Problem: Write an article based on this summary: Choose a suitable sauce.

Answer: Dried pasta tends to be better for strong sauces with thin textures. Fresh pasta is often stuffed with cheese, vegetable or meat fillings, making it delicate, so it is usually best with fine cream or cheese sauces.  Smooth pasta (no ridges or curls): Creamy, cheesy sauces, meat sauce. Bumpy, ridged or curled pasta: Same as above but also butter, oil, vegetable and tomato sauces.


Problem: Write an article based on this summary: Dip the pen nib in the ink, then shake it firmly. Hold your pen at about a 40° angle to the paper. Start by drawing a simple downward stroke. Add a serif stroke to the bottom of a line. Create a serif stroke at the top of a line. Practice a line with a serif at the top and the bottom. Try tracing the letters before you draw them on your own. Start practicing letters that fit in your x-height. Draw ascenders above the x-height. Mark your descenders in the space below the x-height. Make a hairline stroke with the pen to dot the letters “i” and “j.

Answer: When you’re ready to start writing, dip the nib in the bottom of ink to fill the vent. Then, with the pen still held just inside the bottle, give the pen a quick downward shake. This should help remove any excess ink built up on the pen tip. You don’t need a protractor to get exactly the precise angle, but you should practice holding the pen the right way. Use a normal pen grip, then hold the pen so it’s perpendicular to the paper, or straight out with the nib pointed at the sheet. Then, bring the pen down until it’s angled almost halfway between parallel and perpendicular.   This will give you more control over the pen, making it easier to create the strokes. Touch the tip of the nib to the top of your x-height, or the middle row on your lined paper. Then, using even pressure, draw the tip of the nib straight down to create a vertical line. Repeat this several times, trying to leave an equal amount of space between each line. Once you feel comfortable with your vertical strokes, it’s time to add a flourish. Draw a vertical line just as you did before, then stop about 1 nib-width above the baseline and pull the pen to the right.  The serif should be a horizontal line about 1 nib-width across. If you lift the pen before drawing the serif, make sure it’s completely connected to the previous stroke, without any spaces. Practice this several times, as well. Many letters also have a serif at the top. To create this, start at the waist line, or the second line on your ruled sheet, and draw a horizontal stroke that’s about 1 nib-width to the right. Then, without picking the pen up from the paper, draw a line straight down to the baseline. You can also practice starting your serif at the top line, rather than the waist line. Now that you’ve practiced creating serifs on the top and the bottom of the letters, it’s time to put it all together. Draw a serif at the top of your waist line, then draw a straight line down, stopping about 1 nib-width from the baseline. Finish by drawing another serif at the bottom of the line.  Keep practicing until the top and bottom serifs are the same size each time you draw this shape. This is a basic lower-case “i,” or a lowercase “l” if you start from the top line. It can sometimes help to trace a letter to get a feel for its construction. Once you've mastered drawing a line with a serif, lay a sheet of printer paper over the sample alphabet you printed. Then, trace over the letter with your calligraphy pen, trying to match the serifs and flourishes as closely as possible. It can be helpful to practice one letter several times before moving on to the next one. Once you feel comfortable tracing the letters, start writing them freehand. Try practicing letters that are entirely contained in the x-height to start. Letters made up of all straight lines, like i, m, n, and w, are the easiest to learn first.  You’ve already practiced drawing “i” and “l,” so try drawing “m” next. This is an easy letter because it’s made of 3 straight lines, then 2 serifs as connectors. The letters “a,” “c,” “e,” “i,” “m,” “n,” “o,” “r,” “s,” “u,” “v,” “w,” “x,” and “z” will all be contained within the x-height. The row above the x-height is for your ascenders, or the long lines reaching up above letters like “b” and “h.” The top serif on the letter “t” also goes into your ascender row, although it’s not quite as tall as the other ascenders. Other letters with an ascender are “d,” “f,” “k,” and “l.” For letters that drop down, like “g,” or “j,” draw your lines below the baseline, reaching all the way down to the bottom row. In some cases, you might add decorative flourishes that reach down in the descender’s row, also. Other letters with descenders are “p,” “q,” and “y.” ” When you’re dotting an “i” or “j,” a dot will look too small, while a full nib-mark will be too wide. Instead, use the tip of your pen to create a very thin, angled stroke on top of those letters. Typically, the mark will be angled upward from left to right. However, you can play around with this if you'd like to take more of a creative approach to your calligraphy.


Problem: Write an article based on this summary: Minimize the importance of negative responses. Develop a fear of regret. Get rejected. Laugh about it.

Answer:
This can best be accomplished through a strategy known as emotion-focused coping.  Emotion-focused coping is the process of recognizing that while you cannot change the situation you are in, you can change the way you react to and feel about it. Change the way you feel about being rejected by understanding that women who reject you don’t understand you, may be just having a bad day, or are already romantically involved with someone else.  In other words, you don’t need to take it personally. The possibility that you could miss out on a great opportunity to talk to or date a woman is more frightening than the prospect of rejection.  There’s nothing worse than realizing how different your life could be if only you’d gone out and talked to women more often or earlier. Imagine your life as a branching path.  At one point in your life, you chose to talk to a certain woman, then you fell in love, got married, had kids, and lived happily ever after.  In the other scenario, you spent your life afraid of talking to women and spent the rest of your days free and unencumbered, but alone.  Which would you prefer? The only way to make a sword is to put the metal in the fire.  Being rejected in a truly painful way will only make you stronger after you get over it.  Once your heart has been ripped out by being rejected by a woman you really care for, future rejections, by contrast, will seem less intense.  Don't take your rejection personally.  Recognize that the rejection has to do with the other person's faults and feelings, not yours. It's okay to feel disappointed when you've been rejected, but don't react with anger or violence against yourself or others when you've been rejected.  Yelling or throwing things, for instance, are both unacceptable.  There will be more opportunities for you to get over your fear of women in the future, so don't let a few rejections get you down. Finding something funny about your rejection may be hard, but it’s an effective way to get over it.  When you laugh and smile, you release endorphins, natural painkillers which relieve stress and make us feel good.  After you get rejected, try to find at least one funny thing about the situation. It helps if you have a friend along with you to review the experience.  Ask your friend,  “Wow, did you see her face when I asked her if she wanted to dance?”  Being sarcastic, but not bitter, about your experience can help too.  “Well that went well,” you might tell yourself after a harsh rejection.