| The first excerpt represents the past or something you must release, and is drawn from The Human Drift by Jack London: Her voice is rather faint.] Ye-es, er . . . Bob . . . er . . .
glad to see you again. [She looks ruefully at her bruised fingers
and sinks into chair. Then, recollecting her part, she crosses
her legs in a mannish way.]
FITZSIMMONS. [Crossing to desk at right, against which he leans,
facing her.] You were a wild young rascal in those San Francisco
days. [Chuckling.] Lord, Lord, how it all comes back to me.
MAUD. [Boastfully.] I was wild--some.
FITZSIMMONS. [Grinning.] I should say! Remember that night I
put you to bed?
MAUD. [Forgetting herself, indignantly.] Sir!
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Maggie: A Girl of the Streets by Stephen Crane: his eye. Between his teeth, a cigar stump was tilted at the angle
of defiance. He walked with a certain swing of the shoulders which
appalled the timid. He glanced over into the vacant lot in which
the little raving boys from Devil's Row seethed about the shrieking
and tearful child from Rum Alley.
"Gee!" he murmured with interest. "A scrap. Gee!"
He strode over to the cursing circle, swinging his shoulders
in a manner which denoted that he held victory in his fists.
He approached at the back of one of the most deeply engaged
of the Devil's Row children.
"Ah, what deh hell," he said, and smote the deeply-engaged one
Maggie: A Girl of the Streets |
The third excerpt represents the future or something you must embrace, and is drawn from The Woodlanders by Thomas Hardy: She appeared after a reasonable interval, for she was sufficiently
spoiled by this father of hers not to put herself in a hurry,
however impatient his tones. "What is it, father?" said she, with
a smile.
"Why, you scamp, what's this you've been doing? Not home here more
than six months, yet, instead of confining yourself to your
father's rank, making havoc in the educated classes."
Though accustomed to show herself instantly appreciative of her
father's meanings, Grace was fairly unable to look anyhow but at a
loss now.
"No, no--of course you don't know what I mean, or you pretend you
The Woodlanders |
