Allergy Card Template: Fill & Download for Free

A trusted friend who is familiar with your medical history may be helpful. If this is your best option, consider executing a power of attorney (POA) for healthcare naming them as your designee in the event of medical emergency. The POA should be as clear as possible as to what authority you are granting your designee, and you should discuss your wishes in detail with that person. The legal requirements and limitations of POAs vary somewhat by jurisdiction, so be sure to get legal advice from an attorney with experience in this area. Yes, it will cost some money, but it is important. And, if you can not afford an attorney, contact the bar association in your jurisdiction as they may be able to recommend a public service agency that provides help with such matters to those who can not afford an attorney. (POAs are important because even a close family member will not be able to act on your behalf in a medical emergency unless you have a POA authorizing them to hold such authority.)Although it does not directly address your question, I will add that it is very important to have medical information with you at all times. This can be as simple as a card in your purse or wallet naming your personal physician, his or her phone number, a brief medical history, all chronic medical conditions you have, and the medications that you are taking for them. It should also state whether you have any medication allergies or previous surgeries.There are several good, printable medical ID cards available free, here: free wallet size medical information cardand here: Emergency+ID+Card+Templates+Free | Medical information, Medical, Medical journals

Here are a few to make your personal life better:Never check baggage on flights.Get airline status so that you can board planes as soon as possible (e.g., purchase airline credit card if necessary).Plan your weekends at least one week in advance.Spend some money to make your personal life more comfortable (e.g., dry cleaning, house cleaning).Here are some random tips on the professional side:Find mentors and develop advocates for you within the firm as soon as possible.Get very familiar with the engagement kickoff deck if possible for your first assignment (it often outlines the problem statement, engagement workstreams, and roles in organization).Get briefed on the industry of your client as fast as possible; ask others what they did to come up to speed.Be nice to and get to know the secretaries and receptionists; they can help you navigate staff in the client company.Don’t reinvent the wheel if possible. Leverage templates and/or Powerpoint plug-ins like ThinkCell or other; the goal is to use your brain more and offload mechanical tasks.Try to avoid taking any crazy medicines that the client might offer you (lol - this is personal one for me that I regretted for my first client).Edit: Based on comments, I wanted to post a clarification. Client offered me some homeopathic medicine with goose liver in it or something when I was ill. Pretty certain after that I developed an year-long allergy to my own blood serum where I had to take Actifed for a full year while at work because I would get welts all over me every four hours or so!Edit 2: I also wanted to point out that Kevin Johannes Wörner has a nice video covering advice for new strategy consultants (Advice for new strategy consultants | 9 Lifehacks) (9 lifehacks) based on his experiences, including at Roland Berger. I really resonate with Kevin’s comments about how to deal with massive amounts of data and information coming at you in the client environment and focusing on the few items that really drive results._______________Steve Shu specializes in incubating new initiatives with a primary focus on strategy, technology, and behavioral science. He is author of Inside Nudging: Implementing Behavioral Science Initiatives and The Consulting Apprenticeship: 40 Jump-Start Ideas for You and Your Business.

It depends. Not the best answer but I can tell you the process that gets me to considering page numbers.Because I own my work, I have to consider the publishing costs and layout of each book. When I’m writing I try not to let that be a thought, unless I’m directly trying to control how many pages I want a piece to be.A solid novel can generally fit into 300–350 pages. That gives you room to play around and shorten. Quite a few books average around 300 pages, but don’t worry about that at the initial stage.Setting 10 Chapters, or 12, in a document gives you “beats” to hit, it helps set up timing and positionality. That’s really what chapters are doing as signals to the reader. Now you can consider that if Bob meets Katy in Chapter 1 then Bob meets Joe in Chapter 2, everyone knows each other by Chapter 3. Now you’ve got some structure. If you know that Bob dies, you might want to figure out when and tentatively put that he dies in Chapter 9 because you need a few post Chapters to have others experience his death.Chapters 4,5,6 are set up to deepen the characters, and to introduce your conflict between the three. First conflict set ups are generally that Bob wants to marry Katy but Joe came back suddenly from the war. There’s your Chapter 4. Chapter 5 is Katy being torn. Chapter 6 is Bob and Joe confronting each other outside of Katy’s house and getting into a fight. Chapter 6 is now your fight chapter.Chapter 7 and Chapter 8 are about the conflict pulling the reader both ways. We sympathize with all of them and by the close of Chapter 8, Bob, Joe and Katy have decided to try a threesome. It’s working, they’re happier than they thought possible.Bob dies in Chapter 9.Now you’ve got a super good conflict—-did Joe and Katy get back together due to Bob? Can they be a relationship without him? Or do they want another person? Chapter 10 is this question and search and experimentation. Chapter 11 is the decision they come to. Chapter 12 is the decision based on the decision—-or the off into the sunset image the reader carries. The Chapter 11 decision might not work in the long term. Chapter 12 will answer whether it does.Now pages—-Logically divided up that’s about 25–35 typed pages per chapter. If you hand write first (like I do) then it’s about 2 legal pads—50 pads each single sided to get about an average of 35 pages.In designing chapters I first am just dropping in my pieces by relative timing to a general plan. It’s not set in stone. The first mission is to get the story out. So many beginning writer’s want to focus on amount of pages and where the Pulitzer will go. Instead you want to concentrate on getting your messy tale into your 12 Chapters/boxes.Then you want to print it out to proof it in some way, to read it as a full manuscript. I generally do 12 Edits on a work before publication so this is generally about Edit 6 to 8, depending upon the size and complexity of a work. The more complicated the tale, the more characters the more architectural work you have to do. The more a character shifts from one way of seeing the world, to another, the more architectural work you have to do. The more you’re tackling an idea—-like maybe Bob and Joe are different religions or races and you can bridge the sexuality part easily but you want the other to be the real conflict, then you need to establish their positionality in the onset initial chapters of each character.Edit 6, you mark up with your structural issues, I generally use varying pens, I even sometimes buy a multi color pen—-Blue is structural—-does this go here? If such and such happens in Chapter 6 then someone has to foreshadow it in Chapter 4. If Bob is allergic to such and such why did I mention it if not to use it later on. There’s no reason to bring up allergies except to signal the reader, something going to happen. Now maybe we know how Bob dies. In fact, maybe we twist the whole magilla and Katy and Joe have created this whole game. One of them leads in the seduction, the other shows up and the two seduce the Bob’s of the world, girls or boys, into these three ways and kill them for insurance money. Now we know why Theresa in Chapter 10 is so smitten with Joe. Now we know what to do with Theresa, or not. Are we going to kill her too? Or will she supplant Katy? Is she wise to the scheme and kills Katy in Chapter 11 and Chapter 12 is her turning to Joe and suggesting a way they could make some money off of that guy in the corner of the bar…. Was Joe setting up Bob and Katy? Was Theresa always aware of the scheme and looking to replace Katy?Edit 6 becomes the template where you throw in all of these new questions and answers.Edit 7 is generally grammar, typos and such. I’ve added in the rest of my ideas that reading the whole thing brought up.Edit 8 is now the Clean Copy of what I was getting at in plot with structural clean ups and grammatical clean ups. Now I look at page count. I’m happy with my story but it’s 475 pages, this has happened to me, and I make a ruthless decision. 400 pages. Tops. Including title pages, afterword, dedication, everything. 400 pages. Edit 8 is the Red pen where we go to bloody slashing time.Places to lose unneeded words, space, etc.In the initial typing and printing, I printed out Edit 6 at 1.5 line spacing, so that I could edit in words, sentences, ideas.Same for Edit 7.So now I collapse down Edit 9 and I get 450 pages. Better but still not great.Lines between paragraph sections. I generally opt in editing for a hard return then 3 lines then a hard return and writing of the next section. Let’s go through and pull that down to return, 2 lines, 2 lines. And I printed out at 11.5 to 12 point font. Let’s drop that down to a strong 8–9.5.Those three layout points get me down to 425 pages.I adjust header and footer by 2/10s of an inch Top and Bottom.420 pages.Next the text itself.This is where Stylistic issues come into play. I’ve been really assiduously following Elmore Leonard’s advice on removing he said, she said and letting the dialogue or surrounding actions, show emotion. The way to see how much of a crutch this is is to go in and replace said with said but in red text. Then look at your file (or print it out in color) and now you can see 1 weakness.Another writing weakness I struggle with is And, So, Because. I go through and I highlight all of my mitigations. I then compound, shorten or strengthen sentences. I don’t have issues with the word Like because I detest it in conversation—-I sometimes sit next to people on the train or bus and actually count how many times they like tell someone like what happened about the like that thing they were like carrying which was like that other thing they were like doing last week when like the same thing like happened—-find your mitigation by Edit 9 and like eliminate it.Edit 10. 415 pages.Killing your darlings.What don’t I need?Writing is unconsciously repetitive but that doesn’t necessarily mean that all repetition is bad, it just means that some of it, like Heidegger, doesn’t built like a staircase. Heidegger essentially reads like a Lego set where he is step by step leading the reader. He intentionally shows Step 1 then the next part of Step 1 and he shows you how it incorporates Step 2. And then he like shows how Step 3 is the evolution of Step 1 to Step 2 and the incorporation of Step 1…and so on. Like hundreds of Steps. But what he accomplishes is a level of clarity because the reader has constructed the overall idea alongside him. He’s just dismantling it very obviously. It is a pointedly annoying way of writing.But…It’s an excellent way to construct a story.One way I simulate first seeing my own writing is I go through the whole manuscript and I write out each scene on index cards—-I’ll upload the pics later—-this forces me to re-read my work AND to see it very critically. It also allows me outside of handwritten or on my computer to rearrange scenes and or delete scenes or see logical pockets and gaps in the story structure. Think of it like a Property Inspector checking all the walls,wires and pipes.You will find redundancies, inconsistencies and hyperbolic writing. All of which are unnecessary.If you do this level of editing right, you’ll be down to 375 pages.Which allows you to go back in with Edit 11 and tweak a bit. Fix little things. Add in something. Generally I can drop in humor now, wryness, a better description—-I look up a certain kind of wine, I find a great credenza description in a magazine, I layer in that Katy reads Heidegger so we can see her thinking reflecting off of works of his she likes. Edit 11 is when the house is built and everything works, you’re now doing some light interior decorating. Nothing to heavy as a structural change because if you’ve done the other edits right, you can see what had to be changed earlier.Edit 12—-380 pages, your tight publication submission to an editor.This is my process that I use about 90% of the time mainly from evolution, mentors advice and due to writing some many different projects at the same time so I need clear structural blueprints for what I’m doing and why. I generally start this contained in a plastic file folder that I can carry, first big enough for a couple of pads and then for the totality of pads that I’m going to hand write—-6–12.The Index Card System I generally use on books that are 400 pages or more because for me that’s when it starts getting complicated. I need to have structures that I can start segmenting and narrowing down where my problem areas are to go in and repair. In order to do that, I have to have ways to put a rubber band around some sections as good/done so that I can operate, like a surgeon, on the other parts.Edit 12 you should be able to see your work as singular, solid chapters and you know you’re done when you sort of dislike it. It’s like if you spend too much time with someone, they become annoying. When you reread it you’ll feel absorbed but you can see your blueprint, architectural changes, construction, and interior design and landscaping. There will always be minor tweaks. Always. Always. But it should read to answer the questions and resolve the conflict set up. If you can’t turn the above, off the top of my head, miasma of deceit and sex into a book then you shouldn’t worry about world building or grand sci fi.I had a mentor, Professor Irving Feldman who in his prose writing class, stripped down what our projects could be and not be to hone this skill. No period pieces, westerns, sci fi, fantasy. Just write a story. No flashbacks. No deus ex machinas. Just write a story.I watched that prescription destroy more wannabe writers because they hadn’t mastered the art of plot, initial conflict, climax, denouement, resolution. Five beats.Edit 12, you should be able to point out those beats in your work. Anything else, back to the drawing board, you skipped, mismanaged a step or are too in love with your own work.A good written work is like a one night stand or a lover, an affair, not a marriage. It’s great for the time being, you can see the flaws and you’re ready to move on.All of my books are on Amazon and Barnes and Noble and other sites like eBay!#KylePhoenix#TheKylePhoenixShow