It's the blue-grey cog icon in your App Drawer. Swipe up from the bottom of the screen to access the App Drawer. You can also swipe down from the top of the screen and tap the cog icon. It's the Language & Input menu. On some phones, you may need to tap System to access the Language & Input menu. It's the third option in the Language & Input section. It's in the top right corner of the screen. Tap the line at the top and type a word or phrase that you want to create a shortcut for. For example, you could type "I love you". Tap the line next to labeled "Optional shortcut" and then type the shortcut you want to use for the phrase you typed. For example, if your phrase is "I love you", you could type "ily". This adds the shortcut to the keyboard.

Summary: Open the Settings app. Scroll to the third group of options and tap Language & Input. Select Personal Dictionary. Select +. Type a word of phrase. Type a shortcut.

Sit back on your board until the nose is up out of the water. Kick your legs in an egg beater motion to turn the board around toward the shore. Position yourself in your sweet spot and get ready to paddle for the wave using long, smooth, deep strokes. When you see a wave coming, get into position as near the peak as you can without appearing to be a "wave hog." When you are satisfied that you are in a good position to catch the wave, paddle like there's no tomorrow and give it all you've got! If you feel yourself falling, or if the wave dies down, jump away from the board towards the ocean and away from your momentum. A good idea is to fall to the side or the back of the board, covering your head with your arms as you fall. Go with the flow, letting the wave carry you. Swim upwards gently and feel what's ahead of you to avoid getting hit by the board. Try to land flat so that you won't injure yourself in shallow water or on a reef. Once you have safely surfaced, pull your leash and climb back onto your board to prevent it from scything or flopping through the water, which can cause serious injury to you or others. Climb aboard, rest on your belly, and regain control. Most wipe out injuries happen as a result of the board hitting the surfer. Always remember to bail to the ocean side of your board. You don't want to be between the beach and your board when a wave has control of the board. If you are riding for the very first time, it's great to rent a foam surfboard rather than a fiberglass one, as they are softer and less likely to cause you injury while learning. After you wipeout or bail, you need to get out of the way so that other people can surf. Don't paddle up the middle of the break where other surfers will be coming. Instead, paddle off to the side first, to keep the wave zone clear. You'll probably slide or fall off the first few times, but don't be deterred. Some people can learn in an afternoon, while others take a few weeks to get the hang of things. Keep trying and you'll eventually make it. Avoid getting to your knees and stopping. If you're going to commit, commit and stand up. Going to your knees is like saddling the horse but not riding it. Enjoy the ocean and have fun.

Summary: Turn your board and wait for an appropriate wave. Be prepared to wipe out. Use the channels to get out of the way. Keep trying.

When you're directing you're going to need to know the different kinds of shots and camera angles and camera movements so that you know how to shoot each scene and what you're trying to get from each scene. Different angles and types of shots change the feel of a scene. Framing (or shot length): extreme long shot (usually an establishing shot, from as much as a quarter mile away), long shot (this is a "life size" shot that corresponds with the distance between audience and screen in a cinema; it focuses on the characters and the background images), medium shot (this is usually used for dialogue scenes or a close-up on a certain action and usually contains 2 to 3 characters from the waist up), close up (this shot concentrates on a face or object with the background as a blur, usually used to get into the mind of a character), extreme close up (usually focuses on one specific detail like a mouth or eyes, usually used for some sort of dramatic effect). Camera angle designates the relationship between the camera and whatever is being shot and gives emotional information to the audience about the object or character in the shot. Bird's eye view (shows a scene from directly overhead, putting the audience in a god-like position, as well as making normal things unrecognizable), high angle (this has the camera above the action using a crane and gives a sort of overview of what's going on), eye level (this is a more neutral angle with the camera acting as another human observing the scene), low angle (tends to make the audience feel a sense of powerlessness, or confusion and as it is looking up at an object it can inspire fear or disorientation), oblique/canted angle (used in lots of horror films, this shot inspires a sense of imbalance, transition, and instability). Camera movements make the action seem slower rather than the quick cuts, but it can also have a more "realistic" effect. Pans (scans a scene horizontally), tilts (scans a scene vertically), dolly shots (also known as tracking/trucking shots, where the camera follows the action on a moving vehicle of some sort), hand-held shots (the Steadicam camera makes it so the handheld shots are less jerky, while still instilling a sense of immediacy and realism), crane shots (this is more or less a dolly shot in the air), zoom lenses (this changes the magnification of the image, changing the position of the audience either slowly or quickly), aerial shot (a shot similar to the crane shot, but taken from a helicopter and usually used as an establishing shot at the beginning of the movie). This is basically when the crew comes in to set up everything. If you have an assistant director, it isn't really necessary that you be there, but it's a good idea to show anyway. You can start thinking about the shots for the day and considering how best to do them and whether you need to change anything. Before you start shooting the shot and while your tech team is setting up the equipment, run the actors through the shot and figure out what they're going to be doing in relation to the camera (where they'll be standing, what type of shots you'll be using, how they're going to say their lines). Experiment with the viewfinder to test how the different shots are going to look. At this point you might want to change and redefine some of your scenes and shots to get the best possible scene. For each shot you'll need to know the focal length, the camera placement, the actors' marks (where they need to stand, etc), which lenses to use and the movement of the camera. You'll set up the shot, using all these different considerations, with your cinematographer. Now depending on the type of director you are and the type of cinematographer you have (maybe you're the one making the deciding on the shots) you'll need to give more or less direction. Discuss with them the lighting and the camerawork until the shot is ready to be taken. The filming doesn't take that long and it's usually a short scene that's being shot. You run through the scene, using the camera movement, and placement, etc. that you'd already covered with your cinematographer. When you call cut you're ready to move on to looking over the take to see how it went. Reviewing the take on the video monitor right away lets you consider how to make the scene better, how close the scene comes to your original idea. Then you'll repeat the scene until it holds up to your scrutiny. This is very different from reviewing takes in the editing room later on. There you have the time, clarity, and perspective to see every single thing you could have done to make that scene better.
Summary: Know the different types of shots and camera angles. Come in at call time. Rehearse the shot. Set up the shot. Film the shot. Review the take.