In order to activate your copy of Windows, you'll need to be connected to the Internet so that Microsoft can validate your key. Click the Windows logo in the bottom-left corner of the screen. The Start menu will pop up. Click the gear-shaped icon in the lower-left side of the Start menu. This circular arrow-shaped icon is at the bottom of the Settings window. You'll find it on the left side of the window. It's a link in the middle of the Activation page. Doing so opens a new window. Type the activation key that came with your copy of Windows 10 into the text box.  You can usually find the product key on the CD box if you bought a hard copy, or in a confirmation email from Microsoft if you bought a Windows 10 product key online. If you bought a key for Windows 7, 8, or 8.1, you can use that key to register Windows 10. It's in the lower-right corner of the window. This will prompt Microsoft to attempt to verify your copy of Windows. If your copy of Windows is legitimate, you should receive a notification that it has been accepted, though you may need to enter additional information if prompted.

Summary: Make sure that you're connected to the Internet. Open Start . Open Settings . Click  Update & Security. Click the Activation tab. Click Change product key. Enter your Windows 10 product key. Click Next. Follow any on-screen instructions.


The wand does not need to touch the area, but it should be pointed away from you and toward the target area. You might make circular motions with the wand and incorporate a prayer, mantra, or incantation. These might include:  Meditations or visualizations that ground or focus you. Invocations of a god, goddess, or nature spirit. Prayers about nature and natural subject matter, including seasonal prayers and incantations during a full moon. Since wands transmit energy, they improve energy flow through the body. This can be applied to breaking down blockages in a variety of systems, such as the circulatory and nervous systems. Clear away blockages by pointing the wand at the blocked area or areas, and focusing your energy and any verbal prayers or mantras that you might like to use. In this case, you would point the wand toward yourself. Meditate on the negative thoughts and feelings, and allow the wand to draw them out. You might speak your wishes at this point as well. Reduce stress and nervousness. Wands help clear blocked pathways that help release stress, nervousness, and other negative energy. Many people do this while lying down. Run the wand over your body and focus on when and where the wand vibrates. These areas require more attention from the wand. Once the wand stops vibrating, your auras are cleansed.

Summary: Direct your wand toward an afflicted area for physical healing. Clear away any physical blockages. Expel negative psychological energy from yourself. Align chakras and auras.


From Hamlet's famous inner turmoils to Quint's harrowing WWII story in Jaws, monologues can be used in drama to add depth to a character. Monologues give us an arrow into characters' insights and their motivations. It's less a plot device (though it should always serve to move the plot forward) than a character study that happens out loud. Get familiar with some of the classic monologues of theatre and film to study the form. Check out:  The sales speech that opens David Mamet's "Glengarry Glen Ross" Hamlet's monologues The "I could have been a contender" speech in "On the Waterfront" The "I ate the divorce papers" speech from "Goodbye Charles," by Gabriel Davis Masha's "I'm telling you this because you're a writer" speech in Chekhov's "The Seagull" Draped-in-a-flag Bill the Butcher giving the "Honorable man" speech in "Gangs of New York" A play written for the stage or the screen will be a complicated series of dialogs, actions, and silences. Knowing when to allow a monologue to surface in the plot will take some practice. You'll want to have most of the plot essentials and the characters figured out before worrying about monologues. They should emerge organically as the script dictates.  Some monologues are used to introduce characters, while some scripts will use monologues to allow a taciturn character to suddenly speak up and change the way the audience feels about them. In general, a good time in the script to use a monologue would be at moments of change, when one character needs to reveal something to another character. For a true monologue, another character must be present to hear the speech. If not, it's a soliloquy. The soliloquy is a classical technique not commonly used in contemporary drama, but is still sometimes used in one-person plays and experimental theatre. Inner monologues or voice over narration are a different category of exposition, more like a dramatic aside to the audience than a monologue. Monologues need to assume the presence of other characters who hear the action, providing an important interaction that can be the fuel for or the purpose of the monologue. A good opportunity for a monologue is anytime a character is undergoing a significant change of heart or attitude. Allowing them to open up and reveal their inner tension is a benefit to the reader and plot.  Even if the character is not changed significantly, perhaps their decision to speak up is a change in and of itself. A taciturn character driven to a long monologue is revealing, when deployed properly. Why have they spoken up now? How does this change the way we feel about them? Consider allowing the character to change as they speak over the course of their monologue. If a character starts in a rage, it might be more interesting for their to end in hysterics, or laughter. If they start out laughing, maybe they end up contemplative. Use the monologue as a vessel for change. If you're going to take the time to put the rest of the story on pause to let one character speak at length, it's safe to say that the writing needs to be structured just like any other piece of writing. If it's a story, it needs to have an arc. If it's a rant, it needs to change into something else. If it's a plea, it needs to up the ante over the course of its pleading.  The beginning of a good monologue will hook the audience and the other characters. The beginning should signal that something important is happening. Like any good dialogue, it shouldn't sputter or waste space with "Hellos" and "How are yous." Cut to the chase. In the middle, the monologue should climax. Build it to its maximum height and then bring it back down to lower the tension and allow the conversation between the characters to continue or end entirely. This is where the specific details, the drama, and the tangents in the monologue will occur. The ending should bring the speech or the story back around to the play at hand. After dwelling on his failures and fatigue, Randy the Ram's heartbreaking speech to his daughter in "The Wrestler" ends, "I just don't want you to hate me, ok?" The tension of the monologue is relieved and the scene ends on that note of finality.
Summary: Study famous monologues. Use monologues at the appropriate time. Learn the difference between a monologue and a soliloquy. Always use monologues to show change in a character. Give your monologue a beginning, middle, and end.