| The first excerpt represents the past or something you must release, and is drawn from The Breaking Point by Mary Roberts Rinehart: "No!" she commanded sharply. "No, Fred. You let the thing alone.
You've built up an imaginary situation, and you're not thinking
straight. Plenty of things might happen. What probably has happened
is that this Bassett is at home and in bed."
She sent him out for a taxi soon after, and they went back to the
hotel. But, alone later on in her suite in the Ardmore she did not
immediately go to bed. She put on a dressing gown and stood for a
long time by her window, looking out. Instead of the city lights,
however, she saw a range of snow-capped mountains, and sheltered at
their foot the Clark ranch house, built by the old millionaire as
a place of occasional refuge from the pressure of his life. There
The Breaking Point |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Resurrection by Leo Tolstoy: This kiss was very different from that first thoughtless kiss
behind the lilac bush, and very different to the kiss this
morning in the churchyard. This was a dreadful kiss, and she felt
it.
"Oh, what are you doing?" she cried, in a tone as if he had
irreparably broken something of priceless value, and ran quickly
away.
He came into the dining-room. His aunts, elegantly dressed, their
family doctor, and a neighbour were already there. Everything
seemed so very ordinary, but in Nekhludoff a storm was raging. He
understood nothing of what was being said and gave wrong answers,
Resurrection |
The third excerpt represents the future or something you must embrace, and is drawn from Beast in the Jungle by Henry James: John Marcher faintly smiled. "It's heroic?"
"Certainly--call it that."
It was what he would have liked indeed to call it. "I AM then a
man of courage?"
"That's what you were to show me."
He still, however, wondered. "But doesn't the man of courage know
what he's afraid of--or not afraid of? I don't know THAT, you see.
I don't focus it. I can't name it. I only know I'm exposed."
"Yes, but exposed--how shall I say?--so directly. So intimately.
That's surely enough."
"Enough to make you feel then--as what we may call the end and the
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