This Simple Plastic Wrap Hack Will Make Your Kitchen Life Much Easier

iStock.com/clubfoto
iStock.com/clubfoto

Plastic wrap, cling wrap, Saran wrap—no matter what you call it, it's a great product to have available in your kitchen. The only downside is that it's constantly sticking to itself, making it rather cumbersome to use. A surprising tip from TODAY Food could change all that, though.

It may sound silly, but try storing your plastic wrap in the freezer instead of tossing it in a drawer or cupboard. The cold temperature alters the polyethylene at the molecular level, which helps to remove the static and stickiness.

You may be wondering, "But isn't that the point of cling wrap—to, well, cling to things?" Yes, that's true. However, the freezer only temporarily changes the properties of the plastic wrap, giving you enough time to rip a sheet off and cover your leftovers with it while the material is still cool. Once the plastic wrap warms up, it will go back to its old, clingy self.

Carolyn Forte of the Good Housekeeping Institute tried it out and gave the freezer method a thumbs up. "The plastic wrap was a lot easier to unroll and use," she tells Good Housekeeping. "It doesn't stick to itself when it's cold, but still works to cover up a dish. As it warms up, it goes back to being sticky, but it's definitely easier to handle when cold."

If you don't have the space to store your cling wrap in the freezer full-time, stick it in 15 minutes before you need to use it. If you're looking for other ways to optimize your cooking routine and save some time, check out these 15 easy kitchen hacks.

[h/t Good Housekeeping]

Project Linus’s ‘Blanketeers’ Donate Homemade Blankets to Children in Need—Here’s How to Help

Project Linus
Project Linus

In 1995, when Karen Loucks read an article that mentioned how a “blankie” helped comfort a 3-year-old during chemotherapy for leukemia, she decided to donate some homemade blankets to a cancer center in Denver.

It was the beginning of Project Linus, an organization that has since grown to include an estimated 80,000 volunteers and has chapters in each state. Through its expansion, the original mission has stayed exactly the same: to provide quality handmade “security” blankets to children battling illness or trauma. According to Project Linus’s current president, Patty Gregory, they’ve given away more than 7.8 million blankets, and their annual total falls somewhere between 400,000 and 500,000.

Gregory’s involvement with the project began in 2000, when she happened to see Project Linus featured on television. Having just lost her 6-year-old niece to brain cancer, the idea of providing something safe and comfortable to children who were suffering really resonated with her, and she was soon working as the coordinator of the group's Kansas City chapter. In August 2016, Gregory was named president/CEO of Project Linus.

“These blankets provide a sense of security for children who are ill and traumatized,” Gregory tells Mental Floss. “It gives them something to hold on to, to hug.”

The blankets, many of which feature animals, whimsical patterns, and vibrant colors, also help break up the often monochromatic, clinical monotony of healthcare institutions.

Every blanket is knitted, sewn, or otherwise handmade by a volunteer “blanketeer,” and Project Linus is committed to ensuring that each one is in top-notch condition before delivering it to a hospital or shelter to be given to a child. Blankets must be new, washable, and completely free of contaminants like pet hair or cigarette smoke.

As long as you adhere to those quality standards and approach each blanket-making endeavor with care and kindness, you have almost everything you need to become a blanketeer yourself—no experience necessary.

“Anyone can make a blanket,” Gregory says. Project Linus’s website also includes an extensive list of suggested patterns from blogs, other sites, and individuals, ranging from “Lili’s Hug,” a weighted blanket pattern suited for children with sensory processing difficulties, to “Bulky Baby Blanket,” a “thick, squishy knit blanket to keep babies cozy in cold weather.”

If you’d like to practice a little before entering the ranks of blanketeers, or just don’t have time to commit to crafting, there are a couple other ways that you can support Project Linus, especially as they approach their busy holiday season.

You could make a monetary donation by mail or online here. In addition to needing funds for printing, shipping, and accounting, they also use donations to purchase blanket-making supplies. Or you could actually donate some of those supplies, like yarn, fabric, and cotton batting—just make sure to check with your chapter coordinator first to see what they might need.

You can find the nearest chapter or a blanket drop-off site here.

6 Books You Didn’t Know Were Originally Self-Published

jtyler/iStock via Getty Images
jtyler/iStock via Getty Images

Though the wild success of a few self-published books—like E. L. James’s Fifty Shades of Grey—has created a wave of DIY authors, it’s not a novel idea. Long ago, Marcel Proust, Charles Dickens, and Walt Whitman decided to go their own way for some of their most famous works. Here are six well-known books that were originally self-published.

1. Maggie: A Girl of the Streets //  Stephen Crane

Stephen Crane is perhaps best known for traumatizing generations of elementary schoolchildren with grisly, gory depictions of the Civil War in his novel The Red Badge of Courage. Before that, he financed the publication of his first work, Maggie: A Girl of the Streets, an equally bleak examination of poverty, prostitution, and alcoholism in 19th-century New York. Just 21 years old at the time, Crane released the novella in 1893 under the pseudonym Johnston Smith and even devised a clever strategy to publicize it: He paid four men to read it on a New York elevated train. “It fell flat,” he said later, according to The New Yorker. But Maggie did pique the interest of fellow writers William Dean Howells and Hamlin Garland, which helped Crane gain confidence and momentum for his next works.

2. The Tale of Peter Rabbit // Beatrix Potter

The Tale of Peter Rabbit original edition
Carl Court/Getty Images

While Stephen Crane’s Maggie was hitting shelves in 1893, British author Beatrix Potter was beginning to write what would become The Tale of Peter Rabbit. The six publishers who received her manuscript insisted on publishing it as a large book so they could inflate the price, but Potter refused—she wanted it to be small enough that a child could easily hold it. So in December 1901, Potter dipped into her savings to print 250 copies herself. Its overwhelming early success convinced one of the original prospective publishers, Frederick Warne and Co., to change its tune. In October 1902, they released an edition with Potter’s specifications that sold more than 20,000 copies by that Christmas.

3. No Thanks // E.E. Cummings

E.E. Cummings had already published several poetry collections to widespread critical acclaim when he submitted what would eventually be titled No Thanks to New York publishers in 1934. All 14 of them declined the collection. One reason was that the Great Depression had made it difficult to sell already-successful books, and publishers were rarely acquiring any new ones. Another reason was that Cummings had ruffled feathers with EIMI, an experimental travelogue of his trip to Russia. Many writers thought it disrespected socialism, which was then en vogue. Eventually Cummings’s mother lent him the money to print the new collection himself. He named it No Thanks, and his dedication page read “No thanks to” followed by a list of all 14 publishers who had rejected it. The list was shaped like a funeral urn.

4. The Jungle // Upton Sinclair

Upton Sinclair's The Jungle
Byeznhpyxeuztibuo, Wikimedia Commons // Public Domain

In February 1905, the public encountered Upton Sinclair’s The Jungle as a serialized work in the socialist newspaper The Appeal to Reason, and again later that year in a quarterly journal called One-Hoss Philosophy. But when it came to publishing it as a book, Sinclair ran into serious issues. His contract with Macmillan fell apart after he refused to cut some of the more repulsive meat-packing details. Five other publishing houses also rejected the novel. Just as Sinclair was printing it himself using donations from readers, Doubleday, Page finally approached him with an offer. Always the portrait of integrity, Sinclair asked that they allow him to self-publish his edition so he could fulfill the existing pre-orders. Doubleday acquiesced, and Sinclair released 5000 copies of the so-called “Sustainer’s Edition” under The Jungle Publishing Company in February 1906, the same month that Doubleday released its almost identical version.

5. The Elements of Style // William Strunk, Jr.

The Elements of Style 1920 edition
Jimregan, Wikimedia Commons // Public Domain

Before The Elements of Style was Strunk and White’s, it was just Strunk’s. Professor William Strunk, Jr. privately published the self-proclaimed “little book” in 1918 for his Cornell students, and in 1920, Harcourt, Brace re-released it. But it wasn’t until E.B. White, one of Strunk’s former students, wrote about it in a 1957 issue of The New Yorker, 11 years after Strunk’s death, that it really gained momentum. The original 43-page publication, according to White, “consists of a short introduction, eight rules of usage, 10 principles of composition, a few matters of form, a list of words and expressions commonly misused, a list of words commonly misspelled. That’s all there is.” The rediscovery of the guidebook so invigorated White that he revised and added to it, and Macmillan republished the expanded edition in 1959. One hundred years and millions of copies after its initial release, The Elements of Style—or just “Strunk and White,” as it’s called colloquially—is one of the most acclaimed how-to books ever written.

6. The Celestine Prophecy // James Redfield

James Redfield’s novel/spiritual guide began with a 3000-copy print run that set him back about $7000. Redfield and his wife packed up their van and spent a month at a time traveling to independent bookstores across the nation to give a copy to each manager and whatever customers were present, reprinting as needed. The strategy reinforced the old publishing adage that the best way to sell books is by word of mouth: After a few months on the road, Redfield said that everybody was talking about it, and he estimates that they had sold around 160,000 copies. It was enough to ignite an informal rights auction between Warner Books and another unnamed publishing house, which Warner won. When asked at the Southern California Writers’ Conference if Warner requested any revisions, Redfield said yes. “But we didn’t do any of them,” he added. Warner published the book anyway, which then spent an impressive three years on The New York Times best seller list.

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