In one sentence, describe what the following article is about: Every time you talk of a character being "sad" or "happy," or even "miserable" or "ecstatic," cut it. Chop it right out; you don't need it. It's not driving your story ahead or giving it any momentum. These things can and should be made clear in other ways. Unless it's in dialogue, it needs to be scrapped. In other words, another character could ask, "Why are you so sad?" but the character at hand would never explore their world confined by the titles given to emotions. After all, "sad" or "miserable" are just words. If we called them "gobbledegook," it'd mean the same thing. These terms have no resonance emotionally. Even "she glanced over and grinned," is a good start for your first draft. Anything that moves away from, "she was happy" is a step in the right direction. This will evolve and grow over the course of your writing; right now, you just need something to hold it together. This is just laying the foundation of your story. Its purpose is just to be cohesive and hold the story together. You'll change everything later once you have the story pieced together. Why did she glance over and grin? What was she thinking to herself? Was she thinking that the boy in the corner was kind of cute? Did he remind her of anyone? What was the motivation for the emotion? Explore the techniques discussed above. Painting an image through dialogue, subtext, body language, and the senses will create a 360-degree picture for your audience to feel fully engrossed in the story. Instead of "she was happy," your audience will actually know how she feels. They won't drive your story forward -- they're too trite to do so.  Few things are less communicative than "I was so happy I could die" or "I felt my world falling apart."  If your character's that happy, have her spontaneously hug someone and then laugh aloud.  If you were that upset, say what happened.  People can understand the emotional impact of any major event; if you describe it, they'll know what it does to the people involved.  Never end a clear, intimate description of an emotional event with a cliché.  If you've done the job of communicating the emotions, you've done it.  Don't feel the need to summarize. Stay in character. The personality you're working with may be the cliché type – just don't end it how it normally ends. The terrible thing about cliches is that people don't actually say them when they're being genuine. But after explaining how your character feels and after her spontaneous hug, if it's in her personality, have her say, "I'm so happy I could just poop a rainbow!" It may be fitting. But again, only if she's that type. Be as graphic or tactful as the rest of your piece is.  Use metaphors and images that fit thematically with the content, and make sure (especially in first-person) the language and images you use fit the character(s).  No talk of velocities or crossed wires in the Old West! If you're speaking, be as frank or vague as your companions make you feel. Not only should you keep the character in mind, but the keep the character in that specific situation in mind. There may be outside factors that are affecting their judgment, senses, and even ability to react, think, or process emotion. Spend some time listening to music, reading poetry, or reading stories of authors that write on similar themes. When you're immersed in the emotion, go back and read your story. Does feel aligned with how you were feeling? Are there any incongruencies? Does anything strike you as disingenuous? If so, scratch it and get back to the drawing board. If a particular emotion is eluding you, give yourself time. The next time you run into that emotion, bust out your notebook and take note of your senses, thoughts, and body. This will get you as close as possible to the truth of this emotion. Nothing is better than first-hand experience. From there, your story will write itself.
Summary: Go through and cut every time you name an emotion. For your first draft, replace it with a simple action or image. For your second draft, get more detailed. Avoid cliches and stock phrases. Stay appropriate. When you're nearly finished, tune into the emotion you're writing about.

In one sentence, describe what the following article is about: Before you remove your lens, add a few drops of sterile saline or artificial tears to each eye. This will hydrate and lubricate your eyes as well as the lenses, which will allow for easier removal. Position yourself low over a flat surface, such as over the top of your dresser or bathroom counter. This will ensure your contacts don't end up on the floor. Next, look straight ahead into a mirror so you can see your eyes. Press one index finger in between the top and bottom eyelash line. The should be the center of your contact lens, which will trap it under finger. Use the index finger of your opposite hand to pull up your upper eyelid. Move your top index finger holding the eyelid down toward your bottom lid. The result should be that the contact pops away from your eye. Use the middle finger on the hand with the contact to pull your lower eyelid down. Look up and carefully slide the contact down your eye, then pluck it out. Gently rub the contact with solution — use two to three drops and rub for about 10 seconds on each side. This will loosen proteins and debris that are stuck to the lens, improving comfort and longevity of the lens. Then, drop the contact in the waiting solution container.  Even if the solution you use says it is "no rub," you should not skip this step. Repeat the same method on your other eye. If that method didn't work for you, you can try the catching method. Lower yourself over a surface to ensure that the contact won't fall to the floor. Look down and place one hand under your eye to catch the contact. With the other hand, take your index and middle finger and pull at the side of your eye away from your nose, then blink. Once you blink, the contact should fall out into your hand.  You may find it easiest to pull outward on just the upper lid instead of both. Repeat on the other side. If your hard contacts are unable to be removed through other methods, a tool called a suction cup (known as a DMV) can be used to help with removal. The tool adheres to the contact and uses suction to pull it out of the eye. Only use a suction cup if you can visibly see the contact in your eye. To use, moisten the center of suction cup with sterile saline solution. Looking straight ahead, apply the suction cup to the center of your contact. Gently move the suction from side to side until it adheres to the contact and it is removed. Place the contact in the solution and repeat on the other eye. Issues with your eye can cause serious, long-term effects. Seek medical attention right away if you spot warning signs such as:  The inability to remove the contact from your eye An embedded contact inside your eye Abnormal vision Pain, redness, or discomfort after the contact has been removed
Summary:
Get yourself ready. Position your fingers. Remove the lens. Try the catch method. Use the suction cup method. Know when to call for help.