Problem: Article: Use a hacksaw to cut of a length of steel equal to the total combined length of the blade and handle. Clamp the steel down using a vice while you cut it. Cut out the dagger pattern you sketched out previously and lay it out onto your length of steel. Carefully trace the shape of the blade and handle using black marker. Alternatively, you could temporarily glue the template onto the steel using water-soluble adhesive. Use your hacksaw to cut around the pattern, removing as much excess metal as possible.  The idea is to get the rough shape down, but you do not need to achieve the exact shape of the blade during this step. Continue holding the metal down using a vice. Alternatively, you could use a power jigsaw during this step. Set the jigsaw on its highest speed and pause the process frequently to lubricate the blade with paraffin wax. If you do not lubricate the blade, it could overheat. Note that the portion of the metal that will lie beneath the handle needs to be less wide than both the blade and the anticipated size of the wooden handle. Finish shaping the exact outline of the dagger using a metal file. You do not need to sharpen the blade at this point, but you do need to trim the blade to its actual shape. If you need more power than a metal file can achieve, you could also try using a belt sander or jewelers saw. Mount the blade to the edge of a table using your vice and file in both side edges so that they slope evenly down toward the center. The edges should slope in on both the top and bottom sides.  Use a metal file to bevel the edges. Always file in the forward direction and never file back and forth. Use both hands and apply as much pressure as possible. Keep the blade clamped at waist height. Doing so will make it easier for you to put your body weight into the process, which will make it easier for you to finish the beveling without straining your muscles. The ideal bevel angle is about 30 degrees. Keep this angle as consistent as possible around the entire edge of the blade.
Summary: Cut down the steel. Lay the pattern over it. Rough cut the general shape. Sand it down. Bevel the blade.

In one sentence, describe what the following article is about: When using third person omniscient perspective, the narrative jumps around from person to person instead of following the thoughts, actions, and words of a single character. The narrator knows everything about each character and the world. The narrator can reveal or withhold any thoughts, feelings, or actions.  For instance, a story may include four major characters: William, Bob, Erika, and Samantha. At various points throughout the story, the thoughts and actions of each character should be portrayed. These thoughts can occur within the same chapter or block of narration. Example: “William thought that Erika was lying, but he still wanted to believe that she had a good reason for doing so. On the other hand, Samantha believed that Erika was lying and felt jealous about the fact that Tony wanted to think well of the other girl at all.” Writers of omniscient narratives should be conscious of “head-hopping” — that is, shifting character perspectives within a scene. While this does not technically break the rules of Third Person Omniscience, it is widely considered a hallmark of narrative laziness. With third person omniscient view, the narration is not limited the inner thoughts and feelings of any character. Along with inner thoughts and feelings, third person omniscient point of view also permits the writer to reveal parts of the future or past within the story. The narrator can also hold an opinion, give a moral perspective, or discuss animals or nature scenes where the characters are not present.  In a sense, the writer of a third person omniscient story is somewhat like the “god” of that story. The writer can observe the external actions of any character at any time, but unlike a limited human observer, the writer can also peek into the inner workings of that character at will, as well. Know when to hold back. Even though a writer can reveal any information he or she chooses to reveal, it may be more beneficial to reveal some things gradually. For instance, if one character is supposed to have a mysterious aura, it would be wise to limit access to that character's inner feelings for a while before revealing his or her true motives. Active dialog should be the only time that first person pronouns like “I” and “we” should appear. The same goes for second person pronouns like “you.”  Do not use first person and second person points of view in the narrative or descriptive portions of the text. Correct example: Bob said to Erika, “I think this is creepy. What do you think?” Incorrect example: I thought this was creepy, and Bob and Erika thought so, too. What do you think?
Summary:
Shift your focus from character to character. Reveal any information you want. Avoid use of the first person and second person pronouns.