Start a zine. Design a website Cook something new. Make art. Start a band

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By yourself or with a friend, design a casual journal you can put out once a month or every two weeks. You can write content, invite contributions from others, and even share editing responsibilities with a friend: for instance, she or he could be in charge of art and poetry, while you could supply opinion pieces and book reviews.  Possible content for a zine include: reviews of shows, books, movies, and albums, outside submissions of poetry, photographs, and drawings, lists, trivia, humor, political commentary, and fashion tips. Stay true to the punk spirit of the "zine" and make them yourself. All you need is a photocopier and a stapler. Pass out your zine to members of your community. Leave them in lobbies, common rooms, and sneak them into magazine racks at stores. Zines are fun because they are super representative of the place they are made. Ask for contributions from the people you see weekly: the proctors at your school, your favorite barista, the kids you babysit, your grandmother. . Teach yourself to build a website from scratch, or use a blogging template. Your website can showcase your work, your tastes, or be an online journal. You can also start a webzine instead of a "zine," and solicit contributions from strangers in the world. Look up some basic recipes you have never tried. How basic can they be? Try to find 3-5 ingredient recipes. For example, you can make a flatbread with just water and flour and salt. You can make truffles out of tahini, cocoa powder, and dates. You can make an omelet with just eggs, butter, and salt.  Cook without a recipe. Use inexpensive ingredients and experiment. Try to recreate something you have eaten in a restaurant, or invent a twist on a dish you enjoy. Clean up as you go. Cooking is more fun when there aren't a bunch of dishes at the end. Do you like to draw, to write, to dance, to sing? Get some space and materials and make something. Get yourself started by spacing out with the medium you use: move around to music, doodle shapes, freewrite. If your mind is...


Start actively gathering new words to use. Study the roots of words. Use long words. Use words correctly.

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Look for obscure word lists, sign up for word-a-day emails and never hesitate to look up a definition if you encounter an unfamiliar word. After a while, you may discover that you’ve come down with a nasty case of logolepsy (a love of words). If you look, you will find words that are easy to love. Take "Hippopotomonstrosesquipedalian" as an example. This word, which means "a word coined so as to be long" is actually longer than its definition (unless, of course, you are being verbose in describing the word). By learning the roots of words, you can discern meanings of unfamiliar words more easily, helping you to build an infinite vocabulary. You will be able to create neologisms, or new words based on existing definitions.  If you know a substantial number of suffixes and prefixes, you can make up your own behemoth words. The Shakespearean gem "Honorificabilitudinitatibus" started with the simple root word of Honor. Apply unconventional conjugations and parasynthesis (use odd tenses and variations). Sometimes a common word can be verbose if an unusual tense is applied. The word “datum” sounds particularly erudite when compared to the singular “data.” Never use one syllable where three will do. In other words, eschew monosyllabic iterations when feasible.  If your lexicon is archaic enough, you can add additional words by using synonymous adjectives. For example, you could describe a redundant speaker as being "Tautologically loquacious,” which has a bit more juice than calling them "Redundantly repetitive,” though it means, more or less, the same thing. Take the word 'hyperpolysyllabic' as your example. It means essentially the same thing if you leave the 'hyper' off, but why waste a perfectly good 17 letter word? The goal of verbosity is to appear intelligent, not ridiculous. Using an obscure word incorrectly can be deleterious to the illusion of perspicacity. Be sure to check the usage of a new word in several sources before applying it in the real world. All the astute logorrhea in the world won't help you...


Start an art project. Play an instrument. Pick up a new hobby. Try a DIY project. Make a new recipe or come up with your own.

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Draw or doodle with pencils or markers, paint with oil paints or watercolor, or sculpt something out of clay or dough. Look up new kinds of art projects or images to draw inspiration from.  Try coloring in a coloring book. You can even print off pages to color in from online, or download an app or computer program to color virtually. Pick up an art form you’ve never tried, like embroidery, origami, or cartoon drawing. Pick up an instrument that you haven’t played in awhile or never had the chance to learn. Try to learn a new song, or just master a single scale or chord progression to start. You can find chords or sheet music for guitar, piano, and other common instruments for nearly any popular song online. You can also use online tuners to help tune your instrument before playing it. Try something you’ve always wanted to get into or never even thought you’d try. Pick up knitting or crocheting, juggling, photography, or anything else you have around the house. If you have a hard time sticking to one hobby, try setting aside just a half an hour at a time to focus on it before moving onto a different activity, especially if you get frustrated or distracted easily. Help make your life easier around the house, decorate, or create a piece of furniture or other fun invention by looking up instructions online for do-it-yourself projects.  Put together photos into a collage or frames to display on a wall or shelves, or organize them into an album or scrapbook. Try making your own beauty or cleaning products, wall decorations and lighting, or clever ways to display plants inside or outside.  You can also help to keep areas of your home tidy and organized by creating your own storage solutions out of simple items like boxes, jars, or tin cans. Cook for yourself, family, or friends. Look up a new recipe for a healthy meal, a decadent dessert, or a fun appetizer for a themed event.  Don’t worry if you don’t have a lot of ingredients available at home. Look up recipes that involve that odd ingredient you’ve been keeping...


Start as young as you can. Audition for school plays. Become involved with your theater department. Apply to colleges. Apply for internships. Consider the Tepper Semester. Graduate from college.

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If you or someone you know is interested in the field, it is best to become immersed into the industry young. Begin auditioning for all types of gigs for radio, TV, theater, or anything available to you. The best way to understand the roles of casting directors is to see them at their work. Begin by getting head shots and try your luck at acting opportunities near you.  You can also get a taste of the industry by becoming an extra. This will bring you into contact with directors and actors.  As you grow up, you’ll be closer to directing roles that will better prepare you for the casting director. Sign up and pursue whatever play your school is putting on. Even if you aren’t cast, you can learn from the experience of auditioning. School plays are a great way to become involved with set designs, lighting, and even directing.  Any experience in the world of drama can increase your chances of breaking into the professional industry. In high school you can sign up for theater classes that will teach you much of what goes in a theatrical production. Don’t worry if you aren’t being cast as the lead roles. Try to absorb all the information your teacher has to offer. Remember you are pursuing a career that is “offstage” not in center stage.  Become involved with the directing side of theater when available. Look into arts magnet schools in your community. Arts high schools will typically offer more opportunities for directing/producing education. Consult your theater teachers about prominent colleges for theater. Some schools even offer education for cast directing. College is not required to become a casting director, but many times you can gain contacts and experience from certain programs. Your high school should also have college counselors that will have the resources to guide your decision. Once you reach your junior year of college, you should seriously consider applying for internships.  Internships are critical today for first hand experience in a professional setting.  Even if a local theater, studio, or...


Start at the ball of the foot. Wrap the top of the foot. Wrap the ankle. Repeat the figure 8. Fasten the bandage.

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Hold one end of the ace bandage against the ball of the foot, with the tail of the bandage extending past the outside of the foot, rather than the inside. Keep the tail rolled so that you can unroll it as you go, rather than dealing with an unwieldy long piece as you're trying to wrap.  For extra support, you can place a gauze pad on either side of the ankle before wrapping. Horseshoe-shaped padding cut from foam or felt is also used for extra stability in compression wraps. Use one hand to hold the end of the bandage against the ball of the foot. Bring the bandage over the foot, from outside to inside, then under the foot for a second wrap. Wrap the foot a total of three times, overlapping each wrap by half.  Use the same tension for each loop of the wrap. It should be firm, but not too tight. Each loop of the wrap should be lined up evenly, rather than going in different directions. Start over if you need to do the job more neatly. After the third wrap, bring the bandage over the top of the foot, around the inside of the ankle, behind the ankle to the other side, and back over the instep and under the foot. The bandage should be woven over the foot and ankle in a figure 8, with the heel exposed. Make two more figure 8s, each time overlapping the bandage by half. When you're finished, the bandage should cover the entire foot and extend up past the ankle.  Smaller feet and legs may not require three full figure 8s with a full-sized ace bandage. Use your judgement to decide whether the wrap looks stable after 2 figure 8s. Ask the person how the wrap feels after you're finished winding the bandage. If he or she complains that it's too tight, start over. Stretch the last segment of the bandage a bit and use the small metal prongs or velcro adhesive to secure the end of the bandage in place. Make sure the wrapping job is free of unnecessary lumps or bulges; it should be comfortable and neat.  Remove the bandage if the toes on the foot turn white or feel numb or tingly. The bandage may be worn for a number of...


Start at the bottom eyelets. Crisscross the laces. Tie your shoe.

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When you’re lacing your shoes, you should always begin with the eyelets closest to the toes. That allows you to pull the laces from one set of eyelets at a time to tighten them and provide the most comfortable fit. Push the tips of the laces through the pair of eyelets and adjust until the length is equal on both sides.  Whatever method you use to finish the ends of your shortened laces, make sure you’ve give them proper time to dry or cool before lacing your shoes. Many shoes features two rows of parallel eyelets, with one set closer to the shoe’s tongue and one further. For wide feet, use the eyelets closest to the tongue to provide more space for the foot. If you have narrow feet, lace the shoes through the eyelets furthest away from the tongue to bring up the shoe for a closer fit. While you can lace your shoes in a variety of ways, crisscrossing the laces over one another works well for most people. Once you’ve threaded the lace through the bottom eyelets, pull the right side across to place it through the next highest eyelet on the left side and do the same to the left to the right. Continue alternating all the way until the final set of eyelets. Crisscrossing your laces usually provides the most comfort because the shoelace crossover happens in the space between the two sides of the shoe, so they aren’t pressed against your foot. You should do it as normally would, but because you’ve shortened the lace, you shouldn’t need to double knot or tie the lace. When it’s knotted, you’ll be able to tell if you’ve trimmed it sufficiently. If you haven’t cut enough of the lace off, trim a little bit more and repeat the steps for finishing the tips.


Start at the foot. Wrap in a figure-8 pattern over the ankle. Continue wrapping up the leg. Check the tightness.

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Use a bandage that is four inches wide for the foot. Start with the wrap rolled up and unwind it as you go. Wrap in a diagonal, criss-cross pattern as follows:  Begin wrapping over the top of the foot near the toes. Wrap under the foot to secure the bandage. When wrapping over the foot, you should be moving out towards the outside of your foot. When continuing to wrap under your foot, you should be moving in towards the inside of your foot.  Pull the bandage so that is diagonal. It should not be at a 90 degree angle to your foot; instead, wrap at a 30 degree angle. Each time you wrap, reverse the direction of the diagonal to make a criss-cross pattern, not a spiral. Instead, it should look more like a herringbone pattern. You want to overlap the bandages a bit on either side of the foot to provide the extra support. The herringbone weave should ideally run right up the midline of the foot as you go — this provides pressure and support in all the right places. Do not wrap the middle of your leg without wrapping your foot. After wrapping over the top of your foot, continue around your heel. Continue wrapping around to the front and over the top of your ankle towards the outside of your foot. The next time around your ankle will make an X on the front of your ankle. Wrap from underneath the inside of your heel, up and across the front to the bottom of your calf on the outside of your leg. Keep working in a criss-cross pattern over the ankle and above, keeping the herringbone running up the midline as best you can.  Wrap less tightly as you go over the calf and even looser at the knee. Take care that the bandage lays flat. If there are wrinkles it will create pressure points and irritate you. When you get to the thigh, you may want to change to using a larger bandage. For adults, you can use a bandage that is six inches wide. For children and small adults, you may simply use another four inch bandage. If you find it too difficult to wrap in a criss-cross pattern over your calf and thigh, you can wrap those areas...


Start at the head. Move along the neck. Finish at the body.

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The top part, or the head, of the guitar should guide you. The head is composed of the top of the strings and tuning keys. You will need to make sure your guitar is in tune before anything else by adjusting the tuning keys. Frets line the neck and fingerboards are in between each fret. A fret is a small metal line while the circular metal notches on the neck are your position markers. Position markers let you know where you are in relation to the length of the scale.  The fretboard is also known as the fingerboard and is either a flat or slightly curved piece of wood that has metal fretwires embedded onto it. When you pinch a guitar string against the fretboard you produce a higher tone because you shorten the vibrating length of the string.  Frets divide the length of string mathematically. A different pitch is produced with each fret. An octave is produced at every 12 frets. Frets often are the first to wear out if you play your guitar often but they can be replaced or re-shaped as needed. The end of the strings are held up by the saddle and bridge. These two components also keep your strings taut with your tuning keys. The opening at the center of your guitar aids in projecting the sound of your guitar. It is known as the soundhole. In order to protect the body of your guitar from scratching, there is a piece of protective material above the sound hole known as a pick guard.  The body is an essential element in shaping the overall sound of your guitar. The soundboard is the top of the guitar body and is well crafted and engineered. Internal bracing greatly affects the sound quality of your guitar. The sound of your guitar is produced when the vibration energy of your strings is transferred to your guitar top.  The body acts as a resonating chamber and projects the vibrations of the strings using the sound hole, which amplifies the sound. Your guitar’s maximum volume is determined by the amount of air it moves through the sound hole.


Start at the top center, then do each side. Slide the dental floss between your teeth as far down as it goes. Curve the floss into a c-shape around your tooth. Make 8 to 10 strokes with the floss on each side of the tooth. Move to a new section of floss for each tooth. Don't forget the backs of your rear molars. Floss your bottom teeth after you finish your top teeth. Rinse your mouth out with a mouthwash or water when you're done flossing.

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Make a habit of always starting at your 2 front teeth. Then, do each side of your mouth individually to complete the top row. Always do the same side first so that it becomes a regular habit. Follow the same pattern each time your floss your teeth to make sure you don’t miss any teeth. Be gentle when inserting the floss. Make a slight rocking motion as you work the floss down between your teeth. Then, slowly slide it below your gums. Don't snap the floss down below your gums because this will hurt and may cause bleeding. Always work it gently below the gums. This will help you get the side of your tooth as clean as possible. Work the floss up and down your tooth, dipping below your gum line when you reach the bottom of your tooth. Go as low as feels comfortable to you. It’s important to clean the space below your gum line, which helps protect your teeth and your gums. However, don’t go down so low that it hurts. Work the floss from top to bottom, making several passes. Rub the floss against the side of your tooth to clean it. This will help remove any food debris or plaque that’s stuck between your teeth.  If you can still feel food or debris stuck between your teeth, switch to a fresh section of floss and clean that area again. Push the floss down into your gum to massage it, first on the right side between your teeth, then the left side. Do that for every single contact point you have. Shift your fingers down the floss so that the section between them is fresh. When you’ve used the entire section of exposed floss, unwind some fresh floss from around your middle fingers. This ensures that you’re flossing with a clean section of floss each time, which helps get your teeth cleaner. If you run out of fresh floss, you may need to pull off a new piece of dental floss. However, this is normally not necessary. Reach back into your mouth so that you can loop the floss around your rear molars. Work the floss against the back of your teeth to clean them. Be sure to clean the back of your last tooth on each side on...


Start at the top of the device. Pull the top plastic up and off the rubber. Push the rubber casing off one of the corners with your thumb. Work the rubber casing off of the device.

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You'll have the easiest time removing the plastic part of the case if you work from the top of the device. You may have to lift a bit to get the plastic over any Power buttons. When you lift the plastic top off, the rest of the case should come off easily. Starting from the corner is the easiest way to begin removing the rubber. The seal will be tight, so you'll need to push with some force. Work your way around the case to remove the rubber. Be careful with the ports, as the rubber port covers can tear easily.


Start bathing your cat when she’s a kitten. Clip your cat’s nails before you give her a bath. Put a non-slip mat on the bottom of the tub. Start the bath training process. Get your kitten’s feet wet. Use a washcloth to wipe down your kitten. Pour water on your kitten. Shampoo your kitten.

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The earlier in her life that she gets use to having a bath, the better.  If you give your cat a bath when she’s just a kitten, she’s more likely to tolerate it when she’s grown up.  It can be useful to give your kitten a bath so she gets use to it, even if she doesn’t need one. If training your cat as a kitten isn’t possible, you can try training her as an adult cat.  If you do this when she’s an adult, be patient.  Each training step may take longer for her to successfully complete. If your cat or kitten hates getting her nails clipped, you might want to do this a day or two in advance, instead of the same day as the bath.  Clipping your cat’s nails beforehand will help limit the number of fabric items (e.g. towels, shower curtains, bath mats, etc.) her nails can get caught on if she struggles.  Clipping her nails will also help reduce the number of scratches you end up with. Your cat or kitten will most likely want to stand up while she’s in the bath and you don’t want her to slip.  Put some sort of non-slip bath mat on the bottom of the tub or sink where you’re giving her a bath. You could also put a towel in the tub or sink.  The towel will obviously be soaked, but it will provide a soft place for your cat to stand. Start by gathering all the necessary bath supplies and taking your kitten into the bathroom with everything.  Run the water and let her explore the sounds and the tub. Talk to her softly and gently throughout this whole process, and give her treats as a reward for good behaviour.  For this step, she doesn’t need to get wet. Allow your kitten (or cat) to play in the bathroom (or wherever you might bathe her) whenever she wants.  Ideally she should not have any fear of the room so she won’t associate it with something scary. This time take your kitten into the bathroom with all her bath supplies and run the water.  Allow the tub to fill up an inch or two and then stop the water.  Gently place your kitten into the water so her feet get wet.  While she’s in the water, praise her and pet her...


Start bidding. Buy a domain. Add auction entries to your watching list. Wait for the auction to end.

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Beside the names of every domain displayed in the Auction page is a text box labeled “Offer $ or more.” Here you can type in the price you want to bid for any site you choose. Once you're done, hit the “Enter” button on your keyboard to place your bid. A review screen will appear containing the summary of your bid. Click on the “Submit” button to confirm and post your bid. If you don't like to bid and would want to purchase the auction entry immediately, click on “Buy Now,” and the auction entry/domain will be added to your account's cart. On the left side of the auction entry's name you'll see a gray “eye” icon, which adds the selected auction entry to your watch list when clicked. This allows you to keep a close watch on the activities happening on the auction. Once the auction ends, the domain/auction entry will be awarded to the member with the highest bid value.


Start braking at the proper time depending on your speed. Ease off the throttle. Press down on the rear brake with your right foot. Squeeze the front brakes at the same time with 2 fingers to ease into the stop. Hold the clutch to help slow down. Shift into first gear before you get to your stop. Plant your left foot when your bike stops moving.

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Your average reaction time before you apply the brakes is around 0.62 seconds. When you use your brakes, it will take more time to come to a complete stop if you’re going faster. If you’re going 30 mph (48 km/h), it will take approximately 2.39 seconds to stop but the distance you travel equals about 66 ft (20 m). Always apply your brakes to maintain a safe distance between you and any vehicles in front of you.  Always stay aware of your surroundings and other traffic so you can brake when you need to. If your bike has an anti-lock braking system (ABS brakes), then your stopping time and distance may be slightly shorter. Your braking distance can also be affected by road conditions. Slippery roads, like those made from gravel or covered in rain, will increase the distance it takes to stop. The throttle is located on the right handlebar and twists toward you to accelerate. Slowly turn the throttle toward the front of the bike when you want to decelerate or come to a stop. When you disengage the throttle, your bike will start to slow down naturally since you aren’t giving the engine any gas. If you keep your throttle twisted toward you while you brake, it will cause stress on your transmission and brake pads. The rear brake lever is located in front of your right foot on your motorcycle. When you want to reduce your speed, use your toe to gently press the rear brake lever. Don’t apply too much force or your rear tire will lock up and could cause you to lose control. Avoid only using your rear brakes since it can cause your bike to skid and increase your stopping distance. The front brake control is the handle directly above the throttle on the right handlebar of your motorcycle. As you press down on the rear brake lever, use your index and middle finger to slowly squeeze the front brake controls.  Your front brake controls about 75% of your stopping power and will be the most effective when braking. Avoid squeezing the front brake with all 4 fingers since you might lock the tire and cause you to lose control....


Start brushing your cat’s fur at an young age Get a great comb that works well on Persian fur.  Learn the proper way to brush your Persian’s fur Brush your cat’s fur every day so that she stays healthy. See a professional groomer.

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. To make sure that your Persian accepts being brushed a lot, you will have to start brushing her at an early age. From day one, make a point of brushing your kitten so that she gets used to this experience. If you don't start brushing her at an early age, she may develop a dislike for being brushed that can ultimately make it much harder to maintain her coat. One way to help your cat accept being brushed is to brush her right before a mealtime. That way, your cat will associate getting brushed with getting food (which is something that she enjoys). You will need a metal comb that has narrow teeth on one end and wide-spaced teeth on the other end to properly detangle your cat’s long fur. A metal slicker-type brush can also be good for removing excess fur that has a tendency to become tangled. . One common mistake owners is brushing over the outer surface of the coat without getting down to the hair roots. Think of brushing your cat in terms of combing your own hair: you need to part the fur and comb knots out from the roots, working tangles free on your way to the hair tip.  This mentality can also be applied to your cat. As with your own hair, it is most effective (and comfortable for the cat!) if you brush in the direction that the fur grows. The proper combing process involves:  Parting your hair and using the wide-spaced teeth on the comb to brush out any loose knots. This step also helps to get the fur lying in one direction, making it easier to detangle. Using the slicker brush, work in sections and progress from head to tail. This will help to brush out loose hairs. Once you have cleared the coat of shed fur, go over it again with the wide-toothed comb, working from the root to the tip of the hair, and then finish by combing your cat’s whole body with the narrow-toothed part of the comb. While it might not seem like brushing fur is that big of a deal, a Persian’s luxuriously long fur can become a problem really quickly. When your cat’s fur gets tangled, it becomes matted.  These tangled up clumps of...


Start building your barracks immediately. Keep producing troops while raiding the enemy villagers. Expect an attack around this time. Notice what type of playing style you have.

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If possible, you should also send a shipment with military troops. As soon as your barracks are built, start building troops. When you have an army of 10-20 men including your explorer, go for an attack. This attack is far from the final blow, but it can be really decisive.If you've done a good job of scouting, you might be able to locate the enemy's villagers. At least some of them are likely to be hunting out of reach from towers and enemy forces. Raiding these will give you an advantage. First of all, villagers cost resources so just by killing a few villagers you can force your opponent to spend money on something else than military troops. Second, a dead villager doesn't collect resources, you can add all the resources a villager could have been gathered to the loss. Thirdly, you're denying the enemy player resources. Hopefully he will retreat his villagers and in this period of time he will, of course, not be able to gather resources with those villagers.Note that this isn't a rush. It's called harassment and its purpose is not to defeat the enemy base. Therefore, keep your troops alive and do not attack buildings. In fact, you should ignore towers and trading posts. With some luck and skill you will be able to take the lead at this point through a stronger economy. Many players are unable to focus on both building their home base and engaging in military operations, and it is simply something that takes practice. The buildings you need the most at this point are the market, if you hadn't already built it, and the stable. You can expect your population to go up, so try to stay ahead of the curve and build houses. Instead of going for the very early harass, you could wait for the enemy to come to you. When he attacks you, take out his force with the support from towers etc and immediately go for a counter-attack. You may wish to age up again quickly, or if things are going well, keep producing and sending units. If you feel that you can produce units faster than the enemy can kill yours even with you...


Start by "knocking off" with a 6-inch (15 cm) drywall knife. Use a 10- or 12-inch (25 cm or 30 cm) drywall knife to hit any tapered edges. Use a smaller drywall knife and work your way up to 14-inch (35 cm) drywall knife to hit any butt joints. Use a 6-inch (15 cm) drywall knife to hit any corners. Sand the second coat of joint compound.

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Knocking off refers to sliding and picking off any residual drywall compound, or burrs, that did not dry evenly the day before. Knocking off allows for a more even second coat of compound, and pays dividends in a more professional-looking finish. Pay special attention to the bottoms of walls, and to outside corners (beads), where burrs and other buildup concentrate. Tapered edges are where two drywall edges meet, getting thinner as they meet. This creates a small void on the surface of the drywall. The good thing is that voids are easier to even out with compound than protrusions. Simply take a 10" or 12" drywall knife and run a thin piece of compound over the tapered joint in a straight line. Expect to finish tapered joints at around 10" to 12". Whereas tapered joints are recessed edges, butt joints are protruding edges. Butt joints take more effort than tapered joints to conceal, because you have to thin out a protrusion instead of fill in a gap.  Locate the center of the butt joint. On one side of the joint, start mudding with an 8" (20 cm) drywall knife. Gradually work your way up to a 14" drywall knife, hitting only one side of the butt joint. Starting with an 8" drywall knife and gradually working your way up, mud the opposite side of the butt joint. When you're done, you should have 24" to 28" (60 cm to 71 cm) of drywall compound, in one layer, across the length of the butt joint. Use your drywall knife to finish one side of the corner only and let dry. Wait one day and then finish the other side of the corner with the same knife. If you try to finish both corners in the same day, you'll pull out compound on the opposite side when you push down with your knife in the corner. If you wish, you can use an inside corner tool instead of finishing each corner one by one. An inside corner tool is a drywall knife that's curved at a 90° angle in the middle, perfect for hitting inside corners. Using this tool, however, requires a little bit of skill. After 24 hours, sand it down gently to smooth it. Use a...


Start by asking nicely. Stay calm and show patience. Discuss the age limit. Tell them the positive effects of video games. Mention friends that have the game. Offer to pay for it. Address violence. Compare to R-rated movies.

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Simply be kind, clear, and polite when you ask for the game. Say, “Mom, Dad, can I please have this game? It’s really important to me.” You can point out that you haven’t asked for a game in a while or you have a birthday or other occasion coming up if that’s true. Talk through what makes them concerned. Ask your parents what elements of the rating they are hesitant about, which are usually listed as intense violence, blood and gore, sexual content, and/or strong language. Whatever they mention, provide reasoning and reassurance for why playing the game doesn’t influence you to copy those things in real life.      Say, "If you see me acting more violent than you can take away the game." Or, "Sex is optional and if you see me doing it you can take away the game." For drugs say, "In health class, they teach us the effects of drugs and why not to take them." If the strong language bothers them, for example, you can say, “Look, if you hear me not being kind using those words, you can take away the game." Avoid getting in arguments and getting frustrated with your parents if they say no. Come back to them in a week or so with a calm and respectful demeanor to present a new angle for why you should have the game. Display that you care enough about the game that you can be patient and respectful when asking for it. If you’re 17 years old or older, you are definitely of an age to purchase the game for yourself, but if you are younger than 17, point out to your parents that the Entertainment Software Rating Board (ESRB) classifies the Mature rating as “generally suitable” for 17 and up, but there is no legal requirement for selling this game to people under 17. Let your parents know that there are positive things about playing video games that they may not know about. Refer to studies that show that video game play can strengthen problem-solving skills and prevent anxiety. You can tell them that first-person shooter games, which are generally more violent, are also shown to improve spatial reasoning, navigation,...


Start by asking your parents for permission to have a yard sale in your front yard, or on the driveway so you don't mess up the grass.

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Or use your garage. Make sure you plan ahead to move your items out of the garage that are not to be sold. If you don't have a large enough yard, or your parents say no, ask your friends if you can have it at one of their houses. Make sure your friend has their parents' permission too, no matter which house you set up at.


Start by bringing the needle up through the fabric. Wrap the working thread around the needle. "Scoop" up a short length of fabric. Pull the needle over the working thread. Repeat as needed.

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This variant on the basic chain stitch actually looks like a real chain. Unlike the method above, we won't start with a basic chain stitch here. Instead, simply bring the needle from the back side of the fabric to the front. Next, bring the needle in front of your working thread (the "slack" length of thread that you haven't used yet.) Wrap the working thread one complete turn to form a tight loop around the needle. Stick the needle back through the front of the fabric a short distance from where you brought it through. Then, without pulling the thread tight, bring the point of the needle back through the fabric again a short ways down the line. An easy way to do this is to bring the needle through the fabric at a shallow angle, rather than at a 90-degree angle. This way, you can slip the needle into the fabric and back out again using only the length of the needle, so you won't need to pull on the thread. Start pulling the needle to tighten the thread. Make sure the needle travels over the working thread rather than under it. Finally, pull the thread tight. If you've done everything correctly, at this point you should be left with a stitch that looks like an oval shape or the number 0. Though it may not seem like it at first, all you need to do to continue your cable chain stitch is just repeat the steps above. As you lengthen your stitch, you'll eventually get a string of "0s" joined by short "-" segments that resemble the links in a real chain. To recap, for the rest of the stitch, you'll need to:  Wrap the working thread around the needle Scoop up a short length of fabric by putting the needle through the thread and bringing it back through without tightening the thread. Pull the needle back over the working thread Pull to tighten.


Start by citing a book with 2-6 authors to learn basic AMA format. Replace authors’ names with “et al” when there are 7 or more. Use numerical in-text citations to connect to your reference list.

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It’s pretty simple to cite a book with under 6 authors. Type the authors’ names with their last name first and the first letter of their first and middle names second. Next, provide the book title in italics. Finally, write out the location and name of publisher, along with the date of publication.  For example: “Cottrol, RJ, Diamond, RT, and Ware, LB. Brown v. Board of Education: Caste, Culture, and the Constitution. Lawrence, KS: University Press of Kansas; 2003.” The author and title should both be followed by periods. The publication location needs to include the city and state (or city and country if it’s outside the U.S.), and it should be followed by a colon. Use a semicolon to separate the publisher’s name and the date of publication. Article titles aren’t italicized, and they don’t appear within quotation marks. Only the first word should be capitalized. If there are 7 or more authors, type out only the first 3 that are listed on the title page. Then add a comma and write out “et al.”  For example: Fauci, AS, Braunwald, E, Kasper, DL, et al., eds. Harrison’s Principles of Internal Medicine. 17th ed. New York, NY: McGraw Hill; 2008. The rules are the same for authors and editors, except that a list of editors is followed by the abbreviation “eds.” In AMA style, just include an Arabic numeral superscript (a small number that goes above the line of text) to cite sources in your paper. These numbers are connected to the full citations you’ve typed out in your reference list.


Start by creating a head for the cartoon. Create an outline for the rest of your person. Incorporate a line of action along at least one side of the body. Add in guidelines for different parts of the body. Fill in details for the head, starting with the eyes. Sketch in the torso and the limbs. Add the finishing touches like clothes and shoes. Fill in the sketch with a pen or marker. Finished.

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The person's head can be a circle, a flat top with a curve underneath, pear-shaped, oblong-shaped, or any number of other shapes. For a simple shape, start with a rounded square that you adapt as you add details to your drawing. To make a rounded square, create something between a circle and a square. It should have noticeable sides, but the corners should be rounded. Use ovals, circles, and lines to create a rough sketch of the person. For instance, you might use 2 overlapping circles or ovals to create the chest and stomach area. You might exaggerate the belly on a heavyset person or the chest on someone with large muscles. Add lines for limbs, placing ovals where the elbows and hands should be. This is similar to what you'd do if you were drawing a realistic human figure so keep basic proportions in mind. If you're having trouble, look at a photograph of a person standing in a similar position. However, keep in mind that in cartoons, some areas may be exaggerated while others are underplayed. A line of action doesn't necessarily refer to movement. Rather, it's a curvy line you incorporate into the figure to give it a sense of dimension. Typically, the line curves in starting at the top of the head, then out around the body, then in again at the bottom. Draw this line on at least one side of your person, using it to guide the details you add in. Guidelines help you decide how to cover the body and fill in details. Add vertical center lines to the face shape and torso shapes. However, depending on how the person is standing, the center line may be a curved arc pushing out slightly to the left or right. The curve helps you add dimension to the drawing, as people aren't flat figures but 3D. Horizontal guidelines may curve upward or downward, depending on where the person is looking and the shape of their face. For instance, you may draw a horizontal guideline across their face to determine the eye and nose placement. Consider what you want your character to express and use their face to create that emotion....


Start by describing the first thing that strikes you about the place. Highlight small place details to make your description interesting. Use surprising, exotic language to make the place come to life. Add sensory details to appeal to your sense of scent, touch, and sound. Write about how you or your character react to the place. Include only the most important details so you don’t bog your reader down.

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What’s the thing that you notice first when you walk into this house, into this office, or down that street? Is it a certain building, a sign, a window, or even a group of people? Whatever it is that makes this place interesting to you—whether real or made-up—that’s probably the thing that’ll hook your readers, too. Consider focusing on an attribute that you’ll be specifically elaborating on later in the paragraph. Feel free to split your topic sentence into multiple sentences for clarity and flow. Try writing something like: Almost everyone has seen a bedroom before, or gone into a classroom or a grocery store. Focusing on specific aspects that make the room, classroom, or grocery store unique and different is what will hook your readers and help them visualize this place. You could say, for example:  “The river ran so high along its banks that it sloshed over the sides of the walls, spilling brown water into the streets, but no one seemed to view this with alarm. I watched a man ride his bike just along the wall, speeding straight through the biggest puddles.” “The neighborhood was perfectly suburban, but sat right across the two-lane road from miles of sprawling cornfields, green arms sifting through the breeze, punctured here and there by broken-down farm houses.” Even the most seemingly boring of locations can become vivid and fascinating when paired with strong language. Look for words that capture the spirit of the place, whether it’s a strange old house or a teenage boy’s bedroom. Try descriptive words you normally wouldn’t use and see how they work in your paragraph—you might be surprised by the results. For example, in The Handmaid’s Tale, Margaret Atwood describes a room as “A chair, a table, a lamp. Above, on the white ceiling, a relief ornament in the shape of a wreath and in the centre of it a blank space, plastered over, like the place in a face where the eye has been taken out.” Make your readers feel exactly what it’s like to be in this place, from the wind on their face to the sound of dogs...


Start by drawing a stick figure. Add more cylinders and ovals to give Wolverine weight. Flesh out the body.

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Wolverine is a Marvel character, so he follows the same template as all Marvel superheroes, starting with a stick figure. Begin by drawing a straight line vertically. Draw a horizontal line that crosses your vertical line about an inch below the tip for the shoulders and chest. Then add the arms and legs. Draw circles at the joints, these will be used as guides later on.  To help you when drawing Wolverine, find a picture of him that you like to help you as a guide. While you can draw Wolverine in any position, it’s easiest to start with Wolverine simply standing and facing forward. This will give you the best idea of how he looks. Use a pencil and keep your initial sketch lines light as you will erase these lines later. Your initial vertical line serves as the spine for the body. It connects the head, chest, and body together. Draw a circle around the top of your first line for the outline of the head. Leave a little space below the head for the neck, then draw a large oval shape to form the chest. Wolverine is bulky so the shapes you draw for the body should be round and cylindrical. Below the chest, draw a cylinder to make the outline of the torso. Create circular joints at the shoulders, and elbows by drawing circles. For the legs, draw your lines and add circular outlines for the kneecaps. Draw small triangles for the hands and feet right now. Connect the circular joints on the arms and legs by drawing cylinders in the areas between joints. Use your original stick figure lines to guide you. Wolverine is very bulky, so make your shapes large. It’s also ok to overlap your shapes. These shapes will end up forming the muscles in the arms and legs.  Draw your cylinders, which will be the muscles and body of Wolverine, as wide you drew the circular joints to keep everything proportional. Don’t worry about making everything look perfect or even right now, just get the general outline down. Right now you should have a stick figure outline with circular joints, cylindrical muscles in the arms and legs, a circle...


Start by drawing basic lines and curves. Create a sense of depth by shading in a shape. Make an object seem grounded in reality by adding cast shadows. Draw a grid on the paper if you need help with proportions. Show an object's dimension by learning perspective. Build an object out of different shapes. Try a contour drawing. Outline your sketch first, then add details to keep your drawing proportionate.

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If you're just learning to draw, start by carefully drawing the pencil over the page in a straight line. Practice holding your hand at different angles to see what gives you the most control over the pencil, along with what feels most comfortable. Once you feel comfortable drawing a straight line, practice rotating your wrist as you draw, which should create a curve. Try making a series of big loops on the paper, then draw tiny swirls below that. This will help you build up your hand-eye coordination so you can create the effects you want on the page.  Practice drawing lines of different lengths, thicknesses, and textures. Try to produce wavy lines, zig-zag lines, and tangled, scribbly lines. After you get comfortable with lines and curves, try drawing shapes. For instance, you might try filling a page with two-dimensional shapes such as circles, squares, or triangles. For more information on drawing a straight line, check out How to Draw Neat Lines. Draw a simple shape, such as a circle, and add an imaginary light source to your page. Use a pencil to lightly shade in the areas farthest from your light source, while leaving the area closest to the light source unshaded. Keep building up the shading until you have a gentle fade you have a gradient from the darkest values at the parts of the object farthest from the light source to the lightest at the area closest to the light source.  For instance, you might imagine that there's a lamp shining down from the top left corner of the page. In that case, the top-left area of your shape wouldn't have any shading. Just below that area, add light shading then progress to very dark shadows in the bottom right corner of your page. Try blending your shadows with your finger, an eraser, or a cloth to soften them. To learn more about shading, check out How to Shade Drawings. You can also read about more advanced shading techniques in How to Cross-Hatch and How to Stipple. Picture your light source, then draw a shadow on the opposite side of the object from the light. The...


Start by following the restriction of 100 tweets per hour. Don’t tweet more than 1,000 times per day. Reduce your Direct Messages, if you send 250 per day. Don’t tweet duplicate content. Limit how many people you follow in a day.

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This includes retweets and links. If you exceed this limit, you will be in Twitter Jail for 1 to 2 hours. If you exceed this limit, you will be in Twitter Jail until the following day. If you exceed the 250 DM limit, you will be in Twitter Jail until the next day. If the Twitter system finds you retweeting the same links or phrases over and over, you can be sent to Twitter Jail.  If you tweet duplicate content, you can be in Twitter Jail for several days. Limit the amount of links you use in your tweets. Only tweeting outside links is a red flag for a spam account, and can put you in Twitter Jail. Following 1,000 people a day will put you in Twitter Jail for 1 day. The site refers to this as “aggressive following.” Following more than 2,000 people without having many followers can stop you from following anyone new until more people are following your account. The 2,000 following restriction is calculated by a ratio. These are account specific and currently unpublished.


Start by generating a low buzz. Blow through the horn for about 1 minute without playing any notes. Work your way up the scales. Play some arpeggios. Jump into high note playing. Work on expanding your range through lip slurs.

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Take 3 deep breaths and exhale them. Pick up your trumpet and place the mouthpiece against your mouth. Blow air into the mouthpiece until you are emitting a low, consistent buzzing sound. Hold this buzz for 2 to 3 minutes. Keep your airflow constant by taking deep breaths into your lungs and exhaling directly into your trumpet. Start playing immediately after inhaling in order to get the most benefit. Drawing out your tones and notes, start playing the C scale. Gradually move through the scales after C, heading into the high notes. Take your time doing this. The entire exercise should take between 10 to 15 minutes. Start at C and move through the keys 1-3-5-8. Again, work your way up the scales. This part of your warm-up should take between 2 to 5 minutes. Start with G (concert F). Try your best to keep this note steady for around 4 beats. Then, every 2 beats, move another half-step up the scale. Stop and take a break when you reach high C (concert Bb). This entire exercise should take between 2 to 5 minutes. If you continue to struggle, go back to the strengthening exercises for a few days before trying again. Start on C (concert Bb) and slur up and down from there while keeping the same fingering.  Keep your slur slow so you can center each note as it's played.  Gradually work up the scale, by half-step, as high as you're able to play.


Start by making a list of what needs doing in the morning. Test out a first draft of your routine. Plan your sleep schedule. Ease into your routine.

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This is helpful for realizing how much time is needed for all of your morning tasks and creating a schedule.  List the most essential tasks to prioritize (e.g. shower, coffee/breakfast, waking others, preparing lunches, packing bags). Add on more tasks if you can fit them in (e.g. read email or newspaper, walk the dog, wash dishes, do laundry, make the bed). Consider your own unique rhythm and design accordingly—are you a slow mover (needing extra time) or really efficient in the morning (needing less time or fitting more tasks into less time)? Aim high, then delete the lower priority tasks if necessary. Try this sometime before you really need to start following a regular morning routine, perhaps a few weeks ahead of time. A simple framework is a good way to start planning your routine. (Note: Substitute your own tasks for those on this list that are not relevant.)  6:00–6:30: Wake up, shower, make your bed, and prepare coffee/tea/etc. 6:30–6:45: Wake children or others and make sure they get up. 6:45–7:15: Fix children’s breakfast, pack everyone’s lunches. 7:15–7:30: Eat your breakfast while children dress and get ready. 7:30–7:45: Walk the children to car/bus. 7:45–8:15: Take children to school. 8:15–9:00: Drive yourself/others to work. Sticking with a regular schedule for going to bed and waking up is key to establishing a morning routine.  Decide on how many hours of sleep you need. Schedule enough time in the morning so you don’t have to rush to get ready. Stick with this sleep schedule, even on weekends—this will help you stay on track. Don’t sleep with music or other noise (TV, radio, etc.) on, as they can disrupt a sound sleep.  Avoid electronic devices at least 30 minutes before bed—the light can negatively affect your sleep  and the brain stimulation from the devices make it hard to “power down” your brain. Going from no routine to a strict one can be a difficult transition, so start slowly for a few weeks until it becomes your new normal.  Begin your routine a few days a week and then start adding...


Start by massaging your entire ear. Warm up your ears. Massage your ear lobes. Stimulate the insides of your ears. Move on to the cymba conchae. Continue upward to the triangular fossa. Run your thumbs along the upper, outer part of your ear. Stimulate the surface from the concha to the cymba conchae. Pinch the tragus between thumb and forefinger and gently move it up and down. Massage the back of your ear. Concentrate on the reflex points connected to the areas you think are causing your chest pain.

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According to reflexology theory, this will help to relax you and flush toxins from your system. Also, general massage has been proven to reduce pain and improve quality of life. Rub your hands together quickly, then hold them over your ears for 15 seconds. Rub them again, and hold them over your ears for 15 seconds with the tops of your earlobes folded down. The ear lobe contains reflex points for your head. Pinch and pull the lobe between your index finger and thumb for about 3 minutes. You can do both ears at the same time. Place your index fingers in your ears and rotate them back and forth about 50 times to stimulate and relax your heart and lungs. This the narrow part of your ear above the ridge that sits over the ear canal, and below another ridge of cartilage. Run your index finger back and forth along the cymba conchae of both ears about 50 times to stimulate the digestive system. This is the small depression on the far side of the ridge of cartilage that forms the upper boundary of the cymba conchae. Press your index finger gently into the triangular fossa and rotate back and forth about 50 times. This area – the helix and scaphoid fossa – consists of the curving cartilage at the top of your ear and the space just under it. It contains the reflex points for your arms and shoulders. Pinch it between your thumb and forefinger, then run your thumb down the area repeatedly until it is warm. There is a ridge of cartilage above your ear lobes. Start by using your index fingers to apply gentle presser to the depression on the far side of that ridge. Now run your fingers along the cartilage ridge on the back of the ear and up to the cymba conchae, and back again. Do this 30 times. The tragus is the flap of cartilage that protrudes over your ear canal. Move it up and down 30 times. The back of the ear is divided into and upper, more flexible part, and a lower part that surrounds the ear canal and attaches to the ear lobe. Start by pinching the upper area between your index finger and thumb and pulling on it...


Start by massaging your entire foot. Loosen up your foot. Apply moisturizing lotion. Massage the toes first. Move on to the ball of the foot. Work on the midsection of your foot. Rub the bottom of your foot in a clockwise motion. Massage the inside edge of your foot. Finish with the heel and tops of the feet. Concentrate on the areas you feel might be causing your chest pain. Massage the balls of your feet below your little toes for lung problems. Work on the balls of your feet just below your big toes for heart problems. Concentrate on the neck reflexes at the base of your toes to relieve acid reflux, heartburn or other chest pain associated with your throat and esophagus. Apply pressure to the reflex points for you stomach, small intestine, and gall bladder to treat digestive problems.

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It can be difficult to determine the precise origin of chest pain, which can stem from stress, lung problems, digestion issues, or heart problems. It is therefore best to start by massaging your entire foot, and then focusing in on areas you think might be to blame. This sort of general massage has been shown to have a positive therapeutic effect. Hold the foot and gently rotate it at the ankle. Then rub all over your foot with both hands. Do this before applying any massage oil or moisturizing lotion. Rub the lotion in your hands to warm it up, then apply it to the top of the foot, starting at the ankle and wiping down to the toes. Do the same for the bottom of the foot. Starting with the big toe, pinch it between your index finger and thumb and use your thumb or thumb knuckle to gently press and massage the bottom of the toe for approximately 30 seconds. Twist the toe left and right, then push it down towards the sole of the foot. Repeat this procedure, spending approximately 15 seconds massaging each of the smaller toes. End by using your hand to gently press all the toes and the top of the foot down towards the sole of the foot. Grip the foot you are working on by the Achilles tendon above the heel to provide stability while you massage. Start nearest the big toe. Using your thumb or thumb knuckle, apply gentle pressure by pressing and holding for two seconds, or massaging with tiny circular motions. Move across the foot in three separate lines – top, middle, and bottom of the ball of the foot. Repeat these lines three times. Grip your foot with both hands. Use your thumb knuckles if your thumbs get tired.  Start by applying gentle pressure as you pull your thumb across your foot, alternating hands – left to right for your right thumb, and right to left for your left thumb. Work in three lines, dragging each thumb 5 times per line. Next apply gentle pressure as you pull your thumbs down along the middle of your foot, working towards your heel. Again, work in three lines, dragging your left and right thumb...


Start by massaging your entire hand. Warm up and relax your hand. Work on your fingers. Massage the palm of your hands. Move on to the backs of your hands. Concentrate on areas that you feel might be causing your chest pain.

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According to reflexology theory, this will help to relax you and flush toxins from your system. Also, general massage has been proven to reduce pain and improve quality of life. Hand reflexology points are located more deeply than the similar points on your foot, so warming up your hand is very important to avoid pain.  Gently rub massage oil or moisturizer into the wrist of your hand, using gentle, sweeping motions with your thumb for about 30 seconds. Continue these sweeping motions as you move up to the palm of the hand, sweeping from the inside of the palm to the edges for about 30 seconds. Turn you hand over and gently run your thumb from the webbing between your fingers to the top of your wrist. Grip each finger and give it a gentle side to side twist, rotating the knuckle joint.  Move your hand up and repeat with the second joint and top joint of each finger. Repeat these steps with your other hand. Starting with the tip of your thumb, use your thumb and index finger to squeeze and apply pressure in a gentle circular motion for 3 to 5 seconds. Work your way down your thumb two times, then repeat with your other fingers. Do the same for you other hand. For each area of your palm, you will move downwards, then back up, and then to the side and start down again. At each point, apply gentle, rotational pressure for 3-5 seconds.  Start on the soft padding under your fingers. Move on to the center of your palm. Work on the outer edge of your hand, starting under the little finger and continuing to the wrist. Massage the base of your hand, moving from your thumb to the outer edge of you hand. Finish by moving from left to right and back again across your wrist. Remember to apply much less pressure, as the back of your hand is very sensitive.  Starting at the knuckle at the base of your thumb, apply gentle, rotational pressure for 3 to 5 seconds. Work down to the wrist, then move sideways. Continue working from the knuckles to the wrist until you have covered the entire back of your hand. Apply gentle pressure...


Start by memorizing the basic inflections of verbs. Identify the cases for nouns, adjectives, and pronouns. Download a mobile app to drill vocabulary and grammar. Go through the exercises in a Latin textbook. Write in Latin for at least 10 minutes a day.

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Conjugating verbs is a staple of learning any language, and Latin is no different. Like Spanish and some other languages, pronouns aren't necessary in Latin. However, you can always tell the subject of the sentence by looking at the ending of the verb.  Generally, present-tense verbs ending in "-ō" have a first-person subject (I/we in English). Verbs ending in "-is" have a second-person subject (you in English), while verbs ending in "-it" have a third-person subject (he/she/it in English). As in English and other Latin-based languages, there are also irregular verbs. You'll typically have to memorize the endings for these, which can take a lot of drilling. Nouns and pronouns change endings depending on whether they are the subject, direct object, or indirect object of the sentence. Adjectives also change form depending on whether they are related to the subject or object of the sentence. Additionally, you'll change the ending to indicate plurality and gender (masculine, feminine, or neuter). English has significantly fewer case forms, and adjectives are never modified. Keeping these separate may prove difficult if you are a native English speaker. However, the case forms are fairly regular, so once you've memorized the endings you should be able to identify them fairly easily. Drill yourself on endings of nouns, pronouns, and adjectives, just as you did drills conjugating verbs. Smartphone apps alone won't enable you to become proficient in Latin, but they can help you memorize word endings and expand your vocabulary. Many apps are free, although some have a one-time cost or a subscription fee for premium access.  "Learn Latin" (for Android) and "Latin Word of the Day" (for iOS) are both free and introduce new vocabulary every day, as well as providing sample sentences. "Learn Basic Latin" is available for Android phones and provides drills for Latin grammar and verb conjugations. If you're interested in understanding the meaning of famous Latin quotes and phrases, "Latin Wisdom" (for iOS) helps teach you...


Start by opening the cage door. Train your budgie to hop onto a stick. Train your budgie to hop onto your finger. Move your budgie while it is perched on your finger.

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Open the door of your budgie’s cage and carefully insert your hand in.  Talk softly to the budgie.  Try to coax it into eating a treat, such as a sunflower seed or millet, from the palm of your hand.  This may take several tries so be patient.  Do not try to grab your budgie at this early stage. Let it come to your hand instead. If your budgie moves around in the cage when you insert your hand, leave it there until the bird calms down.  Each training session should last about 10 minutes. After your budgie trusts you enough to eat treats from your hand, you can try getting it to hop onto a perch or stick. Open its cage door and carefully insert the perch. Very gently press the perch against your bird. With some time, it will learn to move onto the perch. For now, just let your budgie stay on the perch in its cage. Don’t try to move it out of the cage yet. Your budgie needs more time to develop trust in you. Once your budgie is used to hopping onto a perch or stick, you can place your finger next to the bird to see if it will hop onto it. When your budgie is on the perch or stick, you can also try placing your finger next to the perch to if the bird will hop onto it. If your budgie is not startled by the presence of your hand, you can try rubbing your finger on its belly while saying “up.” When you set it back on its perch or the cage, say “down.” If your budgie has gotten used to hopping on your finger, and can perch on it securely, then you can try to move it on your finger out of its cage.  Move your budgie very slowly and carefully as you are taking it out of its cage, especially for the first time. You do not want to startle the bird.  Do not try to move your budgie around very much when you are trying to get it used to coming out of the cage. Keep the training sessions short.


Start by reading the assignment. Make an outline. Don't use over-preparation as a way of procrastinating.

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Look over any prompt or guidelines you have for writing the essay very carefully.  Sometimes fully understanding the assignment is half the battle. You will want to make sure you follow any instructions you are given regarding the length, format, and content of the essay. Usually, the keys to writing a great essay are there in the prompt. For example, if you are writing for a literature class and a prompt asks you to "illustrate your argument with specific evidence," you'll know that means the essay will need to quote directly from the text you are reading. Choose a style you prefer (bullet points, a diagram, brief sentences, etc.). The outline doesn't necessarily have to be very extensive, but at the very least you should jot down the main points you think your essay will make.  When making your outline, work closely with the texts or research you will use to write the essay. Look for key points and quotations that you think you might incorporate into the essay, and make a note of them. While it might seem like stopping to make an outline will eat up precious time, it will actually help you write more efficiently and clearly. Having a few points in mind, and a sense of direction, will keep the essay from rambling. This is especially the case if you are working on a paper that requires research or outside readings. It is tempting to put off the actual writing of the essay by doing more research, but the preparation has to come to an end so you can begin your work. You can always come back to your research while you are writing or revising if you think you need to incorporate more.


Start by saying hello regularly. Find out a little more about her. Introduce yourself. Talk one-on-one. Keep your talk brief. Ask her out in a simple way.

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If you've got a crush on a shy girl, it can be hard to approach her at first. So just take little steps. Don't ask her out right away. Instead, start by saying "hi" on a regular basis. Whenever you pass each other in the hallway, make eye contact (this might be hard) and smile. Use her name, and greet her in a friendly way. Friend her on Facebook, or other social networking sites, to learn more about your crush. Talk to her friends to find out if she's dating anyone, or what kind of people she likes to date. Try to learn about her hobbies, how she spends her free time. Learn what she likes.  Often, shy people will feel more comfortable talking online, or texting. Becoming online friends first is a great way to get to know a shy girl.  Don't assume girls who act shy around you like you, or don't like you. Shyness isn't a sign of anything except being shy. If you want to date, you need to do more than say "Hi" and scamper off. Once you feel like she's comfortable enough with you saying hi to approach her, just walk up to her some time and have a short conversation. Make sure she knows who you are before you ask her if she wants to date. Keep it simple: "Hey, my name is _____, we have Biology class together." Shy people are often quite good at one-on-one conversations but struggle in big groups. Don't try to engage a shy girl in class, or while you've got four of your friends with you, or it's going to be rough. Bring up something simple to talk about, something that you know you have in common, and have a short one-on-one conversation.  If you're in class together, just talk about class: "I really messed up that last test. It was so hard. How'd you do? Do you like this class?" You could also arrange to talk one-on-one at a later time. For example, you could say something like, “Hey, do you have a minute to talk right after school gets out? I have a question to ask you.” Lots of shy people fear that they're "bad" at having conversations, and don't like to talk because they're afraid of messing it up or being...


Start by sensing. Develop your peripheral vision. Tune in to colors. Learn how to see. Practice on yourself.

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A good way to begin seeing auras is to practice sensing them.  That means paying attention to how you feel in someone's presence.  Take a deep breath, exhale and then focus on the physical sensations in your body and your gut reaction.  Ask yourself how being around the person makes you feel--serene?  jumpy?  agitated?  Think about what color you would attach to this person. As your abilities are enhanced, sensing and seeing auras will become easier. Our peripheral vision is less damaged than the central part of our retina and has healthier photosensitive cells.   Also, since we've trained our central vision to be used in certain ways over the years, it can be difficult to call on it now to see in this new way of viewing auras.  One simple exercise you can do is to practice concentrating on one spot for 30-60 seconds. This will increase your sensitivity to light. Doing some training with bright, primary colors can help you develop the ability to see auras.  Cover a book in blue or red paper and stand it upright on a table several feet away from you.  Be sure the wall behind the book is white or neutral and the light in the room is soft but not dim.  Close your eyes, take a few deep breaths, relax and then open your eyes and look at the book.  Don't focus on the book, instead look a little to the side and past it.  After a while, you'll see a pale narrow aura coming from the book that will change to a bright yellow or green as you hold your soft focus.   When you get comfortable with looking at one book, try covering several books with different color paper and looking at them.   As you get better at seeing colors, work your way up using plants, animals and then people.     It's okay to blink normally and quickly while doing this exercise. The aura may disappear for a second when you do, but it will reappear quickly if you stay relaxed and hold your focus.     Keep practicing to get used to the way your eyes must maintain that steady, un-focus.  Don't strain your eyes or tense your eyes or forehead. Have a...


Start by separating the wet hair into sections. Continue to comb through the hair in sections. Examine the area around the ears and the base of the neck closely. Catch a live louse between your thumb and forefinger. Don’t confuse dandruff for lice or nits. Check your own hair for lice. Wet your hair. Be sure you have enough light. Use a hand mirror. Position the mirror to see the back of your neck. Use a fine tooth comb or a lice comb. Look closely at the comb.

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Divide the hair into small sections, and begin by placing the comb near the scalp. Use either a regular fine tooth comb, or a lice comb, and comb through each section of hair, from close to the scalp to the ends. Comb through each section more than once. Lice combs are available at drug stores. They are smaller than a regular comb, but the teeth in the comb are much closer together to more easily search for lice and nits. As you finish combing a section of the wet hair, use a clip to separate it from the hair you have not yet examined. Comb through each divided section of hair, examining the comb after each pass through the hair. These areas are places where adult lice and nits are commonly found. If you see something moving, try to catch it between your thumb and forefinger, then tape it to a piece of white paper so you can examine it more closely. It may be helpful to compare what you have found to documented pictures of lice. Catching a louse with your fingers is not dangerous. By doing this, you can confirm that the person you are examining does have a lice infestation. People of all ages have stuff that gets caught in their hair. Combing through someone’s hair so carefully is likely to reveal dandruff, knotted hair, fabric, and other small things that get lodged in their hair. Nits will not easily comb out since they are cemented to the hair. Use your magnifying glass to examine small things found as you comb through their hair to be sure. Clearly this is not as easy task, so try to get some help if possible. If you decide to check your own hair by yourself, then follow the same basic steps. Everyone in a household with one infested person should be checked for lice. Lice and nits can be seen on wet or dry hair, but examining yourself for lice may be easier with your hair wet. Bathroom lighting is often brighter than the lights in other rooms, plus you will be relying on the bathroom mirrors. If needed, use a small lamp for added light. You will need to closely examine the areas behind and around your...


Start by sighing softly. Breathe in and out, audibly. As your breathing intensifies, add some voice and tone to your breath. Add a few "Mmmmm"s. Try it out the next time you're with a partner. Remember that there is no right or wrong way to moan.

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The simplest "moan" is just a gentle sigh of pleasure. You can let this noise out at any point that it seems appropriate. Sigh at the first touch, or during foreplay, or anytime that things slow down. In general, however, it's very much a "getting things started" noise. As the situation intensifies, let your breath quicken, and try to make it audible – as though you're exerting yourself. As things get hotter and heavier, you may find that your breathing swells to match the heat of the moment. Don't be afraid to let your breath get ragged and loose as you lose yourself in the feeling. Every time you breathe in, engage your vocal cords to make an "uh" sound. If you're a female, consider letting your voice inflect higher than normal, and if you're a male, consider letting your voice inflect lower – but don't feel bound to any "norm", and feel free to moan in whichever way feels most natural. Alternately, engage your vocal cords when you breathe out. It may be easier to make the pitch of your moan sound deeper on the outward breath than on the intake. Either way, the muscles involved are essentially the same. Use an inflection that makes it clear that you're enjoying it. Don't "mmmm" monotonously; use a sexy, seductive tone. Think of yourself like a cat purring from pleasure: you can tell that a cat is happy when it purrs, even though it's just rumbling in a certain tone. Real-world experience is the best way to build confidence and master your moan. Do it even if you feel self-conscious. The more you practice your moan, the more natural it will become – and the easier it will be.  If you've been with someone for a while, you may want to start small. Use sighs, "Mmmmm"s, and low moans at first; don't jump straight into a fit of loud moaning that might take your partner aback. If you find yourself with a new partner, you have no expectations to contend with. Consider trying to lose yourself in the moment and explore a new, uninhibited side of yourself. The important thing is that you're enjoying yourself with...


Start by standing. Begin walking. Think about your feet. Direct your attention to different parts of your body. Focus inward. Compare your mental and physical feelings. Come to a stop. Make the exercise your own.

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It might sound silly, but the first part of this exercise is to stand in place and pay attention to how you feel. Notice the shifting of your weight, what you feel in your legs and feet, what your clothes feel like. This step makes you more aware of all the thing your body has to do in order to stand and move. You might be used to speed walking from your car to the office or sprinting to the bus stop with your kids, but you’ll need to adopt a slower, more comfortable pace.  You don’t have to move in slow motion, but think about how you would walk without a specific destination in mind. This is a good exercise for people who have trouble sitting still or may feel restless when using other meditation techniques. Now that you’ve started walking, think about what your feet are feeling. Pay attention to your heel touching the ground, the ball of your foot as you lift off. You’ll also start to notice how your socks and shoes feel against your feet. Direct the focus to different parts of your body—such as your legs, calves, ankles, hips, and spine—and think about how these parts feel when you’re walking.  As you think about each body part, try overemphasizing its movement to highlight what it does. For example, try swinging your hips more. Think about how your different body parts connect, and what feels like in these places. After you’ve paid attention to your body parts, you can turn to your feelings and thoughts. Without fixating on a specific thought, just make an observation about what you are thinking or feeling. The goal here is to be simultaneously aware of how your body and mind are feeling. Try to achieve a state of balance so that you aren’t focusing more on one aspect than the other. Just like you started this exercise with standing, you will finish it the same way. You don’t have to jerk to a stop, but just slow your pace and stand still. Again, focus on what it feels like to be standing instead of moving. You can personalize the exercise to maximize the benefits. Here a few suggestions to get you...


Start by thanking everyone and testing the waters. Have a back-up plan if necessary. Expect people to laugh in unexpected places. Commit to the "character" that you're playing. Slow down. Enunciate your words. Don't "just" be funny.

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In the beginning of your speech, it's a good idea to read your audience. You might use an early joke to Try to anticipate how your speech will go, but you don't want to launch into your most complicated or ridiculous jokes right off the bat. Ease into things and see how ready to laugh your audience will be.  Lead in a general way, thanking everyone who has already spoken and brought you up to the stage. Even if your speech involves voices and costumes, don't forget the standard "thank you" stuff. It's hard to guess the mood of a particular audience. Some might be rowdy and ready to laugh, others might be kind of somber, or bored. Start normally and find the right tone for the day. What happens if you launch into your jokes and nobody laughs? That could be an awkward situation, if your speech just builds and includes nothing but jokes. While this is unlikely if you do your speech-writing appropriately, it's a good idea to have an emergency back-up plan in place if you suddenly have a change of heart.  You can always avoid emphasizing the jokes with your voice. Just read it as straight as possible, instead of pausing dramatically for emphasis and waiting for the laughter to die down. Mark all your jokes with one color, or with an underline, and then let all the straight stuff stay in regular font and text. If you need to, you can quickly see the jokes you can skip over. Just focus on the content. This always happens. You think one line will kill, and you get nothing but silence. Two sentences later, people will laugh at something you thought was pretty straightforward. Don't worry about this. If people are laughing, that's a good thing. Don't worry about it too much, but be ready to pause in places you might not have thought you should pause. In some cases, you might be adopting a kind of character to be funny. You might be overly dramatic, or fake-serious, or you may just end up being yourself. Whatever you're doing, commit to it as much as possible.  If you're going to belt a Sinatra song dramatically, you've...


Start by tracking when you do the habit. As much as possible, stop putting yourself in situations where your triggers flourish. Try to replace your bad habit with a healthy habit. Condition yourself to not enjoy the bad habit. Find better alternatives that meet the same reward. Try making a commitment to someone else. Break your timeline into manageable chunks.

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Keep a journal handy and jot down every time you crack your knuckles, clear your throat, or light up a cigarette, for example. Note the day, the hour, and the situation in which you indulged.  Pay attention to any triggers you may have noticed. For example, perhaps you notice that you tend to smoke cigarettes when you're with a certain friend and after you've had several drinks. You've just identified your trigger. If you're serious about conquering your triggers, talk with your friend. Tell him something like: "Hey, I'm really trying to kick this habit. Next time I try to bum a cigarette from you, will you remind me of this conversation?" Who knows — the friend might even refrain from smoking in front of you entirely! Some people have the habit of eating when they're bored. They like food, and they don't like boredom, so they use food as a way of relieving boredom. The trigger in this habit, easily enough, is boredom. Keep your mind racing and your hands busy, and you won't eat until you feel hungry. Many longtime smokers, for example, kick their habit by substituting baby carrots for cigarettes whenever the urge hits. And for good reason: Scientists have discovered that people who eat more produce have fewer cigarettes over the course of a day and end up having an easier time quitting.  If you bite your nails, try biting on some chewing gum instead.  If you crack your knuckles, try keeping your hands occupied with a squishy ball or practice doodling instead. Get creative with your substitutions! You never know what will or won't work until you try it. The following technique is little like Pavlov's dog experiment in that it involves associating a habit with a negative emotion or physical stimulus. Try wearing a rubber band over your wrist. Whenever you catch yourself engaging in your bad habit, snap the rubber band on your wrist enough to create mild discomfort. You should begin to associate the bad habit with minor discomfort and have a new physiological reason to stop! Bad habits give us a reward. We may...


Start by training your dog to "sit. Teach your dog to stay on command. Teach recall. Train your dog to go to the bathroom outside. Teach your dog to leave items alone. Teach your dog to stay off furniture. Teach your dog to stay off of people, even when it is excited to see someone.

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" Building a solid "sit" command places you in control of a whole variety of situations. For example, if your dog hears the doorbell and rushes to bark, you can interrupt this behavior by asking it to sit, then rewarding the "sit," and removing the dog to a back room where it won't bark.  To teach sit, show the dog you have a treat in your hand. Show it the treat at nose level, then arc the treat up above its nose. Say "sit."  Your dog's head will follow the treat, leading their head to go up and it's bottom to go down. The moment their bottom hits the ground, click-clack the clicker and give it a reward.  Once your dog is doing this regularly, start to skip the treat. This builds unpredictability in the dog's mind about whether he or she gets a reward or not and stops it taking them for granted. This means the dog works harder. Eventually, just reward every fourth or fifth command. Once your dog is sitting regularly on command, ask him or her to do this when out and about, before putting its food down, and at the curbside before crossing a street. Stay is taught in a similar way to "sit". Get the dog in a sit first, then take one step away. Say "stay", and when the dog doesn't move, click-clack and reward, plus give it lots of fuss. Gradually increase the distance, until you are eventually able to leave the room without the dog moving. To teach recall, start in a small space, so the dog is never terribly far away. When it turns and takes a step towards you, give a cue "here." As the dog continues moving toward your click-clack, and when it arrives, give him or her a big fuss and a treat. Keep repeating this, until the dog understands what you want it to do. Tell it to come whenever you feed it or under any other circumstance that it will come to you regardless.  Make coming to you a good thing for your dog. Be excited, and reward often. Start with short 'come' distances and be sure to release the dog quickly to go to what it was doing. Recall is a commonly the cause of much confusion for dog and owner alike....


Start by vacuuming the affected area. Gently scrub with rubbing alcohol and water. Let the solution sit for 30 minutes. Rinse, blot dry, and repeat if necessary. Be ready to discard badly soiled items.

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This method for treating upholstery uses the cleaning power of rubbing alcohol to eliminate mildew colonies that have taken root in your furniture. To begin, first use a vacuum cleaner to remove as much of the mildew as possible. Most vacuums should come with a hose or similar attachment which should make it easy to remove mildew even in tough-to-reach cracks.  If possible, move the furniture to an outdoor area with good ventilation before beginning to reduce the danger of inhaling mildew spores. It might be a good idea to wear a dust mask for this step, so as to avoid breathing in any microscopic mildew spores. Next, mix 1 cup (240 milliliters) of rubbing alcohol with 1 cup (240 milliliters) of hot water. Soak a sponge in this solution. Wring most of the liquid out of the sponge, then gently rub the solution into the affected area of the upholstery. Avoid using too much moisture. hen you're done, the fabric should be damp, but not soaking. Note that rubbing alcohol can damage some fabrics. To make sure your upholstery can stand the rubbing alcohol used in this method, try dabbing a little of your solution in a hard-to-see spot on your upholstery, then letting it sit for 15 minutes. If you observe any discoloration or damage, use one of the alternate cleaning solutions in this article (like the borax soak above or the home-made remedies below.) When you've thoroughly applied your water/alcohol mixture to the mildew-affected spots on your furniture, give it a chance to do its work by leaving your upholstery alone for about 30 minutes (or longer). Over time, the alcohol will gradually soak into the fabric and kill the mildew colony. Dampen a sponge or rag with clean water and dab it onto the affected area to partially rinse the alcohol solution away. Next, use a dry paper towel to blot up as much moisture as possible. If the mildew appears to be completely removed, allow your furniture to dry. If not, you may need to re-apply your cleaning solution and repeat the cycle.  If possible, dry your upholstered item...


Start collecting at home. Check your closet. Clean every nook and cranny. Search your car. Create a central collection spot.

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Your home is a treasure trove of loose change, so you should mine this space first. The area underneath a sofa cushion is a great space to start, but look in any high traffic areas, such as entryways, hallways and the kitchen. The laundry room is also a key space to investigate since loose change will often fall out of pockets in the washer or dryer. Most of your change will reside in your pockets, so check pants, skirts, and shorts that you haven't worn for awhile to see if there is any change left behind there. If you have multiple purses, be sure to check them thoroughly for extra change. Go through every compartment in the purse to ensure you haven't missed a spot. Doing a deep clean of your home will also reveal change in places you hadn't looked before. Pull out furniture from walls so you can vacuum the floor underneath; you will most likely find loose change under sofas, beds, recliners, and coffee tables. Your car is also another spot where you are likely to have loose change. If you have ever used a drive-thru to order food or have gotten change from a drive-up bank teller, there is a good chance you have change underneath your seat or in the side compartments of your doors. Check under the floor mats as well and in the pockets behind seats as well.  It is a good idea to keep spare change in your car in case you need it for metered parking. As you find change, you need to have a central place to keep it so it doesn't get lost again. You can use a jar, a small box, or a grown up piggy bank (or a toy version if you are a kid or kid at heart). Put this bank in a convenient location, like by the front door or in a hallway that you walk down frequently, so you won't forget to use it.  If you have kids, give them a piggy bank and encourage them to cash in on the fun, too. If there is a particular toy that they want, encourage them to save half of the money for it in loose change so they have a goal to work toward. Collecting change around the house can teach them important lessons about saving and budgeting.


Start conditioning early. Get your hair wet. Apply heat protectant. Comb out a section of hair. Straighten the hair. Continue straightening your hair in small sections.

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Hair straightening irons are particularly damaging to hair, because they apply direct heat. That means you've got to start conditioning your hair a few days or even weeks in advance to get it ready for the hot iron. Use a good conditioner in the week or two beforehand when you wash your hair, and do a deep conditioning treatment a few days before straightening day to make your hair soft and ready for heat.  If you want, you can deep condition on the day you want to straighten your hair. Just make sure to rinse it all out before you start the straightening process. You can also blow dry your hair before straightening if your hair is extra kinky. Follow the steps in the previous method and skip straight to the flat ironing technique. Go ahead and wet it so you can dry and straighten it at the same time with your flat iron. If you used the blow dry method first, don't wet it again. Work it in from the roots all the way to the tips, since using direct heat on your hair can cause damage. Products made with Moroccan oil and argan oil are great for your hair and result in a sleek, shiny finish. Choose a small section that you want to straighten first. Use a comb to comb it out straight, then smooth it out with your fingers. Close your flat iron around the section of hair at the roots. Pull it down the shaft of the hair until you've straightened and dried it all the way to the tips. If the hair is still curly, go over it once more with the straightening iron.  You can apply more heat protectant serum as you go if your hair looks like it's getting dried out.  Don't go over the same shaft of hair too many times. This can make your hair start to get brittle. Doing a little at a time gives you control over how much heat you're applying to your hair, reducing the risk of damage. Take your time and go over each strand of hair until your entire mane is straight, sleek and glossy.


Start counting your breath, when ever you inhale until you reach 10, then start again with 1. Use a small yet powerful mantra like SO-HAM, or HAM-SO depending how you like to start (same thing in the end.

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You will immediately notice your lack of concentration when you forget counting or repeating the same number several times. ) So = Exhale. Ham = Inhale. It is a Sanskrit meaning "I AM THAT" - If you observe your breath and the natural sound of your breathing air flow, you might hear this sound like a very silent natural whisper. You unconsciously speak SANSKRIT saying "I am part of the creation." =  So HAM


Start doing basic aerobic and cardio exercise. Try machines at the gym Take an aerobics class. Get into strength training. Play a sport

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Start with a small goal of 30 minutes, 3 times per week if you aren't exercising at all currently. Try these steps to get yourself going:  Buy a pedometer. Attach the pedometer to your belt and try to take 5,000 steps daily. Move up to a goal of 10,000 to 15,000 steps as you get in better shape.  Start by walking to lose weight. Walking around your neighborhood costs nothing and is a great way to start moving. You can also try other low-impact exercises like swimming, riding a bike or jogging. . You can use a treadmill, an elliptical trainer, a stationary bike, a rowing machine or a stair climber. Start with short sessions and gradually add minutes as you get more fit. Also, use the settings on the machines to increase the intensity as you lose weight. Do a variety of different machines until you find something you like. Consult a personal trainer to make sure you're using proper form to avoid injury. They're there to help, not to intimidate you. You can take a traditional aerobics class or try any number of movement-based exercise routines. These are great ways of keeping yourself motivated in a group, having fun moving around, and losing weight. Try any of the following:  Kickboxing Jazzercise Zumba Pilates Yoga Martial arts Crossfit or Bootcamp Start small, aiming for one or two 15-minute sessions per week until you feel motivated to do more. Exercise large muscle groups to burn more calories and lose weight, instead of focusing on specific muscles. Try some of these examples:  Start with squats paired with an overhead dumbbell press to work your lower body and upper body at the same time. Perform resistance exercises while sitting or reclining on an exercise ball. You'll strengthen your core while simultaneously working on other areas. Use machines and free weights. These tools tend to focus on particular muscle groups like the arms, shoulders, thighs, glutes and upper back. Do these more focused exercises after you work on exercises for multiple muscle groups. Rest at least one full day between strength...


Start doing head shots at lady Comstock as soon as the battle begins. Throw a Devil's Kiss at the zombies once she's raised them. Shoot Lady Comstock as soon as she raises her hands. Switch over to Return to Sender once your shield is destroyed. Throw the Return to Sender at Lady Comstock once your shield regenerates. Find cover when you completely run out of salts. Repeat the steps 1 to 6 until Lady Comstock dies.

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There's going to be a small time frame in which she raises the dead, and you'll have a chance to shoot her during this time. This will quickly get rid of them and maybe even damage Lady Comstock. Once you've killed all her zombies, she'll raise more to replace them. She raises her hands when she tries to revive zombies. This is the best timing for doing head shots. If you use Return to Sender, you're invincible for as long as you have salts. This is also where Blood to Salt kicks in after using most of your salt for Devil's Kiss. Chances are you'll have some left for Return to Sender once your shield breaks. This will do a lot of damage to her and the zombies around her. After that, switch back to Devil's Kiss and continue burning Lady Comstock and her zombies. You’ll might run out of salts. When you do, run for cover and wait for Elizabeth to throw some salts at you. Covers are also good for getting a clean shot at Lady Comstock, so use them when necessary.