| The first excerpt represents the past or something you must release, and is drawn from Maggie: A Girl of the Streets by Stephen Crane: The women screamed in disgust and drew back their skirts.
"Come ahn," cried one, starting up angrily, "let's get out of here."
The woman of brilliance and audacity stayed behind, taking up
the bills and stuffing them into a deep, irregularly-shaped pocket.
A guttural snore from the recumbent man caused her to turn and look
down at him.
She laughed. "What a damn fool," she said, and went.
The smoke from the lamps settled heavily down in the little
compartment, obscuring the way out. The smell of oil, stifling in
its intensity, pervaded the air. The wine from an overturned glass
dripped softly down upon the blotches on the man's neck.
Maggie: A Girl of the Streets |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Riverman by Stewart Edward White: here at home."
He slept that night at the booms. The water, contrary to all
expectation, rose steadily. By morning it had crept so far up the
piles that there began to be danger that it would overflow their
tops. In that case, of course, the logs in the booms would also run
out.
"Guess it's time we did a little work," remarked Orde.
He set a crew of men to raising the height of the piling by tying
logs firmly to the bolted timbers atop. This would take care of an
extra two feet of water; a two feet beyond all previous records.
Another crew stretched the fifteen inch manilla cables across the
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The third excerpt represents the future or something you must embrace, and is drawn from Vendetta by Honore de Balzac: seemed to be listening to sounds that no one else had heard. The
expression of impatience she now detected in her companion's eyes was
like a flash of light to her.
Amelie was the last of the pupils to leave the studio; from there she
went down to Madame Servin's apartment and talked with her for a
moment; then she pretended to have left her bag, ran softly back to
the studio, and found Ginevra once more mounted on her frail
scaffolding, and so absorbed in the contemplation of an unknown object
that she did not hear the slight noise of her companion's footsteps.
It is true that, to use an expression of Walter Scott, Amelie stepped
as if on eggs. She hastily withdrew outside the door and coughed.
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