| The first excerpt represents the past or something you must release, and is drawn from The Amazing Interlude by Mary Roberts Rinehart: "You have been so much alone, mademoiselle -"
"Alone!"
"Cut off from your own kind. And now and then one finds, at the hotel
in Dunkirk, some English nurses who are having a holiday. You would
like to talk to them perhaps."
"Jean," she said unexpectedly, "why don't you tell me the truth? You
want me to leave the village tonight. Why?"
"Because, mademoiselle, there will be a bombardment."
"The village itself?"
"We expect it," he answered dryly.
Sara Lee went a little pale.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Memories and Portraits by Robert Louis Stevenson: the roadside, I would either read, or a pencil and a penny version-
book would be in my hand, to note down the features of the scene or
commemorate some halting stanzas. Thus I lived with words. And
what I thus wrote was for no ulterior use, it was written
consciously for practice. It was not so much that I wished to be
an author (though I wished that too) as that I had vowed that I
would learn to write. That was a proficiency that tempted me; and
I practised to acquire it, as men learn to whittle, in a wager with
myself. Description was the principal field of my exercise; for to
any one with senses there is always something worth describing, and
town and country are but one continuous subject. But I worked in
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The third excerpt represents the future or something you must embrace, and is drawn from Tom Grogan by F. Hopkinson Smith: it? How would he have advised her to act? He had always hoped
such great things for Jennie. Would he now be willing to give her
to this stranger? If she could only talk to her Tom about it all!
As she sat, her head in her hand, the smoking stable, the eager
wild-eyed crowd, the dead horses, faded away and became to her as
a dream. She heard nothing but the voice of Jennie and her lover,
saw only the white face of her boy. A sickening sense of utter
loneliness swept over her. She rose and moved away.
During all this time Cully was watching the dying embers, and when
all danger was over,--only the small stable with its two horses
had been destroyed,--he led the Big Gray back to the pump, washed
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