actors did the best. You can even pick parts from different videos and put them together in the same scene. For instance, maybe someone spilled their drink in one video, but the actors did the best on their lines early on in the scene. You can use part of the first video and replace the second part with shots from another video. Now that you've taken out what you don't need, make sure your scenes are in the order you want them in. They should have a logical flow from start to finish so that your viewers can follow your story. A transition is how you get from one scene to the next visually, such as fading, cutting, or dissolving. You can add different types of transitions, depending on the scene. For instance, a cut goes directly from one scene to the next, replacing the image instantly. A fade slowly goes down to black, and then brings up the next scene. A dissolve is when the scene slowly disappears as the next one slowly appears. For instance, when moving between scene 1 and 2 in your movie, where Jessie goes upstairs, you might try a cut since not much time goes by. Pretty much all movies use music to set the mood. You can use your favorite songs, but make sure they fit the scene. You can also use instrumental music (music without words) to help create a mood. For instance, maybe when Jessie is looking around the attic, you can play quiet music with a good beat that makes you think of someone being curious. Your video-editing software should let you add music. Make sure your music doesn't overpower the dialogue. If you have it playing in a scene with dialogue, it should be much softer than what's being said. At the beginning of the movie, you should have the title of your film. Usually, you add it over the opening scene, which you can do in movie-making software. You can also add the names of the main characters and actors, if you want. At the end, you can include rolling credits with all the actors' and characters' names. At the end, include anyone else who helped with the film. List any music you use to give credit for it. Put the date in, too.

Plan ahead when making the soup. Fill a sink with ice, and add enough water to turn the ice into a slush. Pour the soup pot into new, metal container and place it into the ice bath right after you take it off the stove. Stir the soup every 10 to 15 minutes. Drain the excess water and add more ice when necessary. Check the temperature often.

Not all items freeze well, so if you are making your soup with the intention of freezing it, you might want to exclude these items. You can add them in fresh when you are reheating the soup later. Items that don't freeze well include: cream, eggs, fresh herbs, and pasta. Veggies freeze well, but you may want to slightly undercook them to better preserve texture. If you are freezing soup that already has these items in it, don't worry. There are a few things you can do to preserve their texture and flavor. You will have to chill your soup first before you can place it into the freezer. If you put hot soup into the freezer, you will risk thawing the other items in there. The soup also won't freeze evenly, or fast enough to prevent bacterial growth. Plan ahead. The ice bath needs to be level with the soup, once you put the pot in. Metal loses heat a lot quicker compared to other materials, such as glass or plastic. If you have a lot of soup, consider dividing it into smaller metal containers, and sticking all of them into the ice bath. The ice bath must be level with the soup. If it is too deep, drain some water/ice. If it is too shallow, add some more water/ice. This will help distribute the cold throughout the soup. It will also help it cool more evenly. You can use an ordinary spoon, or for even faster results, a cooling paddle. Cooling paddles are plastic paddles that are filled with water and then frozen solid. Commercial kitchens use these to stir hot soups to make them chill faster. Consider placing a fan next to the soup. This will help move warm air away from the soup. As the soup cools, the ice will begin to melt. When this happens, you will need to drain the excess water, and add even more ice. The ice bath should always be level with the soup. It should also always be filled with ice, and not just cold water. Use a clean, meat or cooking thermometer to gauge the temperature. Once the soup reaches 40°F (4°C), you place it into the freezer.

Choose a plastic, re-sealable, freezer-safe bag. Label the bag. Place the bag into a jar, and flip the top edges over the mouth of the jar. Fill the bag with the soup. Seal the bag. Place the soup into the freezer.

These bags are usually thicker and more durable than your average sandwich bag. If you are freezing a lot of soup, consider using different sized bags for different portion sizes, such as gallons and quarts. Plastic bags will save space in your freezer. If you are hesitant about using plastic bags and don't care about saving space, use a plastic box with a tight-fitting lid instead. Write the name of the soup and the date using a permanent marker. Frozen soup will not last forever, and needs to be used within a certain amount of time. Dairy-based soups will only last 2 months, while broth-based soups will last 3 months. Any longer, and the taste and texture will be compromised. This will hold the bag stable. Make sure that the jar is large enough to hold the bag. If you are using a plastic container, set the container down on a stable surface. Use a ladle to transfer the soup from the pot to the bag. If you are using a plastic container, leave ½ to 1 inch (1.27 to 2.54 centimeters) of space between the soup and the lid. This will allow for the soup to expand while freezing. It will also reduce the chances of freezer burn. Pull the bag out of the jar, and squeeze out as much air as you can. An easy way to do this is to close the bag most of the way, and then to press the air out. Seal the bag tightly. If you are using a plastic container, simply place the lid on tightly. Lay the bag(s) flat on the bottom of the freezer. When they freeze and become solid, you can stack them to save space. If you are using plastic containers, you don't have to wait for the soup to freeze. You can simply stack them from the start. Soups that contain grains and starches, such as beans, pasta, or potatoes, can go mushy. To keep this from happening, place the soup towards the back of the freezer. The temperature is most consistent there.

Put a piece of tape over a friend or coworker's computer mouse. Put yellow food coloring in the toilet tank. Make a bottomless box. Get someone stuck holding an egg through a door. Fill a deodorant container with cream cheese.

The mouse won't connect to the screen and it will drive them crazy trying to get their mouse to work. If you're feeling extra hilarious, put a funny picture on the underside of the mouse so they know who's responsible. The toilet tank has the water the replenishes the water supply in the toilet bowl when you flush. Every time someone flushes the toilet it will make it look as if the toilet is broken. Cut through the bottoms of all the cereal boxes in your house and leave them upright in the cupboard for a hungry, unsuspecting victim to grab. When a friend or family member has their hands full, tell them you want to try an experiment. Get them to put their hand through a door and hold onto an egg. Then walk away, leaving them still standing, unable to leave without dropping the egg. Remove the deodorant stick from the container and replace it with a stick of cream cheese. You'll need to shape the cream cheese across the top of the deodorant container.

Change a friend or coworker's tech settings to another language. Change a few common words on Word or Outlook autocorrect. Dip the ends of pens in clear nail polish. Put clear nail polish on some soap. Pretend raisin cookies are chocolate chip cookies. Fill a mayo jar with vanilla pudding. Switch the salt and the sugar.

Get hold of their Facebook, phone or computer and change all the settings to Latin, or Spanish, or German, anything they don't speak. When your friend tries to type something, it automatically puts in the misspelled word. You can also do this in your friend's autocorrect on their phone so when they try to text they get really weird or hilarious words. Do this to your coworkers or your family members. The ink won't be able to get through and no one will be able to write anything. Leave it in the shower or by the sink so you can watch. It won't lather and your victim(s) won't be able to wash their hands or figure out why the soap won't work. Bring a large batch of raisin cookies into work and say that they are chocolate chip cookies. Watch as everyone gets really mad when they take a bite. To spice it up a little put some pepper in. Watch as someone makes a sandwich (or be really helpful and make them a sandwich). Or you could grab in down while you're with your friends and starting digging into the mayo. Put sugar in the salt shaker and put salt in the sugar bowl (or even in the sugar bag).

Cover a door with saran wrap. Cover an actual egg with chocolate. Switch the handle on the fridge door. Fill a dozen cream donuts with mayo. Change all the clocks in the house. Saran wrap someone's car.

You will only want to cover the upper part of the door, otherwise their feet will hit the wrap instead of their face. (You may be able to trip the victim if you put it below!) Also you need to pull the saran wrap taut to tape it, otherwise your victim will see it. Enlist a friend to help. Get a real egg and cover it with melted chocolate. Allow to dry. Cover it with brightly colored foil, like a chocolate egg. Give to someone you love. If you have a refrigerator that allows you to remove the handle, get a screwdriver and unscrew the handle. Switch it to the other side of the fridge, and screw it back in. People will try to open the fridge and get really frustrated when they can't. Get a dozen cream filled donuts, scrape out the cream, and refill it with mayo. Take to work and anonymously leave it in the break room. You'll need to have access to your victim's phone and computer, otherwise they will figure out pretty quickly what's going on. Change it to a couple hours ahead or behind. Take saran wrap and wrap it all the way around your victim's car so they can't get into with without cutting it. You'll need a lot of saran wrap to pull this off.

Break the cycle. Identify the root cause of your apathy. Listen to family and friends. Examine your isolation. Determine if you are unfairly comparing yourself to others. Examine the things you used to enjoy.

First and foremost, you must decide to break the cycle of apathy. If your thoughts continually lead you toward inactivity and powerlessness, it is time to generate different thoughts. All your thoughts and actions must focus on gaining your power back and learning how to prevent the physical and emotional paralysis that it causes. Participate in activities that generate thoughts and bolster the belief that you have power over your existence, and you can create new possibilities. For example, something as simple as cleaning your living area will show you that you can improve your situation. The signs, symptoms and causes of apathy must be understood. Apathy can manifest in your behavior in ways such as loss of interest, concern and enthusiasm for many things in life. What has taken the wind out of your sails? Have you dealt with a lot of rejection? Was that compounded by your belief that no one listens to you? Have you not reached a certain level of education, work or social status, and you don’t think you ever will? Do you have an imbalance somewhere within your body’s systems? Only you can answer these questions. There may be physiological, psychological or sociological causes that are either singularly or collectively causing or contributing to the problem. Ask an M.D., medical doctor to run blood work to rule out conditions such as thyroid disease, hormonal imbalances, and other conditions. Apathy is a symptom of many other conditions that can be addressed and treated. Ask an N.D., naturopathic doctor to address the issues an M.D. does not address. An N.D. takes a more holistic approach to healthcare, which can be an effective addition to the care an M.D. provides. For example, an N.D. is specifically trained to address chemical and nutritional sensitivities, and allergies that may be affecting your mood and overall wellbeing. If you hear family and friends trying to “help you” get motivated, they have noticed something might be wrong. From the outside, your apathy might be viewed as laziness. You know this is wrong, but you aren't really sure what you are feeling. When you get locked into an apathetic spiral, it can be tempting to get defensive and want to push back against the people trying to help you. Learn to listen because people are concerned about you. Whether or not you choose to take their advice, at least make an effort to hear them out. It is difficult to feel wrongfully accused of being lazy, especially when you don’t know how to get out of the hole you are in. You can say, "I know it might look like I'm being lazy, but in all honesty I just don't feel right. I want to find out what it is so I can feel better." Are you spending the majority of your day by yourself with little to no input from others? Spending the entire day with only your thoughts limits your perception of your life and the world. If you have negative thoughts, then you end up spending the entire day in a negative space. Spend more time with your close friends and family. Don’t let yourself become isolated from others. Strike a balance between alone time and time you spend in social situations. Allow yourself to feel uncomfortable in social situations. It is normal. Anything new becomes increasingly easier to do with practice. While it's important to socialize, don't spend time with people you don't like. If you tend to get dragged down into feelings of depression and apathy around certain people, hang out with people you enjoy being around instead. Apathy is often linked with feelings of unworthiness, and can be made worse by constant comparisons to others. Focus on building yourself up rather than tearing yourself down because you think someone is more successful, more beautiful or more talented. Don’t let it stop you from trying, caring and engaging with the world and your interests. You are successful, beautiful and talented in your own unique way. Remind yourself what you enjoy doing. Create a list of your joys from the past. When you feel apathetic, you start losing connections to the things that once gave you joy. It can even be difficult to remember what it was that used to get you excited. So sit down and make a list of those things. Keep the list in a place where you can see it. Did playing your guitar used to bring you joy? Pull it out of the dusty case and remember what it feels like. Were you an eager reader who always read the best sellers? Pull a book off the pile you’ve wanted to read and skim through it. Did you enjoy laughing with friends? Maybe your best friends haven't heard from you in days, weeks, or months. It’s time to make contact.

Design a routine that works for you. Commit to changing your outlook and behaviors. Execute your plan. Identify your first positive activity. Adjust for imperfections. Acknowledge your progress.

Re-lighting the spark you've lost starts with making the decision to move past apathy. Creating each step in your plan to build yourself back up, will provide an opportunity to achieve feelings of success. It is deliberate attempts to build small successes that lead to larger ones. Routines can provide the structure you need to hoist yourself out of the hole of apathy. If you have a routine to follow, you won’t have to think about what you have to do every day. Simply plug into your routine and take care of business. Start with simple routines such as: I wake up at 7:00, eat breakfast and take a shower and be ready for the day by 9:00. At the end of the day prepare your clothes and lunch for the next work day and go to bed by 10:00. Reach an agreement with yourself. Making a promise to yourself to improve your life is one of the most respectful things you can do. Keeping your promise can be difficult at times, if you allow yourself to negotiate your morals and standards. Sign a behavioral contract with yourself and get a witness to sign it as well. This will ensure accountability. Making a change can be difficult, but you are worth the effort. You might disappoint yourself, but you need to be the first person to give yourself a second chance. If you feel yourself backsliding away from a promise you made, tell yourself, “I know this is tough, but I promised myself I was going to do great things, eat great food and be powerful. I am saying this out loud to remind myself and recommit to my promise. I promise.” You are changing your circumstances, which is difficult, but the payoff can be profound. Focus on all the active steps you can take toward your goal. Keep information and lists handy so you can refer to them if you feel less than powerful. There is a time to move forward and a time to rest, but don’t allow yourself the option of going backwards into something that made you feel horrible. Find one thing that you can rally around and throw yourself into it. Just one thing. Don't worry about trying to get in shape, write a novel, and learn to play sitar all in the same week. You will overwhelm yourself. Hobbies promote good health and will likely prevent you from slipping back into a state of apathy. Pick up an instrument, start brewing beer, or pick up a sport and start playing it. Find something to get excited about. Don't worry about being great at everything. Let your fingers get rough and raw as you're learning guitar. Let yourself be confused as you read up on French philosophy. Experience growing pains and treat them as a thing you can overcome, not as a roadblock you'll never get past. You are human and that involves being flawed, just like everyone else. Any well-laid plan will include an opportunity to make a correction in the course if necessary. There are bound to be missteps and bouncing back from them will not only keep you on track, it will show you that you can regroup and continue. If you signed a behavioral contract, make additions when necessary, sign it and have your witness sign it again. If necessary, use every day as a time to tell yourself, “Today is going to be a great day and yesterday is behind me now.” It is important to write down your plans, goals and accomplishments. This will allow you the opportunity to review how far you have come. Progress is infectious. If you show yourself that you are capable, you will become even more capable and apathy will be left behind.

Change your thoughts. Stop self-loathing behaviors and thoughts of inadequacy by taking action. Take action by starting with small steps. Change your appearance. Change your bedtime and wake-up time. Exercise your body and mind. Monitor your diet. Make bigger shifts in thinking and actions. Switch jobs Relocate your residence. End toxic relationships. Stay busy.

A thought can change a feeling. In order to feel better, pick a better thought. You may notice the high frequency of your negative thoughts, which will show you there is room for improvement. Focus on generating positive thoughts to replace the negative ones. If you catch yourself thinking negative thoughts about yourself, tell yourself, "Stop!" Then replace the thought with something positive such as, "I am filling my mind with positive ideas that will change my beliefs. I am changing my life." For example, if you have the thought “There is no point in trying, because I know I will fail,” change it to something like, “Failure is an opportunity to learn. If I don’t get it right this time, I can always try again.” Be the first person to congratulate yourself on any job well done. Try to see your positive traits in the way others see you. Question your self-perception. You may be harshly judging yourself, with no supporting evidence. Even if you think taking out the trash is not a big deal, give yourself an “at-a-boy” for getting the task completed. It doesn’t matter how big or small, you must honor yourself by recognizing the things you can do rather than focus on those things you believe you cannot. If you're struggling with severe apathy, it's unwise to dive straight into the deep end of new responsibilities and ambitions. Make small changes at first and gradually work toward more significant responsibilities. Each step you take forward is a step away from apathy. For example, if you feel like all you can do in a day is wake up and make it to the couch, it's probably not realistic to decide to run a marathon. Cut off your hair, or make a drastic change in your appearance. Getting a haircut can be a loud statement or a quiet rebellion against apathy. This can be extremely effective at giving yourself a small but significant change to jolt yourself out of your routine. If you’ve been sleeping a lot, then go to bed at a reasonable time and wake up 7-8 hours later. Several studies indicate that optimal sleep is important for normal brain function. Reestablishing a proper sleep pattern will allow you to have more energy and motivation to increase your participation in life. Staying in bed too long can end up making you feel drowsier and depressed, so jolt yourself awake and hop out of bed an hour or two earlier than normal. Periods of extreme apathy can be reversed, sometimes by taking the smallest of steps. Getting outside and using your body can be enough to jolt yourself out of your haze. If the idea of exercise makes you want to head for the couch, take that as a sign that it's a necessary idea. You don't have to jump immediately into running 5k races and swimming 10 miles (16 km) each morning. Go slowly and do what you're ready for. Start with light stretches and calisthenics each morning or go for a brisk walk around the neighborhood. Exercise can help to release beta-endorphins into the blood-stream, which can produce an effect known as "runner's high," helping to induce euphoria and pleasant feelings. It will also increase your stamina, give you energy, and help you sleep better. Win-win-win. Unhealthy consumption of food can lead to a cycle of apathy. The more apathetic you feel, the more likely it is that you will consume food that is not good for you in quantities that will lead to obesity. Do not rely on frozen foods, fast food, and other junk instead of healthy, nutritious meals. Avoid eating too much refined sugar and preservative-laden food that affects your BDNF hormones, which have been linked with increased risk of depression. Try to start cooking simple meals that emphasize fresh vegetables, fiber, and a minimum of pre-prepared or packaged foods. If you cook a lot in the microwave, then alternate by cooking on the grill, in the oven or on the stove. This will create flavors, textures and aromas that provide variety to your life. It may be appropriate to make bigger changes in your routine to help jog yourself out of an apathetic haze. Decide whether something major about your life needs to go, be changed, or be altered in some way that will motivate you. . If your job leaves you feeling underemployed, unappreciated, or bored, you need to seek employment elsewhere. The purpose of a job is to provide you income and a sense of purpose. While some people can deal with a "paycheck" job as long as their lives are robust and full outside of work, other people struggle. Make the choice to find emotionally gainful employment. Moving elsewhere can give you the change in scenery you need. If you're feeling stuck someplace where you don't know people, you don't feel comfortable, or you don't enjoy being, it may be helpful to change your residence. While it's true that you can't always outrun your problems by moving, it can be a spark that some people require. Studies have found significantly fewer anxious and depressive behaviors among people who move to more positive environments. Ending toxic relationships will stop an accumulation of negative feelings. A relationship should fulfill you and support you, not drag you down into competitive spirals, petty arguments, and resentments. If you are in a relationship that fails to provide you with emotional support, end it. One great way of doing the end-around on your apathy is to schedule stuff, despite yourself. Call up a friend and make plans to meet for dinner and drinks on Monday, then schedule yourself for an after-work training appointment at a gym for Tuesday. Go for a long walk on Wednesday and visit a friend who lives on the other side of town. Keep your schedule super-full and don't give yourself a chance to get in your own way. Identify your "empty spaces." There are times of the day or night when you feel the most apathetic or dragged down. If you always seem to feel unmotivated before you go to work, schedule something to make use of that time. For example, use this time to listen to audio recordings of uplifting music, motivational material, or meditations that have been shown to change the brain. Fill your empty spaces with rich and positive information.

Let go of the past. Tell friends and family that you are trying to change your life. Educate yourself. Be open and honest with yourself. Unplug from e-connections. Seek professional help. Realize you are not alone. Generate the power in your life one step at a time.

If you try to let something go and it continues to eat at you, hold you back or elicit feelings of apathy, you likely need to process residual feelings. You will eventually reach a point where you feel and believe your struggles are behind you. Living each day in the present moment allows you to leave the past behind. Process residual feelings from the past by talking with a close friend, family member or therapist. This includes reiterating your desires to stop apathy’s affects. Not only will people want to help you, but saying it out loud will help you be accountable to yourself and your goals. If you struggle then say, "I am having a hard time and I appreciate you trying to help me. Are there any insights you can share with me about how you have struggled in the past?" Apathy is directly related to other significant problems, including issues of anxiety, stress, clinical depression, certain diseases and metabolic abnormalities. It is important to note that general feelings of apathy, especially if they last for long periods of time, can be one of the biggest indicators of clinical depression, which may be the underlying cause of your feelings. External causes might include unhappiness at your job, your relationship, or other circumstances which leave you feeling unappreciated or underemployed. If you’re feeling unfulfilled by something that used to bring you pleasure, determine when you started feeling this way. Has it always been so? Was it linked to a break-up, or another moment of extreme turmoil? Are you or someone you love or care about feeling uninterested by once-engaging and exciting activities, or feeling unmotivated at work or school, failing to follow through due to wasting time watching TV, playing video games, and messing around on line? Are you feeling frustrated or embarrassed being around friends who have something interesting going on in their lives, or are you avoiding your friends altogether? Introspection is the process of directly attempting to access your own internal processes. . When you figure out how and why you react to the people and things around you, then you will be able to help yourself solve many personal struggles. Only you can do the work that it takes to find the answers to these questions. Analysis can be difficult, but it can put you on a clear path toward change. One excellent step to help you get away from a self-esteem spiral is to unplug from social networking for short periods of time. You don't have to quit Facebook cold-turkey, but researchers have uncovered a measurable connection between depression and clicking through your friend's vacation photos on Facebook throughout the day. The more Facebook, the less happy. If you're really struggling, don't go it alone. Schedule an appointment to talk with a licensed therapist and discuss your struggles with apathy. Just scheduling the appointment and knowing there will be someone to talk to can help. There is a tendency to think you are the only one who experiences the thoughts and feelings you are having. You must understand that many others have felt exactly what you are feeling and have gotten the help they needed. Fight the urge to push yourself to the outside where you might isolate yourself and not get the help that you need. Find a support group through a friend, your doctor or a trusted online source. Knowing you are not alone, will help you find the strength to make the changes you desire. With each action you take, a layer of apathy can be released. When you give yourself the opportunity to create a new way of looking at life, your confidence will build and feelings of apathy will fall away. Ridding yourself of apathy is not a quick-fix, but each step you take builds momentum that will carry you to the next step, and the next, and the next until you are free from feeling apathetic.

Use chlorine as your go-to algae killer. Brush the walls and floor of the swimming pool. Review pool chemical safety. Adjust the pool pH. Choose a chlorine shock product. Add an extra large dose of shock. Test the pool again the next day. Brush and test daily. Vacuum the dead algae. Clean the filter.

When your pool water is green or contains visible algae clumps, your pool does not have enough chlorine. "Shocking" the pool with a large dose of chlorine is the most effective way to kill the existing algae and bring your pool back to sanitary conditions. This usually works within 1–3 days, but can take up to a week if pool conditions are poor. The other methods listed below are faster, but may not fix underlying sanitation concerns. They are also more expensive and can have unwanted side effects. Brush vigorously to remove as much of the algae as possible. This will reduce the amount of time it takes to kill and clear the algae bloom. Pay special attention to the steps, behind ladders, and other nooks and crannies where algae tends to gather. Make sure the brush is compatible with your pool. Steel brushes work well on concrete, while nylon brushes are preferable for vinyl pools. You'll be handling dangerous chemicals during this method. Always read the safety information on the labels first. At minimum, follow these safety standards for all pool chemicals: Wear gloves, eye protection, and clothing that covers your skin. After use, wash hands and inspect clothes for chemicals. Avoid inhaling the chemicals. Use caution when handling in windy weather. Always add chemicals to water, never water to chemicals. Do not place wet scoops back in container. Store chemicals in sealed, fireproof containers, away from children, on separate shelves on the same level (not one above the other). Many pool chemicals explode when they touch another pool chemical. Use a swimming pool pH test kit to measure the pH of your water. If the pH is above 7.6 — which is common during an algae bloom — add a pH reducer (such as sodium bisulfate) to your pool according to label instructions. Aim for pH levels between 7.2 and 7.6 to make your chlorine more effective and reduce the growth of the infestation. Wait at least a couple hours, then test the pool again. Test kits that use tablets or droppers are much more accurate than paper test strips. If pH levels are back to normal but total alkalinity is above 120 ppm, check the pH reducer label for instructions to bring total alkalinity down between 80 and 120 ppm. The chlorine you use for regular pool treatment may not be the best choice for a shock treatment. Ideally, you should use a liquid chlorine product intended for swimming pools. The product should contain sodium hypochlorite, calcium hypochlorite, or lithium hypochlorite. Avoid calcium hypochlorite if you have hard water. All hypochlorite products are flammable and explosive. Lithium is relatively safer, but much more expensive. Avoid granular or tablet chlorine products (such as dichlor or trichlor), which contain stabilizers that should not be added to the pool in large quantities. Check your chlorine product's label for "shock" instructions. To fight algae, use twice the recommended amount for a regular shock. Use triple the amount if the water is very murky, or even quadruple if you can't even see the top rung of the ladder. With the pool filter running, add the shock directly to the perimeter of the pool. (If you have a vinyl pool liner, pour the shock into a bucket of pool water first to avoid bleaching.) Warning — liquid chlorine will explode and produce corrosive gas if it touches chlorine tablets or granules. Never pour the liquid chlorine into your pool skimmer or anything that contains these products. Because UV rays in sunlight break down chlorine, shocking is most effective when added in the evening and left overnight. After the pool filter has been running for 12–24 hours, examine the pool. Dead algae turns white or gray, and either suspends in the pool water or settles to the floor. Whether or not the algae is dead, test the pool again for the new chlorine and pH levels. If your chlorine levels are higher (2–5 ppm) but the algae is still there, keep maintaining these levels as usual for the next couple days. If chlorine levels have risen but are still below 2ppm, shock a second time the next evening. If there was no significant change in your chlorine levels, your pool likely has too much cyanuric acid (more than 50 ppm). This comes from using granulated or tablet chlorine, and can "lock" your chlorine into unusable forms. The only way to fight this is to shock repeatedly (sometimes many times), or to partially drain your pool. Large amounts of leaf litter or other objects in the pool can also eat up your chlorine. If the pool has been unused a long time, this could take a full week and several shock treatments. Brush vigorously to fight new algal growth on the walls. Over the next couple days, the chlorine should kill the algae. Test daily to confirm that chlorine and pH levels are acceptable. A well maintained pool has roughly the following values: Free Chlorine: 2-4 ppm, pH: 7.2 – 7.6, Alkalinity: 80 – 120 ppm and Calcium Hardness: 200 – 400 ppm. Slight differences in standards are common, so a small deviation should not be an issue. Once there is no green color left in your pool, vacuum up all the dead algae until the water is clear. You may skip this step and let the filter handle it, but only if you have a powerful filter and are willing to wait several days. If you're having trouble getting all the algae, add coagulant or flocculant so it clumps together. These are available at pool stores, but may not be worth the purchase for a home pool. If you have a D.E. filter, set it to backwash. If you have a cartridge filter, remove it and clean the cartridge with a hose at high pressure, followed by dilute muriatic acid or liquid chlorine if necessary. If you do not clean the filter thoroughly, dead algae may block the filter.

Improve circulation to handle small spots of algae. Gather the algae with a flocculant. Treat the pool with algaecide.

If small clumps of algae form but do not spread to the rest of the pool, you may have areas of stagnant water. Check that your water jets are functioning properly. They should point into the water at an angle, so the water moves in a spiral pattern. A flocculant or coagulant clumps the algae together, making it possible to vacuum living algae. This may take a hard day of work, but your pool should be clear by the end of it. This is the fastest way to get your pool looking good, but it does not make the water safe to swim in. If algae can multiply, so can viruses and bacteria. Follow this with a chlorine shock treatment to sanitize the pool, and do not swim in the pool until chlorine and pH levels are back to normal. Algaecide will certainly kill your algae, but the side effects and expense may not be worth it. Here are a few factors to weigh when considering this option: Some algaecide products are not powerful enough to treat an existing bloom, especially if you have black algae as well. Ask a pool store employee for help, or find a product with 30%+ active ingredients. Quaternary ammonia algaecides ("poly quats") are cheap, but cause your water to foam. Many people find this annoying. Copper-based algaecides are more effective, but expensive. They usually stain your pool walls as well. After adding the algaecide, wait at least 24 hours before adding other chemicals.

Maintain your pool water Add an algaecide as a preventative. Remove phosphates.

. Algae should not grow if you keep on top of your pool chemistry. Test the pool regularly for free chlorine levels, pH, alkalines, and cyanuric acid. The faster you catch a problem, the easier it will be to deal with it. Daily testing is ideal, especially in the week or two following an algal bloom. Always test at least twice a week during the swimming season. Algaecides are best used in small, weekly doses when pool conditions are normal. This will kill algae populations before they have a chance to grow. Check the product label for instructions. Make sure to follow instructions for regular prevention, not for existing algae blooms. Too much algaecide may stain your pool or cause foaming. Algae feed off several nutrients in the water, notably phosphates. Phosphate test kits are a cheap way to test for these chemicals in your pool. If they are present, use a commercial strength phosphate remover from a pool supply store. Let the filter and robot or manual vacuum remove the phosphate remover over the next day or two. Shock the pool once the phosphates are at a reasonable level. Pool professionals disagree over acceptable phosphate levels. 300 ppm is probably low enough unless you have recurring algae problems.

Look for a loss of pulse and breathing. Check for inaudible blood pressure if you have a cuff and stethoscope. See if the eyes are still and dilated. Watch for a loss of bladder and bowel control.

A lack of pulse (heartbeat) and respiration (breathing) are 2 of the most obvious signs of death. If you think a person may have died, check these vital signs first. However, keep in mind that it can be difficult to be sure if a person’s heartbeat and breathing have really stopped without medical equipment. Remember to look, listen, and feel for signs of breathing. To check for a pulse, lift the person’s chin and feel for their Adam’s apple (or voice box). From there, slide your fingers into the groove between the Adam’s apple and one of the large tendons on either side of the neck. If the person has a pulse, you should feel a rhythmic throbbing under your fingers. If you have a stethoscope and blood pressure cuff available, you can also listen for the sound of the person’s systolic blood pressure. Place the cuff on the person’s arm just above the elbow joint and inflate the cuff until it’s just over 180 mm Hg. Position the stethoscope inside the crook of their elbow, slightly under the edge of the cuff. Slowly release the air from the cuff and listen for the sound of a pulse as blood returns to the artery in their arm. If you can’t hear the sound of the person’s blood flowing into their artery after deflating the cuff, they may have died. Gently open one of the person’s eyes (if they aren’t open already). If the person has died, you won’t see any movement of the eyes. If you have a flashlight handy, shine it in their eyes to see if the pupils get smaller. After death, the pupils will typically stay open and enlarged even under bright light. Keep in mind that there are other things that can also cause unresponsive pupils, such as certain types of drugs or damage to the nerves that control pupil and eye movement. Don’t assume the person is dead unless you also see other signs, like a lack of breathing or pulse. When a person dies, the muscles that control their bladder and bowels relax. If the person suddenly wets or soils themselves, this may be a sign of death. Sudden incontinence can also be a sign of other conditions, such as nerve damage or a stroke.

Check for possible dangers before taking action. Try to get the person to respond to you. Call for help immediately if the person is unresponsive. Open the person’s mouth and check their airway. Look for signs of breathing. Perform CPR

Before you approach a collapsed or unconscious person, quickly assess the situation to determine if you can approach them safely. For example, check the area for hazards such as a downed electrical wire, fire or smoke, or toxic gas. Don’t try to touch the person or get close to them if you don’t think you can do so safely. Use caution if you think the person might be drunk or under the influence of drugs, since they could react violently if you disturb them. If you don’t think you can approach safely, call emergency services and explain the situation. Wait nearby until help arrives. If you feel confident that you can safely approach the person, check to see if they are conscious. Shout to get their attention, and say their name if you know it. You can also try gently shaking or tapping their shoulder. Say something like, “Are you all right?” A person is considered “unresponsive” if they don’t move or react in any way to stimulation from the outside, such as sound, touch, or strong smells. If the person shows no sign of consciousness, call emergency services immediately. Keep them on the line so that they can talk you through what to do until help arrives. Ask someone else to assist you if possible. For example, they can make the call or go look for help while you stay with the person and attempt CPR. Once you’ve called for help, carefully tilt the person’s head back and look inside their mouth. If you see any fluid or foreign objects in their mouth or throat, roll them onto their side and swipe your fingers across the back of their throat to clear away anything that’s stuck there. If there’s something in the airway but you can’t remove it quickly and easily, move on to doing chest compressions. Chest compressions can help dislodge material stuck in the airway. After checking the airway, see if the person is breathing normally. To check for breathing, first look to see if the person’s chest is rising and falling. If you can’t see their chest moving, put your ear over their mouth and nose. Listen for sounds of breathing and see if you can feel their breath on your cheek for at least 10 seconds. If the person is gasping, choking, or breathing irregularly, this means they are alive but not breathing normally. If the person is not breathing or if their breathing is abnormal, you’ll need to perform CPR. if the person isn’t breathing or if they’re breathing abnormally. Place the person on their back on a firm surface and kneel by their neck and shoulders. Then, check their pulse for 5-10 seconds. If they don't have a pulse, place the heel of one of your hands in the middle of their chest, between their nipples, and put your other hand on top of the first hand. Keep your elbows locked and your shoulders directly above your hands. Use your upper body weight to compress their chest 30 times, followed by 2 breaths. Do this for 5 cycles, then check their pulse again. If you haven’t been trained in CPR, stick to performing chest compressions (hands-only CPR). If the person has a pulse, only give them rescue breaths. Give them 10 rescue breaths per minute and check their pulse every 2 minutes. Aim to push their chest down to a depth of between 2 and 2.4 inches (5.1 and 6.1 cm). Try to do 100-120 compressions per minute. Don’t stop doing chest compressions until help arrives or the person starts moving and breathing on their own. If you’re trained in CPR, check the person’s airway after every 30 chest compressions and give them 2 rescue breaths before going back to chest compressions.

Do some background research. Open your review with a compelling hook. Describe 3-5 dishes that you sampled, not all of them. Use big, colorful adjectives when writing. Think about a restaurant's intentions, not just your personal preferences. Write a mixture of pros and cons. Make a recommendation. Fill in the essential details of the restaurant in the beginning or end of the review.

Once you've had your meal and taken your notes, take a little time to see what the restaurant's history is. These kind of details are a great way to add some color to your review. For example, you might find that the head chef trained in France or used to work at another well-loved restaurant in the area, and you can use these connections to make people interested in the food. Start by reading the restaurant's website. Look up the owner and executive chef to get an idea of their training, style, and past ventures. The first sentence of the review should make people want to read more. Remember, you are giving them a reason to either spend their money at this restaurant or skip ahead to another spot, but you're also trying to get them to read your writing. Some tips for a good hook include: Promise a story or surprise, such as "it may have taken a while to get to my mouth, but I've found the best paella on the planet." Make sure, however, that you deliver on the promise later! Give an interesting, tangential fact, like "Chef Zurlo only started cooking 2 years ago, yet she's quickly risen through the ranks to operate Oakland's best new bagel shop." Describe a particularly captivating or compelling part of the ambiance, good or bad, like a great view or a funny smell from the kitchen. No one wants to read a laundry list of foods, so pick the foods that made the greatest impression on you (good or bad) and focus your writing on these dishes. Don't just say if they were good or bad. Strive to give details and reasons, naming each specific dish. As an outline, you should try and talk about the following three things in every food review: Presentation: How'd the dish look when it arrived, and how did it make you feel? Excited? Hungry? Like royalty? Like you were in your family's kitchen again? Taste: The big, obvious one, but that is only because it is so important. Use descriptive language, metaphor, and simile to put your reader in your shoes, or mouth. Name spices or flavors when you can. Texture:This usually includes cooking process as well. Did it melt in your mouth? Was it still hot when it arrived? Was it juicy and tender or tough and brittle? Were their multiple textures (such as something soft with a crunchy crust), and did they work well together? Remember that, above all, you're selling the experience here, not just the food. Feel free to get poetic with your writing in places, using 1-2 well-placed adjectives to let the reader know exactly what they should expect at the restaurant. You can think of it, in some ways, as the short story of your trip -- give details and colorful additions that make the restaurant stand out and feel unique. This includes the atmosphere, the surface, and the location. The more specific details, the better. Try for one good detail about every interaction/part of the restaurant. A good food review is about helping other people find the restaurant, not just a platform to tell everyone your likes and dislikes. For example, if you go to a restaurant with retro art on the walls and rollerskating dancers, it is not fair to judge the restaurant for specializing in burgers and fries instead of oysters. A good reviewer is as unbiased as possible, evaluating the restaurant as a whole. What kind of atmosphere are they going for here? Do they pull it off? How do your preferences match the restaurants? If you hate seafood, but that is the restaurant's specialty, you may want to tone down the negative reviews of the salmon or tell your readers that you aren't generally a fan of fish. Unless it is either the very best restaurant you've ever eaten at or the very worst, it is not fair to write a review that is either all good or all bad. Try and give your audience the complete picture. This ultimately allows the reader to make their own decision based on your advice, which seems much more reasonable when it considers both the pros and cons. "While my servers were incredibly kind and accommodating, it doesn't change the fact that the food was a bit cold when it came out." "Head chef Mathew Tucci has designed an amazing menu, and it's a shame that he only has 10 tables to serve to in his small little restaurant." Ultimately, people want your advice on the food. What to order, what to skip, and what restaurants to go to depending on their mood. You should feel free to suggest certain dishes, recommending that someone should skip dessert, or mention if it seems like a great place to take a date. These make your review compelling and useful. If there is little of merit in the restaurant and you firmly believe is should be avoided, feel free to write a negative review. However, you should usually try a restaurant a second time, making sure that you didn't try out a fluke of a dish, before attacking it. This is where you put in the average cost of a meal, the reservations time, and the address. You could also add a rating, such 3 out of 4 stars, if you wanted. Many reviewers put this at the very end of the article, in it's own separate paragraph, but some also put it at the top, on a separate column on the side, or worked into one of the first paragraphs.

Avoid telling staff members that you are a food critic or reviewer. Make some notes of the restaurant's logistics. Describe the atmosphere and ambiance when you walked in. Make some notes on the service. Order from a wide swath of the menu.

You want to get the same experience as any other patron, as many restaurants will give you special treatment that may change your review if they know you're a critic. Instead of telling them you are there to review their food, simply head inside and take a table, acting like any other customer. The Association of Food Journalists even suggest that you avoid large culinary events (grand openings, staff parties, etc.) so you don't risk being approached by chefs looking for a good review. If you are an established reviewer you should make reservations under a different name. You should still bring a notebook or small recorder with you to take notes, though you can also take them on your phone. To write a great review, you should be taking notes. Did you need a reservation, and how far in advance was it set up? Where is the restaurant, and what is the neighborhood like? How was the parking? These facts will make up a very small part of your review, but this information is essential to help potential customers find the perfect restaurant for their night. Give your reader a feel for your experience. Does the wait staff treat you like family or an old friend, or is the place elegant and classy? What is the dress code like? What kind of atmosphere is in the restaurant? Be creative in the description -- a good food review is not just about the menu, it is about the entire experience. Do the decorations create an appealing ambiance? How are people enjoying their meals? At large, talkative tables or many small, intimate dates? Avoid thing like, "the service was good/bad." You want specifics. The best way to get them is by asking questions. While you don't want to pester people, a good waitstaff will know what foods go well together, if there are any allergens in the dish, and the basic presentation of the dish. Most importantly, a good waitstaff is there when you need it -- when water glasses get low, when a fork is dropped, and when you're ready to order your next course. You will not be able to eat everything on the menu. You should, however, touch as many sections of it as you can. Be sure to get a drink, an appetizer, a main course, and a dessert to get a sense of the kitchen's full capabilities. If you can, come with a group of people and have everyone order something different (beef/fish, the soup/salad, sauteed/simmered) to get a good idea how the kitchen handles the entire restaurant. As a food reviewer, you need to try everything you can to get a good idea of the restaurant. What you order is, of course, a matter of personal preference. However, asking the servers for recommendations is a great way to see what the kitchen and staff are proudest off. Most servers have tasted everything on the menu with the chef's guidance, so they should be able to help you order and determine what you're eating.

Note the presentation of the dish. Enjoy your first few bites. Write down your initial impressions with specific detail. Sample the individual parts of the meal. Sample everything on the table. Make specific notes as you eat. Ask questions as they arise.

As soon as the food reaches your table, make some notes on the appearance. Is it clean and beautiful or messy and tired? Remember, a food review is about the experience, not just the taste, so you need to capture all of these details. If you are at a restaurant that allows it, try and snap a quick picture with your phone. This will make it much easier to write about the appearance later. Savor the first few bites, sampling everything on the plate before writing anything else down. Eat slowly and enjoy the meal before trying to get too critical. Make sure you eat the dish the way it was intended first-- don't pick out any ingredients or try things separately until later. Use adjectives and clear language when making your notes. "I liked the use of rosemary" is not as helpful as "the rosemary crust was light and herbal and perfect complemented the soft, fluffy potatoes." That said, this is just the time to take notes, so don't worry about getting the language perfect. Writing down specific details now about why you liked/disliked a dish will make your writing much, much easier later. This is where you start to get into the specifics of a good food review. Try each part of the meal separately, checking for the following criteria: Texture. How does the food feel in your mouth? Again, be specific, as there is a variety of textures, all of which can be good or bad. Spices: Are the spices consistent throughout the meal? Can you tell what some of the spices are? Complexity: A hard one to describe, complexity is a measure of the variety of flavors in a food. A good cook doesn't just go for "lemon-flavored" or "garlic & pepper," they go for a nuanced, unique taste to their food. Do the individual parts of the dish come together to make something new or better than the sum of their parts? If you're with other people, make sure you taste their dishes as well and make a couple of quick notes. This is the best way to get a full idea of the menu and the restaurants strengths and weaknesses. Be sure to write down the exact name of each dish for later reference. Your reader will want to know what to order or avoid. A good review is rooted in fact, so make sure you're armed with facts. Of course, all food reviewing is inherently subjective, but that doesn't mean should only comment on what you liked and didn't like. It might be easiest to make your notes after you finish the course or as you eat, depending on your company. Either way, you should not rely on your memory to remember everything -- true food critics write notes. If you're curious what was in a sauce, how something was prepared, or where certain high-profile foods (meats, expensive cheeses, etc.) came from, feel free to ask. At high-class restaurants the waitstaff is trained to know about the food they serve, so they should be happy to give you an answer.

Read the case. Title the brief. Determine whether the brief is for an appeal or a petition for certiorari. Learn the procedural history of the case.

Read the opinion all the way through before beginning your brief to get a basic understanding of what happened, how the case got to the particular Court, and what the Court ruled. Make note of the plaintiffs and defendants, as well as whether it was a criminal or a civil suit. If one citizen has taken another to court, then it is a civil suit. If the government is seeking prosecution, it is a criminal case. The name of the case (e.g., Roe v. Wade) and the full citation should be first in any case brief. The citation includes the date, and information about the court(s) that the case passed through. Franks v. Delaware, Supreme Court of the United States, 1978, 438 U.S. 154, 98 S. Ct. 2674, 57 L. ed. 667 is an example of a title and citation. Be sure that your citation includes the year of the decision and the Court that rendered it. When a case is decided in trial court, the loser often has the right to appeal the decision to a higher court, called the appellate court. If this is the case, the loser from the original trial who is filing an appeal will be known as the Appellant in your brief and the winner from the trial will be known as appellee. If the loser does not have this right, because the appeal fails in the appellate court, and a request for appeal is denied by the Supreme Court, then a writ of certiorari is filed. This requests a hearing so that the lawyers can state their case as to why it should be reopened. In this case, the filer of the writ is known as the petitioner and the person who must respond to that petition is the respondent. Which Court decided what? Determine which party appealed the ruling. Say the Minnesota Superior Court upheld the search of a Defendants car and then the defendant appealed to the Appellate Court, which upheld the trial Court's ruling. The defendant then appealed to the Minnesota Supreme Court, where the case stands partially on the argument presented in your brief.

Describe how the Court arrived at its decision. Describe any dissenting or concurring opinions. Use your own words. Consider alternatives.

What facts did it consider and how did it apply the law to those facts? Walk the reader through the Court's reasoning, one-step at a time. Organize your brief. Present a systematic play of the Court's logic. Your analysis should be organized so that the reader can follow the Court's reasoning from beginning to end. Why the Court ruled the way it did is the most important part of the case, and the reader must be able to understand it by reading your brief instead of the case, especially in the case of an appeal. Oftentimes a Justice who is not in agreement with the majority will write a dissenting opinion or case analysis. Sometimes a Justice who is in agreement with the majority will write his or her own case analysis. If there is a dissenting or concurring opinion, a summary should be included in your case brief. Your analysis should avoid simply repeating the Court's words, except in cases where the exact language is important. In those cases, use quotation marks, and make it clear that you are quoting the Court. Use citations. Your analysis should include all relevant citations to other cases, statutes, and rules the Court considered when arriving at its decision. More often than not, all of the citations contained in the opinion are relevant and should be used in your brief. If you are unsure, include it. Here's your chance to present another way of interpreting the case, whether you're doing it for school or for real. What's another way of interpreting the rule of law? What conclusions might the Court come to regarding this case? If this is for a law school assignment involving an old case, consider how the case may be decided today. What newer measures are in place that might have kept the trunk from being searched? Are there any? Presenting an alternate method of interpretation is the key to the brief.

Summarize the facts. Identify the issue or issues. State the decision.

The first section is generally called "Facts of the Case." Briefly describe what happened that led to the parties being in Court. In order to be brief, you will need to decide which facts are legally relevant and which are not. Think about who, what, and how. Who did something, what did he or she do, and how did he or she end up in Court over it? These questions should all be answered in your summary of facts. "The Defendant walked into the 29th Street Liquor Store, pointed a gun at the cashier, and demanded money. He was arrested 3 blocks from the store, with the cash in his pocket.” Re-read the case, this time looking for any facts the Court specifically mentions or refers to in any way. If the Court mentions it, it is important and should be included in your summary of the facts. Leave out unimportant dates and disputed evidence. For example, the fact that the Defendant robbed the liquor store on July 16 is irrelevant to the case. You can leave that date out of your summary of the facts. What is the question before the Court? You should state the issue(s) as a question in your brief. For our case, the question might be “Did the police have a right to search the Defendant's trunk?” Your issue statement should also include the specific facts relevant to that issue, for example, “Did the police have a right to search the Defendant's trunk when he was not under arrest and did not give consent?” When there is more than one issue, each issue should be stated separately in your brief. Also include the applicable rule of law. What rule, statute, or ordinance must the court interpret to make this decision? For example, in the case of a search of the Defendant's trunk, which may or may not be legal, the applicable law would be the Fourth Amendment to the United States Constitution. If more than one rule of law was used, state each of them separately. Also called the holding, this is the Court's answer to the issue question. The holding should be stated as a yes or no answer, with an additional sentence or two to explain the legal principle upon which the Court relied when reaching that decision. For example, if the issue is “Did the police have a right to search the Defendant's trunk when he was not under arrest and did not give consent?” the holding might be, “Yes. The Fourth Amendment to the United States Constitution does not provide the same protection to a vehicle that it does to a home, and a warrantless search was justified.”

Create a budget for your move. Avoid peak moving season to get cheaper costs. Find a place to move to before you leave. Decide on how you will get yourself across the country. Factor in moving costs for any pets you bring.

On a piece of paper, list all your transport options and the expenses. Set a maximum amount you’re willing to pay. Moving is typically more expensive than you expect, so continue to adjust your plans and reduce your possessions in order to save money. Peak moving season is when schools are out, including the summer, holidays, and weekends. Lots of people travel during these times, so moving and transportation companies increase their rates. Save money by moving in colder months and during the middle of the week. An unexpected expense happens if you end up living in a hotel or moving somewhere you don’t like. Save money by arranging to stay with friends or family in the area. Cheap rooms through Airbnb and similar services are also good options until you find a permanent home. You can do research at home to find a permanent residence, but it’s never as good as visiting in person. Plan your own trip, keeping in mind that your choice is heavily related to how you want to move your possessions. Flying is the quickest and least stressful option, but it means packing light. Driving is arduous and means extra costs and planning, so consider what option best fits your situation. With flying, you won’t need to plan as much for fuel, food, or places to sleep. With driving, you can bring your own vehicle or drive a moving truck with your possessions. Another option is taking a bus or train. This is also a cheap way to travel lightly. Bringing along a pet is another significant cost to research. Count on having a carrier cage, a supply of food, and visiting places that are pet-friendly. If you’re flying, research how much airlines charge for pets, what health documentation you need, and where they put them on the plane. Moving is stressful for pets, so take precautions to make the trip as safe and speedy for them as possible.

Compare the costs of different shipping methods. Ship essentials through the mail to save money. Bring a few suitcases on a commercial airline at a low cost. Use a bus or train service to move a few heavy items. Pack anything you can fit into your car to avoid extra expenses. Rent a trailer to transport more possessions. Create a uShip listing to move a few heavy possessions. Hire cross country movers to avoid packing and planning.

Visit the websites of companies offering shipping services to find contact information. They will give you estimates on how much moving costs. Read about and consider the benefits and drawbacks of the service to figure out which one works best for your situation. The cheapest way to move is to pack lightly and fly, drive, or ride a train across the country. However, you may have to sacrifice more of what you own. Hiring a moving service is costly, but you don’t have to worry about moving your possessions. You can then save money by flying to your destination. Pack some clothing into a box and ship it to your new location through UPS, the post office, or another service. You can also affordably send heavier possessions, like books, through ground shipping. This is a great way to save money if you plan on traveling light or can’t fit everything into another transportation option. You will need somewhere to send these items. Arrange for a place to stay in advance or ship them to someone you know who can get them to you when you arrive. If you have no furniture, hop on a plane to travel cheaply. Seek out a budget airline for extra savings. You can usually pack a suitcase or 2 for free. If needed, pack extra suitcases for a small charge. Even with the fees, this can be a surprisingly cheap option. This kind of moving involves checking the bags in on a flight you will be taking. Bring the bags up to the check-in counter when you arrive at the airport. Pack lightly, since each extra checked bag comes at a price. Remember that you will need to transport each bag to and from the airport yourself. Use Amtrak or Greyhound’s Bus Freighter service. You will have to pack your items and bring them to the bus or train. It’s not as fast as using a plane, but it is cheaper than using a moving truck. These services usually accept heavier boxes and furniture. First, contact these services to find out if they have a line from your old destination to your new one. Sometimes this isn’t possible. These services may also deliver to your door, although it costs extra. This is the most obvious solution, since it gets both you and your necessities to your destination. You won’t have a lot of space for supplies, so limit yourself to important items like food, clothing, and valuables. Driving includes planning out your route and budget for gas and other supplies. Also consider the wear and tear on your vehicle. The hauling method is trustworthy and the cheapest way to move everything you own. Make sure you call U-Haul and competing companies for estimates. You will need to pay for gas and unload all of your gear yourself, but you get to bring your vehicle with you if you have one. Check that you are able to drop off the trailer in your new destination. Not all companies allow this, and it would be unpleasant to have to drive all the way back to return the trailer. You can also rent larger trucks from these companies. They’re a little more expensive than trailers and you would need someone else to drive your vehicle if you have one to bring along. On uShip, you list what you need to move and private contractors bid on it. You don’t have to do any of the work, so it’s a great way to move difficult items like TVs, motorcycles, and even pets for a lower cost. The contractor will deliver it to your new home, so you can take the cheapest transportation method available. Receiving good bids isn’t guaranteed and takes time, so put up the listing weeks in advance of your move. Using this service involves trusting the contractor. Even someone who is highly rated can end up ruining your items. Moving companies take out some of the hassle of moving. Pack what you want to bring, then have the movers load it into the truck. They will also unload it when you arrive, so this is an efficient way of moving a lot of stuff. Expect it to be the most expensive option. Call these companies to get estimates, then schedule pick up and drop off times for your items. Make sure you accurately estimate the weight of your boxes. Heavier boxes cost more. Also be aware of the fees.

Plan out your route before leaving. Find the cheapest gas stations on the way. Arrange stays at hotels along your route. Pack your own food to save money.

Once you’re settled on transportation, get a map and research your route. Copy any directions you need in order to stay on track. Locate possible places to stop along the way, avoiding tourist traps that burn through your funds. The cheapest gas stations tend to be right outside major cities and suburbs. Isolated gas stations out in the country charge much more, so avoid taking detours and fuel up when the time is right. Download a gas price phone app to help locate the cheapest gas while you travel. Search online for pricing estimates and addresses for hotels on your route. Motels and hostels tend to offer the best rates. Be careful of high prices in large cities, travel hubs, and isolated areas. To save more money, try arranging stays through Airbnb or a couchsurfing website. Read and research these offers carefully to ensure they are legitimate and safe. You may also be able to find camping spots along your route. If you have a tent, this can be a great way to stretch your legs and save money. Unfortunately, you can’t bring your refrigerator, but you can bring snacks. Non-perishables such as peanut butter, chips, beef jerky, and bottled drinks mean less stopping on the road and spending money. You can also bring a cooler with ice to fill with supplies, if you have the space. If you do need to stop for food, stay away from pricey food at gas stations and restaurants. The cost adds up quickly.

Clean your home to sort your possessions. Get rid of items that aren’t important to you. Leave behind heavy items like furniture. Sell anything you don’t want to keep. Donate usable items you can’t sell. Contact stores in your area to find free cardboard boxes.

Do a little spring cleaning. This gives you an opportunity to sort through all the things you own. It will be more than you expect, so take an inventory. Try to sort your possessions into groups of necessities, things you would like to save, and things you’re willing to discard. Also sort similar items into groups to be packed together. For instance, pack pots and pans together. The big expense is in the amount of stuff you need to transport, but this is something you can control. Throw away anything you can live without. Large items in particular are difficult to move, so leave furniture and bulky electronics if you can. For example, food, books, toys, and clothing may be easier and cheaper to replace instead of move. Leave behind items that are well worn. Your old TV, for instance, might cost more to ship than it is worth. Large, heavy objects are the costliest to move. Items like couches, chairs, and bookcases can often be left behind and replaced for less once you move. Carefully calculate these into your moving expenses later and decide if they’re worth the trouble. For example, you could get rid of your couch and pick up a used one from Craigslist or a secondhand shop after you have moved into your new residence. Visit sites like Craigslist to post listings for your items or have a yard sale. You get to reduce your moving burden while making some extra cash. It’s a great way to offset some of the cost of moving. If you have something that can help someone, bring it to a thrift shop. Clothes and furniture are a few things that may be needed by other people in your community. Also think of friends and family who may have a use for what you own. Visit stores and ask them nicely for spare cardboard boxes. Many shops throw away the boxes so they’ll give them away for free. Fast food restaurants, bookstores, and liquor stores are some places that tend to have plenty of strong cardboard boxes to give away. Also look online at sites like Craigslist, Freecycle, or the U-Haul message boards. Someone nearby may have boxes for you.

Use a non-stick skillet. Place the cheese over low heat. Add a dash of corn starch and evaporated milk. Try adding American cheese. Add an acidic ingredient like vinegar or beer. Whisk the cheese continuously. Remove the cheese as soon as it's melted.

Cheese can very easily stick to the side of a pan or dish during the melting process. Select a dish with a non-stick coating to melt your cheese to avoid this problem. Place your cheese over the stove at low heat. Never start heating cheese on high or medium heat, as this will cause cheese to heat unevenly. A little starch and milk keeps cheese from separating too quickly, resulting in a lumpy, uneven mixture. The amount of each will vary, depending on how much cheese you're melting, but you only need a small dash of each to keep the cheese smooth. You can also add a few small slices of American cheese, as this type of cheese has properties that helps cheese melt smoothly. If you don't mind the taste of American cheese, throw a slice or two into your cheese mixture. If your cheese gets lumpy as it melts, a small amount of an acidic ingredient can help. Alcohol, like white wine or beer, works great and adds flavor. If you'd prefer not to use alcohol, however, you can try something like vinegar or lemon juice instead. Use a wire whisk or fork to continually whisk the cheese as it melts. This will mix in any added ingredients and also keep the cheese mixture smooth. You should remove the cheese from the stove as soon as it reaches the consistency you want. Cheese has a low burning point, so melting cheese any longer than necessary can cause it to burn.

Choose harder cheeses. Avoid soft cheeses. Grate, shred, or slice your cheese. Let the cheese come to room temperature.

Harder cheeses have a lower melting point. These cheeses are the types that are more frequently used in sauces, in dishes like grilled cheese, and as the base for soups. Cheddar, Gruyere, and Swiss cheese are great cheeses for melting. Reduced fat cheeses can melt, but they may take longer to melt and be tougher during stirring. Low-fat and low-moisture cheeses, such as Parmesan and Romano, burn easily and do not melt into a dip-like consistency. Extremely soft cheeses, like feta and ricotta, will never melt and should be avoided when making melted cheese. Cheese will melt quicker if it's cut into smaller portions. Grate, shred, or slice your cheese prior to melting it. There is not a significant difference between grating, shredding, or slicing. You can use whichever option is most convenient for you. If you melt cheese cold, it may cause it to melt slowly or unevenly. Let your cheese sit out until it comes to roughly room temperature before you try to melt it. Most cheese will come to room temperature in about 20 to 30 minutes. Do not leave cheese sitting out for more than two hours.

Place your cheese in a microwave-safe container. Add some corn starch and evaporated milk. Mix in an acidic ingredient. Melt your cheese on high for 30 seconds. Remove and stir the cheese. Melt the cheese in 5 to 10 second intervals.

Cheese is best melted in a non-stick container. However, it may be difficult to find one that fits in your fridge. A ceramic bowl or other similar container can work as well, although you may want to spray it down with a non-stick spray. Before placing your cheese in the microwave, a little starch and evaporated milk is necessary. This will help your cheese from becoming lumpy during the cooking process. The precise amounts will vary depending on how much cheese you're melting, but you should only need a small dash of each. An acidic ingredient can add flavor and help cheese stay smooth while it's melting. White wine and beer can add flavor to cheese as it melts. If you'd prefer not to add alcohol, try something like white vinegar instead. Place your cheese in a non-stick microwave safe dish. Microwave the cheese for 30 seconds on high. Usually, this is enough time to adequately melt the cheese. Stir the cheese after removing it from the oven. Ideally, it should be evenly mixed with a smooth, lump-free texture. If the cheese is still lumpy and somewhat solid, return it to the microwave. If the cheese is not melted after 30 seconds, remove it from the microwave, stir it, and then microwave it for an additional five to 10 seconds. Keep microwaving your cheese in small intervals until it reaches the consistency you want.

Open your Swatches panel and select New Color Swatch. Select either Process or Spot as your color type. Select a mode for defining the color. Drag the color sliders to adjust the color values or enter specific numeric values in the boxes located by the color sliders. Click Add to add your swatch and create a new one or click OK to add your swatch and exit the window.

If you are using a spot color, select your color from the Color Mode menu.

Begin creating your document and adding color as desired.

To add color to text, highlight your text using your Selection tool. Open your Swatches panel and click the Type icon. Select your desired color from the Swatches panel. To add color to a frame or other object, select the frame or object using your Selection tool. Open your Swatches panel and click either the stroke or fill icon. Select your desired color from the Swatches panel.

Open your Swatches panel and select New Color Swatch. Locate the Color Mode list and select the library file from which you would like to add a swatch or swatches. Select the swatches you would like to add and click Add. Click Done.

You may also select Other Library from the Color Mode list and navigate to the library file from which you would like to add a swatch or swatches.

Add the wall studs to the sill plate frame. Install the wall studs. Position and attach the balusters and rails within the screen frame. Attach all pieces together.

The studs are heavier lengths of wood that attach to the porch walls, running vertically from the floor plates to the ceiling plates. As with the plates, nails can be used to affix the studs to a wooden structure, while a masonry nail gun or masonry screws are necessary to secure the studs to brick or other types of masonry walls. Be sure to check the width of your screens. Most screens are three feet wide, so space your studs three feet apart, measuring from the center. Important: For door frames, use two wall studs on each side of the door. One for attaching the screen, and one for the door hinges. These are the horizontal pieces that help to provide stability to the overall frame. Use the measuring tape, chalk line, and level to make sure the rails and balusters are positioned properly before securing the pieces in place with the hammer and nails. Each individual frame piece needs to be screwed (or nailed) together. Make sure you attach the balusters to the rest of the frame to allow for maximum stability. Once the rails and balusters are firmly affixed to the sole plates and wall studs, the frame is complete.

Cover up the seams. Paint or stain the wood. Clean up and enjoy.

Use wood strips to hide the stapling along the frame, providing a more finished appearance. Consider attaching the strips using wood screws, since this will make it easier to remove the strips and replace a section of torn screen if necessary. Consider painting or staining the visible wood of the porch (especially the pieces you just added) to match the rest of the house so that the color scheme flows seamlessly into the new porch addition. Make sure you clean up the mess that inevitably accumulates during a project like this. Sweep the floor and return any plants or furniture that you previously removed. Then stand back and admire your handiwork!

Know the basics. Create the sill plate perimeter. Add an extra layer.

Sill plates (also sometimes referred to as "sole plates") are usually just pieces of pressure-treated wood, often 2x4 lengths cut to measure, that are attached horizontally along the floor and ceiling of the porch area. Sill plates function as the base for the screen frame as they effectively create a network between the existing supports of the porch roof. Install the wood around the perimeter of the porch, making sure the corners are square (you can use a framing square for this purpose). On a wooden porch, the plates can be nailed into position. With a concrete porch, using a drill and masonry screws or a masonry nail gun will be required. To provide a nice base for the interior trim work, attach another layer of untreated wood on top of the sill plate.

Clear the area. Clean the floor and ceiling thoroughly. Install ceiling fixtures. Remove old battens.

This involves removing all furniture and plants from the porch area. Doing so will create a safe work space that is free of hazards and will allow you to see all the details of the space that you might need to alter or work around. Having a clean, fresh space will make it much easier to identify any alterations that might be necessary before installing the frame and mounting the screening. Before beginning on the full porch screen, make sure to install any ceiling panels or ceiling fans you may want on your porch. Obviously, ceiling fans must be installed before ceiling panels to allow the wiring to be installed properly. Using a hammer and pry bar, remove any wood battens that may be attached to the existing porch frame. A batten is simply a squared piece of wood or metal used to hold the frame in place.

Cut the screens to size. Attach the screens. Cut off the excess screen.

Cut sections of screening to fill in the spaces within the framework. Make sure to leave a little excess to allow room for error. Begin at the top middle of the opening, and secure the screen using the staple gun. Working toward the outer area of the space, smooth the screen and staple at regular intervals. Make sure that the screening lays flat and is stretched taut as you go. Once the top is secured, staple the sides and bottom, always stretching the screen to make sure it remains taut. Continue until the screen is firmly in place across the expanse of the framework. Using a utility knife, trim off the extra edges of the screening material, outside of the the staples. You might consider using more durable screening material on the bottom part of the screen, especially if you have pets who might rub up against the screen or scratch it with their claws.

Divide your hair into 4 sections. Gather the remaining section into a tight ponytail. Wrap 100% cotton yarn around your ponytail to secure it. Continue wrapping the yarn around your ponytail in a spiral. Apply a moisturizing product to the ends of your hair. Fold the ends down and wrap them with yarn. Tie the yarn off, then trim off the excess. Repeat the process for the remaining sections. Wear the threaded hair under wigs or scarves. Maintain the style for at least 6 months.

Part your hair down the middle from forehead to nape. Next, create a horizontal part going along the back of your head from ear-to-ear. Twist and clip 3 of the sections out of the way, and leave 1 of them loose. Make sure that your hair is dry and freshly-washed. Be aware that this method can cause matts, especially if your natural hair texture is coarse or prone to matting in the first place. If you have very thick hair, you may want to divide your hair into 8 sections instead. Have a long piece of your cotton yarn ready. It should be at least 2 to 3 times the length of your hair when pulled taut. Do not secure the hair with an elastic, just hold it in your hand. Cut a piece of yarn that's 2 to 3 times longer than your hair when its stretched out. Place the end of the yarn alongside your ponytail, facing away from your scalp. Wrap the yarn tightly around your hair 2 to 3 times to secure the ponytail. Do not use wool, acrylic, or wool-blend yarn. You need to use cotton yarn. You can find it in fabric stores and crafting stores. You will be wearing your threaded hair under wigs and scarves, but it would still be a good idea to match the yarn as closely as possible to your own hair. Pull your hair taut and continue wrapping the yarn around it tightly in a spiral (like in a candy cane). When you have about 1 inch (2.5 cm) of hair left, wrap the yarn around your hair a few more times. Do not cut the yarn yet. You will still need it to finish wrapping your hair. Start with some olive oil, then follow up with shea butter. You can also use other moisturizing products as well. Be sure to saturate the ends of your hair. Fold the moisturized ends of your hair down over the wrapped yarn. Wrap the yarn tightly around the ends from bottom-up until they are completely covered. You will need to extend your wrapping just past the folded-over ends. Wrap the yarn one more time around your hair, leaving a finger-thick loop. Thread the tail end of the yarn through that loop, then pull on it to tighten the knot. Use a pair of scissors to trim off any excess yarn. When you are done, you'll have 4 or more rope-like strands of hair sticking out of your head. You may feel a little like Medusa now, but don't worry, your hair will look fantastic at the end. Remember to reapply the moisturizing products to each section. Wrap the threaded hair around your head. Secure them with bobby pins, then slip a wig cap over your head to hold them in place. Put on your favorite wig, or tie a chic scarf around your head instead. Take the threads out and redo them every 3 or 4 weeks. If you need to wash or condition your hair at any point during that 3 to 4-week period, you should take the threads out. After 6 months or so, your hair will be stretched out, and you can stop wearing the threads. Your hair may become longer after just a few weeks, and the hair growth may continue up to 6 months.

Divide your hair into 6 sections. Apply moisturizing products to the remaining section. Tie the section off into a ponytail. Twist the ponytail into a rope braid. Repeat the process on the remaining sections. Pull the rope braids across your head and secure them with bobby pins. Tie a satin scarf around your head and leave it on for 2 days. Remove the twists. Redo the process with more twists, if desired.

Begin by parting your hair down the middle. Next, create 3 sections on each side of your head. You'll want to have a section in front, above, and behind each ear. Twist and clip 5 of the sections out of the way. Your hair should be dry at this point. Detangle the remaining section with a wide-toothed comb, then apply shea butter or a leave-in cream. Follow up with a nourishing hair oil or olive oil. Comb your hair once more to distribute the products evenly. Make sure that you make the ponytail nice and tight so that the hair is pulled taut against your scalp. Use a mini hair tie to reduce bulk and discomfort. Split the ponytail into 2 sections. Twist each section clockwise into a thin rope. Next, twist the ropes together counterclockwise. Your hair should hold the rope naturally on its own; if it doesn't, secure it with a mini hair elastic. Moisturize and detangle each section before tying it into a tight ponytail. Twist each ponytail into a rope braid, then secure it with a mini hair elastic, if needed. Work one section at a time. Pull the first rope braid on the left side of your head over to the right. Secure it with a bobby pin. Next, pull the first rope braid on the right side over to the left side of your head, and secure it with a bobby pin as well. Work your way back and forth across your head, from forehead to nape. Pull the rope braids tightly across your head to help further stretch out the hair. If you didn't secure the rope braids with mini hair elastics, they may have come untwisted. If that happened, simply re-twist them before pinning them. During this time, your hair will dry and begin to stretch. Feel free to switch out the scarf to match your outfit or wear a cute hat over it. Take the scarf off first, then pull out the bobby pins. Carefully undo the twists and pull out the hair ties. If you want to, you can fluff up your hair. Be very gentle; do not tug, pull, or yank on the hair ties. Your hair may be wavy or curly when you undo the twists. If you like, you can wear this as a style. If your hair looks very poufy and frizzy, you'll need to redo the whole procedure. Dampen your hair and reapply the shea butter or cream. Skip the ponytails, and simply twist each mini section into a rope braid, then stretch and pin them across your head. Cover them with a scarf and leave it on for 1 day. Instead of doing 6 sections, try 8 or 10 this time. If you want your curls to have more definition, don't fluff them out this round.

Apply a moisturizing leave-in conditioner to your hair. Divide your hair into 4 sections. Apply moisturizer and oil to the remaining hair section. Tie the section into a tight ponytail. Pull the ponytail taut and wrap a hair tie down its length. Continue wrapping hair ties around your ponytail until you get to the end. Repeat the process on the remaining sections. Cover your hair with a scarf. Remove the bands the following day.

Make sure that your hair is clean and freshly-washed first. Detangle it with a wide-toothed comb first, then apply a generous amount of leave-in conditioner to it. Run the comb through your hair again to help evenly distribute the leave-in conditioner. This method works best on damp hair, but you can work with dry hair as well. It is very similar to the LOC (leave-in conditioner, oil, and cream) method used before styling hair. This method is safe for your hair, but be aware that it can weaken and break your hair over time. Part your hair down the center, from your forehead down to your nape. Part it again, this time going horizontally across the back of your head from ear-to-ear. Twist and clip 3 of those sections out of the way. Go to the remaining section of hair that you left loose. Apply some shea butter to it first, then follow up with olive oil. Run a wide-toothed comb through your hair to help make it smooth and to distribute the products. You can use other moisturizing products and oils instead, if you prefer. Use a smaller hair tie for this rather than the standard sized one. It will help reduce bulk and make the style more comfortable for you. When tying the ponytail, make sure that the hair along your scalp is pulled taut. Use tangle-free hair ties to prevent snagging. Don't wrap the hair tie repeatedly around the same spot as you would when tying off a ponytail or braid. Instead, wrap and twist the hair tie down the length of the ponytail in a crisscross fashion. You should be able to cover 1 to 2 inches (2.5 to 5.1 cm) of hair this way. Pull your hair taut while doing this. Start wrapping the next hair tie where you finished wrapping the last one. Remember to pull your hair taut as you go. Depending on the length of your hair, plan on using 6 to 7 hair ties for the entire section. When you have one last wrap left on your hair tie, fold the ends of your hair down, and wrap the hair tie one last time. This will make it more secure. When you are done, you'll have a bunch of Medusa-like tentacles all over your head. Don't worry, however, they won't be left in your hair for very long. If you need to, wrap the banded hair around your head first, then secure them with bobby pins. Wrap a satin scarf around your head to hide the banded hair and secure it. Take the scarf off first, then remove any bobby pins. Make sure that your hair is completely dry, then carefully pull the hair ties off one by one. Do not tug or yank on the hair ties, or you will risk damaging your hair. If your hair isn't dry, re-pin the banded hair, cover it with the scarf, and wait until it is dry.

Find a good environment to talk. Speak clearly. Provide choices. Make eye contact. Allow the person time to think. Let the person know when you are leaving.

Talk somewhere quiet and calm, where neither you nor the other person will get distracted or overwhelmed. Turn off any radios or televisions in the background so you can hear each other. Sit somewhere the older person can see your face clearly, so they can read your lips if they need to. Enunciate your words distinctly, speak loudly enough to be easily heard, and don’t talk too fast. Don’t shout at the person, though, unless they ask you to speak up more. If the elderly person has trouble following what you’re saying, you may need to slow down or use shorter sentences. This doesn’t mean you should talk down to the older person, though. If you’re offering the older person something or trying to find out what they want to do, give them two or three choices. This will give them a sense of control over the situation without overwhelming them with too many options. For instance, don’t just say, “Where would you like to go today?” Instead, say, “Would you rather go to the park or a coffee shop?” Meet the older person’s eyes when they’re talking to you, even if you are having a hard time understanding them. Making eye contact shows the person that you’re paying attention to them and care about what they’re saying. During your conversation, the elderly person may need to pause to find the right word, recover their train of thought, or reminisce about something. Wait patiently for them to finish talking. Don’t try to complete their sentence for them or find the word they’re looking for unless they ask you to. If the elderly person has dementia or gets confused easily, make sure they understand when you are leaving. Say goodbye to them and tell them when they can expect to see you again. Giving them a hug or a handshake is another good way to signal the end of the conversation.

Greet the person. Ask questions. Make small talk. Bring interesting props. Ask for advice.

If you already know the person, let them know you’re glad to see them by saying hello with a smile. Give them a hug if it’s appropriate. If you do not know the person, introduce yourself in a friendly tone of voice and offer a handshake. If you don’t know what to talk about, ask the person an open-ended question. Elderly people usually like to share their interesting stories and memories with others. If the person is a family member, you could ask them about events in your family history or about other family members you never had the opportunity to know. If the person is a stranger, you could ask them about their family or what their life was like when they were your age. Not every discussion you have with an elderly person needs to be in-depth. Older people enjoy making polite small talk, too. You might use any previous knowledge you have about them or information in your surroundings to make small talk. For instance, you might say to your neighbor, "I haven't seen your grandchildren in a while. When's the last time they visited?" Or, you might say, "What sort of books have you read lately, Mr. Henderson?" If you know ahead of time that you’ll be visiting an elderly person, consider bringing something to do or talk about. A few ideas include a family photo album (if you are visiting a family member), music from when the older person was young, or a homemade treat that you can enjoy together. If you’re in a sticky situation or you’re having trouble making a big decision, consider talking about it with an older person. Elderly people have collected a lot of life experience, and most of them are happy to share their hard-earned wisdom with others. They will probably be flattered that you asked them, too. You could say something like, “Uncle Joe, I’m having a hard time choosing between two jobs. Which do you think is more important, making a lot of money or enjoying your work?”

Be sensitive to communication problems. Avoid using “elder speak. Listen carefully as the person talks. Remember that older people are just people like you.

Communication often becomes more difficult with age. These difficulties may result from age-related conditions such as hearing and vision loss, physical disabilities, or neurological disorders such as dementia or stroke. Notice whether the person you’re talking to is hard of hearing, has memory problems, or otherwise has trouble communicating. Adjust your own communication style so they can participate in the conversation more easily. For instance, if the person is having a hard time hearing you, move closer to them and speak more loudly. If the person seems to get confused easily, use shorter sentences and be patient as you get your point across. If they have memory loss, avoid asking too many questions at once. Also, avoid "why" questions, which may frustrate them. If you can, try to find out ahead of time about any communication issues the person may have before you start conversing with them. ” Do not use baby talk, a singsong voice, or inappropriately familiar terms of endearment when you talk to an elderly person. Talk to them like you would any other adult. If they show no signs of confusion, there’s no need to simplify your vocabulary or over-explain things to them. Many older people feel insulted when others talk to them as if they are children, even if those people don’t mean any harm. Give the elderly person your full attention, even if they ramble. Make sure you’re understanding them by asking questions related to what they are saying. Don’t look around the room or check your watch while the other person is talking, since that will make you seem bored. For instance, if the person mentions living in another country, you could ask them to tell you more about that part of their life. Elderly people were once your age, and they’ve experienced the same feelings and many of the same life events as you. Treat the person with the same respect and courtesy you would expect from others, and look for common ground that will help you connect with each other. Think about how you want people to talk to you someday when you are elderly, and use that as a guideline for yourself.

Plant your feet on the ground with your toes facing the golf tee. Bend forward slightly at the waist. Bring the club up behind you. Swing the club forward and hit the ball.

Stand 1–2 ft (0.30–0.61 m) away from the golf tee. Position your feet so that they are parallel with each other and square your shoulders. Hold the handle on your club firmly with both hands and angle the club out in front of you. You should feel comfortable and natural. Bend at your knees and waist and square your shoulders. Line up your waist and spine with the ball while you position your golf club behind the golf tee. Fight any urge you have to lean backward when chipping the ball because it often leads to wide shots or shots that get too much air. Bend your non-dominant wrist and your back arm slightly at the elbow while you bring the club back. Keep your leading arm as straight as possible while you swing the club in the backward motion. For chip shots, you’ll only need to bring the club back 1.5–2 ft (0.46–0.61 m). Don’t bring the club too far back or you’ll hit the ball too hard and the direction will be unpredictable. Swing the club in a slightly downward direction. Hit the ball before the club makes contact with the grass for a clean shot. If done correctly, the ball should jump up over whatever obstruction is in your way. It’s normal for the club to hit the grass after it hits the ball. It may take several tries before you make contact with the ball.

Use a 6-iron for low-terrain chip shots. Use a 9-iron to get more air than a 6-iron. Use a sand wedge when the ball is stuck in the sand.

If you need to chip the ball over low terrain, a 6-iron is the best club to use. A ball hit by a 6-iron will roll a lot after they land, so you’ll want your ball to land 10–30 yards (9.1–27.4 m) away from the intended target. If you try to chip shot with a 6-iron too close to the hole, it may roll past the hole. The amount that the ball rolls after it lands will depend on how hard you hit the ball. If you have to go over a lot of rough grass, a 9-iron is the best club to use. A ball hit by a 9-iron will also roll a good distance after it lands. Aim your shot for the front of the green and let the ball roll towards the intended area. A ball hit by a 9-iron will go 3–5 yd (2.7–4.6 m) in the air. Sand wedges are bigger clubs that give the golf ball more air than if you used a 9- or 6-iron. In addition, a ball hit by a sand wedge won’t roll as much. Use a sand wedge if you’re stuck in a bunker or need to make a chip shot that stops quickly. When using a sand wedge, aim the ball as close to the target as you can.

Use more power to make your shot travel further. Use less power if you don't need the ball to travel far. Practice putting the ball to get a feeling for the green. Set up indicators 30, 60 and 90 yd (27, 55 and 82 m) away. Try chipping to each marker.

Bring your club back further during your backswing and swing harder to put more power into your chip shot. Hitting the ball hard will result in a far shot that will get a lot of air. If you need to clear an obstruction that is 3–5 yd (2.7–4.6 m) long, use a longer backswing and put more power in your shot. If you need the ball to clear a smaller obstruction, reduce the distance of your backswing and put less power into your forward swing. Less power in your swing will also reduce the amount that the ball rolls after landing. If you need to clear an obstruction that is 1–2 yd (0.91–1.83 m) long, you may want to use less power and put less backswing on your shot. The grain of the green will affect how and where your ball rolls. Practice hitting a couple of balls in the center of the putting green, then work your way to the fringes of the course. Practice chipping balls in the sand. Make sure to get out of the way if someone is golfing behind you. Find an area where you can set up cones or ribbons to indicate 30, 60 and 90 yd (27, 55 and 82 m). Set up the markers somewhere off the golfing green. Use these indicators to practice hitting balls a specific distance. You can also set up a practice range in your backyard if you don’t have access to a golf course. Practice hitting the ball to the 30 yd (27 m) marker at first. Adjust the power and angle of your swing until you get the feeling for the 30 yd (27 m) marker. Once you’re confident, move to the 60 yd (55 m) marker and then finally the 90 yd (82 m) marker. With enough practice and repetition you’ll be able to hit precise chip shots when golfing.

Flick the left analog stick forward twice. Hold forward to keep sprinting. Keep your hunger above six.

This is the same stick you push forward to walk normally. To sprint, just push it forward twice, as fast as you can. After the second push, keep the stick forward. Your character will continue to sprint until you release the analog stick, collide with a block, or interact with a mob. If you drop below six hunger (three food symbols), you cannot sprint.

Double tap the forward key. Use the sprint key instead. Stop moving to stop sprinting. Stay above six hunger. Sprint with other modes of transportation.

This is W by default. Press and hold after double-tapping to keep sprinting forward. You will move 30% faster than usual, and your field of view will become slightly wider. Tap left control while moving forward to start sprinting. If this doesn't work, open the Esc menu and go to Options → Controls to assign a key to sprint. Your character will continue to sprint until you release the forward key, collide with a block, or interact with a mob. If you tapped the sprint key, you will stop sprinting after thirty seconds, but can turn it on again right away. You can turn left and right as usual while sprinting, though this slows you down slightly. While sprinting, you can jump four blocks horizontally instead of two. Your jump height does not increase. You can only sprint while you have at least six hunger (three food symbols in your hunger bar). Eat some food and try again if your stomach is empty. Sprinting uses up your saturation and hunger 10 times faster than walking. Jumping while sprinting uses them up 80 times faster than walking. You can hit the sprint key while swimming as well, or while flying in Creative mode. This will only increase your speed a little bit, but your field of vision will widen. If you are on a vehicle or mount, your field of vision will widen but your speed will remain the same. If you don't use the sprint key, instead start sprinting on the ground, then double tap space to start flying.

Double tap forward. Stop moving to stop sprinting. Eat food if your hunger is low.

Touch the forward button twice and hold it down to sprint. You will move at double speed, but will use up hunger much faster than walking. While sprinting, you can jump three blocks forward instead of two. To return to normal speed, just let go of the forward button, then walk forward again with a single tap. You will also stop sprinting if you collide with a block or fight a mob. Your Minecraft character needs energy for all that running. If your hunger drops below four food symbols, you cannot sprint. If your version of Minecraft does not have hunger, you are playing an old version that does not have sprinting. Connect your device to the internet and open Minecraft to download the latest update.

Watch for itching, signs of irritation, or nipping at parts of the body. Look closely at your dog's skin. Look for bald patches where the hair has been shed. Watch any affected areas for a few days. Watch the growth of any inflammation.

These are often the first symptoms of ringworm. Above all, these symptoms certainly provide a good indication that you need to inspect the dog more closely. If you suspect your dog has a skin infection, you must begin by inspecting all areas that you suspect are affected. Part the dog's fur so you can see the skin clearly. Focus your attention on any areas that the dog was itching, as well as on commonly infected regions, such as the head, ears, and forelegs. To reduce the risk of spreading the possible infection, you also need to wash your hands after handling any animal you suspect has ringworm. This can commonly occur on the head, ears, paws, and forearms. Are these patches circular? Do they have an bright red rim? If the answer to these two questions is yes, then the likelihood of ringworm increases. If you see areas that appear to be infected or irritated keep an eye on them. You may be unsure if ringworm is the culprit immediately, so continue to observe the situation and see how the dog's condition develops. It can be wise to isolate the dog whilst you make up your mind. Keep him or her away from other pets and in one room with minimal soft furnishings. This will allow you to more easily vacuum the room and reduce the risk of contamination. If it turns out the dog does have ringworm, then restricting his access to other pets makes a big difference to reducing the spread and risk of infection to others. Be on the lookout for anything resembling insect bights or a more generalized rash that does not develop a circular shape. These would be indications of an alternative diagnosis--such as an allergic reaction--that would require a very different course of treatment. Ringworm infections are often the result of weakened immune systems, while generalized rashes can be caused in part by over-active immune systems. If the lesions become bigger and more inflamed while maintaining a circular shape, it is likely to be ringworm. You will need to get your pet checked out by a vet and obtain anti-fungal medication to treat the condition.

Understand that ringworm is a fungal infection. Know what ringworm looks like. Learn how a dog can get ringworm.

It is not, as the name might imply, an infestation by worms or bug larvae. Two species of fungus are responsible for ringworm infection, microsporum and trichophyton species. This bit of knowledge will help you understand both how the disease can spread and how to identify it. As the name implies, ringworm often leaves circular marks or patches on the surface of the skin. In the early stages of infection, there is little to see other than a patch of hair loss. This is because the fungus grows down the hair shaft, the body then rejects that hair as damaged and it falls out. The skin irritation can result in itching, but even without evident rubbing the condition can contribute to hair loss in the affected region. One of the primary factors that contributes to infection is immune health of the animal. Ringworm in dogs is most common in puppies and older animals, though it can also affect animals with suppressed immune systems. Dogs under stress or taking certain medications can thus be especially vulnerable. This is because the immune system keeps the flora and fauna that are normal inhabitants of the skin in check. However, if the immune system is not fighting fit, the fungus can grow unchecked and a full on infection develops. While the fungi that cause ringworm are common, contact with an especially heavy concentration of spores can increase the likelihood of infection. Heavy concentrations are really only found on other infected animals. If your dog is healthy but gets ringworm, it is probably because it was around another animal that had the disease. Ringworm is highly infectious and the infected hairs that are shed are a major source of infection for people or other pets. In order to prevent the spread of the disease, sequester infected pets and clean up all fur from the infected pet before allowing other animals in the area.

Take your dog to a veterinarian. Understand what your vet is doing when he or she uses a Wood's Lamp. Understand what your vet is looking for when he or she examines hair follicles under a microscope. Understand that your vet will do a fungal culture if all else fails. Get ringworm treated.

As a general rule, if you suspect your pet has ringworm, take it to the vet to get checked out. Your veterinarian can confirm the presence of ringworm by a variety of methods and then treat. The Wood's Lamp is a special lamp fitted with ultraviolet bulbs and a magnifying lens. The lamp is switched on and the bulbs allowed to warm for 10 minutes. In a dark room, the animal is examined by shining the Woods Lamp onto the suspect areas and examining the response via the magnifying lens. Certain species of ringworm glow a fluorescent apple green in the presence of ultraviolet light. If this happens then ringworm is present. Your veterinarian may then wish to double check his or her findings by sending a sample away to a lab for species identification. Be aware that only about 50% of ringworm species fluoresce in this way. So, in other words, a negative on the Wood's Lamp does NOT mean the animal is clear. This is a useful way to get a quick positive, but not a conclusive negative. Another way to get a quick result is for the veterinarian to pluck hairs from the edge of the affected area and examine them under the microscope. Under high magnification it can be possible to see the fungal spores entwined around the hair shaft, which gives positive confirmation of ringworm. A fungal culture will give you a definitive answer. To do this the veterinarian uses a sterile brush (such as a sterilized tooth brush) and rubs it over the affected area. The head of the brush is then pressed against a fungal culture medium, the medium container is then sealed, and set aside to see if fungus grows. Many vets use an "in house" test where the fungal culture medium changes color if fungus grows. This gives a clear indication that ringworm is present. It takes an average of 4 - 5 days for the fungus to grow and cause a color change, although the test is not considered negative until a full 2 weeks have passed with a color change. If your dog is found to have ringworm your vet will likely prescribe an anti fungal medication. While being treated, keep your dog isolated, as the infection could still spread to other animals and even to humans. To make sure that your dog cannot ingest any topical medication, put a wide cone collar (also known as an Elizabethan Collar) on it during treatment.