Let your stubble grow to the point of being a short beard. As with a regular haircut, you can always take more off, but you can’t put back what is no longer attached. Grow your beard to a length that you know is slightly longer than you’d ever want to keep your stubble. How long this will take depends entirely on your particular beard growth. For some men this may take three or four days while for others it could be over a week. Start with a slightly longer setting on your trimmer such as a 4. This will take all of your hair down to an even length. Especially for men with dark, thick beards, this setting will probably be too scruffy for the look they want, but it works for some—think Hugh Jackman. Once you have an even length to work with, begin trimming your stubble down in increments to find the right length for you. The length you decide on will ultimately depend on your hair density, hair color, and how clean of a designer stubble look you want.  Remember that you may also choose to keep the stubble on different parts of your face at different lengths to achieve a cleaner look. You may decide that the best look for you is using a 3 setting along your jaw and moustache but a 2 setting on your cheeks to create a more blended look that fades rather than ends dramatically.  Don’t worry if taking the length down makes spots like your cheeks feel patchy. Some men such as Ryan Gosling rock the designer stubble look with barely any hair extending onto their cheeks. You’ll clean up those patchy spots in the next step. Once you have the length of your stubble where you want it, you can take care of stray hairs or asymmetrical spots by cleaning up around the edges. For this, you can take the setting guard off your trimmer to use it as a set of electric clippers, or you can use a plain old safety razor. Common areas to clean up while edging include the sparse hairs some men get high up on their cheek bones or upper lip hairs that might take away from the definition one wants in his moustache.
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One-sentence summary -- Stop shaving. Use a long setting on your hair trimmer. Shorten in increments. Clean the edges.

Q: Your reader doesn’t need to read about every event that lead to the problem your character is dealing with. They only want to see a snapshot of your character’s life. Pick an inciting incident that gets the reader into the plot quickly. This will help you ensure your story doesn’t move too slowly. For example, starting with Esther walking to the hospital is a better place to start than when she enrolled in medical school. However, it might be even better to start when she arrives at the hospital. Dialogue breaks up your paragraphs, which helps your reader’s eyes move down the page. Additionally, dialogue lets you present what your characters are thinking in their own words without having to include a lot of internal monologue. Use dialogue throughout your story to convey your character’s thoughts. However, make sure each piece of dialogue is driving the plot. For example, this piece of dialogue shows us that Esther is frustrated: “But I’m the top student in my class,” Esther pleaded. “Why should they get to examine patients but not me?” It’s hard to do mean things to your characters, but your story will be boring if you don’t. Give your characters obstacles or hardships that keep them away from what they want. That way, you’ll have something to resolve in order for them to reach their desires. For example, Esther being denied entry to the hospital as a doctor is a horrible experience for her. Similarly, being grabbed by security would be frightening. Use the senses of sight, hearing, touch, smell, and taste to bring your reader into the story. Make your setting more dynamic by showing your reader what sounds they would hear, the smells they would notice, and the sensations they’d feel. This will make your story more engaging. For example, Esther could react to the smell of the hospital or the sound of beeping machines. Try to make your readers feel what your character is feeling. Do this by connecting what your character is going through to something universal. The emotions will draw readers into your story. For instance, Esther has worked really hard for something only to be denied it based on a technicality. Most people have experienced a failure like this before.
A: Begin your story as close to the end as you can. Incorporate dialogue that reveals something about your characters. Build tension by having bad things happen to your characters. Stimulate the 5 senses by including sensual details. Use emotion to help the reader relate to your story.

Article: Woven rugs can either have heavy pile, thin pile, or no pile at all - it’s just the density of the vertical fibers protruding from the rug. The direction that those fibers naturally lay is called the pile direction.  To determine the pile direction, brush your hand along the rug. If you are brushing against the pile, you will feel resistance. Always dust or brush woven rugs in the direction of the pile. Stroking against the pile can cause softer wools to break.
Question: What is a summary of what this article is about?
Find the pile direction of your rug.

Article: Aim for something that is about 3 inches (7.62 centimeters). Remember, the image will shrink down to ½ to 2/3 of its original size by the time you are done.You can use any sort of image you like, but simple outlines (like those from a coloring book) might be easier to work with.  If the image is on your computer, you will need to print it out onto regular printer paper. You can resize the image using an image editing program or a photocopier. Use a fine grit sandpaper, and lightly buff the surface of the shrink film. This will help the paint stick better. It is not necessary for colored pencils or markers. Try to go over the lines as smoothly as you can. If the shrink plastic moves around too much, you can tape it down to the table. If you can't find shrink film, you can use any type of number 6 plastic. It is usually found on take-out containers. Look for the recycling symbol on the container. There should be a number inside of it. If it is a 6, you can use it. Try to stick within the lines as much as possible. If you go over the lines, don't worry; you will be re-outlining the piece again. If you are using acrylic paints, be sure to thin them down first using a little bit of water. This will give you a smoother finish. It will also prevent the paint from clumping up after you back it. If you colored your design using markers or paint, wait for everything to dry first, or it will smear. You can use a pair of scissors or a craft knife to do this. Make sure that you cut right along the outline; try not to leave any white edges. If your package does not have any instructions, bake the shapes at 350°F (176.6°C) in a pre-heated oven until the pieces lay flat. This can take anywhere between 5 minutes and 35 minutes.  Don't worry if the pieces start to warp and curl while baking. They will eventually flatten back out. If you are using number 6 plastic, bake the pieces at 350°F (176.6°C) for about 3½ minutes. If you want, you can bend them while they are still warm to give then an interesting shape. You can use a spray-on or brush-on sealer. You can even paint on a few layers of a decoupage glue. Apply 3 to 4 layers; let each layer dry before you add the next one. This will give your pin a nice finish. It will also seal your art work and keep it from chipping. Draw a line of hot glue across the back of the safety pin. Quickly flip the shape over, and press the safety pin onto the back. Try to center it as much as possible.
Question: What is a summary of what this article is about?
Find a small, easily-traceable image that you like. Consider sanding the shrink film if you plan on painting it. Place the shrink film on top of the image, and trace it using a permanent marker. Color your design. Go over the outlines with a permanent marker. Cut the shapes out. Bake the shapes on a parchment-lined baking sheet according to the instructions on the package. Take the pieces out of the oven, and let them cool. Seal the colored designs. Glue a flat backed safety pin onto the back of the shape. Finished.