| The first excerpt represents the past or something you must release, and is drawn from In a German Pension by Katherine Mansfield: silent cellar, she began to nod.
"Here, you, what are you doing down there?" cried the Frau, from the top of
the stairs. "The baby's fallen off the settle, and got a bump as big as an
egg over his eye. Come up here, and I'll teach you!"
"It wasn't me--it wasn't me!" screamed the Child, beaten from one side of
the hall to the other, so that the potatoes and beetroot rolled out of her
skirt.
The Frau seemed to be as big as a giant, and there was a certain heaviness
in all her movements that was terrifying to anyone so small.
"Sit in the corner, and peel and wash the vegetables, and keep the baby
quiet while I do the washing."
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Riders of the Purple Sage by Zane Grey: to greater hatred of Mormon men."
Jane felt swayed by a strength that far exceeded her own. In a
clash of wills with this man she would go to the wall. If she
were to influence him it must be wholly through womanly
allurement. There was that about Lassiter which commanded her
respect. She had abhorred his name; face to face with him, she
found she feared only his deeds. His mystic suggestion, his
foreshadowing of something that she was to mean to him, pierced
deep into her mind. She believed fate had thrown in her way the
lover or husband of Milly Erne. She believed that through her an
evil man might be reclaimed. His allusion to what he called her
Riders of the Purple Sage |
The third excerpt represents the future or something you must embrace, and is drawn from The Death of the Lion by Henry James: naturally to write something somewhere about the young artist. She
played her victims against each other with admirable ingenuity, and
her establishment was a huge machine in which the tiniest and the
biggest wheels went round to the same treadle. I had a scene with
her in which I tried to express that the function of such a man was
to exercise his genius - not to serve as a hoarding for pictorial
posters. The people I was perhaps angriest with were the editors
of magazines who had introduced what they called new features, so
aware were they that the newest feature of all would be to make him
grind their axes by contributing his views on vital topics and
taking part in the periodical prattle about the future of fiction.
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