Showing posts with label help. Show all posts
Showing posts with label help. Show all posts
19.7.15
Nobody likes having the hiccups--unless you're involved in some weird fetish group, in which case, enjoy. For those of you who don't enjoy having them, here are some of my favorite remedies. Good luck.
1. Slowly drink a cold glass of water through a straw with your ears plugged.
2. Stick your tongue out as far as you can, or grab it with your fingers and gently pull it.
3. A large number of men report that their chronic hiccups vanish after experiencing an orgasm. (That said, most of the guys I know should never, ever suffer from hiccups.)
4. Drink a tall glass of water quickly while holding your breath.
5. Take a massive bite out of a real lemon and hold it in your mouth as long as possible. If you only have a plastic lemon in the fridge, squirt some juice into your mouth and hold it.
6. Try some sweetness. Spoon some sugar on the back of your tongue and let it drain down your throat. Keep a packet of sugar from Starbucks in your wallet or purse. In a pinch suck on a piece of candy for as long as you can.
***I interrupt this list for the following announcement. For most of these cures to work you need to to be patient and check your frustration at the door. Calm down and if the first cure doesn't work the first time, don't give up. If you really want to be rid of your hiccups, be cool fool. It's been my experience that you can increase your odds for success with nearly all of these remedies by holding your breath (even if you hiccup, stay calm and keep holding it) and mentally counting backward from 20 or 50. If you can preoccupy your brain your odds at succeeding increase.
7. Many people swear by pickle juice or vinegar. Take a couple of tablespoons every few minutes.
8. Lots of people get the hiccups from standing up too quickly. Reverse the process. Stretch out on the couch for a few minutes and then hop to your feet.
9. If you're in a fancy eating place that has cloth napkins, cover your water glass with a napkin and suck was much water through as you can. This process takes a lot of effort and suction which will distract your brain.
10. My personal favorite which I've used forever: lean over a sink with a butter knife lightly clenched in your teeth--as far into your mouth as possible. Now hold your breath and slowly sip a glass of water. If you're doing it right the water will be flowing into your mouth above and beneath the knife blade.
11. Sometimes the simple cures are the best. Suck in a bunch of air through your mouth. Hold it. Swallow some saliva (preferably your own) twice and then slowly release the air you gulped into your mouth out through your nose--very slowly
***Some people are so adverse to being unnecessarily frightened that I'm not going to include sneaking up behind someone and scaring the hiccups out of them. It may work but it's pretty rude.
12. Take a glass of lukewarm water (my favorite Star Wars character) and while holding your breath, gargle. This may take two or three tries to get right so be patient.
13. Again with the water... Sit at a table with a full glass of water in front of you. Without touching the glass, drink as much of the water as you can. Don't try anything fancy--just keep trying. If anything, hold your breath and take tiny sips.
14. My final cure requires a trusted friend and it will seem a little extreme. Have the person with the problem face you. Say some calming words to them. Tell them that even if they hiccup during the middle of things it doesn't automatically ruin their chances. Gently touch their neck and tell them to take a deep breath and silently count backwards from 50. While they're doing this you need to apply gentle pressure to either side of their throat. Just use a finger or thumb if they seem freaked out. It should be easy to feel their thundering pulse in their carotid arteries. All you need do is gently apply a little pressure to these to slow the river of oxygenated blood heading to their head. If the person trusts you and stays with it, I've had a 100% success rate with this method. Most people will find it too extreme, which it is, so stick with the first thirteen.
Good luck, and remember I am not a doctor. I just play one when I'm trying to swipe narcotics from area hospitals.
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7.12.13
"What's that, Lassie? Timmy is having technical problems and can't reach a human? Bring him this list, girl."
Retailers
For the tech-savvy, many retailers offer help through email and online chat, and they will ask you to fill out the nature of your problem online before calling. But here are the numbers you should directly try regardless.
For the tech-savvy, many retailers offer help through email and online chat, and they will ask you to fill out the nature of your problem online before calling. But here are the numbers you should directly try regardless.
Amazon: Call 1-866-216-1072 and keep pressing 0.
Best Buy: Call 1-888-237-8289 or 1-888-BEST-BUY and keep pressing 0.
Costco: Call 1-800-955-2292 and keep pressing 0 (this one takes a while).
eBay: Call 1-866-877-3229. Enter your eBay account if you have one. Otherwise keep pressing # until you reach the main menu and then press 0.
Target: Call 1-800-440-0680, pick your language and keep pressing 0.
Wal-Mart: Call 1-800-925-6278. Press 2, then 1, then 1. Be careful, pressing 0 drops the call.
Wireless Networks
Wireless networks will typically want you to have your account or device information ready before being connected to a live representative.
AT&T: Call 1-800-331-0500 and keep pressing 0.
Boost: Call 1-888-266-7848. Press 5 then 2 then 4 then 0 then 2.
Metro PCS: Call 1-888-8METRO8 or 1-888-863-8768 and keep pressing #.
Sprint: Call 1-888-211-4727. Press 4 then 0.
Straight Talk: Call 1-877-430-2355. Press 1, then 4, then 4.
T-Mobile: Call 1-877-453-1304. Say the word "English," then "representative."
Verizon: Call 1-800-922-0204. Press 0 then # four times then 0.
Virgin Mobile: Call 1-888-322-1122 and keep pressing 0.
Manufacturers and Services
Acer: Call 1-866-621-2237 and keep pressing #.
Apple: For iPod/Mac, call 1-800-275-2237 and keep pressing 0. For iPhone/iPad, call 1-800-694-7466 and keep pressing #.
ASUS: Call 1-510-739-3777 and keep pressing 0.
Belkin: Call 1-800-223-5546. Dial 2263, then press 1, then press 0 three times.
Blackberry: Call 1-877-255-2377. Press 2 then 4.
Canon USA: Call 1-800-828-4040 and press # twice.
Dell: Call 1-800-624-9896. Press 3 then say the word "Agent."
Gateway: Call 1-949-471-7000 and keep pressing zero.
Google: Call Google HQ at 1-650-623-4000 during its regular hours. Press 5, then 3.
Hewlett-Packard: Call 1-800-474-6836 and press 0 four times.
HTC: Call 1-866-449-8358, and you'll be directly connected to be a live rep.
Lenovo: Call 1-866-968-4465 and press 0 twice.
LG: Call 1-800-243-0000. Press 1 twice and then pick your product.
Logitech: Call 1-646-454-3200. Press 1 then 0 four times.
Microsoft: Call 1-800-642-7676 and keep pressing 0.
Motorola: Call 1-866-289-6686 and press # three times.
Netflix: Call 1-888-638-3549 and keep pressing 0 if you don't get a live representative immediately.
Nikon: Call 1-800-645-6678. Press 1 then 4 then 1.
Nintendo: Call 1-800-255-3700 and keep pressing 0.
Nokia: Call 1-888-665-4228. Pick your language, then press 3 twice.
Olympus: Call 1-888-553-4448 and press 1.
Panasonic: Call 1-800-211-7262 and keep saying the word "Customer."
Philips: Call 1-888-744-5477 and keep pressing 0.
PlayStation: Call 1-800-345-7669 and keep pressing 0.
Samsung: Call 1-800-726-7864 and keep pressing 0.
Sharp:Call 1-800-237-4277. Pick your language, then press 1.
Sony: Call 1-800-222-7669 and keep pressing 0.
Toshiba: Call 1-800-457-7777. Pick your language, press 2 then 4.
Vizio: Call 1-888-849-4623 and press 2.
Xbox: Call 1-800-469-9269 and keep pressing 0.
Yahoo: Call 1-866-562-7219 and press 2.
Cable Providers
Like wireless networks, having your account information for your cable provider ready will get you to a live contact sooner.
Like wireless networks, having your account information for your cable provider ready will get you to a live contact sooner.
AT&T U-verse: Call 1-800-288-2020. Wait through all of the messages, and you'll automatically be connected to live person.
Cablevision: Call 1-866-218-3025. Pick your language, press 1 or 2 depending on whether you're a subscriber or not, and wait to be connected.
Charter Communications: Call 1-866-472-2200 and keep pressing 0.
Comcast: Call 1-800-266-2278 and keep pressing #.
Cox Communications: Call 1-888-566-7751. Pick your language, press # twice, then 1.
DirecTV: Call 1-888-777-2454. Say the word "Yes" and then keep saying "Operator."
Dish Network: Call 1-888-284-7116. Press 1 and then keep pressing 0.
Time Warner Cable: Call 1-800-892-2253 and keep pressing 0.
Verizon FiOS: Call 1-888-553-1555 and keep pressing 0.
Thanks to PCMAG.COM
12.3.13
Storytelling tips from a talented Pixar storyteller.
These rules were originally tweeted by Emma Coates, a Pixar Story Artist. Incredible insight into the inner workings of the story juggernaut that is Pixar:
- You admire a character for trying more than for their successes.
- You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be very different.
- Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.
- Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
- Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.
- What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
- Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
- Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.
- When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
- Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.
- Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.
- Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
- Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.
- Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
- If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
- What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.
- No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.
- You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
- Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
- Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?
- You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?
- What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.
12.6.12
The 22 rules of storytelling, according to Pixar storyboard artist Emma Coats.
#1: You admire a character for trying more than for their successes.
#2: You gotta keep in mind what's interesting to you as an audience, not what's fun to do as a writer. They can be v. different.
#3: Trying for theme is important, but you won't see what the story is actually about til you're at the end of it. Now rewrite.
#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
#5: Simplify. Focus. Combine characters. Hop over detours. You'll feel like you're losing valuable stuff but it sets you free.
#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
#8: Finish your story, let go even if it's not perfect. In an ideal world you have both, but move on. Do better next time.
#9: When you're stuck, make a list of what WOULDN'T happen next. Lots of times the material to get you unstuck will show up.
#10: Pull apart the stories you like. What you like in them is a part of you; you've got to recognize it before you can use it.
#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you'll never share it with anyone.
#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it's poison to the audience.
#14: Why must you tell THIS story? What's the belief burning within you that your story feeds off of? That's the heart of it.
#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
#16: What are the stakes? Give us reason to root for the character. What happens if they don't succeed? Stack the odds against.
#17: No work is ever wasted. If it's not working, let go and move on - it'll come back around to be useful later.
#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
#20: Exercise: take the building blocks of a movie you dislike. How d'you rearrange them into what you DO like?
#21: You gotta identify with your situation/characters, can't just write ‘cool'. What would make YOU act that way?
#22: What's the essence of your story? Most economical telling of it? If you know that, you can build out from there.
*Special thanks to i09*
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21.4.12
So, you've written a book. How novel! Before toasting to your success, Charlie Jane Anders offers some advice on checking yourself before wrecking yourself.
4 Danger Signs To Search For, Before Sending Off Your Novel
Congratulations! Your epic space-opera novel is finished, and you're preparing to fire off your query letters to agents. But even though you've read your manuscript a hundred times, you still may have missed some weaknesses. Here's how to find them.
I've been struggling with this very issue for the past few days, as I prepare to inflict unleash my epic fantasy novel on the publishing world. At this point, I've pored over every sentence several times, and I've gotten two rounds of detailed feedback. And yet, when I started doing a word-search to try and identify some potential trouble spots, I was shocked to find how many puny sentences still lurked in my text, leaching the vitality out of the writing.
And in case it needs saying yet again — this is advice, based on what seems to improve my own writing. I know of no ironclad rules for good writing, other than "Tell the story the most excellent way you can."
That said, here are some word searches that seemed to uncover the greatest sins:
1) Adverbs.
In a nutshell, you do a search for "ly" in your manuscript. This won't find every adverb — several of them don't end in "ly" — and you'll get some false positives, like "fly" or "sly." But it's close enough for government work. And if you're getting overwhelmed, you can always add a space after "ly" — that way, you only get "ly" at the end of a word. (You'll have to do separate searches for "ly" followed by a comma or period in that case.)
I already did a whole post about adverbs before — but in a nutshell, not all adverbs are bad, and you don't have to eradicate them all from your work. But you may find that adverbs serve as signposts that lead you to some terrible writing. One example I found my in my own novel was the word "obviously," which usually signaled that that someone was stating the obvious. As in:
When we dropped out of hyperspeed at the rendezvous coordinates, we found nothing but rubble and trace radiation where the planet Karma V was supposed to be. Obviously, the Bad Uncles had gotten there first.
You know what? It's obvious enough that you don't even need to explain it. Cut cut cut. The same goes for "clearly." (That's not an excerpt from my novel, by the way.) I also found that I had an unhealthy addiction to "impossibly" — which is fine to use once or twice, but can get really old. ("Impossibly big" is a contradiction in terms — which is fine as a stylistic point once or twice, but after a while you just sound like you're full of crap.)
I found a surprising number of adverbs in my supposedly finished novel. I wound up keeping about half of them.
Just like adverbs, this can be fine sometimes. "It" is kind of a bland word, with no personality of its own, but it has plenty of uses. The main problem with "it" is that it's a pronoun, so you must be absolutely clear about what "it" refers to. And when a sentence begins with "it," that can be another red flag pointing to bad writing. Here are a few examples of problem sentences, which I'm making up on the fly, beginning with "it":
- It was worse than I'd feared. (What's it? The situation? The predicament? Instead of telling us it's worse, why not dramatize?)
- It bothered me that I had to watch my best friend die. (Why not, "I couldn't bear to watch my best friend die?")
- It made sense that the Dark Legion would want to deploy their planet-crusher weapon to Earth next. (Again, what's it? Why not just start the sentence with the planet-crushing, or the reason why this is a good strategy? Or put an actual person into your sentence — "I could see why the Dark Legion would want to deploy their planet crusher.")
- It caught me by surprise: A laser snake, fangs dripping with deadly photons. ("The laser snake caught me by surprise" is way better, because then your reader is surprised too, instead of being told there's a surprise, followed by finding out what the surprise is.)
At least half the time, you may decide that "It" is a perfectly fine way to begin a sentence. But you may be surprised by how many times "it" can't justify its existence once you zero in on it. (You may also want to do a word search for the phrase "it was," which could be lurking in the middle of your sentences somewhere, and could also be a sign of rot.)
Most people will tell you to keep your use of the verb "to be" to an absolute minimum. But you can't avoid using "is" or "was" altogether, and like everything else, "to be" has its place in your prose. Other verbs will always be more dynamic and exciting, although they also risk being more purple. (For example, "The Dark Fortress was on top of a large-ish mountain" is bland, and "The Dark Fortress loomed over a large-ish mountain" is more thrilling. But "The Dark Fortress vibrated with dark ominousness, over a large-ish mountain" is perhaps too much.)
The point is, you absolutely should not do a word search for "is", "was" and "were" in your novel — you will go nuts and start clawing your face off before you get a tenth of the way through. Unless you're the Zen master of verbs, armed with total verb mindfulness, you will have used the verb "to be" a fair amount, and you just can't slog through every instance to see if it's carrying its own weight.
But you absolutely should do a quick search for "there was" and "there were" — which are pretty clearcut instances of the verb "to be" flopping around when a stronger verb could be flexing its muscles. Here's an example:
There were a couple of Evil Nephews guarding the Outer Inner Sanctum, and they looked like the horn-toothed kind.
You can change that to "Two Evil Nephews paraded in front of the stone door to the Outer Inner Sanctum" — notice how as soon as the verb is active, you start seeing the scene a bit more. Once they're parading, you want to know what they're parading in front of, and that means you see the stone door. Instead of "paraded," you can also go for "stood at attention" or "stood watch" or "brandished their Uru spears" or whatever. They don't have to be dancing a jig — but making them the subject of the sentence instead of "there" turns them into living, breathing Evil Nephews. They're automatically more formidable and threatening as a result.
I found a surprising number of examples of "there was" and "there were" still skulking around my novel, and I pretty much exterminated them all. They seemed to crop up most of all in the descriptive or scene-setting passages, which is where lazy writing often hides. A few sentences in a row of description make a cozy nest for a bland verb construction to crawl into and hide.
Just as most experts will tell you to avoid the verb "to be" as much as possible, they'll also warn you away from passive verbs. It's the difference between
Captain Samson was being thrown off the catwalk by a Bad Uncle
and
A Bad Uncle lifted Captain Samson over his head and hurled her over the edge of the catwalk.
You want the subject of the sentence to be the person who's actually doing something — not the person who's having it done to them. Sure, we feel bad for Captain Samson in this instance, but that doesn't make her the subject.
If you're like me, you've probably been indoctrinated pretty heavily with the hatred of passive sentences. This loathing has been drummed into us — so you've probably already made an effort to slash and burn any sentences whose main actor wasn't the subject. But what if some of these passive verbs have been overlooked? How can you find them?
There's no way to do a word search to eradicate passive verb constructions altogether (unless you really want to look at every instance of the verb "to be" in your book, in which case see above.) But you can do a lot of trouble-shooting by looking for "was being" and "were being." These aren't just passive verb constructions — they're also the verb "to be" twice in a row.
Not only is something being done to your character, but it's also in the process of being done. So we don't even get to see the action happening, we sort of see it as a frozen tableau of passivity. It's getting done, and at some point, it'll be completed, but there's no rush or anything. You could, you know, go get a sandwich and come back, and Captain Samson would still be in the middle of being tossed off the catwalk.
Update: Anindita on Twitter has a great suggestion for another set of phrases you can search for. Try doing a word search for "he saw" or "she saw" and "he felt" or "she felt." These are instances where you're dampening the impact of what's going on by filtering it through someone else's perceptions, which is automatically less compelling.
Maybe reading a bunch of sentences in a row with "was being" in them will make you think about how you portray action. Or maybe you'll skim through all your different descriptive passages and notice some ticks that you are prone to, which you hadn't noticed before because they're always spaced a few pages apart and buried in descriptive prose. Anything that gives you a new awareness of what you're doing, at the sentence level, can only brighten your novel, even if you end up not changing some stuff.
And in the end, zippier writing is Captain Samson's best ally in the fight against the Bad Uncles. If the readers' eyes aren't glazing over, the story will race by faster, and Captain Samson's inevitable victory will be that much juicier.
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25.1.12
18.1.12
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