Problem: Article: You can do this using an electric stand mixer, a handheld mixer, or even a food processor. You can also do it by hand, but it will take longer. Slowly beat in the confectioner's sugar, a little bit at a time. Beat the mixture well after each addition of sugar. Keep the crust inside the tin. Use a rubber spatula to spread the cream over the top of the crust. Cut the stems off of the strawberries first, then cut them into ¼ inch (0.64 centimeters) thick slices, from top to bottom. Arrange the strawberries on top of the cream in a tight spiral. Start the outside of the tart first, then work your way inward in a tight spiral. Overlap each new row by a little, like scales. Put the jelly into a small saucepan. Cook it over medium-low heat until it turns liquid, about 3 minutes. You can also drizzle the glaze over the tart instead. It might also be a good idea to let the glaze set at room temperature first (about20 minutes) before refrigerating it. Gently loosen the sides of the tart tin first. Once the sides come off, carefully transfer the tart to a plate using a spatula. If your tart tin does not have a removable bottom, serve it straight from the tin. If you try to remove it, the crust may break. Simply cut three slices, and serve the center one first.
Summary: Beat the cream cheese, heavy cream, and vanilla extract until it is smooth. Add confectioner's sugar. Spread the cream over the tart crust. Arrange the cut strawberries on top of the cream. Prepare the red currant glaze. Brush the glaze onto the strawberries using a pastry brush and refrigerate the tart for 1 to 6 hours. Remove the tart from the tin and place it onto a plate, just before serving.

INPUT ARTICLE: Article: Instead of sending out mass email blasts to hundreds and thousands of reporters and publications, cultivate 10-100 reporters who cover the beats relating to your industry.   Try to speak to each reporter personally. Reference or comment upon articles they wrote about similar subjects before you inundate them with press releases. For example, send off a short email like this: "I saw your article about the bio-applications of 3-D printing, and I thought it was great. I'm in the industry, and you were right on the specifics. There's some stuff that's even more exciting in the pipeline. I'll keep you posted." While you’re finding reporters who can be of value to you, figure out how you can be of value to them as well. Self-interest is just as powerful a motivator for a reporter as it is for you, after all. When you’ve identified the publications and reporters who are of the most use to you, find ways to nature those relationships. Among the easiest is to give them access to the press releases before anyone else—a head start. This is a technique known as “embargoing” a story. If you aren’t familiar with journalistic practices, it might seem unfair, but it’s widely accepted. When it comes to work, easier is almost always better. This applies to a well-known outlet and a new one equally, and it will make any reporter’s job a little easier if you give them an idea or two on how the story could be placed or an angle from which to write it. Make doubly sure to do this when you’re trying to grow your media foot print. If you’re reaching out to a new media outlet, make their job easy—tell them how you think your press release fits into their publication. If you want to create effective press releases in the future, you need to know whether the one’s you’re writing today are effective. The easiest way to do that is by following up. If a press release you write becomes the germ of a reporter’s story, contact them a week or two after it ran and see how the story did. See if there were any particular aspects of the story that played well, so you can tailor future press releases to those concerns. Following up is also a tried and true method for helping keep your professional relationships with reporters alive. It doesn't have to be anything fancy. For instance, "I saw your piece last week, and I thought it was great. I noticed you got a chance to use a few things from our press release in it. You getting any feedback that sticks out?"

SUMMARY: Use targeted, personal appeals. Give your core publications a competitive advantage. Suggest placement ideas. Follow up.

In one sentence, describe what the following article is about: One of the telltale signs of laryngitis is hoarseness, which refers to the raspy, strained quality your voice gets when you’ve used it too much.  To make your voice sound raspy and gravelly, practice vibrating your vocal chords like you're croaking like a frog.  Also practice making bah noises like you're a sheep, because this will also vibrate your vocal chords. After practicing making sounds, start incorporating that same raspy quality into your speaking voice. Another common thing that happens when you have laryngitis is that you'll experience unintentional changes in the volume and pitch of your voice as you speak. When you're speaking, try to make your voice crack as you say certain words, and then make your voice fade out briefly so it’s quieter than usual. Alternate between doing this and speaking in your regular (but hoarse) voice. In addition to the voice cracking and fading, you should also whisper more when you speak if you want to fake losing your voice. When you have laryngitis, your vocal chords will often have trouble producing sound, and you can replicate this by dropping your voice to a strained whisper intermittently as you speak.  Make sure you continue alternating between your voice cracking, fading, whispering, and speaking hoarsely at a normal volume. When you transition between these different voice effects, try to make the transition as natural as possible so people don’t know you're forcing it. Laryngitis often causes a rawness in the throat and a dry throat, so it’s common for people who’ve lost their voice to cough sometimes when they speak.  Don’t cough too much, but throw in a few dry coughs if you’ve been talking for a while. A cough is created when your body forcefully expels air from the lungs, which is different from vibrating your vocal chords to create speech, meaning you can still cough if you’ve lost your voice.
Summary:
Sound hoarse. Make your voice crack and fade. Throw in some strained whispering when you speak. Cough when you talk.