Look at sample questions online. Take online practice exams. Subscribe to question/word of the day newsletters. Study with a PSAT prep book. Review your answers. Don’t stress out about memorizing.

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There are plenty of online sources that provide free sample PSAT questions, with detailed responses for the answers. You can read over the questions and try to answer them on your own, before reading through the explanation to make sure you understand the concept.  You can test your knowledge by reviewing sample questions in all of the PSAT subject categories: Math, Reading, and Writing/Language. You are permitted to use a calculator on some of the Math questions. The instructions for each question will indicate whether calculators are allowed or not. One of the best ways to prepare for the PSAT test is to simulate the test situation by taking an online practice exam. You’ll get actual test questions from previous tests, so you’ll be able to familiarize yourself with the kinds of questions you’ll be asked when you take the real exam.  Take the practice exam in a quiet location where you’ll be free from distractions and able to concentrate. Use a pencil, scrap paper, and a calculator (when allowed). You may want to begin your practice exams with an untimed attempt for the first go. But after that, be sure to time yourself so you’ll have an idea about how you measure up at the end of the exam. During the actual PSAT test, the Writing and Language section is given 35 minutes, the Reading section takes 60 minutes, and the Math section lasts 70 minutes.  You can download free sample tests from quite a few online sources, including the official College Board PSAT website. There are quite a few online resources – both websites and email subscriptions – that are dedicated to PSAT prep through providing questions of the day or daily words for prospective test-takers to study. Simply visit the website each day or enroll in their daily newsletter to get (usually free) access to their words/questions of the day. You should be able to find hard copies of PSAT preparation books. These books are full of practice exams, helpful hints, and common exam topics. They often include paper practice exams that you can use for test...


Look at the aesthetics objectively.   Brush up on gem value.

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Ask yourself if someone unrelated to you would genuinely be interested in wearing the piece of jewelry. Look through fashion magazines; many of them have upscale antique and current antique style jewelry. This will give you an idea if the jewelry you have is currently in style. If it is, selling it will be much easier. Be aware that when jewelry holds sentimental value for you it can often affect how much you want to sell it for, and it's much harder to take into consideration how others would impartially value it.  While the "Antique" style is currently in, it is only in to a certain degree. If your pieces are not in vogue you may be better off selling them for their metal or gemstones. If you know the piece is valuable, based on research and family history, it may make sense to have the jewelry appraised. Appraisals, especially written ones, are never free, especially from an organization such as the GIA (The Gemological Institute of America, formed in 1931) or even a local jewelry store, and can run in the hundreds of dollars for items worth thousands, so keep that in mind. And an appraisal for insurance purposes is always higher than what your jewelry is worth on a retail basis. Expect it to be less than half it's replacement value when you're trying to sell it. You are closer to a tenth of the insurance value. And remember, even when a piece is valuable people seldom want to pay what it's worth. Older appraisals can tell someone what stones are in the setting, the gold/platinum or silver content and design as well as age, but not current value. It's always a good idea to keep all of your appraisals to show how the value has increased. And a good rule of thumb is to count on it's doubling in value approximately every 7 years or so, based on how the fine metal markets are doing. Gauge the worth of gold by looking at the karat stamp, but be aware that many places can buy stamps and put incorrect stamps on jewelry. The karat stamp reveals how pure the gold is. A 24-karat gold piece is pure gold and will be...


Look at the big picture. Reflect on your own behavior. Be careful about making accusations against your loved ones. Follow through.

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When assessing the body language, verbal responses and other indicators indicative of lying, consider factors such as:  Is the person unduly stressed in general, not just from the current situation? Is there a cultural factor involved? Perhaps the behavior is culturally appropriate in one culture, but is seen as dishonest behavior in another. Does the person have a disability that might impact their body language? Are you personally biased or prejudiced against this person? Do you want this person to be lying? Be careful of falling into this trap! Is there a history of this person lying? Namely, are they experienced at it? Is there a motive, and do you have a good reason for suspecting lying? Are you actually any good at reading lies? Have you taken into account the entire context and not simply zoomed in on one or two possible indicators? Do you often suspect or accuse people of lying? This could be a sign that you have trouble trusting other people. If you're always on the offensive, people may have a hard time liking you or getting close to you.  Consider talking to a counselor if you struggle to trust or relax around other people. If you wrongly accuse someone of lying, you could damage or destroy a relationship. You could also harm your reputation, and people may think that they might wrongly accuse you. Make certain that you are sure about a lie before you call someone on it.  Avoid jumping to conclusions based on reputation. If someone has lied before, they may be doing it again. But they may also be turning over a new leaf, or be being framed by someone who figures that they'll be easy to blame. If you have the means, check out the facts behind what the liar is saying. A skilled liar might give some reason why you shouldn't talk to the person who could confirm or deny a story. These are probably lies themselves, so it might be worthwhile overcoming your reluctance and to check with the person you've been warned against. Anything factual that can be checked should be checked. Check if the lie makes...


Look at the color of the bear's fur. Let the bear know you’re a human and not prey. Slowly move away from the bear sideways. Never approach a female bear with her cubs. Play dead if you’re attacked by a brown bear. Run if you’re attacked by a black bear.

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It's important you determine what kind of bear you're dealing with. The way you respond to a black bear encounter will be very different than a brown bear encounter.  If the bear has black fur, it's a black bear. Full-grown black bears are usually smaller than brown bears. If the bear has brown fur, it's a brown bear. Brown bears also have a pronounced hump between their shoulders that black bears don't have. Grizzly bears are a subspecies of brown bear. Speak in a low, calm voice and wave your arms slowly. Do not scream or make any high-pitched noises or you could agitate the bear. Don’t take your eyes off the bear. Moving sideways will prevent you from tripping. Do not run. Bears can run faster than humans and they enjoy chasing their prey. If the bear starts to follow you, stop moving. Female bears are extremely defensive of their cubs, and they're more likely to attack humans. Get on the ground and lay flat on your stomach. Clasp your hands together behind your neck. Spread apart your legs so it’s harder for the bear to flip you over. Wait for the bear to lose interest and leave. If the bear doesn’t stop attacking you, reach for a nearby rock or branch and fight back. Hit the bear in the face as hard as you can repeatedly. Do not play dead if a black bear attacks you. Try to find shelter in a nearby car or building. If you can’t escape, hit the bear in the face repeatedly with any nearby objects.


Look at the color of your pool stain to classify the cause. Watch for organic stains on the floor of your pool. Be on the lookout for inorganic or metal based stains. Seek out professional assistance. Be sure to take a proper water sample for diagnosis. Make sure you perform a TOTAL metal test as part of your regular testing. Use test strips to test the water at home. Try a liquid test kit. Determine if your fill water is the problem.

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There are various stain colors that commonly appear in pools, and identifying yours will lead you in the right direction for treatment. Depending on the cause of the stain, you will need a unique removal plan.  The two main stain categories are metal and organic based stains, which come in a variety of colors. These color combinations include green-brown, red-blue, blue-green-black, green-brown-red, pinkish-red, or brown-black-purple. Try to distinguish which color combination your stain is. These are likely caused by leaves, berries, algae, worms, dead animals, or other organic debris that will leave stains if allowed to settle on the pool surface. If they are not removed right away, they will sink down and begin to decay on your pool's floor. Fortunately, organic stains can be easy to remove.  Organic stains are typically green, brown, or bluish-purple. It may be easy to diagnose organic stains if you can see organic debris like leaves settled at the bottom of your pool floor. If an organic stain is suspected, try applying a small amount of chlorine directly to it. An organic stain will dissolve easily with a soft head brush, whereas a metal stain will stay put. These substances can inadvertently be introduced into pools from well water or corrosion from copper pipes. It only takes the copper from the size of a penny to be oxidized in your pool and cause major stains. The types of metals that can sneak in your pool includes rust, manganese, iron, and copper. If there are rust colored stains on the pool wall below a ladder, the source is probably a metal, and you should examine the ladder for corrosion too. Check near the stairs, around the drain, and under the lip of the pool for discoloration. Stains that appear reddish brown or very dark are typically related to metals in your pool water.  The metals that commonly cause pool stains are iron, manganese & copper. Copper is from ionizers and corrosion of copper and brass pipes. This will result in blue, green, teal, black or dark purple stains. Iron is from...


Look at the curling iron's heat settings. Decide between a curling iron and a curling wand. Choose the shape of your iron. Decide on the right material.

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Different hair types need different heat settings. Thick hair can stand higher heat while thin hair needs much lower temperatures to prevent damage. Higher temperatures are also needed if you are curling large amounts of hair at one time.  Many curling irons have adjustable heat settings. This is ideal because you can change the temperature depending on your specific hair type. You should never use temperatures up to 400 degrees. Those are temperatures better left to stylists and professionals. Try staying between 300-340 degrees when styling hair. If you have fine, thin hair, go as low as 175 degrees. A curling iron has a spring-loaded clamp that holds your hair in place as you curl. These are the most common and found in most major retailers. A curling wand is clipless, and you have to manually curl your hair around the wand.  The benefits of a curling iron are that they have a clamp to hold the hair in place. They also come in a wide variety of barrel sizes, and are found easily in stores. The benefits of a curling wand are that you wrap the ends last so it reduces split ends, it can get closer to the roots to give you more volume, and it doesn't leave a crease or kink in the hair like the clamp on a curling iron.  Curling wands can give better beach curls and a more natural look, but they do not curl the end of the hair, and so will not make the most uniform curls. They also take some skill to learn to use. An alternative to both is a Marcel iron, which is a curling iron without a spring-loaded clamp. These take some practice to learn, but they offer greater control and produce a stronger curl. Marcel irons are available at most beauty supply stores. Curling irons don't just come in one shape - there are many different shapes that produce different effects. If you'd like a specific look, try one of these:  Cone shaped wands. These wands usually have a smaller end and widen to a thicker base. They also come in the reverse, with a thicker point and smaller base. These give precise curls, and allow for you...


Look at the equation. Plug in your values. Do the math.

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If you have a small to moderate population and know all of the key values, you should use the standard formula. The standard formula for sample size is:  Sample Size = [z2 * p(1-p)] / e2 / 1 + [z2 * p(1-p)] / e2 * N]   N = population size  z = z-score  e = margin of error  p = standard of deviation Replace the variable placeholders with the numerical values that actually apply to your specific survey.   Example: Determine the ideal survey size for a population size of 425 people. Use a 99% confidence level, a 50% standard of deviation, and a 5% margin of error. For 99% confidence, you would have a z-score of 2.58. This means that:   N = 425  z = 2.58  e = 0.05  p = 0.5 Solve the equation using the newly inserted numerical values. The solution represents your necessary sample size.  Example: Sample Size = [z2 * p(1-p)] / e2 / 1 + [z2 * p(1-p)] / e2 * N] = [2.582 * 0.5(1-0.5)] / 0.052 / 1 + [2.582 * 0.5(1-0.5)] / 0.052 * 425]  = [6.6564 * 0.25] / 0.0025 / 1 + [6.6564 * 0.25] / 1.0625]  = 665 / 2.5663 = 259.39(final answer)


Look at the finish. Inspect the back. View the cameo in strong light. Use a strong magnifying glass to look for marks. Feel the temperature. Test the hardness. Poke the cameo with a hot needle.

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Turn the cameo in your hand and observe the way the light hits it. A real shell cameo should have a matte appearance rather than a glossy one.  This is true of most carved cameos, in fact, since many natural materials are difficult to buff after being carved. Some authentic stone cameos might be slightly shiny, however, so this is not a foolproof test. Hold the cameo face down and brush the back with your index finger. If the cameo is made from real shell, you should feel a slight concave or curve.  Shells have a naturally curved surface, so a cameo carved from a shell will usually have this curve, as well. The curve might be slight, though. This does not necessarily apply to natural carved cameos made from stones or other materials, though. With the back of the piece facing you, hold the cameo up against the sunlight on a particularly bright day or up against a strong artificial light. You should be able to see the entire silhouette if your cameo is made from shell.  Note that this is not true of most stone cameos. While somewhat rare, some plastic cameos are similarly thin and may show the silhouette, as well. As a result, this is not a foolproof test when done on its own. Inspect the front of the cameo with a very strong magnifying glass or jeweler's loupe. You should be able to see faint marks made by the carving tool around the carved portions of the piece.  This is true for all naturally carved cameos. Carve marks will usually follow the lines and curves of the design. Scratches that do not appear to follow these lines are usually just scratches and should not be perceived as an indication of authenticity. Hold the cameo in your hand for 30 seconds or so. A real stone or shell cameo will feel fairly cool, but a plastic piece will quickly warm up due to the temperature of the room and the heat of your skin. You could also hold the cameo to your wrist or chin. These areas are generally a little cooler than the palm of your hand and may give you a more accurate indication. Gently hit the cameo against your...


Look at the first string of digits for language information. Look at the second string of numbers for publisher information. Look at the third string of numbers for title information. Look at the last number to check the code.

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This first string indicates the language and region that the book was published in. “0” indicates that the book was published in the United States. “1” Indicates that the book was published in another English speaking country. For English books, this string will typically only be a single digit, but it can be longer for other languages. The “0” will be followed by a dash. The string of numbers between the first and the second dash is the “publisher” identifier. Each publisher has its own unique ISBN string that will be in the code for every book that it publishes. Between the second and third dash in the ISBN number you will find the title identifier. Each edition of a book produced by a particular publisher will have its own distinctive title identifier. The last number is the check number. It should be predetermined by a mathematical calculation of the preceding digits. This is used to verify that the preceding digits are not being misread.  Sometimes the last digit is an “X.” This is the Roman Numeral 10. The check number is computed using a modulus 10 algorithm.


Look at the first three numbers to establish when the book was published. Look at the second string of numbers for language information. Look at the third string of numbers for publisher information. Look at the fourth string of numbers for title information. Look at the last digit to check the code.

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The first three numbers are a prefix that changes overtime. Since the implementation of the 13 digit ISBN, this series has only ever been “978” or “979.” Between the first and second dash in the ISBN you will find the country and language information. This ranges from 1 to 5 numbers and represents the language, country, and region of the title. For books published in United States, this number should be “0.” For books published in other English speaking countries it should be “1.” Between the second and third dash in the ISBN you will find the publisher information.  This can be up to seven digits long.  Each publisher has its own distinctive ISBN number. Between the third and fourth dash in the ISBN you will find the title information. This can range from one to six digits. Each title and edition will have its own distinctive number. The last number is the check number. It should be predetermined by a mathematical calculation of the preceding digits. This is used to verify that the preceding digits are not being misread.  Sometimes the last digit is an “X.” This is the Roman Numeral 10. The check number is computed using a modulus 10 algorithm.


Look at the form of the poem. Read the poem silently to yourself. Read the poem aloud. Pay attention to punctuation when you're reading. Look up words you don't understand.

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Before you begin reading, you should first take a moment to examine how it looks.  You can learn a lot about the poem's organization before even beginning to read.  For example, you might see that the poem is broken into stanzas, groups of lines, and that there is a space dividing other lines and stanzas.  The poem might have long, short, or even irregular lines that will help you understand its rhythm. You can tell whether the poem takes the form of an established form, such as a sonnet, or whether it's unique. The first step in reading a poem is to sit down and read the entire poem from beginning to end. You may find you need to read it several times and that's okay. To fully understand a poem, it helps to read it in different ways.  Reading aloud will help you understand the sound of a poem, which is important because poetry, by nature, is related to music. You can discover the rhythm of the poem or other special effects of the words, such as rhyming, alliteration, onomatopoeia, or assonance. When reading the poem be aware of punctuation or lack thereof. Punctuation, such as a period, can tell you when to pause.  Other times the poet will break lines off with no punctuation and so you should read on. Sometimes poets want you to briefly pause at the end of a line without punctuation.  If the poem has only a few words on each line, they've done this on purpose.  You'll notice this by looking at the poem before reading it. See a big, fancy word you don't get? Underline it or jot it down to look up so you'll be set to begin understanding what the poem is all about. Throw caution to the wind when looking up words.  Even if you think you understand a word, it may have had a different meaning if you're reading a poem that's centuries old.  Make sure to note any words that have multiple meanings for this reason.


Look at the horsepower (HP) of the air compressor. Try to look at Cubic Feet per Minute (CFM. Consider space and portability. Consider your power source. If using a tank mounted compressor, determine how large your tank should be.

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A common range for horsepower on an air compressor is between 1.5 and 6.5 HP. Air compressors with larger HP capacity exist, but are usually reserved for industrial uses and offer far greater psi. There are many blogs and articles online indicating horsepower ratings have changed in recent years. It is probably best to look at the flow rates instead of HP ratings if you are comparing today's models to much older ones. Small-scale uses won't require as much horsepower as industrial uses. While horsepower is a valuable marker in determining your air compressor, it shouldn't be the only one. More valuable will be a CFM rating, or Cubic Feet per Minute, if you can find one. Read more below for a detailed discussion of CFM. ) CFM is a measure of volumetric flow. Easy enough, right? The difficult part is that CFM changes depending on the psi of the compressor, meaning that two tools with different psi won't necessarily have CFMs that you can simply add together, which is what you want to be able to do. This is where things get tricky. Let's try to keep it simple:  Look for or ask about Standard CFM (SCFM) when evaluating compressors. Standard CFM is measured as 14.5 PSIA, at 68 °F (20 °C), with 0% relative humidity. (If you choose not to use SCFM, be sure to use CFM numbers that are all pegged at the same psi.) When you've got the SCFM of all your air tools that you'll be using simultaneously, add up their SCFMs, then add 30% to that as a safety buffer. This should give you the maximum required CFM usage you'll need to complete the job. When choosing an air compressor, you want to get close to this number so that you don't waste time with a too-small unit or waste money on a too-large one. Say, for example, that you're using a grease gun (~4 CFM @ 90 psi), framing nailer (~2 CFM @ 90 psi), and dual sander (~11 CFM @ 90 psi) at approximately the same time. Add all the CFMs to get 17 CFM @ 90 psi as your max required CFM. For example, will you be able to roll the compressor or lift it off the ground if you need to? ...


Look at the insect closely to see which color is most visible on its body. Make note of any patterns along the caterpillar’s body. Inspect the hair density on the body of the caterpillar. Look for distinct physical features if the caterpillar has any.

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Decide whether the caterpillar’s body is mostly black, brown, gray/blue, green, red/orange, or yellow/white. This can help you narrow down the species and decide whether or not the caterpillar is safe to handle. Normally, brightly-colored caterpillars, which can be red, yellow, orange, and white, tend to be poisonous, but it’s best to keep away from the insect until you can be sure.  Keep in mind that the color of a caterpillar can sometimes change depending on its life cycle and growth. You may see a few different colors along the insect’s body, so try to choose which is the most dominant shade. For example, the species ‘’Nemoria arizonaria’’ matches the brown color of the oak tree it is found in during the spring and the green leaves of the tree during the fall. Many caterpillars have body markings that are meant to provide camouflage. Look for bands, slashes, spots, stripes, or textures that give the insect a unique appearance. Sometimes, they can be a slightly darker or lighter shade than the main body color, or the markings can be a different color altogether. Some species are colored to resemble predators like snakes, with eye-like markings to make them look bigger, or they are colored to match poisonous or unpleasant things. For example, the tiger swallowtail butterfly larvae have patterns to resemble bird excrement. Caterpillars are sometimes covered with tiny hairs, called setae, that provide them with a sense of touch. Look at the hair on the caterpillar's body to see if it’s dense, tufted, sparse, or very short. Keep in mind that some caterpillars don’t have any hair at all. For instance, “woolly” and Tussock moth caterpillars, have long, fuzzy hairs that make them look soft! Check to see if the caterpillar has a curled tail, head horns, knobs, lashes, spines, or a split tail. These can all be good indicators for certain caterpillar species and will help you narrow down your search rather quickly. If you’re having trouble seeing these, look at the caterpillar under a magnifying glass.


Look at the items you have when you left home. If you placed Signs, you can find one.

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You should also have items for the night. Here are some items that are important finding your way home :  Compass Map Bed Torches The Signs should be about land areas. Like a Mountain Arch is near by and then you placed a Sign saying "Creeper Arch". Then you know that you have been here. Or, remember certain areas with weird land. Like an area floating off land.


Look at the leaves. Look at the shape of the stalks. Look at the bark. Look at the nuts. Look at the pith.

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Features that differentiate hickory leaves from the leaves of other types of trees are:  Several long, narrow leaves that grow from each stalk. Leaf size. Depending on the species, a hickory leaflet may be anywhere between 2 inches (5.08 cm) to 8 inches (20.32 cm) long. Serrated edges. Some may have sharply-pointed teeth, others more rounded serrations. Hickory leaves grow from a distinctive stalk, or rachis. Hickory rachis features include:  Anywhere from 5 to 17 leaves. Leaves that grow in directly oppositional pairs, perpendicular to the stalk, with a single leaf protruding straight from the end. Visibly larger leaves near the end of the rachis. Hickory trees have bark that forms ridges in a vertical pattern. These ridges may be shallow or deep, far apart or close together, but always vertical. Additionally, some hickory bark becomes raised at the plate edges as the tree matures, and eventually flakes off, from top to bottom. Hickory nuts have a woody outer shell, or husk. This husk starts out green but will harden to dark to light brown with a seam around the middle. The thickness of the husk can vary depending on species, but the nut inside will be white or tan and roughly the size of a gumball. The pith of a tree is the central column of its branches. All hickory tress have a solid, tan, 5-sided pith. Look at the end of the branch where you cut it from the tree. If you see a 5-sided or star-shaped tan center, the branch meets two of a hickory's requirements. To see if the pith is solid, cut off a small living branch and slice it in half along its length. If the branch is solid with no midsection that looks like a sponge or a honeycomb, the pith is solid.


Look at the meter at the bottom of the torque wrench. Turn the wrench around a nut or bolt and look at the arrow. Put a piece of tape on your desired torque line to read it more easily.

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There should be a meter at the bottom of the wrench with numbers and an arrow. The numbers represent the amount of torque in either foot-pounds (ft.-lbs.) or Newton meters (Nm). Wherever the arrow is pointed designates the amount of torque that you’re applying to a lug or nut. In the stationary position, the wrench should read 0. As you turn the wrench around a nut or bolt, the arrow will move and represent the amount of torque you’re applying. For example, if you turn the wrench around the nut and it reads 30 lbs.-ft (40.7 Nm), that means you’re applying that level of torque to the nut. Apply force slowly to avoid damaging the bolt.  Read the arrow from directly above so you get an accurate reading. Some dial torque wrenches will have a memory arrow that follows the main arrow and stays at the highest level of torque. This makes it so that even if you disengage the wrench, you’ll know the max torque you were applying to the nut. There are a lot of lines and numbers on a beam or dial torque wrench, so it may be hard to see it without the tape. If your wrench doesn’t have a memory arrow, you can put a piece of tape next to the line of the desired amount of torque. Putting tape near the line will make the wrench easier to read.


Look at the motor and pump for any debris or blockage.

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Clear the jams as necessary. You should also check the drive belt for damage or wear. If there are no jams or damage, test the dishwasher motor and start relay for continuity.


Look at the needles of the spruce. Examine the cones. Feel the branches. Look at the shape of the branches.

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Before trying to narrow down the species of spruce tree, first make sure that you are not looking at a fir or pine. Examining the needles of the trees is the easiest way to make the distinction between them. The needles of a spruce tree are attached individually to its branches, as opposed to being in clusters. They also have four sides and roll easily between your fingers.  The needles of pine trees grow in clusters, which makes them immediately distinguishable from spruce trees. Like spruce needles, the needles of fir trees also grow individually. However, while spruce tree needles are sharply pointed and easy to roll between your fingers, fir needles are flatter, less pointy and can't be rolled between your fingers. The cones of a spruce tree are also a good way to identify the tree. Cones grow from tree branches and contain the seeds of a tree. Spruces, pines and firs all contain cones, as do other conifers like cedars and hemlock trees. Spruce cones have smooth, thin scales, and are quite flexible and easy to bend. Pine cones have scales that are thick, rough and woody, which makes the cones inflexible. The needles of spruce trees grow out of small woody pegs from the branches. When the needles fall from the tree, these pegs are left behind, giving the branches a rough feel. The pegs look like little three-dimensional dots along the surface of the branch. The branches of fir and pine trees lack these stalks, and therefore feel smoother than those of spruce trees. Spruce trees are bushy and full, and have upturned branches. Fir trees, on the other hand, have downturned branches, making them easily distinguishable. Pine trees also have upturned branches but they have fewer branches which makes them look slightly sparser than spruce trees.


Look at the number in standard form. Separate the digits. Identify each place value name. Multiply each digit by its appropriate place value. Write your final answer.

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Read the number and look at how many digits are in it.  Example: Write 5,827 in expanded form.  Read the number silently or out loud: five thousand, eight hundred twenty seven. Notice that there are four separate digits in this number. As a result, there will be four separate places in the expanded form of this number. Rewrite the number so that each of its digits are separated by a plus sign. Leave a little room in between each digit and the plus sign that follows it. More information will need to be included there.  Example: The number 5,827 temporarily becomes: 5 + 8 + 2 + 7 Each digit in your original number corresponds to a specific place value. Starting from the lowest digit, label each digit with its appropriate place value name.  Example: Since there are four digits in this number, you will need to count up four place values.  The smallest digit is 7, and that corresponds to the ones (1) place. The next digit is 2, which corresponds to the tens (10) place. The third digit is 8, which sits in the hundreds (100) place. The fourth and final digit is 5, and it sits in the thousands (1000) place. Multiply each separate digit in your original number by the place value that matches where it belongs within the full, original number.  Example: [5 * 1000] + [8 * 100] + [2 * 10] + [7 * 1] Once the digits have been multiplied together, you should have the final expanded form of the original number.  Example: The expanded form of 5,827 is: 5000 + 800 + 20 + 7


Look at the number in written form. Identify each place value name. Rewrite the written place value as a numeric place value. Write the final answer.

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Read the number as it is written. When a number is in this form, you should be able to identify the full value of each separate digit.  Example: Write the following in expanded form: seven thousand two hundred eighty nine. Write each digit separately, attaching the appropriate place value name after it. The correct place value will simply be the one that is already written beside the value. Include plus signs in between each written value.  Note that the “tens” and “ones” place values are not specifically labeled, but they should be understood. You can indicate your understanding by marking the place value name in parentheses, but doing so is not strictly necessary.  Example: The number seven thousand two hundred eighty nine becomes:  seven thousand + two hundred + eighty (tens) + nine (ones) OR seven thousand + two hundred + eighty + nine Look at each separate value. Rewrite each value as it reads to the equal numeric value.  Example: Seven thousand + two hundred + eighty + nine:  Seven thousand = 7000 Two hundred = 200 Eighty = 80 Nine = 9 You should have all the information you need now to write the original written form number in expanded form.  Example: The expanded form of seven thousand two hundred eighty nine is: 7000 + 200 + 80 + 9


Look at the overall color of the flower. Count the number of petals if the flower has them. Take note of the shape, size, and arrangement of the leaves. Consider the location, climate, and season when you find the flowers.

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Notice the petal color of the flowers for an easy way to differentiate it from other wildflowers. For instance, is the flower white? Bluish purple? Red? Other common wildflower colors include pink, yellow, orange, maroon, and green.  For example, the longleaf aster has white flowers with a yellow center.  The silvery lupine has purple flowers and a hairy legume pod in a cone-like shape. A legume pod is the part of the plant that houses the seeds. When you find a wildflower, notice how many petals it has overall, based on the shape of the plant. Does it have 3 evenly-spaced petals or more than 6 radial petals? Each flower type has its own distinct petal composition, so this is an effective way to differentiate between wildflowers. For example, lily species commonly have 6 evenly-spaced petals. Leaves can be absent, alternating, basal, opposite, or whorled. The leaf shape is also important, as they can be heart/round shaped, linear, wider near the base, wider near the middle, or wider near the tip. Examine the stem and leaves of the wildflower you find to help you identify it.  For example, wild strawberry plants usually have small, compact leaves with jagged edges. The leaves form a 3-leaf cluster. If the plant has no leaves, it has an absent leaf structure. Opposite leaves refer to the leaf pattern where there are 2 leaves on opposite sides of the stem. Basal leaves are attached to the stem in pairs or clusters. Whorled leaves radiate around the stem in a clustered, multi-leaf pattern. Your location has a lot to do with what wildflowers are available in your area. Some flowers only grow in certain areas, and some flowers only bloom during certain times of the year. There are some common flowers found in a variety of climates, such as different types of lilies.  You can find wildflowers including coneflowers, poppies, sage, and common marigold across the globe. For instance, Mount Diablo buckwheat is a pink flower only found in California. Until 2005, it was considered extinct.


Look at the play’s program. Take notes during the show. Write a rough draft of the review right after you have seen the production. Create a strong hook or line to open the review. Answer who, what, where, and when in paragraph 1. Discuss the plot in paragraph 2. Talk about the acting and directing in paragraph 3. Analyze the design elements of the play in paragraph 4. React to the play as a whole in paragraph 5.

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Try to get to the theater or production setting 15 minutes before show time. Flip through the play’s program. Look for a director’s note and the cast biographies. You should also check if there are any understudy replacements for the production, especially if the show is promoting itself based on the popularity of a certain performer. Note if there are any write ups in the program about a directorial choice, like setting “Hamlet” in contemporary times. There may also be notes on the lighting or the sound design. Don't: judge the premise of the play based on your personal tastes. Your readers can decide for themselves whether it appeals to them.Do: consider the goals behind production decisions and be prepared to evaluate whether the play achieves them. Its important to write down any striking details during the production. But try not to bury your head in your notebook during the entire production. You may miss certain details or a key moment. Use the intermission, which usually happens between acts in a play, to take more detailed notes. Consider:  The set design. Look at design elements like lighting, sound, costumes, makeup, and props. The acting and directing of the production. If a certain casting choice seems important, write it down. If a line of dialogue strikes you, make a note of it. Look at the way the actors say their dialogue and move around the stage. Are they serious, comedic, formal? Do they use modern slang or speech, even though the play was originally set in an older time period? Any “special effects” used, such as special lighting, sound or technology. Note if the production also uses audience participation to keep the audience engaged. Right after the performance, you should jot down any concluding notes, including your initial impressions of the production and how successful or unsuccessful you think the production was. The longer you wait, the less you’ll remember your experience of the play. Remember your role as a critic is to describe, analyze, and judge. In your review, you will...


Look at the problem. Separate the numbers by place value. Subtract each place value group separately. Write the final answer.

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Make sure that you are being told to subtract the expanded forms of two numbers. If the question is phrased as a word problem, pull the numerals out of the problem and arrange them in subtraction format.  Note that you should rewrite any numbers originally in standard or written form if the question explicitly tells you to show your work in expanded form.  Example: Subtract [500 + 70 + 1] from [800 + 10 + 4].  Rewrite as: [800 + 10 + 4] – [500 + 70 + 1]  Or: 800 + 10 + 4 – 500 – 70 - 1 Identify all numbers falling into separate place value categories (ones, tens, hundreds, thousands, etc.). Rewrite the problem so that all numbers belonging to the same place value category are grouped together.  Example: For [800 + 10 + 4] – [500 + 70 + 1]:  Hundreds: 800 – 500 Tens: 10 – 70 Ones: 4 – 1 Subtract the numbers in each place value category. Start with the lowest category (ones) and gradually work your way up to the highest.  If the number you are subtracting from is smaller than the number you must subtract from it, you will need to take an entire place value from the category above it. For instance, take “10” from the tens category if the values in the ones category cannot be subtracted as they are.  Example: Start with the ones category, followed by the tens, followed by the hundreds.  4 – 1 = 3 10 – 70; since “70” is larger than “10,” you'll need to take “100” from the “800” and add it to the “10,” making this equation: 110 – 70 = 40 700 – 500 = 200; the “800” became “700” when you took the “100” for the tens category Arrange the differences from each category in a row, separating them with plus signs. This is the expanded form of your final answer.  To find the standard form of this answer, all you need to do is add the digits of the expanded form together.  Example: [800 + 10 + 4] – [500 + 70 + 1] = 200 + 40 + 3 In standard form, the answer would be: 243


Look at the pros. Evaluate the cons. Try out free software and read user reviews.

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Mind-mapping software and apps are rapidly expanding in their features. There are even some that are free with high capabilities. They allow for real-time virtual collaboration, brainstorming and discussion; map revision by other users; whiteboard, free-form drawing during meetings or presentations; personal use on your cellphone; management of complex projects from the ground up, scheduling, etc.  They range from  simple-to-use to probably requires training to realize the program’s potential. A couple of the top-rated programs are free. Others range from $4.99/month on up depending upon the features. They’re easy to modify, update and are orderly in appearance. You can often upload your own images. Generally, you can download them as a PDF, if not in a number of other formats. Their features vary, which can limit the free-flowing nature of mind mapping. So, for example, one program might allow you to insert an arrow from one sub-category to another while another doesn’t offer this option. The ability to make those types of visual links is quite important in mind mapping.  Most don’t allow you to draw with anything other than your mouse. They can also take time to learn and be expensive. and handwriting enhances cognition and memory. Test the waters by creating mind maps in free software programs. This will give you a baseline idea of their capabilities. It will also help you determine if you think they’re useful enough to upgrade to those that aren’t free but offer more functions. Also read reviews online to see which programs people like for what types of issues. One program or app might be great for collaborating with co-workers but not very useful for keeping track of a project’s progress. Some free mind mapping software you can try includes Coggle, MindMapple, and NovaMind.


Look at the ratio. Separate the first term into factors. Split the second term into factors. Cancel out common factors. Write the simplified ratio.

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Polynomial ratios are more complex than other ratio types. There are still two quantities being compared, but the factors of those quantities are not as obvious, and the simplification may take slightly longer to perform. Nonetheless, the basic principle and steps remain the same.  Example: (x2−8x+15):(x2−3x−10){\displaystyle (x^{2}-8x+15):(x^{2}-3x-10)} You'll need to factor out a polynomial from the first term. There are various methods you can use to complete this step, so you will need to use your knowledge of quadratic equations and other complex polynomials to determine the best method to use.  Example: For this ratio you can use the decomposition method of factorization.  x2−8x+15{\displaystyle x^{2}-8x+15} Multiply the a and c terms together: 1⋅15=15{\displaystyle 1\cdot 15=15}  Find two numbers that equal this number when multiplied and add up to the value of the b term: −5,−3[−5⋅−3=15;−5+−3=−8]{\displaystyle -5,-3[-5\cdot -3=15;-5+-3=-8]}  Substitute these two numbers into the original expression: x2−5x−3x+15{\displaystyle x^{2}-5x-3x+15}  Factor by grouping: (x−3)⋅(x−5){\displaystyle (x-3)\cdot (x-5)} The second term of the ratio must be broken down into factors, too.   Example: Use any method desired to break down the second expression into factors: x2−3x−10{\displaystyle x^{2}-3x-10} (x−5)⋅(x+2){\displaystyle (x-5)\cdot (x+2)} Compare the two factored forms of the original expressions. Note that a factor in this application is any expression set in parentheses. If any of the parenthetical factors are common to both terms of the ratio, those factors can be canceled out.  Example: The factored form of the ratio is written as: [(x−3)(x−5)]:[(x−5)(x+2)]{\displaystyle [(x-3)(x-5)]:[(x-5)(x+2)]}  The common factor in both terms is: (x−5){\displaystyle (x-5)}  When the common factor is removed, the ratio can then be written as: [(x−3):(x+2)]{\displaystyle [(x-3):(x+2)]} The two terms in the final ratio should have no factors in common. This new ratio will be equivalent in proportion to the original...


Look at the size of the cockroach. Notice the color of the roach. Look for a glossy exterior. Consider the kind of food the cockroach is munching on.

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This variety of cockroach are considered large cockroaches and can grow up to two inches in size. If you were to lay the cockroach next to an American quarter, the quarter would take up about three-fourths of the cockroach’s body. American cockroaches are unique from other cockroaches in that they have a red-brown color that has an amber look to it. Most other cockroaches are a muddy brown color. Check to see if the roach you are looking at has a reddish glow to it. Also look for two large dark brown spots on the shoulders of these roaches--they are the only part of the bug without that reddish color. Aside from their unique color, American cockroaches are also the shiniest roaches. Their exterior, including their body and wings, has a shiny quality to it that many call glossy but no one would call glamorous. American cockroaches are notorious for only eating moist foods--like human and pet food--making them a personal problem as well as a household problem. If you see a large cockroach eating your food or your dog’s food, it is very likely that it is an American cockroach.


Look at the solid coloration of a Betta fish. Identify different solid colors on the body and fins. Check for a marbled color pattern on a Betta fish. Look for a copper color pattern. Identify flecks of color on a Betta fish.

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Betta fish have been bred to come in a wide range of solid colors, including black, red, blue, and white. There can even be variations within a particular color family. For example, the coloration of a red Betta fish can range from bright to deep.  Betta fish that are red as juveniles may lose their coloration as adults due to the Red Loss gene.  For black Betta fish, the ideal coloration is pitch-black, or melano black. It is caused by a gene mutation that results in increased melanin. Melano females cannot breed eggs that will hatch, as the mutation kills the eggs.   Black Betta fish are usually a smoky black.  Some solid-colored Bettas will have a metallic look, due to pigment-containing cells called chromatophores. A Betta fish with one solid color on its body and another on its fins is considered bi-colored. Either the body is dark with light fins, or vice versa. There should be a sharp contrast and divide between the two colors. Two types of bi-colored Betta are butterfly and Cambodian.  Butterfly Bettas have solid colors on their bodies, which partially extends to their unpaired fins. The outer edge of the fins will be a different color, creating a distinct band of color.  Some butterfly Bettas have three colors, and therefore do not fit the strict definition of bi-colored. The three colors will still be distinct. An example of a tri-colored Betta fish is the Thai Flag Betta (red, white, and blue).  Cambodian Bettas have flesh-colored bodies and deep red fins. Cambodian Bettas have lost popularity as new color patterns have been introduced. The marbled pattern will contain different colors with no distinct border between the colors. The colors usually look like splashes or blotches across the body and fins. Interestingly, the marbling can change from day to day.  Most marbled Bettas have two colors.  A tri-colored marbled Betta is known as a ‘koi.’ Koi usually have splotches of red and black on a light-colored body. The copper pattern actually contains a variety of colors (e.g., lavender, turquoise,...


Look at the stone's refractivity. Observe the reflections. Drop the stone in a glass of water and see if it sinks to the bottom. Heat up the stone and see if it shatters.

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Diamonds sharply bend, or refract, the light that passes through them, resulting in their strikingly brilliant appearance. Stones like glass and quartz sparkle less because they have a lower refractive index. A stone's brilliance is difficult to alter in any way, even with an expert cut, because it's an inherent property of the stone. By taking a close look at the stone's refractivity, you should be able to tell whether it's the real thing or a fake. Here are a few ways to do it:   The newspaper method: Turn the stone upside down and place it on a piece of newspaper. If you can read print through the stone, or even see distorted black smudges, then it probably isn't a diamond. A diamond would bend the light so sharply that you wouldn't be able to see the print. (There are a few exceptions: if its cut is disproportionate, the print can still be visible through a real diamond.)  The dot test: Draw a small dot with a pen on a piece of white paper and place the stone over the center of the dot.  Look directly down on it. If your stone is not a diamond, you will see a circular reflection in the stone. You won't be able to see the dot through a real diamond. A real diamond's reflections usually show up in various shades of gray. Look straight down through the top of the diamond. If you see rainbow reflections, you're either dealing with a low-quality diamond or a fake.  Instead, check for "sparkles." A real diamond will sparkle significantly more than an equivalently-size piece of glass or quartz. You may want to take along a piece of glass or quartz as reference. Don't confuse sparkle with reflection. Sparkle has to do with the brilliance or intensity of the light that's refracted by the cut of the gem. Reflection has to do with the color of the light that's refracted. So look for intense light, not colored light. There is a stone that has even more luster than a diamond: moissanite. This gemstone is so similar to diamond that even jewelers have a hard time telling them apart. To tell the difference without...


Look at the tail. Look at the build. Check the head for a cradle-like shape. Touch the cat. Look for large eyes. Weigh your cat. Use color to identify the cat.

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Manx cats have four different tail varieties.  “Rumpies” have no tail at all, and instead sport a dimple at the base of the spine where the tail would normally extend.  “Rumpy-risers” have a stubby tail of only one to three bones.  “Stumpies” have a short tail that is curved or kinked.  And finally, “longies” have tails that are almost as long as those of regular cats. Most breeders cut the tails off of longies, so unless you’re a breeder, you probably won’t encounter a longie. Manx cats are muscular and compact, with a sturdy skeleton.  They are medium to large in size with a wide chest. Their hind legs are noticeably longer than their front legs, giving them an appearance some have likened to rabbits. Males might be somewhat larger than females. When viewed from behind, the ears appear as a cradle or rocker shape.  The ears are broad-based and taper to a rounded tip. Manx cats have broad faces. There are two varieties of Manx coats.  Short-haired Manxes have a long overcoat with a dense, fluffy undercoat.  The hair of the overcoat might feel coarse even though it looks fluffy.  If you pet the cat during summer or late spring, the fur might feel thin due to spring shedding.  The long-haired Manx has a silky coat of medium length, and tufts of fur between its toes and around its ears. White Manxes might have a softer coat than Manxes of other colors. Manxes have large, round eyes.  The outer corners of the eyes will point up slightly toward the ears, while the lower corners will angle down and inward slightly toward the nose. Eye color in Manxes varies.  Green, hazel, gold, copper, and blue are all common.  Some Manxes are odd-eyed (that is, each eye has a different color). Male Manxes weigh around 10-12 pounds (4.5-5.4 kg).  Females weigh about 8-10 pounds (3.6-4.5 kg).  Weigh your cat on a scale to determine if it falls within or near breed averages. Manxes feel surprisingly heavy when lifted. Manxes come in a wide variety of colors, so using color to identify one can be difficult.  Common colors include...


Look at the title. Decide the who, what, when, where, and why of the poem. Think about the poem's rhythm. Determine what imagery the poem conjures up. Look for similes and metaphors.

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To understand a poem's meaning and theme, you should begin with the title.  Poets carefully choose their titles to set up their poem. Does the title provoke a certain feeling? Does it set up a certain expectation for the subject? Make a note in the margin about the initial reaction you have to the title. What are your expectations for the poem based on the title? Thinking about this set of criteria will help you begin to discover the subject of the poem and what the poet is trying to communicate to you, the reader.  Who's the speaker of the poem? You should remember that the poet is not always the narrative voice in the poem. Are there multiple characters in the poem? Who's the speaker's audience?  What's the basic plot of the poem? Are there conflicts present and are they resolved? Is there a turning point or transition in the poem? When does the poem take place? Present time? In the past? Over a long period of time or in a single night? Where does the poem take place? Is there a physical location? In it an imaginary environment? Why is the speaker of the poem speaking to you? What has compelled the speaker to share this poem? Now that you've thought about the poem's subject and intent, look more closely at how the poem's meter (regulated or repetitive beats of words in a line) or rhythm contribute to its meaning.  Read the poem aloud to get a sense of its rhythm or meter. Words that are stressed through rhyme or repetition may be key to understanding the meaning of the poem. Punctuation or words in the poem that force you to slow down may be the poet's way of calling your attention to their importance. After reading the poem, think about what images have popped up in your mind. Understanding the imagery of a poem will help you get at its meaning.  How did the poet put these images in your mind?  Imagery isn't limited to the visual. Imagery also relates to other senses, such as smell or taste, through words.  The poet may have evoked imagery through symbolism, a physical object that represents an idea,...


Look at the top card of the deck and memorize it.

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For example, "ace of spades" or "seven of hearts." Do this part of the trick out of sight of the audience.  It will be more convincing if you pull the cards straight out of your pocket and go directly into the demonstration.


Look at the written number. Rewrite each part in numerical form. Add the parts together. Write your final answer.

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When you need to change the written form of a number to its standard form, you need to take the written words and change them into their numerical equivalents.  Example: Rewrite "seven thousand four hundred thirty eight" in standard form. In this example, "seven thousand four hundred thirty eight" is provided in written form (a.k.a. its "word name"). Change it so that it will be in numerical form. Take another look at the number in your problem. Separate out each different place value and write the place values separately in numerical form, separated by plus signs.  Note that the form you will produce in this step is actually known as a value's "expanded form." As you get comfortable with the process, you might be able to skip this step and move directly onto the next one.  Example: In this problem, the separate place values are: "seven thousand," "four hundred," "thirty," and "eight."  "Seven thousand" = 7000 "Four hundred" = 400 "Thirty" = 30 "Eight" = 8 In expanded form, the value is: 7000 + 400 + 30 + 8 To find the standard form of your number, you simply need to add together all of the different place value pieces.  Example: 7000 + 400 + 30 + 8 = 7438 You should now have your final answer and the standard form of your number.  Example: The standard form of "seven thousand four hundred thirty eight" is 7438.


Look at their locations. Check a directory. Look up your crush’s parents.

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Various social media applications allow you to tag your location, so there’s a chance your crush might have tagged their home.  Look at Instagram maps. Instagram allows you to tag your location, so go to their profile and check their maps for the places they’ve taken the most pictures. Start with the selfies, as these are likely to have been taken at their home. Check out their pictures. If you live in a smaller town, see if you notice any familiar landmarks. If your crush has a picture with their house in the background, look closely to see if you recognize it. See where they’ve checked in. Look at their Facebook to see if they use apps like Foursquare. This probably won’t lead you to their address. However, by seeing the places they frequent, you might get an idea of the area of your city that they live in. School or church directories often list the contact information of their members. These may be digital or physical directories. Look for them by their last name. This will make it easier to find out where your crush lives. Use online and physical phone books. If you don’t know the full names of your crush’s parents, look on Facebook. Chances are that you kind find them by looking for people with the same last name as your crush in their friends list.


Look at ways to reduce waste and unnecessary spending in the office. Talk to your superiors about conserving energy in the office. Start an energy conservation committee with co-workers. Think of prudent ways to settle disagreements with co-workers.

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A big part of being prudent in the workplace is focusing on ways to reduce waste and unnecessary spending through good judgement and planning. You can do this in small ways by always recycling your used paper and printing all documents on both sides of the paper to reduce spending on office supplies such as paper and ink. You can also do this in larger ways by encouraging your co-workers to follow waste reduction practices and to use office supplies in an efficient way. Send out an email reminding everyone to always recycle their scrap paper and only print in color when necessary to conserve ink. You should also suggest cutting down on the use of paper plates and napkins at company events and make sure there are recycling bins throughout the office. Another way to be active and prudent in the office is to suggest ways to conserve energy in the office on a daily basis. Set up a meeting with your superiors and outline small adjustments to everyday tasks that can save the office money on energy bills and ensure the office is environmentally friendly. This could be unplugging all office computers at the end of the day, as well as making sure all electronics are set to energy saving mode during work hours. Or, you could suggest swapping out paper plates in the office break room for reusable plates and utensils. Focus on making daily tasks in the office more energy saving so it becomes a habit for everyone in the office. Get your co-workers involved in your prudent efforts by starting a committee that focuses on energy conservation and reducing waste in the office. Create action items and goals with the committee and try to achieve them within a set time frame. For example, you may develop action items such as switching the office to green energy by the next fiscal year, or instituting a recycling policy in the office in the next two months. Be specific about the goals of the committee and try to include co-workers from every department or area in the company so the needs of each department are well represented....


Look at what happens around your other relationships. Check out this person's own personal friendships. Watch for abuse of administrative or social power, including when there are shared rights.

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When the controlling person is around your friends and supporters, watch out. The controlling person will often try to cause trouble between you and your friends, spreading rumors, attempting to create divisions (divide and conquer) and will even tell lies (exaggerations to be kinder) about you to them or about them to you, to try to break your attachment to them.  The ultimate aim is to isolate you from others so that they can have you all to themselves, inside the reality they're trying to weave for you. Stay alert; any attempt to remove or downgrade your friends or supporters from your life is a red flag.  Controlling people are often unreasonably jealous. This is more than just not liking it if another person makes eyes at you. A controlling person will often act like they own you and have the right to determine who you spend time with, what you do, where you go, and when you come home. This is not cute or a sign of their affection for you: it’s controlling. Controlling people often do not have close friends, and rarely are friends with others who are more attractive, intelligent, or well-liked than themselves. They tend to be jealous of popular, successful people, and will criticize those held in high-regard by others. A lack of close friends may be one additional sign of their inability to tolerate others and their need to control relationships tightly. Relationships and friendships are not built on who is in control. They are mutual interactions based on shared give and take and always seeking balance. A controlling person tends to keep up social and legal connections through any means necessary, including threats of litigation, divorce, manipulating marriage, roommate tenancy contracts, shared cell phone plans, misuse of shared credit and similar contracts. Even in social networks, one may block and unblock a person rather than delete the connection, as another attempt to control a difficult or failed relationship. This is because controlling, abusive people are desperate for power. Suspect excessive...


Look at what other, similar pieces of art have sold for. Know that one-of-a-kind artworks are difficult to price, and somewhat more subject to change. Look at scale, intensity, and medium.

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If you've just bough an impressionist painting in the vein of a painting that was just sold for $12,000 — all other things being equal — that should give you a good benchmark for what your painting may be worth. When looking at comparables, use a price range instead of a single price. Art appraisers generally say, for example, that a sculpture is worth in the $800 - $1,200 range instead of saying it's worth $1,000. An artwork that is truly unique and doesn't have any other analogues against which to compare it is difficult to value. The appraisal arrived at is considered to be especially volatile. Scale is the size of the artwork and the level of detail. Intensity is the level of effort put into the artwork. Medium is the quality of the materials used. Combine these three aspects together and you should have a better idea of what your artwork is worth.


Look at what you listen to daily. Know classic metal. Understand the sub-genres. Learn some metal facts. Welcome other tastes in music.

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Make sure you actually listen to metal on a daily basis. Listening to a few metal songs at a friend's house or on a game doesn't make you a metalhead. If you use a software to play music, you can easily check what you’ve listened to by date and how many times you've listened to a song. You should have at least a couple tracks from a metal band in your recently played playlist. There are “godfathers” of metal that you should know, if you consider yourself a metalhead. There are also several bands that fall on the line of metal and classic rock. The reality of the situation is that genres are malleable and shouldn’t be taken as a strict label. Some of the classic rock/metal bands are Black Sabbath, Deep Purple, Led Zeppelin, AC/DC, Van Halen, and Iron Maiden. Other classic metal bands are:  Metallica Megadeth Slayer Death Judas Priest Pantera Make sure you know a few bands of every subgenre of metal. Just a few major metal subgenres are thrash metal, death metal, black metal, power metal and speed metal. Some metalheads consider people who listen metalcore and claim to be metalheads are posers. Metalcore is a fusion genre of extreme metal and hardcore punk; with the latter genre being what stirs away many metal purists from engaging with metalcore.     Metalcore includes bands like Trivium, Parkway Drive, Killswitch Engage, Bullet For My Valentine, Poison The Well and Motionless In White. A list of a few bands and their respective subgenres are in the tips section. Know random trivia about bands like Motorhead, Metallica, Pantera, Death, Iron Maiden, Children of Bodom, and any other band you like. Statements like "Slipknot Sucks!" or "Metallica is the only good metal band" are typical statements from a metalhead poser. If you only like one band, you don't like metal thus you're not qualified to be a "Metalhead" but rather, you are a  "Bandhead".  However, there is one exception to this rule. If a person likes Metallica and has only listened to Metallica, then he or she can still be considered a genuine...


Look at what you're touching. Pay more attention to how things feel. Exfoliate your skin. Become more aware of your body.

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Research shows that tactile sensation and vision are related, so looking at the object you're touching will enhance your ability to feel it. When you're touching something interesting, pay attention to what it looks like, too. Our sense of touch might be the one we take most for granted. Deliberately paying attention to how things feel can awaken your brain so that your sense of touch gets stimulated. Start being more aware of what your skin is touching.  When you're shopping for clothes, run your hands over the different fabrics. Identify the difference between cotton and polyester, silk and satin. Make deliberate choices based on which ones feel best. Make a point of touching different textures throughout the day. Let your fingers graze a tree as you're walking by, and stop to pick a delicate flower. Run your hands through your hair and feel the cold tiles under your toes. Be aware of things that change the feel of your skin, like a cool breeze or the warmth of the sun. Soft skin is more sensitive than rough skin. If you have callouses on your hands and feet, you're limiting the sensation you can feel. Use a pumice stone or another exfoliating tool to remove rough edges, then moisturize with lotion or oil to keep your skin soft and sensitive. Dancing, running, doing yoga, getting massages, and getting acupuncture treatments can all help you get more in tune with your body, making you more sensitive to touch. Having physical contact with another person also helps you become more physically awake.


Look at your artist's past works to get an idea of their skill. Consider the size of your tattoo. Factor in the amount of detail you want in your tattoo. Decide whether you want a custom or a flash piece. Add in the cost of the tip.

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More talented and experienced artists will generally have higher prices. Take a look at your artist's portfolio and work history to get an idea of their skill level. If they are known for their elaborate or detailed tattoos, don't be surprised if they have an hourly rate of over $120-150 USD. The larger your tattoo will be, the more you will pay for it. A small tattoo without much detail will often cost no more than the shop minimum, while larger tattoos about the size of a deck of playing cards could easily run anywhere between $100 and $200 USD. Placement will also impact the cost of your tattoo. The more sensitive the area or the more difficult it is to tattoo, the more the piece will cost. An inner lip, tattoo, for example, may cost more than other small tattoos. Size, alone, is not going to determine the cost of your work. The amount of detail in your tattoo will also factor into the cost. The more fine details, vivid colors, and shading you have, the more expensive your tattoo will be. If, for example, you choose to get a tribal turtle tattoo, you may pay around $100 USD for the piece. If you get the same size turtle tattoo with photorealistic detail, your piece might be closer to $250 - $300 USD. A flash tattoo, such as one that you would pick from the wall or a binder in your shop, will typically cost less than a custom design. This is because your artist won't have to spend any time drawing out an original piece. Be prepared to pay more if you are getting a custom piece. It is customary to tip your tattoo artists after they complete a session. The customary tip for a successful tattoo is 20% to 25%. At an absolute minimum, you should plan for a 10% o 15% tip.


Look at your beer. Swirl your beer a bit. Smell it. Go in for the taste. Drink up!

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Want to analyze your beer and learn which ones you love, which ones you loathe, and why? Start by looking at your beer, marveling at its color and body. Raise it in front of you, but not to the light (that'll make it appear lighter than it is). What do you notice?  Think about the head. Is it foamy? Creamy? Quick to disappear? Consider its color. Is it more golden, red, or chestnut? Look at its consistency. Is it creamy? Thick or thin? Hazy with debris or clean as a whistle? Just like you swirl around a glass of good red wine, swirl around your beer. This releases the aromas and fragrance of your particular beer. It pulls out the nuances and tests its head retention. How does this beer differ from other beers you're used to when you swirl it around? How does the carbonation loosen? What happens from the bottom to the top of the beer? Most of taste is smell, after all. Take the first whiff through your nose. What do you sense? Fruits? Bread? Chocolate? Then take a whiff through your mouth (yes, the two are connected). Does it change at all? If need be, swirl it around again. Does this intensify the smell? Take your first sip. Don't swallow quite yet. Let it ruminate on your palate, wandering and exploring every taste bud. How does it feel in your mouth? Now breathe out (this could change the taste as mucus gets released). Detect even the smallest flavors, like salty or sweetness. How does it change as it warms in your mouth, too? Then swallow. Then repeat. Repeat, repeat, repeat, and repeat. How is it changing with every sip? Does it change as you reach the bottom of your glass? Don't leave it to get warm and stale. If you drank from a bottle (why would you do that?) and you recap it for later, it'll get skunk-y when you come back to it, so don't bother. Beer is best now. Okay, so you can let it get a little warm. Really, really cold beer has its flavors masked by temperature. Let it warm up a bit and you may notice nice changes. But there's a line where it crosses and becomes not so tasty – if you wait,...


Look at your cat from different angles. Touch your cat's ribs. Examine the base of your cat's tail. Check other bony areas. Do not be overly concerned about a saggy belly.

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You can start determining if your cat's overweight by looking at him. Examining your cat from above and from the side should help you determine if his weight is a problem.  Look at your cat from above. The area between his ribs and hips should move inward slightly, creating a clearly defined waist. If there is no waist or if his waist is wider than either his hips or ribs, your cat may be overweight.  You should also look at your cat from the side. Cats who are at a healthy weight have what is called an abdominal tuck. This means the area just behind their ribs should have a smaller diameter than the chest. If you do not see an abdominal tuck, your cat may be overweight. You can further examine your cat by touching him. Run your hand over your cat's sides. You should be able to easily feel his ribs. If you cannot feel his ribs, or have to push down to do so, your cat may be overweight. You should also be able to feel bones near the base of your cat's tail. While there should be a small layer of fat protecting this area, you should be able to feel the outlines of his bones without much effort. If you cannot easily feel bones here, your cat may be overweight. A cat's spine, hips, and shoulders should also be fairly bony. While very visible and pointy bones may indicate your cat is underweight, in a healthy cat you should be able to easily detect hip bones, spine bones, and shoulder bones through gentle petting. If you're unable to feel these bones due to layers of fat, your cat is overweight. Many cats have a saggy bit of flesh that hangs down between their back legs. If your cat is otherwise bony, this small pouch of skin is unlikely to be an indication of a weight problem. This skin flap is referred to as the "primordial pouch" and its purpose is to protect the stomach during fights with other cats. Cats often kick with their back legs when angry, and this flap of skin protects your cat from such attacks. Many cats will develop a primordial pouch at some point in their lives and it is not necessarily an...


Look at your dog's pedigree. Make up a date of birth if you adopted a dog from the pound, and you don't know it and stick to it! Mark the date on your calendar so you won't forget once you have chosen it. Check your address book for friend's addresses - make sure they have a dog. Make invitations. Write in bold letters on your invitation "PLEASE BE RESPONSIBLE ENOUGH TO EXCLUDE YOUR AGGRESSIVE DOG. Send out your invitations.

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Find the date of your dog's birthday. If your dog's birthday is on a weekday or inconvenient day for you, make the party date on a weekend close to your dog's birthday. *If your dog is without a pedigree, you still should check your calendar for a convenient date. Make sure the party will not be on a holiday or a day when most people can't make it (e.g. Monday!). If your dog does not have a pedigree, it helps to know the month when your dog was born. Or, if you remember the day you adopted, make it an adopt-a-versary!  It could be a little pointless to invite people without dogs. You might invite some dogs (and their owners) from your neighborhood, too. You can order special dog birthday invitations or make your own creative ones. Make sure you make enough to send out to everyone you invited. It is also fun to put dog treats on the cards as a surprise for the invited. IF YOUR DOG IS AGGRESSIVE, PLEASE LEAVE HIM HOME, BUT YOU ARE WELCOME TO COME!". This is important if you are inviting a friend over who has a dog but you haven't met the dog yet. Make sure you have your phone number or email on the invitations for RSVP-ing.


Look at your dress’s length. Complement the color and pattern of your dress. Consider the cut of your dress. Take care of your underwear.

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Strapless dresses come in all varieties and lengths, some brushing generously across the floor as you walk and others barely skimming your upper thigh. In order to accessorize properly, you should take note of your dress’s length and add accoutrement accordingly.  If your strapless dress is short, play up your shoes.  Depending on how much walking you’ll be doing and how comfortable you are in heels, you can select some flashy peep-toe pumps or towering stilettos in which to prance the night away. Long strapless dresses are elegant and visually striking. They don’t require flashy jewelry to make them look refined, so it can be a good idea, If you’re wearing a floor-length dress, to let it (and your décolletage!) do the talking.  If you’ve opted for one of these show-stopping full-length gowns and you find yourself a bit unsteady on heels, consider kitten heels or simple ballet flats. A floor-length gown will likely obscure your shoes most of the time. You can take a cue from the color and print of your dress in order to determine which accessories you want to use.  If your dress is monochromatic or otherwise understated, you can make your footwear the focal point of your entire outfit.  To do so, slip on some brightly colored wedges or strappy stilettos. On the other hand, if your dress features a bold print or pattern, go for a solid, neutral hue of shoe.  Think about breaking up a monochromatic dress with a belt.  A thick, shiny, or ornate belt can take the place of a statement jewelry piece while adding visual interest the solid blocks of color.  Imagine a little black strapless dress as if it were a blank canvas. The little black dress (LBD) is what you make of it, so go bold and colorful with a statement jewelry piece can transform a simple, minimalist look into a fancy and sophisticated one. The overall look and tone of a strapless dress depends heavily on how it is cut to fit the body, so, before deciding on accessories, you might want to think about how its design.  If your strapless dress is...


Look at your equation. Choose a variable to eliminate. Add or subtract the two equations to remove one of the variables and solve the other variable. Plug in your solution to solve for the remaining variable. Plug your findings into both equations to make sure that they are correct.

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In order to solve the problem, you will need to familiarize yourself with the components of the equations. Let’s use the following example to learn how to eliminate variables:  8x - 3y = -3 5x - 2y = -1 To eliminate a variable, the numerical coefficient (the number in front of the variable) of a variable must be opposite to one another (for instance 5 and -5 are opposites). The goal is to get rid of one variable, so that you can solve for the other variable by eliminating one through subtraction. This means making the coefficients of the same variable in both equations cancel each other out. For instance:  In 8x - 3y = -3 (equation A) and 5x - 2y = -1 (equation B), you can multiply equation A with 2 and equation B with 3 so that you get 6y in equation A and 6y in equation B. This would look like: equation A: 2(8x - 3y =-3) = 16x -6y = -6. Equation B: 3(5x - 2y = -1) = 15x -6y =-3 Now that you have a variable that can be eliminated, you can do so by adding or subtracting. Whether you add or subtract will depend on how you will be able to remove the variable. In our equation we would subtract, because 6y is in each of the equations:  (16x - 6y = -6) - (15x - 6y = -3) = 1x = -3. Therefore x = -3. For other cases, if the numerical coefficient of x is not 1 after we add or subtract, we must divide both sides by the numerical coefficient to simplify the equation. Now that you have found what ‘x’ equals, you can plug that number into one of the original equations to solve for ‘y’. When you know that it works in one of the equations, you can try plugging it into the other equation to make sure:  Equation B: 5(-3) - 2y = -1 so -15 -2y = -1. Add 15 to both sides so -2y = 14. Divide both sides by -2 so that y = -7. Therefore x = -3 and y = -7. Once you have found your variables, plug them into the original equations to make sure they are correct. If one of the equations doesn’t work with the variables you have found, you will have to try again.  8(-3) - 3(-7) = -3 so -24 +21 = -3 TRUE. 5(-3) -2(-7) = -1 so -15 + 14 = -1...


Look at your family history. Watch for prodrome symptoms. Notice an aura. Keep a headache diary. Get tested.

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As many as 90 percent of migraine sufferers come from families that have a history of attacks. If one or both of your parents suffers from migraines, there is a chance you will as well. The prodrome is the first step to getting a migraine, and can let you know one is coming. You may notice subtle changes in your health or mood one to two days before your headache that signal an oncoming migraine. About 60 percent of migraine sufferers will see certain symptoms before their headache. Some of the symptoms for prodrome can include:  Constipation Depression Food cravings Hyperactivity Irritability Neck stiffness Uncontrollable yawning Anywhere from 10 to 30 minutes before an attack, you might begin to hallucinate certain symptoms. This is called an aura, and could mean that a migraine is coming. Only about one in five migraine sufferers experience an aura, and women far less so than men. If your aura symptoms last more than an hour, that could be a sign of bleeding in the brain — a stroke. If that is the case, you should see a doctor immediately. Symptoms of an aura can include:  Flashing lights, bright spots, or blind spots in your vision Numbness or tingling in your face or hands Aphasia, which is speech or language problems By recording information about your headaches, you may be able to notice patterns to your suffering. This information can help you and your doctor figure out what is triggering your migraines, and how to stop them.  Your diary should include information about when you had the headache, how long it lasted, what kind of pain you felt, any other symptoms you noticed, and any treatments you tried. This information can help you and your doctor discover triggers and figure out the most effective treatments. This can also to help you identify the migraine early, which is beneficial because response to treatment is more effective during the prodrome or aura. Make sure to keep the diary after visiting your doctor and starting treatment. Not every treatment will work on you, so you'll want to make...


Look at your options. Know the age and income restrictions. Compare secured and unsecured credit cards. Find out if the card offers a standard monthly billing cycle.

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There are dozens of different types of credit cards out there so it is important to consider your options when deciding on your first card.  Credit cards are issued through financial institutions, retailers, banks and other lenders. If you have a debit card now and are happy with the services you receive from that bank, you can consider applying for a credit card through them. Many of us receive “pre-approved” offers from credit card issuers that target first-time credit card users. While they may be tempting, you still need to do your research to see if it is the best option for you. The length of time you have credit built is an important factor in your credit score and qualifying for future credit, but it is harder to get a credit card when you’re younger and have less credit history.    Credit issuers are more hesitant to issue credit cards to people under the age of 21, but you can work around this. If you are under 21, you will need to demonstrate that you have a full time source of income. If you do not work full time, you will need a parent or another adult to co-sign with you on your application. Credit card restrictions loosen after you turn 21 but you will still need to provide documentation that you work either full or part time and have a steady source of income. There are two main types of credit cards, secured and unsecured, so it is important to know which type you qualify for.  Secured credit cards are backed by a cash deposit, which is usually the amount of the card’s credit limit. This means that if you receive a card with a $1000 limit, you will need to put down $1000 as collateral to remove the risk of nonpayment for the card issuer.   Secured credit cards are usually offered to people without extensive credit histories, or who have poor credit. Unsecured credit cards do not have a cash deposit. You will get a credit limit based on your income level and your credit history. Some cards expect a payment every two weeks while others use a 30-day cycle.   Ask if there is a penalty for not...


Look at your own behavior. Understand your child's developmental stage. Know your child's strengths (and weaknesses). Reflect upon your hopes for your child. Focus on one thing at a time. Remember that goals are about progress. Be consistent.

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You are your child's first and most influential teacher.  If your own attitude toward life is negative, your child's will be, too.  How do you respond in a frustrating situation?  How do you treat friends, loved ones, or service workers?  What is your reaction if you feel a situation is unfair?  Your child absorbs -- and mirrors -- the behaviors you teach him or her. Attitude problems signify the challenges your child is facing as he or she grapples with the unique dimensions of each stage along the journey from infancy to adulthood.  Toddlers and young children displaying attitude problems are likely testing your reactions to learn the boundaries of proper behavior.  Ensure you are an attentive parent when your child is fully engaged in positive play; she'll learn that she needn't provoke your anger to get attention. Children in their early elementary years are old enough to learn from consequences.  Elementary school-aged children are also increasingly influenced by the behavior of friends and playmates.  Start setting rules about appropriate behavior around adults.  As children reach their "tween" and teen years they are starting to "individuate," or develop their own, unique identity.  Your role is to help them through this often-bewildering stage with clear expectations, respect (which they need to reciprocate), and plenty of personal attention. Consider how your child learns best.  Some kids, for example, respond well to auditory instruction, while others are very visual and may need written expectations or physical demonstrations of the behavior you wish to encourage.  Understand what your child is and is not capable of achieving.  A child struggling with ADHD, for example, may be "ignoring" you not because she has a poor attitude but because she struggles to process the waves of information she is receiving from the world around her. Children presented with unrealistic expectations can sometimes react by giving up entirely rather than continuing to grapple with what is, for them, an impossible task....


Look at your problem. Check the equation for varying terms and constant terms. Prepare to move the numbers around so that the varying terms are on one side and the constant terms are on the side such as in 16x−5x=32−10{\displaystyle 16x-5x=32-10} (that equation is solved in example 2). Move the varying terms to one side of the equation. Bring all the constant terms onto the other side of the equation.

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A simple linear equation might look like 7x−10=3x−6{\displaystyle 7x-10=3x-6}. Varying terms are numbers like 7x{\displaystyle 7x}, 3x{\displaystyle 3x}, 6y{\displaystyle 6y} or 10z{\displaystyle 10z}, where the number changes depending on what you plug into the variable, or letter. Constant terms are numbers like 10{\displaystyle 10}, 6{\displaystyle 6} or 30{\displaystyle 30}, where the number never changes. Usually, equations won't come with varying terms and constant terms lined up on separate sides. In the example above, the left-hand side (LHS) has both varying and constant terms, as does the right-hand side (RHS). In order to do this, you may have to subtract or add the numbers you want to move from both sides. In the next step, you'll see how to do that in example 1. The equation 16x−5x=32−10{\displaystyle 16x-5x=32-10} does have all the varying terms on one side (LHS), while all the constant terms are on the other side (RHS). It doesn't matter to which side you move the varying terms. In example 1, 7x−10=3x−6{\displaystyle 7x-10=3x-6} can be rearranged by choosing to subtract either 7x{\displaystyle 7x} or 3x{\displaystyle 3x} from both sides. Choosing to subtract 7x{\displaystyle 7x}, you have:(7x−7x)−10=(3x−7x)−6−10=−4x−6{\displaystyle {\begin{aligned}(7x-7x)-10&=(3x-7x)-6\\-10&=-4x-6\end{aligned}}} That is: move the constant terms so that they are on the opposite side of the equation from where the varying terms are. We see that −6{\displaystyle -6} must be subtracted from both sides:−10−(−6)=−4x−6−(−6)−4=−4x{\displaystyle {\begin{aligned}-10-(-6)&=-4x-6-(-6)\\-4&=-4x\end{aligned}}}


Look at your schedule. Determine any free time. Be realistic. Choose a space.

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Write down all your obligations in the calendar you use for scheduling, whether it is paper or electronic. Be specific and include everything you can think of: work or school hours, meetings, errands, outings, dates, etc. Add everything you know you need or want to do. You may have an hour between getting off work and meeting your friends for drinks, or you may be able to take an extra long lunch break in the middle of the day. See what will work for you, and remember it does not have to be the same time, or the same amount of time, every day. You know yourself and your preferences better than anyone else. If you hate getting up early, don’t schedule a workout at 5 a.m. or your routine will likely fall flat before you even get started. At the same time, if you know you’re too tired after work to do anything other than lay on the couch, try to schedule your workouts for earlier in the day. You may be, or become, a member at a local gym. If not, you may decide to workout at home. You can even exercise outdoors; walking or running on a path near your office may be the best fit for you. Alternating between these options will work as well, don’t feel as though you always have to exercise in the same place.


Look at your storage facility's credentials. Get your insurance company's coverage information. Check for ease of your access. Check your home for possible storage. Review security procedures at the storage location.

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You want a facility with the right combination of: high levels of security; accessibility for legitimate customers; and trustworthy personnel.  As with examining the company for selling and/or minting you want to make sure the storage facility has legitimate information, positive independent reviews, and handles customer service decently. Consider the location of the storage facility. Is it close enough for you to check on the gold bars visually if you want to? How often would you do these visual inspections? If you are going to check on them frequently you want a storage vault at least in your region of the country. If you are using your bank, then you should arrange for an inspection of the safe deposit box that will store the gold bar(s) to make sure it's adequate for your needs. Consult with your insurance company to see how much of the gold bar investment in each storage facility would be covered. It could be that one facility has security arrangements that rate a better coverage profile than another.  Storage facilities are usually insured, so confirm their insurance company's coverage as well. If you are using your bank's safe deposit box, the Federal Deposit Insurance Corporation does not cover its contents, but standard insurance might. You should be able to get in and out of your chosen storage facility whenever you want while observing security protocols.  If you're using a bank safe deposit box, this should be standard access hours for any bank. If you're using a seller's facility or another vault facility, then you should ask for a full schedule of their hours and any holidays or limits. This is a risky idea consider the danger of theft to a home, but it does put the gold bars in your immediate reach.  You might consider placing a vault within the structure of your home. This includes putting the vault somewhere out of sight of a thief and even casual onlookers. You should have a vault or safe that guards against theft, fire, water, and other kinds of damage. These can cost up to several hundreds...


Look at your subject. Determine visible colors. Be conscious of after-images. Record what you see.

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As you gaze at your subject, relax your eyes. Pick a spot to stare at, staring for 30 to 60 seconds. Focusing on the areas in your peripheral vision, let your eyes fall a little out of focus. You may start to see a haze around the edges. It might seem like a transparent or white light. After a short time, this can become the color of the aura.  When you first start, focus on a small area. On a subject, it may help to look for the aura around the subject's head, using their forehead as a focal point. If you are trying to read your own aura, you can focus around your head or gaze at the tips of your fingers against white paper. In this case, use the fingernail as your focal point. If you start to see colors, they may be clear and bright, or cloudy and muddy.  Some people, especially beginners, can only see one dominant color while others may see multiple colors. The longer you work at reading auras, the more colors and variations it is possible to see. It just takes time and practice. Staring at the same spot will produce after-images that are the direct inverse of what you are actually gazing at. After-images are not auras. You'll know the difference because the after-image will appear for a short time in front of your eyes,no matter where you look. After-images are typically color paired: black and white, red and turquoise, orange and blue, yellow and violet, and green and pink. Drawing a body outline and then shading in colors around it can be a fun way of recording what you see for later analysis. It's also something to show your subject so they can relate to what you're seeing. Some colors seen in auras are hard to recreate in an artistic medium. Just get as close as you can, but describe any differences somewhere on the page.