Summarize the following:
Weeds can often be quite difficult to simply pull up out of the soil. To make it as easy as possible to pull out the weeds, water your garden first. Pull slowly from as close to the root as you can.  Wear gloves when pulling weeds. Some weeds, like thistles, have prickly bases and it can be pretty painful if you get pricked by these types of weeds. Don't add poison ivy seeds, or weeds spread by runners to compost. These will spread very quickly. You can use black plastic bags to block sunlight from reaching the weeds but newspaper is a much better option as it is biodegradable. Place a thick layer of newspaper or cardboard over your unwanted weeds and cover it with mulch, such as shredded bark. Spread enough mulch so that the newspaper is almost completely covered. Some weeds may push through the newspaper in search of sunlight. If this happens, simply place another thick layer of newspaper down with some more mulch. Instead of throwing boiling water down the drain or down your sink the next time you're cooking, take it out onto your pavement or garden patio area. Throw the boiling water on the weeds growing up through the cracks. Try and do it while the water is as hot as possible as this will only work if the water can scald the weeds.  Be careful and keep kids and pets in safe places while you do this. Make sure to avoid your legs and feet. Pour the boiling water slowly from the pot. Only use this on a patio or pavement. Using it on grass or soil will also damage the soil. This method is very effective and will stop things from growing for a long time where you sprinkle it. You should only sprinkle the salt in the cracks of pavement and patios, and along the edges of your garden. Salt will kill the plants you want in your garden if you spread it on them too.  Avoid getting any salt on desirable plants. This method will damage all plants, not just weeds, so you should not treat weeds tucked in among your garden plants this way. You can use any type of salt.

summary: Pull them out of the ground. Block sunlight from reaching the weeds. Scald the weeds on your patio with boiling water. Sprinkle salt along the edges of your garden to prevent weeds.


Summarize the following:
You may write the treatment for a producer, director, or even an actor. Because of this, write it for that person. Adjust the content and the way you present it based on who it is for. Also adjust based on if you know the reader personally or not.  For a director, you might focus more on the way each scene looks and what set pieces are involved. If you’re writing for an actor you’d like to play a role, give more attention to their role than to the other characters. No matter what genre you’re writing the treatment for, it has to hit the reader with some real emotion. Make them feel fear, sadness, or joy by the way you describe the characters and the story. This is the hook that forces the reader to connect with the story.  Don’t present something that is different from your script. Use the emotion that is part of the story and bring it out in the treatment. Convey emotion by showing how characters react. Write, "He turned his face away," which shows he is ashamed or hiding something. Describe a character looking at a photo for just a few seconds before they start crying. Have a woman brush off a man's touch, a kid step back as their mother reaches toward them, or a man look in the mirror and shrug. Your treatment should read as the audience will see it. Describe everything as it happens, not as if it has happened already or will happen. This can be tricky, because it’s not always your first instinct. Check your writing over for tense shifts. For example, write, “Devon walks to the door hesitantly and looks through the peephole.” Don’t write, “She stopped and thought about her day,” because that shifts to past tense. Describe the movie in a similar way to how people will feel during it. If your goal is for the film audience to be scared, make the treatment instill fear. Make the reader laugh if you're pitching a comedy. Important aspects of the genre are important in the treatment, too. Keeping tropes of the genre in mind is important. Use them purposefully when you must, but don't rely on them.

summary: Write for your audience. Make the treatment connect emotionally. Write the story in present tense. Reflect the script's genre in your treatment.


Summarize the following:
If you’re new to doing a 180 on your skateboard or haven’t done the trick in a while it’s a good idea to get your body used to being in the proper position. Practice skating around for a bit by pushing off and then situating your body into the right position. The ollie is the most fundamental skateboard trick and it’s incorporated into pretty much every trick you’ll do. And the 180 is an ollie where you turn your board and body 180-degrees. For the 180 you’ll be turning around either behind you for a backside 180, or in front of you for a frontside 180. Once you have the ollie down, you’re well on your way to doing a 180 skateboard trick!  If you ride “regular” you will have your right foot in the back positioned on the tail of the board. If you ride “goofy” then your left foot will be in back on the tail. You want to position your back foot on the tip of the tail. To do a 180 on the skateboard, you’ll want to position your back foot on the corner of the tail. For a straight ollie your front foot will be centered about halfway up the board or slightly back.  You also want to put more pressure on the outer edge of your foot (the side your pinky toe is on). To help you with turning, plant your front foot so its slightly hanging over the opposite edge of board from your back foot. This may feel awkward but it will help to keep your board balanced when you’re in the air. Your shoulders and your upper body is where most of the work will come from when you perform your 180.  By setting your shoulders correctly you will be able to turn your body quickly enough and this should allow your legs and the board to follow. You might be tempted to try and force the board to turn using mostly your legs, but you won’t get enough torque this way. For a backside 180, position your front shoulder slightly in front of your chest and dip it down so when you pull up you have more momentum to work with. For a frontside 180, you want to position back shoulder in front of your chest and dip it down as well so you can pull up and create momentum. You don’t want too much of a bend so that you end up crouching too low as that won’t allow you to pop high enough. You should stand with relaxed knees like you’re getting ready to hop slightly. If you are bending correctly you should be able to slide your front forward up the board with ease.
summary: Practice getting into the ollie 180 position. Position your back foot for an ollie. Position your front foot for an ollie. Set your shoulders. Bend your knees.