In one sentence, describe what the following article is about: Do this by introducing clear details and descriptions of the character’s routine, relationships, and point of view. Make your characters believable so others will empathize with them.  Determine the age and occupation of your character. Determine the marital status or relationship status of your character. Determine how they view the world (cynical, skeptical, anxious, happy-go-lucky, satisfied, settled). Add in specific or unique details. Make your character feel distinct with a certain character trait or tick (a hairstyle, a scar) or a mark of their appearance (an item of clothing, a piece of jewellery, a pipe or cane). A character’s speech or dialect can also distinguish a character on the page, and make them stand out more to the reader. Once your readers identify with a character, the character becomes a bit like their child. They will empathize with the character’s conflict and root for them to overcome their conflict, while also realizing that this rarely happens. This tension between what the reader wants for the character and what could happen or go wrong for the character will fuel the story and propel your readers through the story. Most horror is about fear and tragedy and whether or not your character is capable of overcoming their fears. A story where good things happen to good people may be heartwarming but it will likely not scare or terrify your reader. In fact, the tragedy of bad things happening to good people is not only more relatable, it will also be full of tension and suspense.  In order to create conflict in a character’s life, you need to introduce a danger or threat to the character, whether it's a moving finger, two men in a car, a mystical monkey’s paw or a murderous clown. For example, in King’s “The Moving Finger”, the main character, Howard, is a middle-aged man who enjoys watching Jeopardy, has a comfortable relationship with his wife, and seems to live a decent middle class life. But King does not let the reader get too comfortable in Howard's normal existence as he introduces a scratching sound in Howard's bathroom. The discovery of the finger in the bathroom, and Howard's subsequent attempts to avoid it, remove it, or destroy it, creates a story where a seemingly normal, likeable man’s life is interrupted by the unknown or the unreal. Once you have established the threat or danger to the character, you will then need to have your character respond with the wrong move, while convincing themselves they are in fact making the right move or decision against this threat.  Its important to create enough motivation for the character so their bad decision feels justifiable and not merely stupid or unbelievable. An attractive young babysitter who responds to a masked killer by running not to the telephone to call the police but outside into the deep, dark woods is not only a stupid character move, it also feels unbelievable to the reader or viewer. But if you have your character make a justifiable, though flawed, decision in response to a threat, your reader will be more willing to believe and root for that character. For example, in King’s “The Moving Finger”, Howard initially decides not to tell his wife about the finger in the bathroom because he believes he may be hallucinating or confusing the scratching noise for a mouse or animal caught in the bathroom. The story justifies Howard's decision not to tell anyone about the finger by playing off what most people who tell themselves if they witnessed a strange or bizarre event: it wasn't real, or I'm just seeing things. The story then justifies Howard's reaction by allowing his wife to go into the bathroom and not comment about seeing a moving finger by the toilet. So, the story plays with Howard's perception of reality and indicates that maybe he did hallucinate the finger. The “stakes” of a character in a story is what your character has to lose if they make a certain decision or choice in the story. If your reader doesn't know what is at stake for the character in the conflict, they cannot fear loss. And a good horror story is all about creating extreme emotions like fear or anxiety in the reader through creating extreme emotions in the characters.  Fear is built off of understanding the consequences of an action for a character or the risk of their actions. So if your character decides to confront a clown in the attic or two men in a car, the reader will need to be aware of what the character could lose as a result of this decision. Preferably, your character’s stakes should be extreme or major, such as loss of sanity, loss of innocence, loss of life, or loss of the life of someone they care about. In the case of King’s story, the main character is afraid that if he confronts the finger, he may risk losing his sanity. The stakes of the character in the story are very high and very clear to the reader. So, when Howard does finally confront the moving finger, the reader is terrified of how the outcome is going to create a loss for Howard.
Summary: Make your reader care about or identify with your main character. Be prepared for bad things to happen to your character. Allow your characters to make mistakes or bad decisions. Make the stakes for the character clear and extreme.

In one sentence, describe what the following article is about: This will include an Xbox or Xbox 360 game supporting system link capability, game discs for each console (featuring the identical game version, maps, etc.), as many televisions or monitors are you need for each player and a system link or crossover cable.  Those wishing to connect more than two consoles should also acquire an Ethernet hub, switch or router with enough ports to accommodate the number of consoles in use. You can determine whether a game supports system link by looking on the back of the game box or in the manual. This will also tell you how many players can join in on system link play. Note that standard ethernet cables won't work without a hub for original Xbox users because they do not negotiate IP addresses. A crossover cable is required instead. Simply use your system link cable or Ethernet crossover cable to create a connection between the Ethernet port on the back of each console. You'll find the Ethernet port below the Aux port on the original Xbox, Xbox 360 E and Xbox 360 S editions, and it's located next to the A/V port on the original Xbox 360.  Those connecting at least three consoles will instead use Ethernet crossover cables to connect your consoles (separately) to the network hub, switch or router. Note that some older routers may not work as well. Connect the consoles to your network hub, switch or router in order rather than skipping one of the ports. A standard ethernet cable (Cat5 or Cat6) will work for original Xbox consoles (so long as you're using a network hub rather than connecting the systems directly). Note that you may wish you to assemble your screens so that other players can view them all or only the player's. Either way, you'll likely need some space to arrange them appropriately. Be sure you've each inserted your game discs to the consoles. You'll find system link instructions associated with your specific game, so follow those, and you're on your way. Those connecting at least three consoles should switch on their network hubs, switches or routers before turning on the consoles.
Summary:
Gather needed materials. Turn off and connect the consoles. Connect the consoles to separate televisions or monitors. Turn on your consoles.