Summarize the following:
Change the prefix of that word to every letter in the alphabet. For example, if you needed to find a word that rhymes with, "fog," start at A and go "aog, bog, cog, dog, eog, ... zog," until you reach Z.  Write down every word that is real, such as "bog," "cog," and "dog" and only select the most interesting choices. If one doesn't work, alter the first line to serve the poem or song. When going through the alphabet, inserting an R or an L into short words will often make another word. So if you were looking for a rhyme with cat, you could find bat as well as brat; fat, as well as flat and frat. It's a trick of the trade. Use other multi-letter prefixes you know to build more complicated words with which to rhyme. First letters won't always cut it. For example, "frog" and "clog" are real words that rhyme with bog. Try multisyllabic words like "bullfrog" or "epilogue." If no word works, consider changing the keyword to a synonym of that word, or abandoning your rhyme scheme for a line or two. For example, you could substitute "mist" for "fog," but only use rhymes to improve the poem or song, never to rhyme for the sake of rhyming. Hard rhymes, sometimes called true rhymes, "sound" right to our ear because of identical vowel and consonant combinations. "Moon" and "spoon" are hard rhymes because of the long "o" sound and the "n." Slant rhymes are rhymes in which either the vowel or the consonant in similar, creating a kind of echo of the rhyme, and giving you all kinds of possibilities. "Moon" could be slant rhymed with "on" or "schooner" or "groom" or even "gong". Slant rhymes offer complexity and surprise to a regular series of hard rhymes. It's worth it to invest in a good rhyming dictionary to consult. It's not cheating to use a dictionary for rhyming just as it isn't cheating to use a thesaurus while writing. Studying up on good rhymes will also build your vocabulary, giving you a larger collection of words to use in future songs, poems, or freestyles. Rhyming is a technique that writers and musicians can use in their compositions to emphasize words and images and unspool surprising and complicated poetry. Use it to add little bits of color and texture to your work, but not as the reason for creating it. If something needs rhymes, use them well. If no, leave them out.

summary: Think of all the rhyming possibilities before settling on one. Bury rhymes in longer words. Only choose appropriate words. Use slant rhymes. Consult a rhyming dictionary. Always use rhymes to move the piece forward.


Summarize the following:
You are now at the point where you have to choose who will be on your cast. This can be a difficult choice, either because you have too few good actors or too many. In case of the former, you will have to spend a lot of rehearsal time improving their acting; in case of the latter, you simply have a luxury problem with the downside that some of the actors may sulk a bit because they wanted a bigger part and could have handled one well. At moments like that, it would be a good idea to remind those who are sulking that they are good actors but that your word is final. This is a direct mode of address and can be considered as rather rude, but when carried off gracefully you can earn the respect of your actors by being honest. When you hold auditions, be sure to keep a weather eye open for chemistry between certain actors. You can benefit from casting them in roles that require them to be on stage together a lot both physically and verbally. Once you finally start rehearsing, it is important to first explain your rules and how you work to your cast. Some of them may have only had one director prior to working with you and are used to a certain modus operandi. Be clear from the start that you have a certain method by which you work and that there are certain rules. Preferably, those rules are simple. For example: the actors are not allowed to speak during concentration exercises. Though this may seem obvious, it may sometimes happen that you have an excitable group to work with. For such a group, keeping a tight ship could be beneficial. It also shows that you take your part in the production seriously, which gains you some extra respect.  If you are working with inexperienced actors, organising other activities such as a rehearsal camp or some evenings out together could be very beneficial to both you and the cast. You get to know them a little better and, engaging in pleasant conversation, they find out that you're not the Bogart they may have believed you were. It also allows your actors to get to know each other in an environment that doesn't involve them being focused. Make sure your production manager is present at most, if not all, rehearsals. They need to know about the props you need in a timely fashion so they can arrange for them to be there when your production is ready to hit the theatres. At the beginning of each rehearsal, have your actors do some concentration exercises. It will get them focused on the work that lies ahead of them. next to concentration exercises, vocal and physical exercises are also very useful as a warm-up. For example, before each scene, tell the actors what you want to see them do. This will prevent an endless quest through various different approaches while you are trying to figure out which one you prefer. Of course, this is a style of directing that may not suit everyone. A production can also greatly benefit from experimentation. In the end, it depends on the type of play you're working on and the actors you're working with as well as personal preference.  At the end of the scene, give general comments concerning blocking, missed lines or things proceeding too slow or too fast. Give each actor individual comments after they have done a scene, possibly concerning their body language or the way they interact with the other actors on stage. Once you've done that, give the actors who are not in the scene a chance to speak their minds. They are your extra eyes and ears and they may spot something you have missed.

summary: Run auditions. Organize rehearsals. Consider your approach to directing.


Summarize the following:
For example, watching movies, playing video games, or playing a board game will keep you occupied. Play on your phone or tablet, but try to rest your eyes every twenty minutes or so. Play games like Truth or Dare, Would You Rather, and Mafia. You have to pay attention in these games, that will keep you alert. You could also play Guitar Hero or Rock Band. This will keep your mind off of sleeping.  When watching TV, try not to watch re-runs of TV shows you've seen before. The fact that you know what eventually happens makes watching the show boring. Try to watch episodes of TV shows that you've never seen, or that you haven't seen in a while. Same goes for movies. Take frequent breaks when watching any kind of screen, to avoid fatiguing your eyes. Rock or heavy metal is usually louder, or just turn the volume up more. Don't let it get too loud though, or you might wake the host's parents. Take turns using headphones if you have to. This will make the night drag on, and it seems like it will never reach the end of that night. Pay attention to what your friends are doing or talking about instead. The more fun you have, the faster time will seem to pass. Make a rule where if anybody sees anybody else start to fade off, or look drowsy, they can give them a small pinch in the arm or shake them awake. If you see your friends looking drowsy, suggest a change in activities. It's easier to stay awake with help from your friends.
summary: Do things that you really enjoy. Listen to loud music. Try not to watch the clock. Rely on each other.