275295175-jon-thompson-naked-mentalism-2-jcalex-min.pdf

NAKEDMENTALISM

u Secrets

of the Primes

Jon Thompson

Fint Edition Published and printed by Lulu.com

Also by Jon Thompson and available from http //stores. lulu. com/booksbytomo :

NAKED MENTALTSM _ STRIPPED OF METHOD THE FULLY SCRTPTED NAKED BOOK TEST THE STRIPPER DECK STRIPPED AND STACKED POKER FACED

This book and its contents copyright (c 2008, Jon Thornpson.

All rights resenred. No parl of this book may be reproduced in any manner whatsoever without written permission of the author.

NOT FOR RESALE

If you didn't pay for this book, in whatever form you're reading these words, you have stolen it. I wish you nothing less than a life filled with pain, failure and frustration. ending with a lingering, agonising death.

I'm profoundly grateful to the following people past and present, either for helping shape this book by providing inspiration, advice, or by generally keeping me fairly sane. As ever, Celia, Penny and Ricky Theodore Annemann Paul Brook Iain "Abraxus" Dunford Enrique Enriquez Bruce Frey Jerome "TT2" Finley Ian Harling & Martin Nyrup Lewis Jones Thomas Korelin Dr Todd Landmar.r Joe Riding Ian Rowland Steve "Banachek" Shaw Tony "Corinda" Simpson Matthew "Malchat" Sl-routen Thank you. ['m profbundly grateful to you all.

"Well, I could call out when the goittg gets tttugh' enough' The thtings that we've learnt are no longer know' need we all No language, iust sound, that's shotv'" ro ,irriroiise lo,'e to the beat of'the

.Ian Curtis

Tarr,r or ConrENTs

Dere Tasr.ss

AND Draen AMs

Table I Geometry and shapes Table 2 Shapes... Table 3 Combining geometry and shape..

Tiifi8lf]ll

:

...........36 .............36 ...........37

13 .............40 Table 6 Milk....... .......40 Diagram: The "Milk" Force....... ...................41 Table 7 Parts of an egg... ..............42 Tabfe 8 Vegetables.............. ..................43 Table 9 Salad ingredients .............43 Table l0 Fruit..... .............44 Table 11 Liquids. .............44 Table 12 Drinks.. ................44 Table 13 Drink + Liquid.... ..................45 Table 14 Soft drinks........ ............45 Table 15 seafood. .............45 Table 16 Sandwiches............ .............46 Table 17 Meals... .............46 Table 18 Meats... ........46 Table 19 Ice Cream Flavours.... .............46 Table 20 Planets. .............47 Table 21 Continents............. ....................47 Tabfe 22 On the farm.... Table 23 Crops... .............48 Table 24Inthe garden....... ................49 Table 25 Contents of a Meadow............. ............50 Table 26 Rooms. .............50 Table 27 Kilchen contents.... .....,.......50 Table 28 Living room contents............. ..............51 Table 29 Bathroom contents .............51 Table 30 Bathroom contents .............51 Table 3l Beach... .............52

Diagram: Negative Childhood Memories.. Diagram: Positive childhood memories.. Table 68 Celebrations.......... Table 69 Continents............. Table 70 Colours - Red......... Table 7l Colours - 81ue....... Table 72 Colours - Purple..... Table 73 Colours - Black...... Table 74 Colours - Pink........ Table 75 Colours - Green...... Table 76 Colours - Yellow.... Table 77 Colours - White..... Table 78 Colours - Violet..... Table 79 Colours - Orange... Table 80 Colours - Gold.......

.........98 ............98 ..............99 ............105 ..........109 ...........109 ..........109 ........... I 10 ...........110 ..........110 ..........110 ..........1 10 ..........1 10 ...........1 I I ..........1 I 1

r. INrtoDUcrroN II. The philosophy previous this and underpinning the book in the series concems creating mentalism that as far as possible plays out like a genuine paranonnal ability - but with vastly improved elcome

to

Naked Mentalism

results.

Naked effects deliberately abandon all the usual physical apparatus available to the mentalist. There's nothing up your sleeve, nothing to peek, crib, write down, bum, tear, or erase. There's no pre-show work, no stooges and no other confederates. Your only prop is your mind, meaning that if necessary, you could perform naked to prove there's no subterfuge.

Psychology says that what someone experiences as genuine paranorrnal ability is actually their personal interpretation of answers emerging from their subconscious mind. In turn, the subconscious takes everything it knows about the world as its starting point for producing those answers. In situations where there's plenty of detailed knowledge to draw upon, such inferences can be astonishingly accurate without you ever being consciously aware of accumulating the underlying knowledge. But when there's little or no such "heuristic" knowledge to call upon, the answers that emerge are no better than guesswork.

is no basis for constructing a reliable psychic-like ability. So, when performing Naked effects, you instead call upon accurate, purpose-built mental models of specific parts of the world. These data models you Subconscious guesswork

21

carry around in your head

-

hence both the learning aspect

and the irnpromptu. propless nature of Naked effbcts.

After completing the previous volume, I soon realised there was much more I could write about one specific data model I'd begun to cover. I showed how to exploit it using the concept of "priming" the mind to have certain thoughts on demand. This second volume is the result.

Priming gives the spectator a seemingly free choice of thought while actually working to make that choice predictable. 'Ihis book takes as its starting point the 27-pages devoted to priming that appeared in the previous volume and greatly expands on it, including examples of delivering priming forces so powerful that some people actually find it physically difficult not to deliver the desired answer despite themselves.

For most readers, the meat of this book will be the chapter called "Priming Data". As you can see from the index of tables and diagranrs, this introduces and explains a large storehouse of priming categories. I've included the wellknown classics from the previous volume, and I explain in depth why they work. I also give a model for why the powerful psychological forces discussed in the first chapter work so well, and give a template for discovering new ones.

When used in Naked priming effects, pragmagrams are a particularly powerful method of registering at least a partial hit where none would normally exist. I used them to develop a number of presentations in the previous volume (including the Naked Book and Coin Tests), but the technique is described here in t-ull and in depth for the first time. Feel free to skip forwards to Chapter 6, which contains a selection of effects, but they may not make as much sense as they will once you've taken in the preceding chapters. I conclude the book with an appendix containing more analysis of the data covered in the main body of the book. To conclude this introduction, let me reiterate what I stressed at the end of the introduction to the first volume: I encourage you to read, learn, and finally perform using my techniques. and create effects that play out the way the real thing claims to do. Many of the techniques contained in this book are the result of studying the ways in which genuine "shut eye" psychics interact and reveal information. Being conscious, deliberate techniques, however, those found in this book bring far greater accuracy and success than the real thing can ever hope to achieve. All I ask is that you do nothing downright ugly or cynical with my work. such as exploiting the vulnerable. Jon Thompson

I

then discuss and develop uses for this priming data by showing how to select and prepare spectators to obtain maximum participation. I then introduce the concept of a "pragmagram", which is a technique for finding and developing a wide range of psychic-like effects that enable you, amongst other things, to begin giving the spectator information about her choices be.fore she says a word.

22

Darkest Cheshire July 2008

23

z. How Pn,rrrarNc Wonxs first serious exploration of priming began by reading short piece in "statistics Hacks"t by Bruce Frey. In this 4-page section fucked away at the back of the book, Frey explains that some words naturally hold particularly strong associations for us:

l\ /ft IYIa

"The human brain is so ellicient that it processes words or ideas in the context o.f'whatever words or concepts have been previously over-learned. Research studies have found that when people are asked to state whether a series of letters is a word, they respond more quickly to words that have been primed or preactivated by words that were shown to them just prior to the identification task. For example, if "stripes" is shown, and then either "tiger" or "lemon", people will respond more quicklyJbr "tiger" than.for "lemon". By talking about words or topics that are closely related to other words or topics, you hegin a thought process in your .fiiend's brain in which activation of neurons spreads to neurons that generally Jire at the same time. Your brain has learned that certain words and topics almost always occltr together, so it knows that when one of the associated words or topics is activated, it

should also ./ire the regions where those associated words or topics are activated. That way, your thought process can proceed smoothlv. " I

24

2006, O'Reilly Books, ISBN 0-596-10t 64-3, page 290.

25

This pre-emptive activation process is priming in action, and its automatic nature nrakes it predictable and therefbre exploitable. The skill in using it rests on presenting it as a feat of creativity, either consciously, when we have the spectator believe she has generated a random thought, or unconsciously, when we wish her to believe a thought has been transmitted to her and has popped into her conscious mind. Here's an example to get the ball rolling. If I ask you to think of a yellow fruit, which one pops into your mind first? As I said in the previous volurne, befbre thinking consciously about which to select, you almost certainly had an image of a banana flash into your mind, and if not that, then in a significantly smaller number of cases, an impression of a lemon popped up instead.

Shaw showed that if you ask a spectator to quickly give you a random colour, red will very probably flash through her mind first. According to Frey, this is because the word "Clolour" primes neurons dedicated to the concept of diffbrent colours.

It just so happens that the neurons that represent the concept of red fire most strongly. However, with slightly different wording and just a few seconds thinking time, Shaw says that the spectator will probably change her choice to blue. The problem is that if you give her slightly too long to ponderher choice. if the wording is wrong, or if she sirnply decides to deliberately step through other options to trip you up. she almost certainly won't be thinking of blue either after a further second or so.

Your brain pre-empted the need to recall a banana from reading the words "yellow" and "firrit" and provided you with the rnost likely choice, thereby smoothing the thought process just as Frey suggests. The question is why didn't an image of a melon, a pineapple, a grapefruit, or even a star fiuit appear in your mind first'? Why can I conf-rdently say that it's a "significantly" smaller number of readers who will

For some performers. a mix of wilfully bad choices and genuine mistakes make psychological forces too unreliable for practical use. I agree that making a psychological force the sole focus of a major effect (in other words, making it absolutely vital that the spectator retums the correct thought before you can continue successfully) could set you up for a bad fall. Sorne basic tests, such as guessing a colour, are little more than the force itself, so what do you do if it goes

think of a lemon first than a banana?

wrong?

Fn

ou Mrssss ro Hms

In his seminal book Psychological Subtleties2, Steve "Banachek" Shaw collected a number of examples of psychological forces spaming several areas, including colours, numbers, shapes and drawings. Many of these forces are explainable in tenns of priming. A good example is forcing an apparently fiee choice of colour.

In a sirnple effect (a colour test, for instance, which I use a lot in this book as a demonstration force). one classic method of overcoming this is to write "red" on a card, then cross it out and write "blue" instead to cover both possibilities. This can help you appear to have predicted the change, but the problem remains of the spectator choosing and sticking with a third, seemingly random choice, in which case both "red" and "blue" are both complete misses. Or are they?

: http:/i'wrvrr'.banachek.conr. There's nor.v a seconcl volunre, too.

26

27

necessary for you to do so in this experiment. lt's your intuition that's

By exploiting the concept of priming, we can turn thrs unknown thought into a strong and possibly even shockingly accurate hit by seeming to access the hidden string of choices made by the spectator. This is knowledge that has never left her mind. Here's a simple example I gave in the previous volume:

Performer: "Keep hold of the first colour that

flashes

through your mind. Got it?"

Spectator: After a couple of seconds pause, "Yes." Performer: "You're not thinking of red any more you."

are

Spectator: fSlightly surprised] "No." Performer: "No, from red it feels like you quickly went to blue, then found your way to purple. Is that the colour you've stopped on?"

Spectator: "Yes!" Performer: "Yes, I think you started very briefly with a spontaneous flash of red, didn't you. Then you deliberately went to blue for a second. lt gets a httle hazy now because your thoughts

are fading, but you were led to purple from there, weren't you?"

Spectator: "Yes I was!" Performer: "And the fact that you took this path shows me that you're an independent thinker. You don't simply take what people tell you to do at face value. That's good, but it's not

important here, okay?"

This is, in fact, the summary of a conversation I had with a spectator as I began to explore why and how priming works. I remember that this style of interaction felt unwieldy and almost confrontational at the time (it was certainly borne of frustration!), but looking back, it's still quite convincing. The spectator was certainly convinced that something strange had just happened. I was apparently aware of her private thoughts. That makes a powerful statement in itself. The practical upshot of this dialogue was that if I hadn't found her colour, I could still have recorded a very good hit at an unexpected, deeper level. It occurred to me much later that in doing so, l'd also hinted at the true strength of my supposed ability to reach inside minds, which also makes a powerful statement. From my perspective, however, what happened was that her eyes flicked to the side, and she paused fbr a second or two before answering, indicating that she was actively selecting a choice of colour rather than simply accepting the first answer her subconscious gave to her3. The colours I named for her were simply the first few entries of a memorised sequence.

I've used the

above mini-effect plenty of times since, especially when I've been presented with a wilful spectator I know will deliberately discard red or blue. The fact that this mechanism is reliable also poses a question, which we need to answer before moving on to the main section of the book. If the spectator's train of thought is so predictable, why does it include something as seemingly obscure as purple so early,

.=--further 'I'll

explore thc use of eye movements in giving away dcliberatc

selections latcr.

29

7-

and why does the spectator not tend to go from red and blue to green, yellow, orange and so on?

What's interesting about the FSG is that if you sorl the targets

To explain, allow me to recap the work of the psychologists Bruce Frey references in "Statistics Hacks", and which led me to the sudden realisation that their work could be the basis for a whole approach to creating new psychological forces.

predictable order in which she's is likely to make subsequent choices if she discards the first, just as we saw in the example colour dialogue above.

Inrn oDUcING THE Fr.on IDIAN DarasAsE In

1973, researchers Douglas L. Nelson and Cathy L. McEvoy of the University of South Florida, along with Thomas A. Schreiber of the University of Kansas, started a research project to build a rich database offree associations.a The project involved 6,000 volunteers and produced nearly 750,000 responses (called targets) to 5,019 trigger words (called cues). The volunteers wrote the flrst thing that came into their minds upon seeing each cue word, followed by the second choice, the third, and so on. What the resulting database shows is that each cue word "primes" the subconscious to deliver the associated targets, beginning with the strongest first, just as the phrase "yellow fruit" primes most people to imagine a banana first and not a lemon or a grapefruit.

The great beauty of exploring the Floridian database is that each relationship between cue and target word has an associated decimal number ranging from zero and one. This statistic is the "forward strength" or FSG of the association between cue and target.

30

for a single cue word by this value, you get both the spectator's most likely first choice followed by a highly

The fact that the FSGs in a list might be small overall doesn't matter. All that does is the size of each FSG relative to others in the list. The closeness in size of the FSGs also gives a good indication as to whether the spectator's choices will be clear and reliable. or whether there could be some troublesome but

genuine ambiguity involved. In other words, measure of the robustness of a priming force.

it

gives

a

This also suggests that to find new categories, all we need do is search this database for interesting or relevant subject areas amongst the mass of cues, obtain the list of targets they relate to and sort them by FSG to discover the order in which the spectator is highly likely to work through them. Such extracted lists form the data model underpinning the use of priming in Naked effects.

After the release of Naked Mentalism, people asked if a database constructed in Florida isn't mostly irrelevant to those living in other parts of the world. Happily, by carefully selecting only concepts common to most people, these can be avoided. For instance, when asked to name a crop, some subjects quite naturally chose "oranges" as their first target, which are grown in abundance in Florida.

THs ttMrlxtt Foncr, Pre-activating the target before delivering the cue is an excellent way of making it as sure a thing as possible. Ideally, 3r

we'd like its activation to blot out all other possible choices for a while. Luckily, there are plenty of ways to do this. Here are a few well-known and yet curiously strong examples using different activation rnethods. You may remember using the first as a trick to play on each other at school, but it's no less a valid as a demonstration, and shows the almost physical power that priming can have over us. Simply ask someone to say "milk" quickly ten times while counting off the number of times they say the word on their fingers. Now immediately ask what a cow drinks. Even when anticipating something unusual happening, the spectator will still find it very difficult indeed to keep fiom answering "milk". Here's the really curious thing: sometimes, if you simply ask someone what a cow drinks without having them repeat the word first, a very large number of people will still reply. "Milk".

Try it with "toast" and ask, "What do you put in a toaster?" I'd never heard this version before until a couple of years ago when the son of a friend tried it on me. Even anticipating the trick question, I had already said the "T" of "toast" belbre I could stop myself. It was a very interesting experience. Given the correct situation, even the look and sound of a cue when written down and read aloud can callse a parlicularly strong pre-activation of a target, as this second example amply dcmonstrates.

Write down the word "folk" on a piece of paper. Ask someone to say the word aloud. and then immediately ask, "What's the white of an egg called?" Most people will immediately answer "yolk" without thinking about it. Even if you subsequently ask if they're sure, many people will quite reasonably look ben'rused and reiterate that the white of an egg is called the yolk

-

not the white, or the albumen. 32

I'll

discuss why these two forces work so powerfully in terms

of priming in the next chapter. In the meantime, here's a third example that denronstrates another very irlportant concept.

Tnr ttSrucxtt Sonc How nrany times have yor"r heard a snatch of a song you know well, and have instantly heard very clearly in your rnind what comes next when the music suddenly stops again? You may even have heard the music continuing quite strongly for a while.

Put simply, our brains record memories using each of the senses, (technically each sense is called a "modality"). Hearing the first few notes primed you using tlre same rnodality as was used to fonn the original memory. lJsing the same modality to prime a memory (which is all a target really is) has the curious effect of turbo charging the activation process. case of a song, the activation will be far stronger when activated by a snippet of the original sound than if someone simply speaks the lyrics, and will be far stronger still than if

ln the

you only seen them written down'. In some cases, if sufficiently activated, it's actually quite difficult to get the song "unstuck" from inside your head. even if it's one you dislike.

This idea of using the same modalities as the memory or concept you wish the spectator to recall overlaps the concept t I once saw a talent-based quiz show here in the UK where

a fen.ralc Star

Trek fan had devcloped the ability to name thc star date mentioncd in any episode in response to a mere snippet of Kirk's opening dialogue, which hints at the power of using the correct modalitics. JJ

of creating and triggering multi-modal anchors in NLP. And in the book "Pure Effect", Derren Brown describes an interesting multi-modal psychological force fbr a playing card, invoked using both hand gestures and careful wording about its colour6.

So, when designing a new priming force, it pays to think about the modalities over which the spectator would have originally experienced the target concept. Those are the best ones to use to have her recall it.

So, if you want to invoke targets associated with the kindergarten, for instance, the odour of a certain disinfectants will do so far more powerfully than asking the spectator to relax, close her eyes, and imagine the sights and sounds associated with being a pre-schooler again. Ask her to do so while very subtly introducing the relevant odour, however, and the overall effect could be alanningly strong.

3.

PnrMrNG Dera

This chapter is the result of extensively searching

the

Floridian database for as many useful priming categories as I could find. For consistency, it reproduces the original 22 categories from the previous volume. The database is huge. There are probably many. many more categories and connections left to discover. Most of those presented here use one cue. There's certainly scope for also developing ones that use more. Let's begin with a classic that demonstrates very clearly the use of multiple subtle cues to increase the activation level of the primed target.

Tnr Cr,assrc Snars Tssr RuvrsrrED For decades now, mentalists have asked spectators to visualise a sir.nple geometric shape, to mentally place a different shape inside it, and to draw the resultant assembly. The mentalist then immediately describes or draws it himself. Many readers will remember Uri Geller famously making this test his own on TV in the early 1970s to tlre stunned amazement of chat show hosts and their audiences alike. No one, it seemed, simply tried copying what Geller said and didT verbatim to see what happened. If they'd done so, there's a good chance that they'd have obtained the same results. 7

6

"Pure Effect, 3'd Edition, H&R publishing, page 155.

34

"suggestion" may be a better worcl to usc. You're mcrcly inrplying the target concept using the cue words. This is like using a euphemism or metaphor to generate a thought in the spcctator's mind. If I say that somcone is "coming in on three engines". for instaltcc, you know instantly what I mean based on your knowledge of acroplancs without mc having to say "hc's a bit stupid". 35

good handling of this classic psychological design duplication test is described in Chapter 4 of Psychological Subtleties, but it's also worthy of explanation in terms of priming because it serves to demonstrate how to increase the target activation in the mind of the spectator.

A

Why, in the original test, do most people tend to draw a triangle containing a circle? More importantly, why do a few choose to draw a square instead of a circle? To understand the reasons, we need to split the patter into two separate requests and analyse each separately.

Starting with the demand for a simple geometric shape, consider the following tables extracted from the Floridian database. The first shows the FSGs between the concept of "geometry" and various shapes. GEOMETRY GEOMETRY GEOMETRY

TRIANGLE CIRCLE SOUARE

0.081

0.027

0.014

Tasr,E, r GsousrRY AND sHAPEs

the tables I present in this book are sorted by FSG, highest first. The FSG is the rightmost column. This table shows that the volunteers whose answers formed the database linked the concept of geometry 3 times as closely with the concept of a triangle than with a circle. The following table links the cue concept "shape" with different types of shape:

All

SHAPE SHAPE SHAPE,

CIRCLE SOUARE TRIANGLE Tesr,E, z Snerss

36

0.028 0.028 0.011

What happens if we combine the terms "geometry" and "shape" into a single phrase, like we did with "yellow" and "fruit"? We can express this in terms of FSGs by adding them together to get the following derived information: GROMETRY+SHAPE GROMETRY+SHAPE GROMETRY+SHAPE

TRIANGLE CIRCLE SOUARE Tasr,r t ConsrNrNG GEoMETRv AND

0.092 0.055

0.042 sHApE

From this table, it's easy to see why a combination of the cues "geometry" and "shape" (formed by asking for a "geometric shape") is statistically almost twice as likely to produce a triangle in the spectator's mind than a circle. Reality bears out this hypothesis, too. When you subsequently ask for a second, dffirent shape, though the FSGs of the two remaining targets in the "shape" table are both 0.28, the residual effect of having just brought the concept of geometry into the spectator's mind might be why most people tend to favour "circle" over "square". Maybe this activation occurs partly because the concepts of circles and geometry were associated from an early age when learning about lt in school, whereas squares are more to do with area. Shapes are understood visually, as Shaw, Brown and others all say. By casually and vaguely indicating the shapes you want chosen in the air in front of the spectator, you can also subliminally boost the activation level of the desired target.

For a triangle, you might hold our hands apart as if grasping an imaginary basketball, with your hands forming the corners of the triangle's base. These gestures aren't for the conscious mind, however. so be VERy subtle.

J/

THs PnsorcrABrr,rrY oF Cor.ouRs In tlie previous chapter, I asked why spectators tend to think of colour choices in a certain order. To answer that question, the table for colours appears below, and may explain the reason for the predictability of the sequence. COLOR COLOR COLOR COLOR COLOR COLOR COLOR COLOR

RED BLUE PURPLE

0.242

BLACK

0.074

PINK GREEN YELLOW WHITE

0.047 0.040

0.215

that applies the colour to an object traditionally associated with it can work wonders. For instance, in the UK, "red card" is a familiar term meaning to punish or forbid an activity. It's derived from soccer. Asking a spectator to imagine a blank card, and have her give it a colour is likely to generate the image of a red card in her rnind with no further prompting.

How THr'.Mrr,xtt Foncr Wonxs Do you remember the trick of having someone repeat the word "milk" aloud in Chapter 2, and then quickly asking what a cow drinks'/ The tbllowing mechanism rnight well be why people find it diflcult to say anything but "milk" in

0.1 54

response. First, here's the table for a cue of "cow".

0.01 3

0.013

Tasr,E, 4 Coloun s

I think this table also shows how closely FSGs tend to model reality. It gives a reason fbr a legitimate situation Shaw wams about in Psychological Subtleties. Red has the highest FSG, but when asked to simply blurt out the first colour that enters their heads, some spectators will quite reasonably say "blue", possibly because its FSG is 87Yo that of red. What is surprising is not that something as seemingly obscure as purple appears next, but that it has an FSG of over twice that of the fourth choice, which is also surprising for being "black". Conversely, both green and yellow have surprisingly low FSGs. For convenience, the Appendix at the end of this book contains tables for the target colours above, as well as a

cow cow cow cow cow cow cow cow cow cow

MILK CALF BULL MOO

0.352 0.194

HORSE FARM PASTURE PIG

0.06

ANIMAL FAT

Tasls 5 Cow

cross-reference chart.

It's vital to remember that colours don't exist in

abstract

isolation. ln the real world, they're applied to objects. This is how we've grown accustomed to thinking about them. Patter 38

39

0.097 0.061 r

0.055 0.042

0.024 0.018 0.012

And here's the table for "milk"

MILK MILK MILK MILK

cow

0.388

DRINK 0.r03 HONEY 0.073 WHITE 0.06r Tasls 6 Mrlx

Here's a graphical representation of the FSGs involved:

Mitk

Drink Dracn au:

Cow

This also provides circumstantial evidence of how powerful a grip on us our subconscious minds really have. What they say, we believe by default. It's difficult to dismiss milk and think about what other fluids a cow might drink. After all, have you ever seen a cow drinking? The logic of answering "Milk" to the question is exposed as clearly flawed when laid out and explained as above, and yet, after saying "Milk" ten times, it can take a will of iron to not blurt out "Milk" again. What's worse is that we may also believe we've just actively thought about our answer logically, further adding to the conviction that we're giving the right answer. Remember the trick of writing down "Folk" on a piece of paper, asking someone to read it aloud then asking what the white of an egg is called? Look at the FSGs for "yolk" and "white" in relation to a cue of "egg". The FSG for "Yolk" is over 3.25 times higher than that of "White".

Tnr ttMrlx" ForcE

There's no statistically significant FSG from "Drink" and "Cow" or vice versa. However, the FSGs between "Cow" and "Milk" are the strongest, and the second strongest target for "Milk" is "Drink". On hearing the question, what may be happening is that the spectator finds no answers popping up automatically because there's no link between "Cow" and "Drink". She has to ask her subconscious what she knows about cows. By far the strongest association (which therefore pops up first) is "Milk", especially after repeating the word so much. The second strongest FSG from "Milk" is to "Drink" (the only one stronger is back to "Cow"!), and so, under unexpected pressure, the spectator's subconscious mind finds it difficult not to fill with the idea of milk.

YOLK WHITE

EGG EGG

Terr,t

7

0.079 0.024

Panrs oF AN EGG

ln the next chapter, we'll examine the concept of limiting the spectator's mental "reach" by mentioning some of the choices open to her. This has the curious effect of eliminating them as viable options. By mentioning the "white of an egg" in the question, maybe this also removes it as an option for her, as well as the word "folk" priming her by looking and sounding so similar to "yolP"r.

8

I strongly suspect that there's an untapped arca ofpsychological forcing that uses rhyming words to pre-activate target thoughts. 40

4l

Fooo AND DruNr Food and drink rnake popular forcing categories. Along with the classics expressed in terms of FSGs, here are some new categories.

VrcsraBr.Esr Ser.ao AND Fnulr Vegetables and other salad ingredients are a particularly popular source of psychological forces. Here's their table:

VEGETABLE VEGE,TABLE VEGETABLE VEGETABLE VEGETABLE VEGE,TABLE

CARROT LETTUCE BROCCOLI TOMATO CORN PEAS

0.r29 0.076 0.0s3 0.0s3 0.023 0.015

Tasr,t 8 Vparraslrs It's a playground joke to ask someone to perform a set of trivial mental calculations at speed, and then to suddenly catch her off guard by asking for the name of a vegetable'

FSG than the rest of the table, as long as you can guarantee that the spectator will answer with the first vegetable she thinks of, she should tell you it's a carrot. In the case of the playground joke, the job of the rnental arithmetic puzzles is to both throw the spectator

with carrot being having a much higher

off the scent and to prime her to deliver answers quicklye' Here's the table for salad ingredients.

SALAD SALAD SALAD

LETTUCE TOMATO POTATO

Tasr,s 9 Sar,ao

rNG&EDTENTS

In this table, the FSG for lettuce is by far the largest, making it an ideal force from a seemingly open choice of vegetables found in the average salad. Here's the table fbr fmit: FRUIT FRUIT FRUIT FRUIT

APPLE ORANGE

0.223

BANANA

0.065 0.016

GRAPE

0.174

Tasr,r ro Fn urr What concems many people when they begin to explore the use of psychological forces in their mentalism is people

genuinely picking the wrong thing. Asking for a fmit highlights a classic example of this anxiety. The FSGs for apple and orange might give some peace of mind to those worrying about such things. In fact, in a straight mind reading effect, why not follow the advice in the last chapter if you're worried, and write down then cross out orange and replace it with apple to cover both bases? ln the previous chapter. I also used the example of a "yellow fiuit", which should have primed most readers to think of a banana. The fiuit with the highest FSG fbr a cue of "yellow" is, in fact, "banana", with an FSG of 0.020. Adding the FSGs for cues of yellow and fiuit and a target of "banana" gives an overall FSG of 0.085. While weaker than the FSGs for "apple" or "orange", these latter fruits aren't yellow, which excludes them as possible choices.

There's that word again. Priming isn't just about accessing mcmorles. pattern of bchaviour PcoPlc to act by establislring a for thcm to foilon'.

'

You can also prittre

42

0.299 0.039 0.016

43

Lreutos I-IOUID LIOUID LIOUID

AND

]OFT DRINK JOFT DRINK JOFT DRINK JOFT DRINK

Duxxs

WATER BEER

0.423 0.028 0.0r4

MILK Taslr rr Ltqulos

Taslr

The overwhelming strength of the FSG for water makes it a useful force for a liquid. What about shoring it up even further by combining "liquid" with "drink" into the phrase "a liquid you can drink"? Here's the table for "drink"'

DRINK DRINK DRINK DRINK DRINK DRINK DRINK DRINK

WATER

0.t52

BEE,R

0.r03

COKE ALCOHOL LIOUOR SODA WINE,

0.060

VODKA

Tasln

COKE SODA

).338 t.236

PEPSI

.101

COCA-COLA 14

Som

).07 4

DRTNKs

This table represents a win-win situation. You can take Coke, Pepsi and Coca-Cola as the same thing. Sirnilarly, soda, in the American sense of the word, is usually syrlonymous with these trademarked beverages, and can just as easily cover lemonade, tonic water, soda water, and so on.

MrscsLLANEous Fooos SEAFOOD SEAFOOD SEAFOOD SEAFOOD SEAFOOD SEAFOOD

0.049 0.033 0.033 0.027 0.016

FISH SHRIMP LOBSTER CRAB CLAM OYSTER

0.2s2 0.245 0.r43 0.082 0.014 0.014

Tasr,r rJ sEAFooD

12 DRINKS

Adding the FSGs gives us the following derived data: 0.575 WATER DRINK + LIOUID 0.t31 BEER DRINK + LIOUID 0.014 MILK DRINK - LIOUID Taslr rr DRINK + Lrqulo

So, a liquid you can drink is highly likely to Floridian database also includes entries for soft drinks:

be water. The

The FSGs for "fish" and "shrimp" are close, but if you use Shaw's principle of limiting the spectator's mental reach by mentioning "fish" to remove it as an option, you basically only have shellfish left to choose from. These all have a shell, which is useflil, and most have claws.

HAM 0.111 TURKEY 0.059 TLINA 0.030 CHICKEN 0.01 s Tasr,r 16 SaNowrcHEs

SANDWICH SANDWICH SANDWICH SANDWICH

Ham has an FSG nearly twice that

of turkey. What's

surprising is that tuna and chicken are so low.

44

45

CoNTTNENTs

MEAL DINNER 0.213 MEAL EAT 0.063 MEAL 0.063 LUNCH MEAL SUPPER 0.063 Tesr,s r7 Mrar,s

CONTINENT CONTINENT CONTTNENT

In some local dialects of English, including my own, dinner can refer either to what others call lunch.

MEAT MEAT MEAT MEAT MEAT

STEAK CHICKEN BEEF FISH HAM

Tasr,r ICE CREAM ICE CREAM ICE CREAM

Taslp

18

0.t8t 0.067

0.060 0.034 0.020

Mrars

CHOCOLATE

VANILLA

0.100 0.021 0.014

STRAWBERRY rg Icr CrEau Fr,avoun

s

Pr,acgs AND LocarroNs Pr,exgrs PI,ANET PLANET PLANET PLANET PLANET PLANET

EARTH MARS PLUTO MOON VENUS SATURN TasLs zo Pr,aNrrs

46

0.606 0.1 03

0.024 0.024 0.012 0.012

AFRICA ASIA USA NORTH AMERICA

CONTINENT EUROPE CONTINE,NT ANTARCTICA CONTINENT Tasr,u zr ConrlNENTs

0.169 0.115

0.0s4 0.041

0.041 0.02

The above table might go some way to explaining why people tend to name Africa when asked to think of a continent (and sometimes even a country).

ON rHs Fanu ANIMAL 0.316 FARM 0.176 cow FARM 0.042 BARN FARM 0.042 FARM HOUSE 0.036 FARM RANCH 0.024 FARM CHICKEN 0.024 CROPS FARM Tasr,n zz ON THE FARM Asked to think of something you'd find on a farm, being prepared with a bit of clever patter will subsequently enable you to turn "animal" into at least a convincing partial hit for "cow", "chicken", and so on. Ranch appears because the original database was compiled in the USA. In the UK, use "farmhouse". This idea of having patter ready to cover all eventualities is a very strong one, and enables you to easily cover the word "crops". If our spectator is being deliberately awkward, you can use her rogue answer to simply segue into the next effect 47

by telling her it reveals something of who she is, so it literally doesn't matter. All you need do is to build branches into your patter for such eventualities and you can carry on without the telltale flicker in your response that indicates you stumbling over unexpected answers.

By appearing to seem interested in a non-committal response of "crops", you can modify your prediction dynamically by asking: "Yes. but what kind of crop?" if you're using a slate to write your predictions on, by not revealing too much about where the process of asking the questions leads, you could sirnply write the name of a crop before asking which and show it to the audience after she speaks. As we'll see in Chapter 5, even if you seemed to have missed by writing down "animal" or a type of animal, you can anticipate the spectator giving an answer of "crops" (or even of her naming one directly), by perhaps saying up front that you're getting a strong hurnanitarian f.eel fiom her. When she delivers a crops-based target, asking if she's particularly concemed for animal welfare may tell you if she's a vegetarian. If she is, it will give you an opportunity to patter furtlier about that feeling you had of her being humanitarian. You could say that her natural fondness for animals made you

want to write the word but that it wasn't clear why it presented itself in your mind quite so forcefully (a decent partial hit on a conceptual level if ever there was one. After all, we're aiming for the illusion of a significant natural ability, not a guaranteed trick). Here's the data for crops. CROPS CROPS CROPS CROPS

CORN

0.301

WHEAT ORANGE VEGETABLES

0.034

The FSG for com is nearly 9 times as strong as that lbr wheat, making it a safe bet. lf you're worried about the spectator not understanding the different crops that grow on a farm, you could predict that she'll choose a "cereal crop" or make a sketch of something that could be wheat or corn. Surprisingly, oranges make an appearance in Table I 1. As I mentioned in the previous chapter, this is an artefact of the database that has to do with it being created in Florida, whicli is a part of the world known for orange production. This anomaly also highlights an important idea. tf you're trying to apply priming to an effect in an area of the world known for breeding horses, an animal that lives on a farm is perhaps less likely to be a cow.

IN rHs Genosx GARDEN GARDEN GARDEN GARDEN GARDEN

FLOWER HOSE PLANT VEGETABLES ROSE

r

0.132 0.1

l9

0.086 0.073

T,rsr,r z4 IN THE GA&DEN A

response of "weeds", even as a flippant or resigned reply, can most certainly be taken as a type of flower or plant. If you've written down or have drawn a flower as a prediction,

you instantly cover different types.

If

you're drawing

a

flower, however. be careful to have some patter ready in case the spectator thinks your flower isn't sufticiently like the one she imagined.

0.021

0.014

Tesr,r zt Cnors 48

0.39

49

Ix rsr Lrvrxa Roou

Ix rHs Mreoow ME,ADOW

MEADOW MEADOW MEADOW MEADOW

GRASS FLOWER GREEN

cow SHEE,P

0.219 0. r03 0.027 0.014 0.014

Tasr,r z5 CoNrrNTs oF a Mraoow

-TVING ROOM IVING ROOM IVING ROOM IVING ROOM IVING ROOM

Taslr

z8

0,144 TELEVISION 0.111 COTJCH

SOFA

CHAIR TABLE

0.052 0.033

0.026

LrvrNc RooM coNTENTs

Roous IN THE Houss

Ix ftrs Barsn oou

You can use the mental scenes that rooms conjure up by littering them with detail supplied by other lists, or by asking what objects the spectator can see in her mind's eye. As for

]ATHROOM TOILET 0.33 8 ]ATHROOM SHOWER 0.1s I ]ATHROOM STNK 0.094 ]ATHROOM TOWEL 0.050 ]ATHROOM BATHTUB 0.043 3ATHROOM MIRROR 0.014 3ATHROOM SOAP 0.014 Tasr,r zg BarnnooM coNTENTs

rooms themselves, these are the only two recorded as targets in the Floridian database, but there's no reason why you can't specify the room yourself and have the spectator fuinish it. 0.150 0.047

BEDROOM I,IVING ROOM

ROOM ROOM

T,rsls

IN

z6

Roous

Ix rHg Brpn oott

rnr Krrcsrx

(ITCHEN
SINK

0.173

FOOD STOVE

0.t62

(ITCHEN

0.056 UTENSIL 0.025 CABINET 0.020 COLINTER 0.020 0.015 KNIFE


POT

0.0r5


(ITCHEN TABLE (ITCHEN DISH

0.01 5

0.010

Tasr,r z7 KrtcuEN coNTENTs 50

BEDROOM BEDROOM BEDROOM BEDROOM BEDROOM BEDROOM BEDROOM BE,DROOM BEDROOM BEDROOM BEDROOM BEDROOM

Taslr

BED SLEEP SEX BATHROOM HOUSE WINDOW DOOR LIVING ROOM FURNITURE HOME, LIGHT MASTER

0.353

0.t87 0.079

0.050 0.043 0.036 0.022 0.022 0.014 0.014 0.014 0.014

3o Barun ooM coNTENTs

5l

Ox Tns BsacH BEACH BEACH BE,ACH BEACH BEACH BEACH BEACH REACH BE,ACH BEACH BEACH BEACH BEACH BEACH BEACH BE,ACH

SAND SLTN

OCEAN WATER TOWE,L

BALL SUMMER SURF

SWIM FLIN

WAVE RLANKET BUM

0.394 0.145 0.073 0.073 0.042 0.024 0.024 0.024 0.024 0.0 8 0.0 8 0.0 2 0.0 2 0.0 2 0.0 2 0.0 2

HuuaNSr Pms AND ANruar,s

Orurn

The data for pets throws up an interesting surprise. The FSG between pet and dog is very high indeed.

Prrs PET PET PET PET

DOG CAT FISH HAMSTER

Taslr

3t

0.637 0.082 0.021 0.014

Psrs

Tasr,E tr BracH

For a cue of"pet", the FSG for "dog" is over seven and a half times than that for "cat". This implies that even if you ask an avid cat lover to name a type of domestic pet, she's likely to say "dog". By way of completeness, here are the tables for dog and cat:

HoussHoLD FunxrruRE

Doa

COAST GIRLS SHORE

TURNITURE CHAIR URNITURE COUCH URNITURE, BED FURNITURE SOFA

0.r76 0.r49

DOG DOG

r

The difference between a chair and a couch might be the difference between wanting to be alone and sitting with others. You could also use the similarity between chairs and couches to gain a near hit in cases where the spectator seems not to be taking the first choice her subconscious hands her.

0.667

PUPPY

0.1 1s

Tasls

0.034 0.020

Tesr,n rz Fun Ntrun

CAT 34

Car CAT CAT CAT

DOG MOUSE KITTEN

Tasr,s

35

0.s 13

0.256 0.1 60

Car

A pet is an animal of some description, so let's examine the table for "animal".

52

Doc

53

It's interesting that most respondents thought of sea-dwelling mammals as well as humans.

Axruar. (srxaur,an ) ANIMAL ANIMAL ANIMAL

DOG CAT LION BEAR BIRD HORSE PIG RABBIT

ANTMAL

ANIMAL ANIMAL ANIMAL ANIMAL

Tasls

0.293

0.t20

ON Sarau

0.022

SAFARI SAFARI SAFARI SAFARI

0.016 0.016 0.016 0.011

Tasr,s lg Ar.rrMar,s oN

0.011

t6 ANruar,

zoo zoo zoo zoo zoo zoo

"animals" (plural).

Axruer.s (rr.un ar.) 0.1 28

0.074 0.027 0.027 0.020 0.020 0.013

WHALE HUMAN DOLPHIN MAN

0.212

DOG

0.041

Tasls t8 Mauuar,s

0.068 0.062 0.048

ANIMAL LION ZEBRA MONKEY BEAR ELEPHANT

Tasr,r 4o Zoo

Ar rsr

SAFART

0.649 0.062 0.0s2 0.041 0.031 0.031

ANTMALs

CIRCUS CIRCUS CIRCUS CIRCUS CIRCUS

Crn cus

CLOWN

ANIMAL

0.594 0.056

ELEPHANT PARADE LION

0.028 0.011 0.011

Tasr,r 4r Ar rHE crRcus Despite inducing a deep-seated and irrational fear in some people, the most memorable aspect of a trip to the circus by far is the clown. Maybe for some this is because of those fears.

54

0.026 0.013

Lions, it seems, are iconic, both in the wild and at the zoo.

Mauuer.s MAMMAL MAMMAL MAMMAL MAMMAL MAMMAL

0.078 0.033

Ar rHs Zoo

Surprisingly, this differs somewhat from the table for

DOG ANIMALS ANIMALS CAT MONKEY ANIMALS ANIMALS TIGER ANIMALS LION PUPPY ANIMALS ANIMALS cow Tegr,s 37 ANrrvrar,s

LION GIRAFFE ELEPHANT TIGER

55

Gn anopaRENTs CRANDPARENTS GRANDPARENTS

Teslr

Tyms or

GRANDMOTHER GRANDFATHER 4z GnaNopARENTs

0.0s4 0.027

PAINTER MUSICIAN WRITER

ARTIST ARTIST ARTIST

Tasls

OrHsR, Rslerrvgs RELATIVE RELATIVE RELATIVE RELATIVE RELATIVE RELATIVE RELATIVE RELATIVE

rhe above ,,,"

AUNT COUSIN MOTHER SISTER PARENT BROTHER

GRANDMA UNCLE

0.1 69

0.074 0.074 0.061 0.034 0.027 0.027 0.027

,"0,I^,1""*T,i::il*

tendency to choose female relatives. The male relatives all have ,"uk psc, in comparison, so patter building up a picture of a selected relative beginning with the gender of the person being imagined can get you a succession of partial hits.

Fraunrs oF AurnoRrry AUTHORITY POLICE 0.206 AUTHORITY TEACHER 0.106 AUTHORITY BOSS 0.064 AUTHORITY PARENT 0.064 AUT}IORITY PRIIICIPAL 0.03s AUTHORITY MOM 0.021 AUTHORITY DAI) 0.014 AUTHORITY PRESIDENT 0.014 Tenr,s 44 Frcun rs or AursoRrry

56

An rrsr

4J

0.431 0.015

0.010

Tyrus oF aRTrsr

AND Jnwu.LERY Jrwrr.s you like it or think it's gaudy, we live in "bling"

a Whether jewellery jewels make interesting and an set of society, so priming categories.

Jrwrr,s JEWEL

DIAMOND

0.3s4

JE,WEL

RT]BY GOLD E,ME,RALD

0.07

r

0.0s

1

JEWEL JEWE,L

0.04s

Tasr,r 46 Jnwrr.s

Jrwrr.r.ERY JEWELLRY JEWELLRY JEWELLRY JEWELLRY JEWELLRY JEWELLRY JEWELLRY JEWELLRY JEWET,LRY

GOLD DIAMOND

0.309 0.140

RTNG

0.1 18

NECKLACE NONE WIlAR CHAIN EARRING WATCH

0.074 0.037 0.029 0.015 0.015

0.0t5

Tesr,r 47 JzwzrLERY Asking the spectator for an item ofjewellery should eliminate the top two choices. The target "None" is a curious anomaly, 57

but the same patter eliminates it. If you get, say, a necklace when you thought it would be a ring, note that both are circles. So is a watch, and you can even say that a chain is a circle when fastened. This is a form of pragmagram, which we'll cover in depth in a later chapter. Rings play a pivotal parl in our culture, especially for women, so here's the table for them:

other ring and jewel combination, so when asked to name the jewel in an imagined ring, there's a very good chance that the spectator will answer "diamond".

MrscsLLANEous CarsaoRrEs Fr.owgn

Rtxas RING RING RING RING RING RING RING RING RING

FINGER

0.1 95

WEDDING BELL ENGAGEMENT DIAMOND MARRIAGE GOLD

0.101

PHONE .IEWELRY

0.10t 0.081 0.081

0.067 0.067 0.054

And for the sake of completeness, here's the data for "Gold":

Gor,o SILVER MONEY JEWEL RICH

DIAMOND METAL

0.472

0.t02 0.096 0.046 0.030 0.025

ROSE

DAISY TULTP

Tarls

0.248 0.06r 0.012

5o Fr.owun s

In this table, daisy is interesting for being five times more popular than tulip. This surprised me, as did the severe drop in FSG between the first two entries.

Moxrss

0.054

TasI,s 48 Rnrc

GOLD GOLD GOLD GOLD GOLD GOLD

FLOWER FLOWER FLOWER

s

MONTH MONTH MONTH MONTH MONTH MONTH MONTH MONTH MONTH MONTH MONTH

MAY JI]LY AUGUST JUNE MARCH SEPTEMBER DECEMBER APRIL JANUARY NOVEMBER OCTOBER

0.060 0.0s4 0.040 0.034 0.034 0.034 0.027 0.020 0.020 0.020 0.020

Tesr,r 5r MoNrHs

According to the Floridian database, adding "diamond" to "ring" gives an FSG of 0.435, which his far higher than any

lnterestingly, the warrner months are near the top of this table, and the colder ones are near the bottom. If the spectator discards "May" and works through several others, it's likely that she'll still be in a "warm" part of the year.

58

59

Tesr,E 4s GoLo

footprint, or perhaps doesn't use a car on a regular basis. Maybe she cannot afford one or doesn't drive. It's not much, but when combined with other information, it might form the basis of a remarkable insight into her life.

'Wraroxs WEAPON WEAPON

GUN KNIFE

0.s92

Similarly, an answer

Tasr,r Jz WsaroNs Given the overwhelming strength of FSG for gun, a choice of "knife" could be very revealing. It also means that if you're performing an intuitive routine that involves a murder weapon, it's highly likely that the spectator will pick the

correct one. Here's the top of the table for a cue of "violence". See how "grn" has an FSG of just over 25% more than that for "crime".

Vtor.gxcg VIOLE,NCE VIOLENCE, VIOLE,NCE VIOLENCE

GUN CRIME FIGHT DEATH

0.1 05

0.078 0.072 0.052

Tasr,r Jt YToLENcE

CAR BUS TRAIN AIRPLANE

enough for commuting to be viable. By asking casual followup questions as you offer patter indicating what her choices mean, you can get even more snippets

of information to

use

later.

CgR gI\doNIEs CEREMONY CEREMONY CEREMONY

WEDDING FUNE,RAL MASS

0.439 0.072 0.022

Tasr,r JJ CEREMoNTES I've updated this table to include "mass". Though you could twist the answer into "wedding mass", some readers of the previous volume reported that a few spectators had indicated that they meant a Catholic mass. This could be useful if you give the spectator time to make a choice of ceremony in order to then reveal her discarded choices.

Tn axsroRT TRANSPORTATION TRANSPORTATION TRANSPORTATION TRANSPORTATION

of "train" could

indicate that she job that pays well cornmutes. It also implies that she has a

0.075

0.595 0.1 89

0.020 0.014

Tasr,r J4 MrrnoDs oF TRANsPoRT Answers to questions about transpott could hold the key to unlocking the spectator's social attitude to global watming, or even her place in society. Someone who immediately says "bus" may be consciously trying to reduce her carbon

At just over 6 times more likely than "funeral", "wedding" is quite a safe bet for the top choice. Maybe we don't like to think about funerals, or maybe a wedding is the only time many of us go to church, in which case "Funeral" could reveal much about the spectator's recent past.

Given that her religion might also affect the spectator's choice, how can we eliminate ceremonies such as bar mitzvahs? Using a form of words such as, "a ceremony you'd

61

attend in a church" should increase the likelihood of getting a hit for "wedding" from people of many faiths.

Taking another approach, and anticipating the spectator discarding "television", )ou could build patter that anticipates this using the idea of simply seeing her in front of a screen.

CsusrMAs HRISTMAS HRISTMAS HRISTMAS HRISTMAS HRISTMAS HRISTMAS

Toor,s

0.337 TREE NEW YEAR 0.042 0.042 PRESENT 0.021 EVE, 0.021 SANTA

VACATION 0.021 Tasr,r 56 Cnn rsruas

This table surprised me both because of the drop in FSG between the first two entries and by having no religious aspect to it. As well as ours being a "bling" society, it also

HAMMER

TOOL TOOL TOOL TOOL TOOL

SCREWDRIVER WRENCH SAW SHOVEL

Tasr,s

CHESS CHESS CHESS

0.021

Toor,s

CHE,SS

KING KNIGHT

0.092

BISHOP PAWN

0.01 3

0.033 0.01 3

Tasr,r J9 CHrss Prrcss What surprised me about this category was the absence of the queen.

Mexr Ur MAKE MAKE MAKE MAKE MAKE

UP UP UP UP UP

LIPSTICK BLUSH EYE SHADOW MASCARA POWDER

Taslr

62

0.021

CHsss Prscss

ExTsnTAINMENT

The FSGs for the top two entries in the above table are quite similar, but think a little deeper and they represent the difference between sitting passively and being in control. You might use the spectator's response as the basis for a mini reading about the difference between controlling what's being given to enjoy (television), and passively watching (movie).

58

0.0s2 0.052

"Hammer" has an FSG of 0.402, which is over seven-and-ahalf times higher than "screwdriver".

seems to be a predominantly secular one.

NTERTAINMENT TELEVISION 0.216 0.1 69 NTERTAINMENT MOVIE 0.09s MI]SIC NTERTAINMENT 0.027 ]NTERTAINMENT SHOW Taslr 57 ENTnnTAINMENT

0.402

6o

Maxr [Jp

63

0.04s

0.023 0.015 0.01 s

0.015

Basxsrs

Sran, Srcxs HOROSCOPE HOROSCOPE HOROSCOPE HOROSCOPE HOROSCOPE HOROSCOPE HOROSCOPE HOROSCOPE HOROSCOPE

AOUARIUS PISCES

ARIES CAPRICORN LE,O

SCORPIO TAURUS VIRGO

LIBRA Tasr,p 6r Sran sIGNs

0.056 0.042 0.035 0.035 0.035 0.028 0.021 0.021

0.014

What's immediately interesting about this table is the lack of Gemini, Cancer, and Sagittarius. Maybe like funerals, the concept of "cancer" isn't something people like to think about and so the association with anything but death is weak. Gemini and Sagittarius are harder to explain as there's no real statistical significance in the number of people born in different months other than a very slight increase in September and less so in October'n. Also interesting is that the four most popular choices of star sign are associated with the winter months. Getting people to stop simply choosing their own star sign could be as easy as asking for a "random star sign, not your own".

BASKET BASKET BASKET BASKET BASKET BASKET BASKET BASKET BASKET BASKET BASKET BASKET BASKET BASKET BASKET

FRUIT F'LOWER EASTER WICKER PICNIC STRAW BOWL BREAD CARRY EGGS GARBAGE LALINDRY TRASH WASTE

wooD

0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0

4 4 4 4 4 4 4 4

DrrscrroNs DIRECTION DIRECTION DIRECTION DIRECTION DIRECTION DIRECTION DIRECTION DIRECTION

NORTH UP LEFT RIGHT SOUTH EAST WEST FORWARD

Somcthing to do with cold wintcrs?

64

0.021

Tasr,r 6z Basxrrs

Tasln 6t Drn scrroNs

r0

0.084 0.049 0.042 0.042 0.03s 0.028

65

0.t64 0.086

0.0s0 0.043 0.036 0.029 0.029 0.014

Cgr.rgRATIoNs CELEBRATION CELEBRATION CELEBRATION CELEBRATION CELEBRATION CELEBRATION CELEBRATION CELEBRATION

Tagls

PARTY

BIRTHDAY HAPPY

HOLIDAY FUN FIREWORKS BEER JOY

0.6s8 0.072 0.039 0.020 0.020 0.0r3 0.013 0.013

64 Crr,EnrATroNs

AccrosNTs ACCIDENT ACCIDENT ACCIDENT ACCIDENT ACCIDENT ACCIDENT ACCIDENT

CAR CRASH MISTAKE WRECK FALL MISHAP TRAGEDY

Tasls

65

0.358 0.1 28

0.074 0.054 0.014

0.014 0.014

Accrornrs

Ssesoxs SEASON SEASON SEASON SEASON

SUMMER FALL WINTER

0.211

SPRING

0.086

Tasr,s 66 SsesoNs

4. SmrrNG Ths ScrNs \tr/. have a robust working explanation for why priming Y Y forces work, data for a wide range of categories, and we know where to go online to get more. We now need some interesting, subtle and convincing ways of using them. We can do a lot better than the crude usage examples from the previous chapter, however. After all, we're not playing "Family Fortunes".

There are three classic types of test we can perform. In the first, the spectator is the transmitter of the thought to be received by the performer. The second reverses the roles and has the spectator as the receiver of the performer's transmitted thought. The third is between spectators.

Along with being able to get the spectator's co-operation, we'll also need to anticipate genuine misses that will inevitably occur, hopefully to tum them into at least partial hits. This requirement means using every tiny and seemingly inconsequential scrap of information as completely as possible. Let's begin by examining ways of selecting the spectator and gaining her cooperation as fully as possible.

SrucrAToR CooruRATroN

0.1 91

0.171

ln his book "The Alchemical Tools",t' UK mentalist and psychologist Paul Brook discusses the "paralanguage" people use and how it gives away their thoughts and attitudes to a situation. He first describes how to spot different types of person you might want to avoid using in your demonstrations. Analytical people, he says, are too concerned with how something is done to pay attention to you and to go along I

66

I

Availabic directly from www.paulbrook.co.uk 67

with your instructions. They will think nothing of trying to break an effect during your performance to see how it works. Paul says that these people tend to be quiet but very

her advantage is being offered, and also gives her

obserant.

If

Bored people, or those not particularly interested in joining in as spectators, are another problematic group. Paul says they're easily distracted and I agree wholeheartedly, making them unsuitable. As a performer, I'm sure you'll have come across these people regularly.

In"The Alchemical Tools", Paul Brook also gives excellent advice on how to enhance spectator buy-in. In the section

Egotists are people who want to be the focus of attention, want to control the situation, or to influence others to their way of thinking. Paul details methods of spotting and handling these types of people with techniques that are easily adapted to Naked work. Start seeing potential spectators as stereotypes such as these and they'll become easier to spot. Once we have a spectator who is attentive, happy to help, and is comfortable that nothing bad is going to happen, we need to be as sure as we can be that she will play her part honestly and deliver initial, spontaneous choices. Simply demanding this happens, however, is likely create defiance at just the moment when we need compliance - even from a willing participant.

The method

I

favour for achieving this deeper level of

cooperation is to use patter that includes what appears to be

vital information about what's about to happen, and which gives her a legitimate way of testing whether you're doing what you say you are.

One example is to explain that the more she enters into the experience and just goes with her first hunch each time, the better will be the results. Something curious and possibly to

68

an

understandable method of possibly bringing it into being.

she's to be a transmitter, I like to emphasize that the first, spontaneous choice that emerges is the "strongest" and therefore best for transmission. Adding something about how this shows it has "energy" and will travel well also helps.

about "demonstrative conformity" (beginning on page 79),he explains that showing the spectator what you require from her can help her to conform to your wishes. It might be as simple as demonstrating how you want her to relax by taking a deep breath yourself. If you really think about what you need the spectator to do, you can bring extremely fine control to the situation through such demonstrations.

By seeming to hand responsibility for the success or failure of the experiment over to the spectator, you also create an inbuilt, pre-emptive "out" in cases where she's secretly analytical and is merely playing along until it's time to gather her own proof that you're not really reading her mind. If she does so, you can easily explain that she failed to transmit fbr the reason that the energy level of her consciously selected thought was too low to escape her mind. When she cooperates by taking her natural first choice, however, results flow without problems. If you still miss when naming the target with the highest FSG, you also have scope for explaining that you could feel it fighting to transmit because it was the strongest. Be imaginative, but be prepared!

It would take a very

deceitful spectator indeed to subsequently argue that she was following your instructions. In an informal setting, a suitably sorry spectator (or one that 69

genuinely did give the wrong first choice) iequest a chance to redeem herself'

will quite

groundbreaking work with these kind o.f group dvnamics on his DVD'Something'."

often

stresses the

It also pays to introduce the etfect in a way that but a real i*p"nun". of takin; it seriously' This isn't a trick real technique in .mind demonstratiou of ail ""pe'i*ental will and results' poor to lead skylarking'will

;;;g.

Any watching' Oir"ppii* nlt onty you,*bot also her and the others

The rest of your audience can literally come to your rescue if the spectator is deliberately trying to trip you up when performing a spectator-as-receiver effect. Here's some example patter taking in these principles:

"llow, I knov, you'll be able to do this per./bctly so I'm going to ask you to simply take a tleep breath, like this [here the pe{ormer takes a deep breath himselJ through his nose and raises his upturned palms to s1'mbolise the ./illing o/ his lungsJ, and to relax .vour mind as vou let it oLtt again [here he turns his palms down and let.s them sink as he slowly and silently allows the air to escape through his noseJ. It's that /beling of a calnt, quiet mind yotr need ./br this, okay? "

also act as the tnentioned earlier, the spectator can so that whatever pops receiver. We just need to recast things you're uf nrrt into her conscious mind is whatever thought the, side tllt::. "t supposedly transmitting Thil also .has you to tell the audience that the better recelvers your transmissions "*tling u*ong it'tem migtrt also be able to pick up where the spectator which is a very good "out" for instances Shouten explains: herself is wrong.-Dutch mentalist Matthew

As

I

acces's "When performing J'or an audience' you hat;e be will audience most of'the to a very po*"r-1ut'out: ^oJ'

thinking

your ctred target word even if

the

good rappor.t volunteer tlenies it. Usually, i.f you have people witlt yotrr ,spectators, ))ou'can see this because even spelk stta'rito ,t ift i, their'seats ancl some may ul fuot they 'got it' aJier the volunteer decluresbethe to could Jxp,eriment to be a.fa'ilure' A .simple o.ttt the printed fbrce ort p, a show of hancls; f' you which go up, should o/-hancls corr:ectly, the majoritlt is u clranratic and ,'isual entling to a failed ffic't' volunteer antl However, tlon't alienate the originul they did send them to their seat with the idea that them in sontetlting wrotlg. Be polite' try to involve their on another demonstration, or compliment them It's also intiividtrcIlrQ antl unique u'ay o.f thi.nking'

worth noting that Jim Callahan has done

Paul Brook notes in "The Alchemical Tools" that while both mentalists and magicians initially leam to demonstrate what they require of a spectator to gain compliance like this, they later seem to forget how powerful a technique it can be' It's useful for our purposes because it reassures the spectator that she's not about to be made a to look foolish, be hypnotized' or get into something she may subsequently regret.

RrJscrrNc a Srr,crAToR There

will come a tirne when, for whatever

to reject a

reason, you have

To help with this

potentially uncomfortable experience, it pays to handle rejecting as a kind of out. Whatever the circumstances (and logically, there must be as many potential reasons for rejection as there are spectators to reject), your task is to still make the spectator

spectator.

some

7l

feel good about herself - even if she's volunteered just to make your life hell for her own amusement.

simply need mention those you wish to eliminate by using them as examples just before you ask for her choice. Here's an examPle:

Primarily, your performance persona dictates how you handle rejecting unsuitable spectators. The important thing to remember is to fiame the rejection as positively as possible. If you're presenting a believable display of psychic ability, your patter must be in character fiom word one. This includes rejection. Framing the rejection positively, you might say you sense the spectator has more psychic ability than is usual in the population, which is a problem for you because it's untamed:

"I'rn sensing something about you, I hope you don't mind me saying so. I do apologise for this. There's an impressive amount of psychic energy coming fiom your direction, but because you're not aware of it, I'm seeing it as an overwhelming jumble. lt'd be great to see if I can't show you something using that ability later. For now, can I ask you to take your seat again? Ladies and gentlemen, a big round of applause please for one of the most naturally strong transmitters of psychic energy I've met in a long tirne."

It's vital that you spend time crafting outs for when you get genuine misses, but it's equally important to pay attention to the outs you use to reject unsuitable spectators.

LuttrrtNc SrucrAToR Csorcs gY ExAMPLE

"Think

of a

geometric shape, something

like

a

square."

The effect is to remove "square" as an option fiom the spectator's nrind. Giving a reason is also a good tactic: "Think of a geometric shape, like a square, but preferably not a square because I've already mentioned it now and I don't want you to think I'rn trying to influence you."

Beware, however, because you may remove it from subsequent choices too. Matthew Shouten also suggests that giving the third entry in the list as the exarnple works very well in completely limiting the choices on offer to iust the first two and no more. This may be because the removal of the third option causes a break in the expected pattem of choices. Forced to think quickly, the spectator only has a couple from which to choose.

Another method is to eliminate a potential choice for being too obvious to really test your2:

"Think of a geometric shape, but not a sqLrare. It's just that everyone picks a square and it's really too obvious, so think another simple geometric shape."

ln "Psychological

Subtleties 11', Steve Shaw discusses the idea of "mental reach". The spectator's "rsach" is the list of

choices on offer to her rnind when asked to think of something. Shaw says that to remove ceftain options you 72

't I have troublc locating the ace of spades in irn Invisiblc Deck and usc this technique to eliminate it and a couplc of other cards. 73

Exrr,oITING Evs Accrss Curs Though over the years some parts of the neuro-linguistic programming (NLP) world might have developed a sourewhat negative reputation, at its heart are some useful evidence-based techniques. One is the Erickson handshake induction. Another is the setting and triggering of anchors. Reading eye access cues is one area of NLP that has particular significance for priming forces. We don't need to go into the theory and use of eye access cues in any real depth here'r. They're not generally as accurate as some would have you believe without first carrying out sorne careful calibration of the spectator's responses to different types of question. However, they are somewhat consistent in that they tend to occur in response to requests for information where the spectator has to actively think of an answer, regardless of whether that answer is remembered or consttucted in response to a question.

Ask a spectator to remember something (an object she saw during the journey to see you, perhaps, or what she had for breakfast) and her eyes will usually dart briefly to one side as she recalls it. Ask her to construct an answer, however (where

she wants to go on holiday next year, for example), and her eyes will usually dart in the opposite direction as she does so.

The direction her eyes dart isn't important to us. It's the fact that they dart to the side at all and for how long they do so that's important. 'fhis is because it inrplies that the spectator is engaged in consulting her subconscious repeatedly rather than accepting its first choice. See "Sleight of Mind" by Ian Harling and Marlin Nyrup. ISBN: 9788799-04t3106, page 26, for a clear and concisc description ofeye access 13

cues.

74

Supposing you've asked her to think of, say, a colour. If she's really giving you the flrst one that f'lashes up from her subconscious, her eyes will usually continue to regard you as she immediately answers. They might flicker for a slight moment as she "goes inside" momentarily to request an answer frour her subconscious.

If

she discards the initial choice in favour of another choice. her eyes will tend to dart off to the side to some degree. She

may overplay the length of time she takes to finish saying she's made a choice to hide changing her mind. Knowing this we can select a different line of patter that takes this into account

Fnona Mrss

ro Colp RTADTNG

The idea of keeping the spectator in the dark about why you're asking her to think of something is the basis of a reliable method of ensuring that only you know you've missed. You just claim a hit! Here's how it works. Suppose you're performing a simple routine using priming,

but the spectator either innocently or maliciously gives offbeat answers. What do you do? In his book ,,The Encyclopaedia of ImpromptLt Card.force.s"r4, in the section on equivocation, Lewis Jones has an answer that can be adapted

to Naked effects, and which allows you to continue as nothing had gone wrong.

if

Always remember that in essence, the spectator's actions and answers should only have a meaning when you supply one, and not befbre. In the case of choosing between two objects or piles of cards, for instance, you'd never say, ..take one and keep it" because this deflnes the meaning of the two piles, and she rnay take the one you want for yourself. ln such a ra

www.hutch.demon.co.uk/lcwis

75

of tlie pile situation, you can't suddenly redefine the meaning by changing your mind and asking to swap' to point to a To avoid this situation' you might ask her simply you take it pile without saying wtry. ff it's the one you want' yours.tf. Otherwise, you tell her to.pick it up and take the tther yourself without drawing attention to it'

of the Similarly, it would be fbolish to define the meaning qu"r,io* you're about to ask by saying that you've.written quite do*n what the spectator \s going to say' This could silently ,"aronaUty pro,rok" a challenge' Instead, you nright Naked' write sori"thing down (or if you're being completely the whispJr it to a second spectator)' and if it's what f.rhup, 'first tum the card

or

scripting. If you prepare for failure, everything's a success, and you might discover new snippets of information about the spectator along the way. Here's an example frorn the previous volume:

Performer: "Now, name a type of fruit, like

Spectator:

a minor miracle

Ianswersimmediately]"Alemon."

Performer: "A lemon? That's very interesting. Can I tell you why? I sensed a jolt of emotion fiom you to do with a memory involving the idea of fruit. Did you feel it'J"

spectatoi subsequently says, you can simply your slate over, or hive the second spectator confirm-

prediction and thereby produce

a

banana or something." (expecting "Apple")

of

preco gnitiorVthought control/whatever'

Spectator: "I suppose so."

in this the spectator manages to give you genuine misses[f your situation, you call handle them in many ways. is to out pr"r"ntuiion style is psychologic-al, a very good people tend to explain that what you'u. written dgwn is what ,"ply, using Matthew Schouten's idea of including the audience asieceivers to add weight to that claim'

Performer: "I want to say that there's an element of conflict attached to this memory,

Spectator:

"No, it's not."

could nlove swiftly into a and why cold reading to explain the significance of the choice you're you thoughi it would be what you wrote' In doing so' iefining ilre meaning of her answer in terms of an interesting to being extra piece of personal information, thereby adding and in your presence rather than simply presenting the miss taking awaY lronr the exPerience'

Performer:

"You were made to eat it when you

If

In

a more psychic presentation' you

and of As with all Naked techniques, the key is adaptability' and thinking on your feet ai much as careful planning 76

isn't there. Fruit's not your first choice of food, is it?"

wanted something else, weren't you, a long time ago." Spectator:

Performer:

"Yes."

"But you'd rather have eaten other things."

Spectator:

"Yes." 77

Performer: "This was when you were a lot

If

you have to reject a spectator, ensure you have positively framed out to cover the situation.

younger, during childhood. It feels like there was a tendency to turn it into a battle. Was it with Mum'/ There certainly felt like a f-eminine presence in that jolt."

Spectator: "Yes, she didn't like me

Limit the spectator's choices if needs be by providing examples that break the chain of choices.

Use eye access cues to monitor for conscious thoughts as she retrieves her reply.

eating

sweets!"

o Someone who associates lemons with fruit (especially when the FSG for apple is so high) probably hasn't enjoyed many nice juicy apples in their time.

Always have an out up your sleeve.

Just as tarot readers will memorise a detailed meaning for each card, you can script a detailed meaning for the top few choices in different priming categories including how they relate to the spectator. You can then freely cold read your way out of a miss and into a more advantageous situation. The important thing is that the spectator never suspects that you've missed. Even when you do get a direct hit, you can still deliver the extra information you've rehearsed about her choice as and when it comes through.

IN SUMMARY Choose the spectator wisely, and reject her have any doubts as to her buy-in or integrity.

if

you

Make the spectator aware that she's responsible for the outcome of the test. Give her a set of instructions she can believe in, and which also explain why she fails if she doesn't follow them. 78

a

79

5. Pn,aGMAGRAMS f

ne*t want to introduce you to a pet idea of mine. I call it a I"prug-ugram". and while I've seen nothing like it in print, it's something for which I've found many uses, from card tricks to the Naked Book Test. It's also very useful in creating effects that make use of priming forces where we need to be prepared to use an out that creates a believable partial hit. It gives us the ability to impart cryptic information about the spectator's choice beJbre she even makes it, and which later resolves itself into at least a partial hit for her subsequent choice.

Pragmagrams are in essence the opposite of progressive anagrams. Think of how a progressive anagram works. Given a subject, the spectator makes a mental choice. You then very subtly probe for enough unique letters in its name to identify it. While progressive anagrams can be astounding when presented well, their presentation is a skill in itself. It struck me that any collection of things you care to imagine has plenty of other useful attributes way beyond just the letters in the names. By using whatever attributes the choices have, (in other words, by being pragmatic), a powerful and yet subtle technique emerges. So, like a progressive anagram, a pragmagram is both the analysis of the choices on offer to the spectator beforehand, and a method of identifying the spectator's choice during performance. But while a progressive anagram is about finding the spectator's choice by discovering what makes it unique within the group of possible choices, a pragmagram is about finding common factors that could apply to any of the possible choices. This is what I mean by pragmagrams being

80

81

the opposite of progressive anagrams. But what good

are

they?

Well, as I mentioned above, being pragmatic and using all and any attributes available gives us the ability to create patter we can use be/bre the spectator even makes a choice, which later resolves into a partial hit regardless of the subsequent choice. If we miss. this pre-imparted, cryptic knowledge can be very useful indeed in helping to rescue the situation.

If you've read either the Naked Book Test section of the first volume of Naked Mentalism or the Fully Scripted Naked Book Test, you'll already be familiar with the use of pragmagrams. I used them in some instances to tease out attributes common to the different word possibilities. The subsequent patter then describes these attributes before I finally make a definite choice of word. This way, if I'm wrong, I can still score a partial hit, but on a deeper, conceptual level. Here's what I mean. Take the 4-letter "T" words from the Naked Book Test: They are: this. that, they, and them. Being pragmatic instead ofjust taking the four words at face value, we can see that a very strong but subtle comrnon attribute is that they all point to something, either singularly or in a group. It's THIS thing, THEM over there, and so on. The patter I use for 4-leter T words has to do with someone in my mind pointing to something, but me not being able to see clearly how far away it is (whether it's THIS or THAT, in other words), or whether it's one thing or a number of things (THEY or THEM). That's all four possibilities covered on a conceptual level. The spectator can see nle trying to interpret a cryptic image I've received clearly describing the concept underlying her choice of word. The flow of information is 82

also one-way, from me to her, which There's no fishing involved.

is also significant.

ln a priming force effect, you miglrt use the pragmagram approach to tell the spectator that you're receiving a bizarre image early on in your patter; something not obviously associated with the concept you've asked the spectator to think of, but still embodying it in a way that only comes clear later. Here's a basic example using that old perennial, the colour force:

Performer: "Keep hold of the first colour that flashes through your mind. Got it?"

Spectator: [immediately] "yes." Performer: "It's strange, but as you answered, I got an image of a flag coming through for some reason. It's indistinct. but I think it's a Union Jack. I can see two bright colours, but they're somewhat blurred and almost blending together. I can't tell which is brightest. I feel I'm being asked to choose between them. Is it red you were thinking

ofl" Spectator: "No, it's blue." Performer: "Ah, now, that's interesting. Before you spoke, I got a red white and blue Union Jack coming through, didn't I?"

Spectator: "Yes." Performer: "And I nearly said blue immediately because it's a Union Jack, and that's associated with 83

royal blood, which is blue blood. I receive these insights in symbolic form, you see. The way I do this is to interpret what I'm seeing, but the image was fading and I

wasn't sure about which was brightest colour any louger. Both colours were standing out vividly, as if giving lne a choice between just those two and no others. It felt like red to me rather than blue, but there were only those two choices. rather than yellow or orange or whatever."

As I said in the previous chapter, one of the great axioms of magic and mentalism is to keep the element of surprise. Suddenly giving details of a seemingly abstract vision you've received is certainly surprising. Never defitre what you're introducing into the situation until it's too late and you're already in a position to score at least a significant partial hit. The above patter does just that. Befbre the spectator names her colour, we already appear to have received something in synbolic form. When her choice becomes apparent, we can use the image to fill in the details. That, in essence, is a pragmagram in action. Depending on whether she subsequently confirms the colour or not, we have either a direct hit, or enough leeway in the image to deliver a near hit for the colour. Eitlier way, we can subsequently elaborate on the image of the flag to reveal details of how these strange visions manifest themselves and our interpretation of them.

The great thing about this approach is that if we hit trouble, there's still a good chance we'll be able to move on without registering a complete miss if we pick the wrong colour. What's more, if we impress the spectator sufficiently, she's

84

as a hit purely because we talked about the flag bet'bre she said any'thing'

tkely to remember the experience

well that's just red and blue mixed (taken care of pre-emptively by telling her it's a blurred i'rnug" coming through). The same goes for pink (red blurring

If

she decides on purple,

into wtrite). To handle black, we could have added something about waftime to the initial patter. The best thing with creating these bizarre images is that you can put in as nruch strange detail as you need to cover the options the spectator might choose. when it comes time to match the aspects of the image with the spectator's choice, simply forget the other details and concentrate on the ones that map ottto her choice. Done well, it becomes very difficult to failAnother useful aspect of the pragmagram approach is that it enables us to use priming categories where the most popular targets all have FSGs that are so close they'd be difficult to ur" in other ways. Don't worry if this makes your brain bleed. Here's another simple example that should clarify things.

TEr,r,rNa CaRRors Fnou

LsrrucEs Supposing you're forcing a carrot, but want to cover other poitiUititGs including a lettuce. The first common factor that springs to mind between a carrot and a lettuce is that the top end of a carrot is much wider than the bottom. This could feasibly apply to a lettuce too; the tight base contrasting with the mass of leaves above it. Also. in both cases, there's evidence that something has been cut from the object' [n the case of a carrot, it's the leaves and possibly the root' in the case of a lettuce, it's been cut from the ground, and may have

85

too. I'm not sure. but because it has a f-eeling of being a vivid colour even though the colour's not coming through yet, I want to say, and it's a close choice between this and letturce, I want to say that it's a carrot."

vegetables are also some outer leaves missing too' Both cooking' Lrigftt in colour, and can be eaten without ..Psycrets,', the British Dr Todd Landman, co-fbunder of that these and very Society of Mystery llntertainersr5, notes a wide ,i-itui comlrlon factors could also be used to cover could you wording' range of root vegetables' With careful etc. and cover items such as radishes, parsnips, tumips, ; the local supermarkei.where the spectator could ;;f; huu. o"""rs to a wide range of choices'

If the choice was a lettuce, we can still point to the

discarded choice and elaborate on the image to show how we arrived at the choice we did. As a second quick exantple, let's take another look at the data for "garden":

between a ln summary then, the colnmon factors identified carrot and a lettuce above are:

o o . o

Wider at the toP than the bottom Something cut from at least one end BrightlY coloured Edible raw

Hete's one idea for using these attributes

TaslE

to weave

a

pragmatic image:

Performer:..Keepholdofthefirstvegetablethatflashes through Your rnind' Got it?"

Spectator: [inrmediately] "yes'" Performer:

s '

GARDEN GARDEN GARDE,N GARDEN GARDEN

"I'm picking up sonething now' more a

feeling than anyhing' It's wide at one end tell and rmrch naffower at the other' I can't if it's had something cut otf or if it's been cut from something itself' but there's get the something missing or cut away' I distinct iJea that it's edible without cooking'

FLOWER HOSE PLANT VEGETABLES ROSE o7

0.132 0.1

l9

0.086 0.073

Ix rHE GARDEN

Suddenly, "Hose" being the second entry isn't the problem it could be. It's directly related to plants, so what common attributes could we weave into a simple, brzane image covering all options? Maybe it could include the concept of thirst. Flowers and plants grow in summer, so maybe it's thirst caused by the sun. If the spectator chooses a garden hose, thirst is covered, as are the thirsty plants. Let your imagination run wild in finding such pragmatic attributes to exploit and you'll soon leam to create very deceptive in-rages covering many possibilities at once.

Performer:

"l

feel very thirsty when I try to think of this. I feel the sun in the sky and how I need to drink. I think water is coming, however. There's no drought, just a delay. I'm seeing the garden from the point of view of some form of plant waiting in the sun for watering, a flower, I think."

http://wlvw.PsYcrets'org'uk/

86

0.391

87

the image is anything from a prize marrow to a rose or even a watering can. there's enough to correct yourself and resolve the irnage in temrs of whatever the spectator gives as her choice. Any fonn of plant, flower, vegetable and so on is covered, as is the idea of watering them.

If

6. PtrMrNG

Errscrs

Finally, here's a selection of efTects r"rsing what we've learned about priming in the preceding chapters. The key in performing Naked effects well. and certainly ones that rely on priming forces, is to be subtle. Bury the underlying mechanism as deeply as possible and keep it as far from sight as you can. Naked effects have no physical component, and that helps, but presentation plays the major part. As Annemann said over half a century ago, "Audiences are far from being as dumb as some perfonners seem to think." That advice is becoming ever more relevant, even prophetic, as we settle into a new rnillennium.

As T.A Waters says in the introduction to "New 'Ihoughts For Old" in his serninal work Mind, Myth and Magicr":

"Mystery, you see, is supposed to be rare and special; that's part of what makes it mysterious. For you to be special as a mystery performer you must be - or appear to be unique. You must do your best to make thern think they have never seen anything like you before, and accornplishing that is worth whatever it takes."

With

access

to the Intemet and cynicism levels rising, it's

more important than ever to leave no trail for the spectator to backtrack along. Simply presenting priming forces as an effect in the fbrm: "think of, this, think of that, think of the other... You thought of A, B and C" will quite rightly make the spectator think of statistics as an explanation. You should aim to make your priming fbrces feel like free choices. To r"

88

Available at any good

n-ragic shop-

89

begin then, here's a nice "quickie" that might be of use as either a general out or an extra small kicker at the e1d of a successful routine.

Tnr Psycslc Cn lg SHEEr Supposing that before you begin a routine that uses priming forces, you present the spectator with a sealed envelope' After you've brought the routine to a conclusion, you instruct her to open the envelope. She reads a prediction: a set of brzarre images you say were brought to mind when you imagined how the routine you've iust performed would go (one for each fbrce), along with what you believed them to mean.

environmental influences as the audience to supposedly make sure you're funed in fbr the rest of the performance. Bernstein used a couple of the better known prinring forces from years gone by and wove patter that showed the audience how the number, shape and juxtaposition of certain objects in the room influence them to make certain choices.

Of course. Bemstein didn't know about the rich wealth of priming categories in the Floridian database and so had to rely on old standards. We have no such restrictions and can expand on his original use of priming. Here's one idea.

If your perfonnance persona is a master of the psychological

This is obviously a use of the pragmatic approach from

Chapter 5. The question is how to effectively present it- Why not wrap the meaning of the envelope in the idea of a single dream or vision you had before the performance'?

A more hybrid style might see you framing the content of the envelope in tetms of an unusual ability you're learning' Perhaps it's an interesting by-product of the process of preparing for your performance today, but one that you believed you were ready to test it out in front of others. l'm sure there are plenty of other approaches you call use. As with all aspects of how you present your mentalism' let your imagination run free.

Gnour SuaGEsrIoN

I

In "Perception is Everyt\ft\nr"r], Bruce Bernstein details an interesting efl-ect he calls simply "The Opetter". This is a routine using the idea of picking up the same subtle It Available from scvcral online magic shops, and wcll worlh buying

afis, you could present a set of priming forces in the form of a talk about your ability and how you developed it, during which you ask fbr the first thoughts entering the audience's heads when you say certain words.

You could also litter such a talk with lower FSG choices from the categories you then force. If these choices stick out slightly in the patter by being slightly unusual, then some spectators will claim you were trying to make them think of those choices and so avoided them, or even claim to t'eel your influence over them. which all adds to the fun. With a talk that puts the audience at their ease about what's coming up in your act, this approach also fosters an air of acceptance. Using a show of hands, it's easier for individual audience members to allow themselves to join in and enjoy the experience. Such an aggregation also presents an excellent opportunity to exploit a natural quirk in our thinking called Pareidolia. This is the mistaken belief that vague pattems are stronger than they actually are. By talking up the significance of each show

of

hands, Pareidolia

is simple to 9l

induce

-

especially by

adding extra facts that point to the significance of the overall emerging pattern. The facts you give don't have to be real. They just need to conle across as real to the audience. Here's an example of the introduction to such a talk built around these ideas:

randomness, in other words, and yet we got 3 times more than that. The more you relax and just let your first thought cross your mind, the easier it is. Let's see how much higher we can score when I ask you to think of a fruit.

"I've been asked here today to perform for you, but perform what, you may be asking? Well, people sometimes describe what I do as psychological manipulation, but that's wrong. [n fact, I do anything

The first image you got was of an orange, right'? Let's have a show of hands. Good, that was even higher this time.

but manipulate people. so please don't worry. What I do is simply to spot and incotporate the subtle influences that wash around us all the tirne into what I

It's not just the things people say that can have this

say.

Now, the influences that form and shape our thoughts are all around us and can be both far subtler and more plentiful than you'd imagine. They say that all communication changes the receiver, and that's certainly true. Communicatiou happens over all five senses. We're not like other animals. Our subconscious records every'thing we experience in great detail, which provides a mery-go-round of meaning fbr us. it also explains why cerlain smells, sounds and so on call make vivid memories and sometimes even powerful emotions tlood back uncontrollably. Speaking of childhood, when I say the word circus, how many people, on a slrow of hands, have the image of a clown flash into their minds?

That's about 60o/o ot so. Statistically, it should be around 20Yo, which is known in paranormal research circles as mean baseline chancer8. Complete long as '* This may sound likc a fact, but it's notl That docsn't lnatter. As in the gi"'c it validity you say ancl what back up it'll tirct, like a it sounds

kind of effect on us. Get a simple shape in your mind for me and put your hand up if it's a square?"

And so on. Another approach here is to use a printed questionnaire that audience members fill in at appropriate points during your talk giving possible choices for each named category. You could hand out index cards and pens instead. Wren complete, the audience members then swap these sheets and see that they're all predominantly the same.

Gnour SuacrsrroN

You can easily invert the previous test by using the idea of the group delivering a certain thought to you. One idea for presenting this efl-ect is to hand out pieces of paper with numbered categories. Someone throws a dice or otherwise generates a random number. Each audience member transmits

the image that comes naturally to rnind when they read the associated category.

To pre-empt audience members thinking of the wrong thing, explain that you're getting more than one signal. and name the top target as the one that seems to be coming from the most minds. You can then confirm it beyond reasonable doubt using a slrow of hands. The fact that some people really

spectator's minds.

92

II

93

Performer:

didgetthewrongtargetcanhelptoreinforcetheideathat

not forcing the thought on them and that they're free io think of any they like. By making sure that the participants know that the image that flashes into their minds first is the strongest and therefore most suitable for transmission, you can ensure that you get the most hits'

youi.

"I'd like to try something now involving two of you. I want to see if you can

communicate a simple thought between your minds. Is that okay?"

Two-PERsoN TTmTATHY what could be more impressive than two spectators, one the transmitter, the other the receiver, achieving an apparently how extrasensory exchange of information? The problem is' thought do we create a situation where both have the same without our priming activities becoming obvious to--either party or the other spectators? Clearly, for such an effect to

Spec #1:

"Sure."

Spec #2:

"Okay."

Performer: "Who would like to be the transmitter'/" Spec

#l:

"I will."

Performer: [to Spec #1] "I'm going to give you a category in a moment and what I'd like you

huu. u.ry power, we need to keep the information we give the transmitter private from that we give to the receiver and vice versa, so first let's prime the transmitter'

to do is to keep hold of the first thought that comes to mind when I give to you. The reason for asking you to do this is that the

thought that pops up first is the most energetic and will transmit the best. It's

We can do this simply by, for instance, writing down the instructions we give to the transmitter and having her read them silently, or by either taking her to one side and explaining what we need her to do, or by simply whispering

called the Ward Effectre. Is that okay?" Spec

#1:

"Sure."

those instructions in her ear.

Performer: lto Spec #1] "Good. Let's keep it simple. I

This is a situation in which spectator buy-in is vital, and again the idea that the best word for transmission is the one that occurs to her first can help achieve this'

want you to get the first instance of a colour in your mind. Got it?" Spec

Next, we need to instruct the receiver. we need to explain that she's not to consciously think of anything, but instead to allow a thought to form in her mind when she hears the target category. Here's an example using that old standard the colour force.

#1:

"Yes."

Performer: fto Spec #1] "Excellent. Okay, keep saying the name of the colour over and over again, as if shouting it at your friend here. But don't say anything aloud. Okay?"

''

Of course, thcrc's no such cff'ect, but

"fact".

94

95

if it

gcts spcctator br-ry-in

it's

a

PnacuATrc Cor.o RsaorNa

Spec #1:

"Yes."

Performer:

fto Spec #2] "Okay, your friend is now transn-ritting something to you. Don't try to consciously make a selection at all. Just let the transmitted thought enter your rnind. You might be getting a lot of noise or even nothing, so I'll help you tune in. Take a moment to let your mind become nice and still. and when I tell you the category of thing she's transmitting, simply say the rvord that becomes apparent in your nrind. Relax and tell me when you're happy?"

Spec #1:

[after a brief pause] "Okay."

Performer: [to Spec #2] "Good. Try to feel the name of the colour your friend is transmitting to you. What colour is it'/" Spec #1:

"Red."

Performer: [to Spec #l] "And what colour were you transmitting?" Spec #1:

A "Barnum Statement" is a basic ingredient in cold reading. It's a statement that while being general enough to apply to practically anyone also has a tendency to invoke a psychological "mistake" in people's thinking called the personal validation fallacy2o. This causes the spectator to think the statement is specific to them.

The problem with Barnum statements lies partly in their superficial nature. They don't really contain any specific information. Another problem is that the traditional ones are becoming well known to an increasingly sophisticated public. Simply stating that, "You have a need for other people to like and admire you, and yet you tend to be critical of yourself' won't fool a modern. alert spectator for long without you miraculously producing specific details to back it up. Because Barnum statements still work when the spectator hasn't heard them befbre, a good use for the pragmagram technique is in helping you find new ones that no one has ever heard. This isn't difficult to do. and the results can be very efficient at invoking the personal validation fallacy.

The diagram below gives a very basic hierarchy of types of negative childhood rnemories:

"Ited." Emba

r ra s smen

1-

Foolrshness at being observed E:<posure of a secret Bu L lying Agalnst you Aqainst others

And the crowd goes wild. A variation here is to ask spec #l to think of, say, a colour, a flower, and a vegetable. You then cross to spec #2 and ask her to write down what she believes Spec #1 will have thought of for each. You then ask Spec #l to give her thoughts for each category aloud, and have Spec #2 confirm them.

Loss

Deat-h ReLat-ive 2"

Sometimes called thc "Forer Effcct" aftcr psychologist Bertram R Forer who first studied the effbct in 1948.

96

97

Fr re nd Sepa ral,

ion Movrng house Losing something' Having something stofen

Inj ury I llness Acc i dent

Nrcerrvs Csrr,onooD MEMoRTEs At just a couple of levels of decomposition, the memories Dracn an:

have a good deal in comnron with each other, which you can exploit to build new Barnum statements. Let's quickly also do the same for memories of celebrations: Ce

lebra io n Bi rt hda y Presents 1-

PARTY BIRTHDAY HAPPY HOLIDAY

0.658 0.072 0.039 0.020

FUN FIREWORKS

0.020 0.0r3 0.013 0.013

BE,ER

JOY

Tanr,r, 68 Crr,r,snATroNS Judging by the FSGs, a memory of a party is by far the most likely to be invoked by a suggestion of a celebration:

Performer: "Try not to give anything away, okay. but I'm picking up a memoly now. [t's of a bright colour linked to a celebration. You

Cards Par

CELEBRATION CELEBRATION CELEBRATION CELEBRATION CELEBRATION CE,LEBRATION CELEBRATION CELEBRATION

ty

can feel a memory of a

c;r,t.=tnlultPrise

particular

celebration too, can't you?"

Pre sen t s

:::*=

Spectator: "Yes."

Tr-oe

Dracnau: Posrrrvn cHrLDHooD

MEMoRTEs

Neither of these sirnple diagrams is at all exhaustive by any means. Even so, both second level categories on the positive childhood memories diagram already contain memories of pafties. What to these have in comlnon? One thing is presents and cards. A Barnum statement exploiting this comrnon factor might also take in the idea that almost everyone has a favourite birthday or Christmas present from childhood.

How might this link back into priming? Well, here's the table for the cue "celebration" again:

Performer: "There's cake involved."

Spectator: "Yes." Performer: "It's

a birthday cake. Is it your birthday'?"

Spectator: "Yes it is!" Performer: "Yes, a birthday. It's too hazy to see why, but your birthday was special this particular year, more special than usual?"

Spectator: "It was the year I got my first two-wheeled bike."

98

99

by which it could invoke the personal validation fallacy was still impressive. For instance, after being challenged to read a friend's mind at a party, I respolded

Performer: "Ah, that's where the colour must come in. lt was a bright colour, wasn't it?"

amount

Spectator: "Yes, bright pink."

with patter along the lines of the following:

"I'm getting o memory. I think this was some time ago. lt's 4 a.fi'iendship. A meaninglirl one, or it wa.s

And so on. Contrast this approach with simply announcing that, "You have a favourite birthday frorn childhood." Most kids' bicycles are bright in colour (as are most toys for children), so the link to a bright colour at the start of the patter easily resolves itself. We could have taken another step back and asked ourselves what happens at both birthdays and Christmas? Kids receive presents, so we could also add some pre-emptive patter at the start about seeing the spectator receiving something, befbre even exploring the idea of a "Celebration".

If the spectator was thinking of another celebration entirely. we could simply say the colour was confusing us and apply it to whatever she clairns the celebration actually was. After all, there's still the pre-emptive patter about seeing the spectator r-eceiving something to fall back on. Maybe the vivid colour referred to the lights on the Christmas tree. After all, "tree"

has a curiously strong FSG fbr a cue of "Christmas". A suitably ambiguous pre-emptive image will enable you to easily map whatever the spectator says onto it.

Don't forget to use any and all details the spectator gives you to dig deeper. For example, the fact that it was a bicycle and not a tricycle gives a probable age for the birthday or Christmas, and the opportunity to explore her rnemories of riding it, falling off, scars, adventures, etc. Wlratever happens, you'll add value for the spectator by jogging

at the time. Some.friendships are more important than others, but this is one I.fbel ltou plac:ed too much emphasis on. Another ./riendship sul/bred becattse of it, didn't it? You kns1,1t you'd made tlrc wrong c:hoice and quickly regretted it, but vou reulisetl too late that you'd hurt someone."

I

thought this would remind my friend of a time when she was a small girl and decided to be friends (possibly best friends) with someone she thought would be more exciting than whoever was already her best friend. I think we've all made that mistake in childhood, and my friend was indeed grinning with recognition as I began to hit the mark.

I asked her to clarify things for me. To my surprise, however, rather than describing a scene from childhood, she said that a couple of years ago she'd been trying to decide between

dating one of two men and that she felt she'd nrade a mistake.2r To her, I was bang on the money with a personal insight into her past despite actually being well off target in my assumptions and actually remaining quite vague in my patter. Try it yourself and see what unexpected hits it gives you.

pleasant memories.

When I initially began using the pragmagrarn technique in this way, I used it in very simple, generic situations, but the 100

2'

In the prcvious volume of Naked Mentalism (pagc 95 to be cxact). I hacl

to apologise to my fricnd Hazel for practicing hot rcading on hcr. This time I need to apoiogisc to Sue for cold reading her. Sorry, Sue! 101

Exrrn rMENT No. ztt

z6

This effect, using both priming and the one-ahead principle, comes fronr the very fertile mind of British mentalist Iain "Abraxus" Dunford - a man who has more interesting ideas in a week tlian any reasonable person has a right to expect in

see what you've drawn." The performer waits

for

the

spectator to finish.

"Now, really scream the name of the image you've drawn in your mind. Don't say it aloud. Just mentally shout it at me. Keep going. ['ll try to draw it."

a yeat.

"l want to warm up nly mind a little,"

explains the performer, glancing round. Selecting a willing spectator he asks politely, "May we try this little exercise together'/ It'lljust be between our two minds as it were."

The perfonner produces two notepads. The spectator selects one. The performer produces two pens from his pocket. "To make it easier to conduct this experiment," he explains, "l want you to write the numbers one through three down the side of the pad, like this." The performer writes the numbers in a vertical column on the left hand side of the top page of

What the performer actually draws is a very rough outline the continent of Africa in the third position on his pad.

of

"Now," continues tlie perfomrer, "in case some people can't see at the back, or either your drawing or mine isn't that clear, can you please tell the audience what you transmitted to me."

The spectator calls out the name of her drawing.

The performer looks slightly worried. For this example, let's say the spectator announces that she's drawn cannon.

a

Remember this.

his pad.

"Now, I need you to draw something," he says. "Anything you like, as long as it's not abstract. Abstract images are too difficult to transmit, or rather, if I'm completely honest - too difficult to receive clearly. Oh and please, don't draw something obvious; a house, matchstick man, or flower, and not the sun either, or a star or tree. Why not these? People usually pick these, and I already feel someone in the audience is picking one. By a show of hands, who thought of one of those images?" If someone puts up their hand in response, milk it baby! "So, just to be clear," continues tlre performer, "please draw A different image now in the first position. When you're done, please place the pen down. Don't let me or anyone else

Without showing his duplicate drawing, the perfotmer frowns and says, "I didn't do brilliantly there, but I was kind of close. Lets try it again, but this time, if you feel as if l'm still taking advantage of the choices you're going to make, f-eel free to pick someone here to pick a general category for you, and then you can choose sornething related to that. For instance. if someone had said garden - you could pick tree, flower, shed, dead pet buried in a shoebox. See what I mean? Good."

The spectator makes another choice and draws a second image. She again mentally screams it at the performer, who in fum draws a cannon (whatever the spectator announced she'd drawn originally, in fact) in position I on his pad. The performer places his pad face down again and asks the

102

103

spectator to announce what she drew in the number 2 position. ln this example, let's assume she says it's a pistol. Again, the pertbnner looks puzzled and remembers this word. "Thank you fbr everything so far," says the performer. "Now, I would like to take this final drawing one stage further. This time, I shall draw something, and you will try to pick it up. Are you happy to try that'?" The performer picks up his pad again and in position 2 draws whatever item the spectator announced last (in this case a pistol). He also writes the word "Africa" next to the map he drew. Once complete, the perfonner says: "Now, this time, t shall attempt to transmit to you the image I've just committed to paper. I'll give you a slight hint though, not a massive one, what I've drawn is a continent, like America or Asia ok? Now, this is the way I transmit images. I imagine a huge white board in front of me. and in thick black ink I draw the outline of the image and then fill in the details afterwards."

Whilst describing the nature

of the transmission,

the

performer casually mimes with his fingertips the huge white board, and most imporlantly, very briefly shapes the rough outline of Afiica between his hands. Remember, you'll be doing this in front of the spectator, so rnake the image a min'or image of Africa's outline so that the your subtle mime comes out the right way around.

"You can write the word rather than draw

The perfomer watches the spectator tear off her page, trying to see what she's drawn as the continent choice. If it's Afiica, keep that revelation until the end.

What if you miss with the continent question? Here's the data for continents again:

CONTINENT CONTINENT CONTINE,NT CONTINENT CONTINENT CONTINENT

AFRICA ASIA USA NORTH AMERICA EI]ROPE ANTARCTICA

0.041 0.041

0.020

Tasr-r 6g CoNTTNENTs Africa is statistically very likely to be thought of first. The performer limits the spectator's choices by mentioning America (read: USA or North America) and Asia, and on top of that, he's also rnimed the outline of Africa. Being pragmatic, you could also design patter and even draw images focusing on Asia and Africa both having the same initial letter, and South America has the same basic inverted triangle shape as Aliica.

if you pref-er,"

explains the performer. "Okay, l'm transmitting now. When you get something, write it down or draw it." The spectator writes something down and the perfotmer says, "Now, please tear off the sheet with your drawings . . ." 104

0.169 0.115 0.054

l0s

ArrrNDrx

106

t07

Cn oss-&EFE&ENcED BLIJE WHITE BLACK YELLOW ORANGE

RED RED RED RE,I) RED RED

Tasrr

GREEN

Colou&s

0.260 0.126 0.039 0.024 0.024 0.024

7o Cor,ouns - Rs,o

Not surprisingly, blue has a high inverse association with red, so asking for "a colour like red" is likely to get you blue. Here are the data tables for all the colours referenced by other colours:

BLUE BLUE BLUE BLUE

GREE,N

BLACK WHITE

0.135 0.1 06 0.028 0.014

Taslr

7r Coloun s

- Br,ur

RED

PURPLE PURPLE PURPLE PURPLE PURPLE PURPLE PURPLE

BLUE PINK VIOLET RED ORANGE GREEN YELLOW

0.103 0.093

0.0s2 0.041 0.041

0.041 0.021

Tasr,n T2 CoLouns - Pun rr,r

BLACK IWHITE 108

109

10.5.57

Tast,r 7l Cotovn s - Br,acx PINK PINK PINK PINK PINK

BLUE RED

0.109 0.082 0.033 0.027 0.022

PURPLE,

WHITE GREEN

Tasr,r 74 Corovns - PrNx YELLOW BLUE

GREEN GREEN GREEN

ORANGE ORANGE

RED

0.03

YELLOW

0.020

Taslr

7o Cotovn s

Overleaf is a single chart, cross-referencing all these colours.

Tasr,s 75 Cotovns - Gn rsN YELLOW YELLOW YE,LLOW YELLOW YELLOW YELLOW YELLOW

GREEN

0.176 0.068

BLUE GOLD BLACK REI)

0.061

PURPLE ORANGE,

0.047 0.047 0.027 0.020

Tasr,r T6 CoLovn s - Ysr,r,ow WHITE WHITE

Taslr

BLACK

0.655

RED

0.01 7

77 Cotovn s

VIOLET VIOLET VIOLET

PURPLE RED BLUE

Tesr,s 78 Colouns

ll0

- On aNcs

GOLD IYELLOW IO.OI5 Tasls 8o Cor,ours - Gor,o

0.12s 0.118 0.03s

RED

r

- Wsnr, 0.403 0.062

0.042

- Vrolsr 111

FSGs ArovE, .Joo GOLD

There are a large number of cue/target pairs with incredibly robust FSGs. Perhaps some, like "Moo" and "Cow", began to form at the very point at which we began to deliberately learn language and make sense of the world.

o

ORANGE

h a

O lrl o

7 lq a lrl

dI

o

WHITE

\o

Son

cl

t-r

$

at

O

i

q

YELLOW + ol o

al

*cl

*

GREEN

-i

o rt o

cl

o

i

d

\o

o

o

c.]

-i

PINK

O

FT

d

BLACK

& A

; o-\

O O

6 ai

tr'

t \o A o

BLUE O \t cl RED

U Fh F<(, va t

a] A

n C

€

@

o a

;

cl d

: O A \o

al

;

s O

\o

tr-

+

0.960

oUT

HALT TARDY

STOP

OFF

ON

EXHAIISTED EAST HUSBAND KEG

TIRED

0.940 0.939 0.922 0.917 0.913 0.906 0.899 0.897 0.895 0.886 0.885 0.88s 0.882

ON

DILL

FT

o

c] \o O

lrl X z F Irl t (, A lrl sl ll X 3 r{ C) z rq o H lq tr. rl sl d d ra a 3 F{ & Ll T o z o (, (, rJ FA & lJI F tr{

o

BY FSG

cow

TEXT

o

rro

MOO IN LEFT CHE,DDAR WEEP TROUT

COB

t-r

PUR?LE

il

,)

c]

c.'l

t

O

-i

q

(n CN

c

O

fr

lrl

o c]

al

VIOLET

tt

*.

*

BRIDE BEFORE MARGARINE COBWEB PEPPERONI ITCH TROUSERS UP

RIGHT CHEESE,

CRY FISH

LATE

WE,ST

WIFE BEER CORN BOOK OFF PICKLE GROOM AFTE,R BUTTER SPIDER PIZZA SCRATCH PANTS DOWN 113

0.88

r

0.878 0.869 0.865

0.8s9 0.856 0.849 0.849 0.848 0.846 0.845

WEB ASSIST CRIB WICK MEOW YOLK PERSPIRE .IIGSAW OMELET PANE COBRA TAPIOCA YES COMPREHEND BOUOUET TOAD

ILL LOBE

DAY PLASMA OUACK THLINDER FIBER DENIM OUENCH CASH TELLER FOIJND ICING FRAME HILARIOUS

HIM HIVE BLAZE

SPIDER HELP

BABY CANDLE CAT EGG

SWEAT PUZZLE EGGS

WINDOW SNAKE PUDDING NO UNDERSTAND FLOWERS FROG SICK EAR

NIGHT BLOOD DUCK LIGHTNING I,IE .TEANS

THIRST MONEY

BANK LOST CAKE PICTURE FUNNY HER BEE FIRE

Lt4

0.845

0.842 0.842 0.841

0.839

0.839 0.837 0.836 0.836 0.833 0.831 0.831

0.830 0.829 0.828 0.828 0.824 0.824 0.819 0.818 0.818 0.818 0.816 0.815 0.815 0.814 0.814 0.813 0.812 0.811 0.fi11 0.81

1

0.809 0.80u

TTJNA BROTH OUT

PHYSICIAN MTGRAINE AFFECTION BRAWL HAMMER BANK DESPISE FLIPPER HOUND

OAK LIBRARY BT]MBLE CINEMA OUIZ RYE KITTEN BULB CLOROX AUTO CHIRP FRIGHTENED REMAIN JOG

TULIP CRAYOLA GIGGLE WARDROBE WEST EXAM LOW MARROW

FISH SOUP IN DOCTOR HE,ADACHE LOVE FIGHT

NAIL MONEY HATE DOLPHIN DOG TREE BOOK BEE

MOVIE TEST RREAD

CAT LTGHT

BLEACH CAR BIRD SCARED STAY RUN FLOWER

CRAYON LAUGH CLOTHES EAST TEST

HIGH BONE

115

0.808

0.806 0.804 0.804 0.803 0.800 0.800 0.800 0.799 0.197 0.797 0.795 0.795 0.794 0.793 0.793 0.792 0.791 0.789 0.788 0.787 0.784 0.784 0.784 0.784 0.783 0.782 0.780 0.780 0.780 0.780 0.778 0.777 0.777

HE PISTOL

KING NORTH PAL LAMP OPENER OUESTION

XEROX NO MOM THRONE GOOD THREAD AIRPORT ARTTHMETIC WIN TABLE TRIBE CHOWDER WASHER ASTRONOMY PONY PUPPY

BAD INEXPENSIVE ATTEMPT PETALS BE,GINNING CONVENT I-OST

ALINT BROTHER INFANT

SHE GUN OUEEN SOUTH FRIEND LIGHT CAN ANSWER COPY YES DAT) KING BAD NEEDLtl PLANE

0.776 0.77 4

0.772 0.772 0.772 0.769 0.768 0.767 0.763

0.761 0.759 0.7s9 0.7s8 0.758 0.757

MATH

0.7 57

LOSE

0.7s7 0.756 0.756 0.75s 0.755 0.753 0.752 0.7s2 0.750 0.750 0.149 0.748 0.747 0.747 0.747 0.746 0.746 0.746

CHAIR INDIAN CLAM DRYER STAR HOI{SE,

DOG GOOD

CHIIAP TRY FLOWER END NUN FOUND UNCLE SISTER

BABY

116

CASHEW REPLY BLUEJAY THERE HOG DASHBOARD MARE POSTAGE

VEI]ICLE ROW GTRL

UNHAPPY BUNNY TANGERINE CHILL HARE PILOT BASHFUL FUND NAP ORCHID OUEEN TEPEE

NEW GLACIER GRIZZLY ILLNESS OPEN WRONG CABOOSE

DIGIT DOE CATHEDRAL TINCOOKE,D

NUT ANSWER BIRD HERE PIG CAR HORSE STAMP CAR

BOAT BOY SAD RABBIT ORANGE COLD RABB]T PLANE SHY MONEY SI,EEP FLOWER

KINC INDTAN OLD IC]E

BEAR SICK CLOSE,

RiGHT TRAIN NUMBER DEER CHURCH RAW

tt7

0.745 0.745 0.743 0.743

0.741 0.740 0.740 0.740 0.740 0.739 0.738 0.738 0.735 0.733 0.732 0.732 0.731 0.730 0.730 0.730 0.730 0.730 0.727 0.725 0.723 0.723 0.723 0.723 0.723 0.721

0.720 0.719 0.717

0.1t1

RECTANGLE

UARE BACK MIRROR SMART TEAR MOM CAR FORWARD

F'RONT

REFLECTION INTELLIGENT RIP DAD AUTOMOBILE BACKWARD CALCULUS CAP

MATH HAT

KIWI ANNUAL FATIGUE UNCLE

FRUIT YEARLY MOTHER

GUMS ELDERLY FAME ONE BOY TRIGGER UMBRELLA YOU FILTHY OUARREL VANISH ZENITH CAI-F ODOR ASSISTANCB

TEETH OLD TRUE TWO GIRL GUN RAIN ME DIRTY FIGHT DISAPPEAR TELEVISION

TALL

SHORT BO'TTOM EGG PEN

AUNT

cow SMELL HELP

TOP YOKE

INK INTOXICATED

DRUNK

I

l8

0.716

OAR

0.7 5 0.7 5 0.7 0.7 0.7 0

PEPPER

0.709 0.709 0.709 0.709 0.709 0.701 0.706 0.706 0.705 0.703 0.703 0.703

ADDICT DIFFICULTY LABOR NOUN ADORABLE BRTTANNICA CABLE DAISY

0.701 0.701 0.701 0.701

0.700

0.699 0.699 0.698 0.697 0.697 0.696 0,696 0.696 0.696 0.695 0.695

CHALK FILTH CANARY FEATHE,RS

BOAT SALT BOARD DIRT BIRD BIRD DRUGS HARD WORK VERB CUTE E,NCYCLOPE,DIA

TELEVISION FLOWER

DISCUSS RACOUET

TALK BALL

TIMID

SHY FLAG FRIE,ND DAY SUBTRACT JOB MINUS STUDENT DRINK

BANNE,R BUDDY NIGHT ADD OCCUPATION PLUS PUPIL BARTENDE,R DOZE HOBO PORTRAIT

THICK NEST CHIMPANZE,E, WAG DE,PUTY ERROR

SLEE,P

BUM PICTURE, THIN BIRD MONKEY

TAIL SHERIFF

MISTAKE

lt9

0.69s 0.695 0.694 0.693 0.692 0.692 0.691

0.691

0.690 0.690 0.689 0.689 0.689 0.689 0.689 0.689 0.689 0.687 0.687 0.686 0.68s 0.683 0.683 0.683 0.682 0.682 0.682 0.682 0.682 0.681

0.680 0.680 0.679 0.619

GLOBE AROMA AVENUE CLOSED CRADLE LOOK WIFE BLACKBOARD DONE HOT ACRE MEATBALLS ANTIOUE ARM INCORRECT LATHER TOUCH YOURS KNOB NOISY FLIGHT ROB BUCKLE DOG JOYOUS ADDICTION CHLORINIl E,TE,RNITY FUEL PEPSI

PLAYTHING ANCIENT ASTROLOGY GALLOP

WORLD SMELL

BABY

0.679 0.678 0.678 0.678 0.678

SEE

0.678

HUSBAND CHALK FINISH COLD LAND SPAGHETTI OLD LEG WRONG

0.677 0.676

STREET OPEN

SOAP FEEL

MINE DOOR LOUD AIRPLANE STEAL BELT CAT HAPPY DRUG POOL FOREVER GAS COLD TOY

OLD STAR HORSE

t20

0.676 0.676 0.67s 0.675 0.673 0.673 0.673 0.673 0.673 0.673 0.672 0.671 0.669 0.669 0.667 0.667 0.667 0.664 0.664 0.664 0.664 0.664 0.664 0.662 0.662 0.662

JET REGULATIONS RICH TWTNKLE

PLANE RULES

MAN TUSK CELEBRATION MOWER

WOMAN ELEPHANT PARTY LAWN NEPHEW ROCK MATH LOW ORANGE BLACK

NIE,CE BOULDER

ALGEBRA HIGH JUICE WHITE COLT RESPIRATION DANDELION I

TRUTHFUL UPSTAIRS CLOCK COMMUNICATE FEUD ATTIRE CREDIT HALO TINY AGONY GHOUL

zoo MALE BLOUSE BRACES BUMPER

POOR STAR

HORSE BREATHE F LOWER

ME HONEST DOWNSTAIRS TIME TALK FIGHT CLOTHES CARD ANGEL SMAt-L PAIN GHOST ANIMAL FEMALE, SHIR'T TEETH CAR

t21

0.662 0.662 0.662 0.662 0.660 0.660

0.6s8 0.658 0.658 0.6s6 0.65s 0.6s5 0.655 0.655 0.654 0.654 0.6s3 0.653 0.6s3 0.653 0.6s2 0.6s2 0.652 0.651 0.651 0.651 0.6s0 0.649 0.649 0.649 0.648 4.647 0.647 0.647

DUPLICATE EOUATION PIGEON ANTLERS COMPANION FAMISHED OUILL ARCTIC CONVERSATION LEAF PINE VERB ERUPT HIJSK REPAIR FORGIVE

HELLO ATOMIC BED OFFENSE PET COMB FRIGHT

PEANUT BUTTER BIG CIRCLE GLANCE HARM OPTION POACH EIGHT ALTER BULLETIN ROBIN

COPY

MATH BIRD DEER FR IEND HI]NGRY PEN COLD

TALK TREE TREE NOUN VOLCANO CORN FIX FORGET GOOD-BYE BOMB SLEEP DEFENSE DOG BRUSH SCARE JELLY

SMALL SOIJARE LOOK HURT CHOICE EGGS

NINE CHANGE BOARD BIRD

t22

0.647 0.647 0.646

0.64s 0.643

0.643 0.643 0.642 0.642 0.642 0.642 0.642 0.641 0.640 0.640 0.639 0.639 0.638 0.638 0.638 0.637 0.636 0.636 0.636 0.635 0.63s 0.635 0.635 0.635 0.63s 0.634 0.633 0.633 0.633

VACATE HERE

TOUCHDOWN DIAMOND FOLLOW HINGE MORE PASTE

LEAVE THERE FOOTBALL RING LEAD DOOR LESS GLUE

WALLET BAIT

MONEY

CROCODILE ESCARGOT

ALLIGATOR SNAIL

LE,SS

MORE TREE SAD BIRD CODE NEGATIVE EAR MYSTERY

FOREST HAPPY PARROT MORSE POSITIVE O-TIPS

UNSOLVED RAYS FROSTING CHEF FLOOD

NAIL RAKE ADDITION

FISH

SLIN

CAKE, COOK WATER

EVEN FLTINK GROOM HONK DEPART

HAMMER LEAVES SUBTRACTION CHURCH ODD FAIL BRIDE HORN LEAVE

ALMIGHTY

GOD

CHAPET-

123

0.633

0.632 0.632 0.630 0.630 0.630 0.630 0.630 0.630 0.629 0.629 0.629 0.629 0.628 0.628 0.628 0.627 0.627 0.627 0.62s 0.624 0.623 0.622 0.622 0.622 0.622 0.621 0.621

0.62r 0.621

0.620 0.620 0.619 0.61 8

AWAKE ELM TOSS

BEETLE ANTLER CLEVER ENTRANCE FAUCET OUIVER CHAPTER DAGGER DILEMMA MEN ROAR ROMANCE NAUSEOTJS

CONCLUSION .IOKE KINETIC ONCE EMPTY DESIRE BUBBLE DUSK GIFT

IMMEDIATE NOVEL PROFIT

ANATOMY CONSTRUCT BREEZE CRACKLE LARGE PLANET

ASLEEP TREE THROW BUG DEER SMART EXIT WATER SHAKE BOOK KNIFE PROBLEM WOMEN LION LOVE SICK ENDING LAUGH ENERGY TWICE FULL

WANT GUM DAWN PRESENT NOW BOOK

MONEY BODY BUILD WIND POP

SMALL EARTH

t24

0.618 0.6 8 0.6 8 0.6 6 0.6 5 0.6 5 0.6 5 0.6 5 0.6 5 0.6 4 0.6 4 0.6 4 0.6 4 0.6 4 0.6 4 a 0.6 -) 0.6 2 0.6 2 0.6 2 0.6 2 0.6 l 0.6 0

0.609 0.609 0.609 0.609 0.608 0.608 0.607 0.607 0.606 0.606 0.606 0.606

WAGER EMPLOYME,NT FOLLOWER TOE VINE, WEARY AFRAID ISOLATED CE,LEBRATE CLIMBER NEGATIVE PRIM RODENT VASE PELICAN

LILY DISLIKE WINNE,R

MUD NEED FAST HANDBAG MOTHER PEDESTRIAN INTERSTATE LUMBE,R MACARONI TRANSPORTATION WOMAN YOIJNG CIRCUS DiFFICULT MITTEN PEN

BET JOB LEADER FOOT GRAPE TIRED SCARE ALONE PARTY MOLINTAIN POSITIVE, PROPE,R

RAT FLOWER BIRD FLOWER HATE I-OSER DIRT

WANT SLOW PURSE FATHER

WALK HIGHWAY

wooD CHEESE CAR

MAN OLD CLOWN HARD GLOVE PENCIL

125

0.606 0.60s 0.605 0.605 0.605 0.605

0.604 0.604 0.603 0.603 0.603 0.603 0.603 0.603 0.602 0.601 0.600 0.600 0.599 0.s99 0.598 0.597 0.s97 0.597 0.596 0.s96 0.596 0.595 0.595 0.s95 0.s94 0.594 0.594 0.s94

PORK PULL

YACHT BLOOM CAFETERIA DOORBELL FLEE WEAPON DTAPER

DOWNSTAIRS GROCERTES

BULLET EMBRACE TALE BLUBBER BOULEVARD TNSIDE

JAWS POWERFUL REPUBLICAN ATOM FOLINTAIN TEST TUBE CHEERFUL CUB FLU ESTEEM MUSTARD BRIEF EASY HOUSE DOWN TUG ACTOR

PIG

PUSH

BOAT FLOWER FOOD RING RUN GUN

0.594 0.s94 0.594 0.s93 0.593

0.592 0.592 0.s92

BABY UPSTAIRS

0.591

FOOD GUN HUG STORY FAT STREET OUTSIDE SHARK STRONG

0.s90 0.589 0.589 0.s89 0.588 0.587 0.587 0.587 0.587 0.587 0.s86 0.586 0.s86 0.585 0.585 0.585 0.584 0.s84 0.s82 0.582 0.582 0.581 0.580 0.578

DEMOCRAT BOM B

WATER BARY HAPPY BEAR SICK SELF KETCHUP SHORT HARD HOME UP

PULL ACTRESS

126

0.591

APOLOGY HEAD & SHOULDERS TICKLE TILE

YELL FULL PHOTO PURCHASE COD GROWN-UPS NOW COME FLESH

KITE LAST PUN URANUS ZEST

LIME BTJYE,R

AFTER BRT]NETTE, TNTOXICATE PEEL FRIGID

BARK OUAIL DUNE ENTER NUMEROUS JOB ABDOMEN INSTRUCTOR NINE

SORRY SHAMPOO LAUGH FLOOR SCREAM EMPTY PICTURE FISH

0.578 0.578 0.578 0.578 0.578 0.577 0.577 0.577 0.576

ADULTS LATER

0.576 0.576

GO SKIN

0.57 5

BI]Y

FLY FIRST JOKE

PI,ANET SOAP

LEMON SELLER BEFORE BLONDE DRUNK ORANGE COLD DOG RIRD SAND EXIT MANY WORK STOMACH TEACHER TEN

127

0.575 0.575 0.575 0.575 0.575

0.s74 0.573 0.572 0.571 0.571

0.571 0.571

0.570 0.569 0.s69 0.568 0.568 0.s68 0.567 0.566 0.s66 0.566

PROTON RAPID ADORE

BLEND INFINITY LOOSE

ABOVE BOUNCE HARD JACKET MURDER GUM THIN CONE CRAFTS HERD INDOORS CARDBOARD DOCK FRANKENSTEIN VELOCITY BULL ODD BLACK RELY WEAK HELIUM MONOPOLY MTNE AT-IVE CORRECT FRACTURE

LEND PUCK

NEUTRON FAST LOVE MIX FOREVER TIGHT BELOW BALL SOFT COAT

KILL CHE,W

FAT ICE CREAM ART

cow OUTDOORS BOX BOAT MONSTER SPEED

cow EVEN WHITE DEPEND STRONG

BALLOON GAME YOURS DEAD WRONG BREAK BORROW HOCKEY

t28

0.566 0.s66 0.56s 0.565 0.565 0.565 0.s64 0.564 0.564 0.s64 0.564 0.s63 0.563 0.s62 0.562 0.s62 0.561

0.559 0.559 0.559 0.559 0.558 0.558 0.557 0.557 0.s57 0.556 0.556 0.555 0.554 0.554 0.554 0.5s4 0.554

DEMON GRANDPA LENS FEMALE GLOVE LOAF DINE DROWSY LEAGUE PAIN COMEDIAN DISCUSSION DRAPES ARMS GLAD FINISHED HUE NETWORK NURSE PERCH PRINCESS RECLTNER BUTCHER CAREER

TRIGONOMETRY WATT RIFLE CLARIFY PEDAL TUMBLE CAVITY FAIRY FILM INCOME

DEVII, GRANDMA GLASSES MALE,

HAND BREAI) EAT SLEEP

BASEBALL HURT FUNNY

TALK CT]RTAINS LEGS HAPPY DONE COLOR TELEVISION DOCTOR BIRD PRINCE,

CHAIR MEAT JOB

MATH BULB GI]N CLEAR BIKE FALL TOOTH TALE MOVIE MONEY

t29

0.553 0.553 0.553

0.552 0.552 0.552 0.551 0.551 0.551 0.551

0.550 0.550 0.550 0.549 0.549 0.547 0.547 0.s4'7

0.547 0.547 0.547 0.547

0.546 0.546 0.546 0.s46 0.s45

0.544 0.s44 0.544 0.543 0.543 0.543 0.543

MOIST MOUSE

WET CAT

NAVY OI]TFIT

ARMY

OVER BTJDGET

LEGS POVERTY RAGE

VENT ANSWER DEMOLISH GO MATTRESS CROW

ETERNAL GRANDMA MINOR CORPSE

TAXI BEST GUARDIAN LONG LOTTERY DINNER NEAR COP

DONKEY FAWN GEOMETRY CONDOM DOLLARS GRASP

HOLLER

CLOTHES T]NDER MONEY ARMS POOR ANGER

0.s43 0.543 0.s43 0.543 0.542 0.54 t 0.s41 0.541

0.541

AIR

0.541

OUESTION DESTROY

0.540

STOP

BED BIRD FOREVER GRANDPA MAJOR DEAD CAB WORST PARENT SHORT MONEY SUPPER FAR POLICE ASS

DEER

MATH SEX

MONEY HOLD YELL

130

0.s39 0.s39 0.s39 0.s38 0.538 0.s38 0.538 0.531 0.537 0.536 0.s36 0.536 0.s36 0.535 0.535 0.534 0.534 0.s34 0.s34 0.s33 0.533 0.533 0.s33

OUNCE PUBLISHER TOES WHOM TRUE ARROW

HAWK INSTRUCT TOWN BRANCH GRAMMAR RE,CALL

ATLAS CALORIES CHECKBOOK CLEAN DEPRESSED DIME FORGET TOMORROW ASTRONAUT

POUND BOOK

0.s33 0.s33

FE,E,T

0.s32

wHo

0.531 0.531

FALSE BOW BIRD TEACH CITY TRE,E

ENGLISH REMEMBER MAP FAT MONEY DIRTY SAD

NICKEL REME,MBER

TODAY SPACE

AUTUMN

FALL

CONCLUDE DUMB TRASH CAVERN NICOTINE, VOLCANO CRESCENT DONOR

E,ND

FAIRYTALE DE,CRE,ASE

INSANE, LE,AP

STUPID GARBAGE CAVE CIGARETTE E,RUPT

MOON BLOOD STORY INCREASE CRAZY JUMP

131

0.530 0.s29 0.529 0.529 0.528 0.528 0.s28 0.s21 0.527 0.s21 0.527 0.s27 0.527 0.527 0.527 0.s26 0.526 0.526 0.526 0.s26 0.525 0.525 0.s25 0.524 0.524 0.524 0.523 0.s23 0.522

BT]ZZ END HANGER HURT MARSH ANGRY BACK

BRILLIANT DICTIONARY FLINERAL MINUS COMPASS GARAGE

BALLOT PIJB

THIGH BACON CORK FREEZER FUDGE

KNIGHT MINK MEDICAL REMINISCENCE ARGUMENT DRAFT FLEET PRECISE REFRAIN REPTILE REOUEST

WEAR CAT CAUTIOUS

BEE BEGIN CLOTHES

PAIN SWAMP MAD FRONT SMART WORDS DEATH PLUS DIRECTION

CAR VOTE BEER LEG E,GGS

WINE COLD CHOCOLATE ARMOR COAT DOCTOR REMEMBER FIGHT BEER SHIPS

EXACT STOP

SNAKE ASK CLOTHES DOG

CAREFUL

t32

0.521

0.s2 0.52 0.s2 0.52 0.s20 0.s20 0.520 0.520 0.s20 0.520 0.5 9 0.5 9 0.5 8 0.5 8 0.5 8 0.5 7 0.5 7 0.5 7 0.5 7 0.5 7 0.5 7 0.5 6 0.5 6 0.5 4 0.5 4 0.5 4 0.5 4 0.5 4 0.5 4 0.5 4 0.5 4 0.5 J 0.5 J-

JEALOI]SY DRUNK STILL AREA

0.513

PROFE,SSOR

FIRE TEACHE,R

0.51 0.51

ARCHITE,CTURE, GOODBYE

BUILDING HELLO

IMPLODE POCKETBOOK

VENOM LOSER ACHE

EXPLODE, PIJRSE RICH BASE,BALL POISON WINNER PAIN

ACTRESS ARGUE,

ACTOR FIGHT

BOTTOM CIGAR DEMOCRAT EARLY ERASER FREOUENT HAMPER HUMILIATE NEIGHBOR OPENING

TOP SMOKE

0.510 0.510 0.510 0.510 0.510 0.510 0.s09 0.508 0.507 0.507 0.507 0.507 0.507 0.s07 0.507 0.s07 0.507 0.507 0.507 0.s07 0.s07 0.507 0.507 0.s06 0.504 0.504 0.504 0.s03

ENVY INEBRIATED MOTIONLESS REGION FLAME

POOR UMPIRE

REFLE,CT

VOCABULARY LISTEN BROOM RACKET WORST BELOW

REPUBLICAN LATE PENCIL OFTEN CLOTHES EMBARRASS FRIEND CLOSING MIRROR WORDS HEAR SWEE,P

TENNIS BEST ABOVE

133

0.5 13

0.513

0.512 1

1

CREATOR

DAM DRENCH FAR GIRLS LEG THANKSGIVING TIN TODAY UNTRUE VICTOR WHISKERS ARIGHT

GOD WATER WET NEAR BOYS ARM TURKEY CAN TOMORROW FALSE WINNER BEARD

ARMY

OKAY NAVY

BOYS CONSIDE,R

THINK

DRIVEWAY EVACUATE FLAVOR FORWARD KILOME,TE,R ME

MINER MIST OBSERVE PAIL RAILROAD TINITED

GIRLS CAR

LEAVE TASTE BACKWARD MILE YOU COAL FOG

WATCH BUCKET TRAIN STATES

134

0.503 0.503 0.s03 0.503 0.s03

0.s03 0.503 0.503 0.s03 0.503 0.s03 0.s03 0.500 0.500 0.s00 0.500 0.s00 0.500 0.500 0.s00 0.s00 0.s00 0.500 0.s00 0.500 0.500 0.500 0.500

Sonrso sv Cus ABDOMEN ABOVE ACITE ACRE

ACTOR ACTRESS

ADD ADDICT ADDICTION ADDITION ADORABLE ADORE AFFECTION AFRAID AFTER AGONY AIRPORT ALGEBRA ALIVE ALMIGHTY ALTER ANATOMY ANCIENT ANGRY ANNUAL ANSWER

STOMACH BELOW PAIN

0.566

LAND

0.67s 0.578 0.507 0.685

ACTRESS ACTOR SUBTRACT DRUGS DITUG

St]BTRACTION CUTE LOVE LOVE SCARE BEFORE,

PAIN PLANE MATH DEAD GOD CHANGE

ANTIOTJE,

BODY OLD MAD YEARLY OUESTION OLD

ANTLER ANTLERS APOLOGY ARCHITE,CTURE ARCTIC

DEER SORRY BUILDING COLD

DETIR

13s

0.564 0.507

0.691

0.664 0.621 0.689 0.565 0.800 0.604 0.571 0.649 0.7

s]

0.655

0.554 0.61 8

0.633 0.607 0.662

0.520 0.701 0.540 0.613 0.615 0.645 0.578 0.510 0.642

ARGUE ARGUMENT ARIGHT ARITHMETIC ARM ARMS

LEG LEGS

ARMY AROMA

NAVY SMEI-L

ARROW ASSIST ASSIS'TANCE ASTROLOGY ASTRONAUT ASTRONOMY ATLAS ATOM ATOMIC] ATTEMPT ATTIRE AUNT AT]TO AUTOMOBILE

BOW HELP HELP STAR SPACE STAR MAP BOMB BOMB TRY CLO'fHES

AUTUMN AVE,NUE

AWAKE BACK BACKWARD BACON BAD BAIT BALLOT BANK BANNER BARK

FIGHT FIGHT

0.507

OKAY MATH

0.500 0.757 0.673 0.549 0.500 0.678 0.530 0.842 0.696 0.662 0.526 0.753 0.527 0.586 0.638 0.749

0.s 14

0.651

CAR CAR FALISTREET ASLEEP FRONT FORWARD

0.746 0.184 0.709 0.s26 0.678 0.618 0.s20 0.709

TJNCLE

EGGS

0.5t7

GOOD FISH

0.750 0.629

VOTE,

0.51 8

MONEY

0.799 0.687 0.s69

F'LAG DOG

136

BARTENDER BASHFUL BED BEETLE BEFORE BEGINNING BELOW BEST BIG

BLACK BLACKBOARD BLAZE BLEND BLOOM BLOUSE,

BLUBBER BLUEJAY BOTTOM BOULDER BOULEVARD BOLINCE BOUOUET BOY BOYS BRACES BRANCH BRAWL BREEZE BRIDE, BRIEF

BRILLIANT BRITANNICA BROOM BROTH

DRINK ST{Y

SLEEP BUG AFTER END

ABOVE WORST SMALL WHITE CHALK FIRE

MIX FLOWER SHIRT FAT BIRD TOP ROCK STREE,T

RALL FLOWERS GIRL GIRLS TEETH TRE,E

FIGHT WIND GROOM SHORT SMART ENCYCLOPEDIA SWEEP SOUP

r37

0.682 0.730 0.638

0.616 0.859 0.7 47 0.503 0.536 0.635 0.5s7 0.676 0.808 0.565 0.s93 0.647 0.588 0.743 0.507 0.656 0.587 0.s64 0.828 0.701

0.500 0.647

0.s28 0.800 0.606 0.865 0.s82 0.,s20

0.689 0.504 0.806

BROTHER BRLINETTE BUBBLE BUCKLE BUDDY BUDCET BULB BULL BULLET BULLETIN BUMBLE BUMPER BT]NNY BUTCHIlR BUYER BUZZ CABLE CABOOSE CAFETERIA CALCULUS CALF CALORIE,S CANARY CAP CARDBOARD CAREER CASH CASHEW CAT CATHEDRAL CAUTIOUS CAVERN

CAVITY CELEBRATE

SISTER BLONDE, GT]M

BELT FRIE,ND

MONEY LIGHT

cow GUN BOARD BEE CAR RABBIT MEAT SELLER BEE TELEVISION TRAIN F'OOD

MATH

cow FAT BIRD HAT BOX .IOB

MONEY NUT DOG CHURCH CAREFTJL CAVE TOOTH PARTY

r38

0.746 0.571 0.609 0.667 0.687 0.541 0.788 0.558 0.589 0.633 0.793 0.647 0.73s 0.546 0.572

CELEBRATION CHALK CHAPEL CHAPTER CHECKBOOK CHEDDAR CHEERFUL

0.521

CTRCLE

0.689 0.721 0.s93 0.709 0.697 0.527 0.692 0.709 0.5s9 0.s46 0.814 0.74s

CIRCUS

0.5 13

0.717 0.513

0.525 0.543 0.603

CHEF

CHILL CHIMPANZEE, CHIRP CHLORINE CHOWDER CTGAR

CINEMA

CLARIFY CLEAN CLEVER CLIMBE,R CLOCK CLOROX CLOSED

PARTY BOARD CHURCH BOOK MONEY CHEESE HAPPY COOK COLD MONKEY BIRD POOL

CLAM SMOKE MOVIE SOUARE CLOWN CLEAR DIRTY SMART

MOUNTAIN TIME BLEACH OPE,N

COB COBRA COBWEB COD COLT COMB COME COME,DIAN

CORN SNAKE SPIDER FISH HORSE BRUSH GO FUNNY

COMMTINICATE COMPANION

TALK FRIEND

t39

0.658

0.694 0.621 0.614 0.527 0.922 0.585 0.622 0.732 0.680 0.784 0.664 0.75s 0.507 0.793 0.63s 0.594 0.544 0.527 0.61 5

0.603 0.652 0.787 0.678 0.882 0.831

0.849

0.576 0.654 0.636 0.575 0.550 0.6s2 0.643

COMPASS COMPREHEND CONCLI]DE CONCLUSION CONDOM CONE CONSIDER CONSTRUCT CONVENT CONVERSATION

DIRECTION T]NDERSTAND END ENDING SEX ICE CREAM

THINK BUILD NUN TALK

0.5 19

0.829 0.526 0.612 0.533 0.562 0.s00 0.607 0.7 47 0.642 0.534

COP

POLICE

CORK CORPSE CORRECT CRACKLE CRADLE CRAFTS CRAYOLA CREATOR CREDIT CRESCENT CRIB CROCODILE CROW CUB DAD DAGGER DAISY

WINE DEAD WRONG

0.5i7

POP

0.606 0.678 0.562 0.780 0.s03

DAM DANDELION DASHBOARD DAY DECREASE DEMOCRAT

BABY ART CRAYON GOD CARD MOON BABY ALLIGATOR BIRD BEAR MOM KNIFE FLOWER WATER FLOWER CAR NIGHT INCREASE REPUBLICAN

t40

0.537 0.554

0.651

0.s24 0.842 0.629 0.s38 0.585 0.710

0.6t4 0.689 0.503 0.6s3

0.740 0.81 9

0.523 0.507

DEMOLISH DEMON DENIM DEPART DEPRESSED DEPUTY DESIRE DESPISE

DIAMOND DIAPER DICTIONARY DIFFICULT DIFFICULTY DIGIT DILEMMA DILL DIME, DINF, DINNER DISCUSS DISCUSSION

DISLIKE DOCK DOE DOG DOLLARS DONE DONKEY DONOR DOORBELL DOWN DOWNSTAIRS DOZE DRAFT

DESTROY

DEVIL JEANS

LEAVE SAD SHE,RIFF

WANT HATE RING BABY WORDS HARD HARD NTJMBER PROBLEM

PICKLE NICKEL EAT SUPPER

TALK TALK HATE BOAT DE,ER

CAT MONEY FINISH ASS BLOOD RING UP UPSTAIRS SLEEP BEER

141

0.539 0.553 0.815 0.619 0.527 0.679

0.610 0.797 0.630 0.s91 0.520 0.s94 0.691 0.720 0.614 0.869 0.527 0.551

0.535 0.689 0.550 0.600 0.559

0.719 0.667 0.533 0.616 0.s34 0.s24 0.592 0.581 0.591

0.682 0.514

DRAPES DRENCH

DRIVEWAY DROWSY DUMB

DI]NE DUPLICATE DUSK

EARLY EAST EASY EIGHT ELDERLY ELM EMBRACE EMPLOYMENT EMPTY END ENTER ENTRANCE ENVY EOUATION ERASER ERROR ERUPT ESCARGOT ESTEEM ETERNAL ETERNITY EVACUATE EVEN EXAM EXHAUSTED FAIRY

CURTAINS WET CAR

0.550 0.503

FAIRYTALE FAME

0.s00

SLEEP STUPID SAND COPY

0.551

FAMISHE,D FAR FAST FATIGUE

DAWN LATE WEST HARD NINE OLD TREE HUG JOB FULL BEGTN

EXIT EXIT JEALOI]SY MATH PENCIL MISTAKE VOLCANO SNAIL SELF FOREVER FOREVER

LEAVE ODD TEST TIRE,D

TALE

142

0.s26 0.s68 0.647 0.609 0.507 0.886 0.s82 0.634 0.703 0.6r8 0.s89 0.605 0.611

0.521 0.568 0.615

FAUCE,T

FAWN FEATHERS FEMALE FEUD FIBER FILM FILTH FILTHY FINISHED FLAME FLAVOR FLEE,

STORY TRUE HUNGRY NEAR SLOW MOTHER WATER DE,ER

BIRD MALE FIGHT LIE MOVIE DIRT DIRTY DONE FIRE TASTE RUN

FLEET FLESH FLIGHT FLIPPER FLOOD FLU

SHIPS

FLUNK FOLLOW FOLLOWER

FAIL LEAD LEADER TREE REMEMBE,R FORGET

0.178 0.895

FOREST FORGET FORGIVE FORWARD FOUND

0.s43

FOUNTAIN

0.5 13

0.647

0.507 0.679 0.641 0.629 0.584 0.538 0.664 0.500 0.621

SKIN AIRPLANE DOLPHIN WATER SICK

BACKWARD LOST WATER

t43

o.s24 0.703 0.643 0.s03 0.s98 0.706 0.6r5 0.s34 0.692 0.552 0.6s2 0.816 0.543 0.693 0.700 0.547 0.51 I 0.s00 0.s92 0.514 0.575 0.669 0.797 0.622 0.s85 0.621 0.630 0.605 0.62u 0.521 0.639 0.s00 0.813 0.s86

FRACTURE FRAME FRANKENSTEIN FREEZER FREOUENT FRIGHT FRIGHTEN ED FRIGID FRONT FROSTING FUDGE FUEL FULL FTIND FUNERAL GALLOP GARAGE GEOMETRY GHOUL GIFT GIGGLE GIRL GIRLS GLACIER GLAD GLANCE GLOBE GLOVE GO GOOD GOODBYE

BREAK PICTURE MONSTER COLD OFTEN

GRAMMAR GRANDMA

ENGLISH GRANDPA GRANDMA

GRANDPA

SCARE SCARED COLD

BACK CAKE CHOCOLATE GAS EMPTY

MONEY DEATH HORSE CAR

MATH GHOST PRESENT LAUGH BOY BOYS ICE HAPPY LOOK WORLD HAND STOP

BAD HELLO

144

0.554

GR ASP

HOLD

0.81 I

GRTZZLY GROCERIES GROOM GROWN-UPS GUARDIAN GUM GUMS HALO

BE,AR

0.559 0.511 0.507 0.636

0.784 0.570 0.715 0.623 0.517 0.664 0.577 0.730 0.s20 0.662 0.519 0.534 0.649 0.609 0.780 0.738 0.s03 0.723 0.s49 0.635 0.679 0.552 0.539 0.758 0.510 0.528 0.538 0.553

HALT HAMME,R HAMPE,R HANDBAG HANGE,R HAPPY HARD HARE

FOOD BRIDE

ADULTS PARENT CHEW TEETH ANGE,L STOP

NAIL

HELIUM

CLOTHES PURSE CLOTHES SAD SOFT RABBIT I HURT BIRD SHE SHAMPOO BALLOON

HE,LLO HE,RD

cow

Hanu HAWK HE,

HE,AD & SHOULDERS

HERE,

HIGH HILARIOUS HIM HINGE HIVE HOBO HOG HOLLE,R

HONK

cooD-BYE, THERE LOW FUNNY HER DOOR BEE,

BUM PIG YE,LL HORN

r45

0.533 0.723 0.590

0.620 0.576 0.536 0.563 0.705 0.651

0.906 0.800 0.507 0.597 0.521 0.628 0.s64 0.732 0.63s 0.529 0.776 0.578 0.556 10.63e I o.soz 0.632 0.655 0.811 0.811

0.630

0.809 0.682 0.741 0.533 0.620

HOT HOUND HOUSE HI]E

HUMILIATE HURT HUSBAND HUSK I

ICING

ILL ILLNESS

IMMEDIATE IMPLODE ]N INCOME INCORRECT INDOORS INEBRIATED INEXPENSIVE INFANT

INFINITY INK INSANE INSIDE INSTRUCT INSTRUCTOR TNTELLIGENT INTERSTATE INTOXICATE TNTOXICATED ISOLATED

ITC}I JACKET

COLD DOG HOME COLOR EMBARRASS PAIN WIFE CORN ME CAKE, SICK SICK NOW EXPLODE OUT

0.676 0.795 0.582 0.s47 0.s07 0.521 0.88s 0.640 0.653 0.812 0.824 0.723 0.609 0.510 0.940 0.543 0.673 0.561 0.513 0.750 0.746

JAWS JET JIGSAW JOB .IOG

JOKE JOYOUS JUICE KE,G

KILOMETER KINETIC KING KITE KITTEN KIWI KNIGHT KNOB LABOR LAMP LARGE LAST LATHER LEAF LEAGUE LEAP I,EFT LEG

MONEY WRONG OUTDOORS DRUNK CHEAP BABY FOREVER

0.56-5

PEN

0.695

CRAZY OUTSIDE TEACH TEACHtrR SMART HIGHWAY DRLINK DRUNK

0.s23 0.587 0.529 0.566 0.711 0.596

ALONE, SCRATCH COAT

0.848

LLY

0.564

LIME

t46

LEGS

0.571

LEND LENS

0.695

LESS

0.604

LIBRARY

SHARK PLANE PUZZLE WORK RUN LAUGH TIAPPY ORANGE BEER

MILE ENERGY OUEEN FLY CAT F-RUIT

ARMOR DOOR WORK LIGHT SMALL FIRST SOAP TREE

BASEBALL JUMP RIGHT ARM ARMS BORROW GLASSE,S

MORE BOOK FLOWER I-E,MON

147

0.587

o.662 0.836 0.567 0.783 0.612 0.667 0.655 0.88s 0.500

0.6t2 0.772

0.515 0.789 0.709 0.517 0.672 0.690 0.769 0.606 0.575 0.673 0.642 0.5s

1

0.522 0.939 0.503 0.,s41

0.554 0.553 0.629 0.794 0.601

0.s73

LISTEN LOAF LOBE I-ONG LOOK

HEAR BREAD EAR SHORT

LOOSE LOSER LOST

TIGHT

LOTTERY LOW LUMBER MACARONI MALE MAN MARE MARGARINE MARROW MARSH MATTRESS ME MEATBALLS MEDICAL MEN MEOW MIGRAINE

MONEY HIGH

MTNE

MINER MINK MINOR MINUS MIST MITTEN MOIST MOM

SEE

WTNNER FOUND

wooD CHEESE

FEMALE WOMAN HORSE BUTTER BONE SWAMP BED YOIJ SPAGHETTI DOCTOR WOMEN

CAT HEADACHE YOURS COAL COAT MAJOR PLUS FOG

GLOVE WET DAD

148

Tr\D.\I V

0.506

0.ss2 0.824 0.s36 0.67u 0.565 0.508 0.747 0.536 0.777 0.596 0.s96 0.648 0.660 0.740 0.856 0.777 0.521 0.539 0.s00 0.675 0.516

MOO

MOTHER LVI\-,, LJ

crD JL

MUSTARD NATL NAP Er\I

Tq

1\ aa

l-rar\

NE,ED

NEGATIVE, rrn r/ lI IDrlP

NEST NETWORK \l/

0.6t4

NICOTINE

0.839 0.803 0.555

NIGHT

0.500 0.517 0.s38 0.s20 0.500 0.594 0.s43 0.759

STTLL

0.s 13

CAT

0.543 0.658 0.599

A

\IN{

NIDT I/T T I

Nfr tl-)

L\

F.A I HI,K

0.960 0.630 621 0.597

I

N/Tf)\VFR

I TC

cow ar\ntr

MORSE,

I\-'

0.556

LESS

f,a\() fl

IV

GAME

I\ lr'

NO NOISY NORTH NOUN NOVEL NUME,ROUS NURSE,

I.trT(-I{I ]P HAMMh,K SLEE,P

SICK ARMY FAR

WANT DN C,ITT\/tr

FRIEND R,TR D T'tr,I,EVISION OLD r-I(-l-AR trTTF NEPHEW

nav TE,N

vtrq

0.564 0.584 0.622 0.730 0.613 0.543 0.s35 0.599 0.603 0.507 0.681

0.541

0.72s 0.s75 0.658 0.686 0.566 0.76

I OIID

0.671

S0IJIH

0.172 0.690 0.608

Vh,RB

BOOK LATER N/ ANY DOC I UK

149

0.516 0.568 0.54',7

OAK OAR OBSERVE OCCUPATION ODD ODOR OFF OFFENSE OMELE,T ON ONCE ONE OPEN OPENER OPENING OPTION ORCHID OTINCE OUT

OUTFIT OVER PAIL PAIN PAL PANE PARROT PASTE PEANUT BUTTER

PEDAL PEDESTRIAN PEEL

PELICAN PEN PEPPER

CLOSE CAN CLOSING CHOICE FLOWER POUND IN CLOTHE,S UNDER BUCKET

0.795 0.695 0.s00 0.683 0.558 0.697 0.897 0.638 0.836 0.tt78 0.612 0.703 0.723 0.768 0.507 0.63s 0.730 0.s33 0.804 0.s43 0.s42 0.s00

HTJRT

0.55

FRIEND

0.772 0.833

TREE

BOAT WATCH .IOB EVE,N

SMELL ON DEFENSE E,GGS

OFF

TWICE TWO

wrNDow

PERCH PERSPIRE, PET PETALS PHOTO PHYSICIAN PIGEON

PILOT

PLUS POACH POCKETBOOK PONY POOR

PORK PORTRAIT

PRTNCESS

0.591 0.571

PROFESSOR PROFIT PROTON PUB PUBLISHER

0.602 0.s94 0.695

I 0.849 0.664 0.547 0.837 0.631 0.748 0.577 0.804 0.646

TRE,E,

0.642 0.774 0.606

GUN E,ARTH BLOOD TOY MINUS

PLASMA PLAYTHING

0.s44

WALK

PtzzA COLD BIRD SWEAT DOG FLOWER PICTURE DOCTOR BIRD PLANE

PINE PISTOL PLANE,T

0.630 0.636

0.628

150

PE,PSI

POSITIVE POSTAGE POVERTY POWERFUL PRECISE PRIM

r

BIRD GLUE JELLY BIKE ORANGE BIRD PENCIL SALT

PEPPERONI

EGGS

I I

PURSE HORSE, RICH PIG PICTURE

NEGATIVE STAMP POOR STRONG E,XAC]T

PROPER PRINCE TE,ACHER

MONEY NE,UTRON BE,ER

BOOK

l5l

0.731

0.81 8

0.664 0.683 0.635 0.s 10

0.752

0.510 0.594 0.682 0.627 0.740 0.541

0.587 0.514 0.603 0.547

0.slI 0.608 0.566 0.518 0.533

PUCK PULL PUN PUPIL PI]PPY PURCHASE O-TIPS OUACK

OUAIL OUARREL OUEEN OUENCH OUESTION

OUILL OUIVER OUIZ RACKET RACOUET RAGE RAILROAD RAKE RAPID RAYS RECALL RECLTNER RECTANGLE REFLECT REFLECTION REFRAIN REGION REGULATIONS RELY REMAIN RE,MINISCENCE

ANGER TRAIN LEAVES FAST SUN REMEMBER CHAIR SOUARE MIRROR MIRROR

0.554 0.s94 0.575 0.683 0.752 0.577 0.627 0.8r8 0.569 0.699 0.730 0.815 0.767 0.643 0.61s 0.792 0.504 0.689 0.541 0.500 0.622 0.566 0.624 0.528 0.547 0.716 0.507 0.715

STOP

0.s 14

AREA

0.5t2

RTJLES

0.662 0.557

HOCKEY PI]SH JOKE STUDE,NT DOG BUY EAR DIJCK BIRD FIGHT KING THTRST

ANSWER PEN

SHAKE TEST TENNIS

BALL

DEPEND STAY REMEMBER

152

0.784 0.516

REPAIR RE,PLY

REPTILE RE,PUBLICAN REOUE,ST RESPIRATTON RICH RIFLE RIP ROAR ROB ROBIN RODENT ROMANCE, ROW RYE

FIX ANSWER SNAKE DE,MOCRAT ASK BREATHE POOR GUN

TANGERTNE TAPIOCA

TARDY TAXI TE,LLER TEPE,E

TEST TUBE TEXT THANKSGIVING THERE

THICK THIGH THIN THREAD THRONE,

TEAR LION STEAL BIRD RAT

0.71 I

LOVE,

0.614 0.739 0.791 0.756

BOAT BREAD CHAIR STORY SHORT ORANGE PUDDINC

TABLE TALE TALL

I

0.640 0.745 0.514 0.587 0.514 0.6s4 0.662 0.545

L41E CAB BANK INDIAN BABY BOOK TURKEY

0.614 0.669 0.633 0.603

0.589

0.696 0.133 0.831 0.899 0.s37 0.8

t4

0.727 0.586 0.881

THIN

0.s03 0.743 0.682

LE,G

0.5 18

FAT NEEDLE KING

0.s63 0.758

HE,RE

t53

0.759

THT]NDER TICKLE TILE

TIMID TIN TINY TOAD TODAY TOE TOES TOMORROW TOP TOSS TOUCH TOIJCHDOWN

TOWN TRANSPORTATION TRASH TRIBE TRIGGER TRIGONOMETRY TROUSERS TROUT

TRUTHFUL TUG TULIP TUMBLE TUNA TUSK TWINKLE UMBRELLA UMPIRE UNCLE UNCOOKED

LIGHTNING LAUGH FLOOR SHY CAN SMALL FROG TOMORROW FOOT FEET

TODAY BOTTOM THROW FEEL FOOTBALL CITY CAR GARBAGE TNDIAN GUN MATH PANTS F'ISH

HONEST PULL F'LOWER

FALL FISH

EI,EPHANT STAR RAIN BASEBALL ATINT RAW

t54

0.81 8

0.578 0.578

0.689 0.s03 0.650 0.828 0.s03 0.60s 0.532 0.527 0.696 0.61 8

0.673 0.632

0.529 0.595 0.s26 0.756 0.701 0.s46 0.846 0.913 0.653 0.580 0.782 0.544 0.808 0.660 0.662 0.701

0.510 0.706 0.717

T]NHAPPY UNITED TJNSOLVED UNTRUE UP UPSTAIRS URANUS VACATE VANISH VASE VEHICLE, VELOCITY VENOM VENT VERB VICTOR

VINE VOCABULARY VOLCANO WAG WAGER WALLE,T WARDROBE WASHER

SAD STATES MYSTE,RY FALSE DOWN DOWNSTAIRS PLANET LEAVE DISAPPEAR FLOWER CAR SPEED POISON

AIR NOUN WINNER GRAPE,

WORDS ERUPT

TAIL BET

0.738

0.500 0.625 0.s03 0.845 0.6s3 0.575 0.633 0.699 0.603 0.740 0.559 0.s09 0.541 0.642 0.503 0.60s 0.507 0.525 0.680 0.606 0.630 0.780 0.755 0.546

WATT

MONEY CLOTHES DRYER BULB

WE,AK WEAPON WE,AR

STRONG GUN CLOTHES

0.55',7

WEARY WER

TIRED

0.605 0.845 0.917 0.780 0.503

WEEP WEST WHISKERS

WHITE

SPIDER CRY E,AST

BEARD BLACK

155

0.s92 0.s 14

0.6s5

WHOM WICK WIFE WIN WINNER WOMAN WORST WRONG XEROX YACHT YELL YES YOKE YOLK YOU YOUNG YOURS ZENITFi

wHo

0.531

CANDLE HI]SBAND

0.841

LOSE LOSER

0.7 57

MAN BEST

RIGHT COPY

BOAT SCREAM NO

0.600 0.595

0.504 0.723 0.763 0.594 0.,s78

ZEST

ME OLD MINE TELEVISION SOAP

zoo

ANIMAL

0.830 0.696 0.839 0.701 0.59s 0.673 0.698 0.574 0.649

TRUE,

FALSIl

0.531

EGG EGG

SonrEo gy TaR

0.677

BELOW ACTRESS ACTOR GROWN-UPS BEFORE VENT FLIGHT CROCODILE ISOLATED HALO RAGE

ABOVE ACTOR

zoo

ANIMAL

OUESTION REPLY REGION

ANSWER ANSWER ARE,A ARM ARMOR ARMS

LE,G

KNIGHT LEGS

ACTRESS

ADULTS AFTER AIR AIRPLANE, ALLIGATOR ALONE ANGEL ANGER

REOUE,ST

ARMY ART ASK

AWAKE DONKEY

ASLEEP ASS

TJNCLE

AUNT BABY BABY BABY BABY BABY BACK BACKWARD BAD

NAVY CRAFTS

CRADLE CRIB DIAPER INFANT TEST TUBE, FRONT FORWARD GOOD 156

GET

t57

0.503

0.507 0.578 0.576 0.859

0.54i 0.669

0.629 0.604 0.651

0.s41

0.649 0.761 0.745 0.512 0.s03 0.51 7

0.541

0.s43 0.562 0.514 0.6r8 0.534 0.706 0.678 0.842 0.s91 0.746 0.s86 0.715 0.500 0.758

BOUNCE RACQUE,T

HELIUM TELLER LEAGUE UMPIRE CUB GRIZZLY WHISKERS MATTRESS BUMBLE, BUZZ HIVE DRAFT KEG PUB AFTER END ABOVE BUCKLE WORST WAGER PEDAL BLTIE.IAY CANARY CHIRP CROW FEATHERS

HAWK NEST PARROT PELICAN PERCH PIGE,ON

BALL BAI,L BALLOON BANK BASEBALL BASE,BALL BEAR BEAR BEARD BED BEE BE,E

BEE BEER REER BEER BE,FORE BEGIN BELOW

0.564 0.689

0.5s6 0.814 0.551 0.510 0.s85 0.723 0.s03 0.s39 0.793 0.s21 0.809 0.514 0.885 0.518 0.571 0.52 r

0.564

BELT

0.667

BEST BET B KE B RD B RD B RD B RD B RD B RD BIRT) BIRD BIRD BIRD BIRD

0.50,1

t58

0.606

AIL ROB]N WHITE CLOROX BRTINETTE DONOR PLASMA BULLETTN CHALK DOCK OAR ROW

YACHT ANATOMY ATOM ATOMIC MARROW CHAPTER LIBRARY NOVEL PUBLISHER TEXT

0.743 0.692

LE,ND TOP ARROW

0.784 0.538 0.692 0.s29 0.68 t 0.628 0.602 0.s47 0.646

CARDBOARD GIRL GIRLS LOAF RYE FRACTURE RESPIRATION GROOM COMR

0.544

BIRD BIRI) BLACK BLEACH BI,ONDE BLOOD BLOOD BOARD BOARD BOAT BOAT BOAT BOAT BODY BOMB BOMB BONE BOOK BOOK BOOK BOOK BOOK BORROW BOTTOM BOW BOX BOY BOYS BREAD BREAD

BREAK BREATHE BRIDE BRUSH r59

0.569 0.633 0.655

0.787 0.571

0.524 0.818 0.633

0.694 0.5s9 0.69s 0.739 0.s94 0.607 0.s86 0.638 0.777

0.6t4 0.794 0.608 0.s33 0.88

r

0.554 0.696 0.530 0.559 0.738 0.503 0.5s2 0.791 0.554 0.654 0.620 0.636

PAIL

BUCKET

BE,ETLE,

BUG

CONSTRUClARCHITECTURE

BUILD BUILDING BULB

WATT HOBO MARGARINE PURCHASE

BTJM

TAXI

CAB

FROSTING ICING OPENER

CAKF,

TIN WICK AUTO AUTOMOBILE BUMPER DASHBOARD

DRIVEWAY GARAGE TRANSPORTATION VE,HICLE CREDIT CAUTIOUS DOG KITTEN MEOW MOUSE CAVERN RECLINI]R TABLE BLACKBOARD ALTER INEXPENSIVE

BUTTER

BI]Y

CAKE CAN CAN CANDLE CAR CAR CAR CAR CAR CAR CAR CAR CARD CAREFUL CAT CAT CAT CAT CAVE CHAIR CHAIR CHALK CHANGE CHEAP

160

0.500 0.616 0.607 0.510 0.s46 0.682 0.856 0.577 0.537 0.623 0.812 0.768 0.503

CHEDDAR MACARONI GUM FUDGE OPTION CATHEDRAL CHAPEL NICOTINE TOWN CHOWDER CLARIFY

CHEESE CHEESE CHEW

0.922 0.596 0.563

CHOCOLATE CHOICE CHURCH CHURCH CIGARETTE CITY CLAM CLEAR

0.5t7

OPEN OPENING

0.84

0.784 0.109 0.647 0.740 0.500 0.519 0.595 0.740

ATTIRE HAMPER HANGER OUTFIT WARDRORE WEAR CIRCUS MINER JACKET

CLOSE CLOSING CLOTHES CLOTHES CLOTHES CLOTHES CLOTHES CLOTITES CLOWN

0.651

MINK

0.5r3

MORSE ARCTIC

r

0.667 0.789

0.839 0.543 0.52s 0.547 0.756 0.676 0.633 0.750

FRIGII-) HOT PEPSI HUE CHEF

COAL COAT COAT CODE COLD COLD COLD COLD COLD COLD COLOR COOK

DUPLICATE XEROX

COPY COPY

CHILL FREE,ZER

l6l

0.635 0.717

0.621 0.525 0.529 0.755 0.544 0.723 0.507 0.651 0.507

0.52t 0.s43 0.780

0.514 0.s94 0.s00 0.564 0.517 0.627 0.642 0.732 0.s17 0.570 0.676 0.664 0.s47 0.622 0.647 0.763

COB HUSK

CORN CORN

BULL CALF HERD MOO CRAYOLA INSANE

cow cow cow

WEEP DRAPES

ADORABLE MOM DUSK NIGHT ALTVE CORPSE

FUNERAL ANTLER ANTLERS DOE

FAWN OFFENSE

REPI]BLICAN RELY DEMOLISH DEMON COMPASS

FILTH MUD CLEAN FILTHY VANISH MEDICAL NURSE

COW CRAYON CRAZY CRY CURTAINS CUTE DAD DAWN

DAY DEAD DEAD DEATH DEER DEER DEER DEER DEFENSE

DEMOCRAT DEPEND DESTROY DEVIL DIRECTION DIRT DIRT DIRTY DIRTY DISAPPEAR DOCTOR DOCTOR

162

0.882 0.640 0.558 0.697 0.562 0.960 0.780 0.s23 0.917 0.550 0.689 0.759 0.609 0.686 0.554 0.537 0.520 0.61 5

0.64s 0.7

t9

0.s34 0.638 0.587

0.557 0.s39 0.553 0.s 19

0.693 0.599 0.527

0.700 0.699 0.516 0.s47

PHYSICIAN BARK CAT HOUND PET PUPPY FI,IPPER FINISHED HINGE KNOB UP UPSTAIRS BARTENDER ADDICTION ADDICT INEBRIATED TNTOXICATE INTOXICATE,D WASHER OUACK LOBE O-TIPS PLANET WEST DINE YOKE YOLK BACON OMELET POACH TUSK HTJM]LIATE

FI]LL BRITANNICA

DOCTOR DOG DOG DOG DOG DOG DOLPHIN DONE DOOR DOOR DOWN DOWNSTAIRS DRINK DRUG DRUGS DRTINK DRLINK DRUNK DRYER DUCK EAR EAR EARTH EAST EAT EGG EGG EGGS EGGS EGGS

E,LEPHANT EMBARRASS EMPTY ENCYCLOPEDIA

163

0.804 0.s69 0.5 13

0.795 0.631 0.752 0.797 0.547 0.630 0.672 0.845 0.653 0.682 0.664 0.691 0.513 0.571

0.695 0.7 55 0.81 8

0.824 0.627 0.606

0.780 0.551

0.696 0.839 0.517

0.836 0.635 0.660 0.507 0.571 0.689

BEGINNING CONCLUDE CONCLUSION KINETIC GRAMMAR VOLCANO ODD PRECISE ENTER ENTRANCE

IMPLODE FLUNK AUTUMN TI]MBLE UNTRUE, TRUE

NEAR RAPID BLUBBER CALORIES THIN MOTHER TOUCH TOE,S

MALE ARGUE ARGUMENT BRAWL F'EUD

OUARREL DONE BLAZE FLAME LAST

END END ENDING ENERGY ENGLISH ERUPT EVEN EXACT EXIT EXIT EXPLODE

FAIL FALL FALL FALSE FALSE FAR FAST FAT F'AT

FAT FATHER FEEL FEET FEMALE FIGHT FIGHT FIGHT FIGHT FIGHT FINISH FIRE FIRE FIRST

164

0.747

0.s26 0.612

0.6t2 0.s28 0.525 0.558 0.s 14

0.568 0.615

0.510 0.621 0.526 0.s44 0.503 0.s31 0.535 0.s66 0.s88 0.527 0.563 0.597 0.673 0.532 0.648 0.507 0.514 0.800 0.652 0.699 0.676 0.808 0.51

1

0.575

BAIT COD TROUT TTINA RE,PAIR BANNER TILE BLOOM DAISY DANDELION

LILY ORCHID PETALS TULIP VASE BOUOUET KITE MIST CAFETE,RIA GROCERIES TOE TOUCHDOWN E,TERNAL ETERNITY

INFINITY FORGIVE BACKWARD LOST BUDDY COMPANION NEIGHBOR PAL TOAD BACK

FISH FISH FISH FISH

FIX FLAG FLOOR FLOWER FLOWER FLOWER FLOWER FLOWER FLOWER FLOWER FLOWER FLOWERS FLY FOG FOOD FOOD FOOT

FOOTBALL FOREVER FOREVER FOREVER FORGET FORWARD FOUND FRIE,ND FRIENI) FRIENI) FRIEND FROC FRONT

165

0.629 0.s76 0.913 0.808 0.640 0.687 0.s78 0.593 0.689 0.653 0.601 0.730 0.748 0.782 0.603 0.828 0.575 0.s00 0.s93 0.590 0.60s 0.632 0.s3 8

0.664 0.565

0.639 0.709 0.747 0.687 0.643 0.507 0.772 0.828 0.520

KIWI EMPTY COMEDIAN TTILARIOUS MONOPOLY TRASH FUEL GHOUL BOY BOYS LENS MITTEN PASTE COME

ALMIGHTY CREATOR BAD HE,LLO GRANDPA GRANDMA VINE BRIDE BUBBLE BULLET PISTOL RIFLE TRIGGER WEAPON

NAIL GLOVE CHEERFUL GLAD JOYOUS DIFFICULT

FRUIT FULL FUNNY FUNNY GAME GARBAGE GAS GHOST GIRL GIRLS GLASSES GLOVE GLUE GO

GOD GOD GOOD GOOD-BYE

GRANDMA GRANDPA GRAPE GROOM GUM GUN GUN GUN GUN GUN HAMMER HAND HAPPY HAPPY HAPPY HARD

166

0.709 0.61 I 0.550 0.81 I 0.556 0.526 0.664 0.649

trrr-rnTY

HARD HAT

EACV CAP DCDfQE

HATE,

ICI

HATE

TI
'T^D

A

tNItr

L'

0.701

0.500 0.553 0.594 0.630 0.575 0.618 0.503

0.750 0.639 0.s53 0.538 0.60s 0.865 0.609 0.589 0.77 4

ASSTSTANCE

HtM THERE,

LOW INTERSTATE, PUCK GRASP

TRUTHFUL HONK COLT GALLOP MARE PONY EMBRACE r

T J ^ 'IC'UDT) f aLlvrr

0.545

HARM

0.701

PAIN WIFE GLACIER CONE

0.592 0.622

0.552 0.585

0.s49

T'T.

DECRE,ASE,

0.667

0.594

IunRP

TRIBE

HE,ADACHE, HEAR HE,LLO HELP

IIFI

P

0.69i 0.582 0.709 0.797 0.600 0.803 0.506 0.510 0.842

0.696

HER HtrRF, HI( iH

0.81i

WAY H( X ]KbY HOLL) HOME HONE,ST t]ORN HORSb HORSE

0.596 0.554 0.533 0.582 0.6s3 0.620 0.654 0.662 0.740 0.752 I o.saq

H I( iH

HORSE, HORSb,

HUG

a-uxcnY IRT LIt

HURT HUSBAND ICF ICH ( ]Kb,AIVI IN fi{ap tr astr

INDIAN INDIAN t67

0.743 0.771

I o'o+: 0.635 0.s51 0.617 0.723

0.562 0.804 0.52 0.727 0.756

ENVY DENIM PEANUT BUTTER CAREER EMPLOYMENT OCCUPATION PUN LEAP

MUSTARD MURDER OUEEN THRONE DAGGER ACRE EARLY TARDY NOW GIGGLE JOKE TICKLE MOWER FOLLOW FOLLOWER DIlPART EVACUATI] VACATE RAKE ARM TTIIGH ARMS LIME MORE FIBER BULB

JEALOUSY JEANS JELLY .IOB JOB

JOB JOKE JUMP

KETCHI]P

KILL KING KING KNIFE LANI) LATE

LA'fE LATER LAUGH LAUGH LAUGH LAWN LEAD LEADE,R

LEAVE LEAVE LEAVE LEAVES LEG LEG LEGS

LEMON LESS

LIE LIGHT

r68

0.513

0.81s 0.636 0.546 0.60s 0.683 0.575 0.522 0.584 0.564 0.730 0.759 0.614 0.675 0.507 0.899 0.s76 0.780

0.6t2 0.578 0.658 0.630 0.60s 0.619

LAMP THUNDER ROAR GLANCE WIN WINNER FOUND NOISY ADORE AFFECTION ROMANCE HIGH ANGRY MINOR FEMALE WOMAN NUMEROUS ATLAS ALGEBRA ARITHMETTC CALCULUS EOUATION GE,OMETRY

0.5 18

TRIGONOMETRY I YOU BUTCHER KILOMIITER YOURS

0.549 0.573 0.630 0.816 0.788

PLUS REFLECT REFLECTION ERROR RLE,ND

0.500 0.633 0.622 0.673

LTGHT

0.769

LIGHTNING LION LOOK

0.81 8

LOSE LOSER LOST LOUD

0.7 51

0.614 0.635

ME

0.600 0.813 0.67 | 0.565 0.800 0.614 0.6s5 0.520 0.538 0.552 0.595 0.568 0.527 0.655 0.157 0.709 0.641 0.534 Q.546 0.653

ME,

0.701

MEAT MILE MINE MINUS

0.546 0.s00

LOVE LOVE LOVE,

LOW

MAD MAJOR

MALE MAN MANY MAP

MATH MATH MATH MATH MATH MATH

MIRROR MTRROR MISTAKE

MIX t69

0.673 0.683 0.507 0.715

0.619 0.s65

DAD BANK BUDGET CASH CHECKBOOK DOLLARS FTIND INCOME LOTTERY PROFIT

WALLET CHIMPANZEE FRANKENSTEIN CRESCENT LESS

FATIGUE CLIMBER CTNEMA FILM LINSOLVED HAMMER ARMY FAR THREAD POSITIVE NIECE PROTON

DIME DAY EIGHT YES VERB

IMMEDIATE DIGIT

MOM MONEY MONEY MONEY MONEY MONEY MONEY MONEY MONEY MONEY MONEY MONKEY MONSTER MOON MORE MOTHER MOUNTAIN MOVIE MOVIE MYSTERY NAIL NAVY NEAR NEEDLE NEGATIVE NEPHEW NEUTRON NICKEL NIGHT NINE NO NOUN NOW NUMBER

t70

0.710 0.799 0.54 0.8

r

r4

0.527 0.533 0.730 0.s43 0.536 0.608 0.630 0.680 0.559 0.s24 0.629 0.706 0.603 0.793 0.543 0.62s 0.800 0.s00 0.503 0.758 0.627 0.658 0.566 0.527 0.819 0.634 0.830 0.642 0.609 0.720

CONVENT CASHEW EVEN ON FREOUENT

ARIGHT ANCIENT ANTIOUE ELDERLY NEW YOTING

NUN

NI]T ODD OFF OFTEN

0.62t

OKAY OLD OLD OLD OLD

0.s00 0.662 0.673 0.703 0.725 0.595 0.897 0.678 0.655

CLOSED JUICE PEEL TANGERINE IN INDOORS INSIDE ACHE AGONY HURT TROUSERS GUARDIAN CELEBRATE CELEBRATION

OLD ON OPEN ORANGE ORANGE ORANGE OUT OUTDOORS OUTSIDE PAIN PAIN PAIN PANTS PARE,NT PARTY PARTY

INK OUILL

PEN PEN

ERASER

PENCIL PENCIL PICKLE PICTURE PICTURE PICTURE

OFF

PEN

DILL FRAME PHOTO PORTRAIT

0.747 0.745

t7l

0.878 0.507

0.571

0.733 0.940 0.561

0.587 0.507 0.649

0.52r 0.846 0.536 0.603 0.658 0.695 0.643 0.507 0.s94 0.869 0.81

1

0.577

0.682

HOG PORK PEPPERONI AIRPORT JET

PILOT URANUS MINUS VE,NOM COP

CHLORINE POVERTY RICH CRACKLE NEGATIVE oLTNCE GIFT PRINCESS

DILEMMA PRTM

TAPIOCA TUG HANDBAG POCKETBOOK PULL JIGSAW KING ANSWER BUNNY HARE UMBRELLA RODENT T]NCOOKED FORGET

PIG PIG

PIZZA PLANE PLANE PLANE PLANET PLUS POISON POLICE POOL POOR POOR POP

POSITIVE POUND PRESENT PRTNCE

PROBLEM PROPER PUDDING PULL PURSE PURSE PUSH PUZZLE OUEEN OUESTION RABBIT RABBIT RAIN RAT RAW REMEMBER

t72

0.741

RECALL

0.594 0.849

REMTNISCENCE,

0.757 0.662

POOR LEFT WRONG DTAMOND DOORBELL

0.731 0.s75 0.520 0.s09 0.534 0.664 0.541

0.662

0.606 0.603 0.533 0.609 0.s47

DEMOCRAT

BOULDER REGULATIONS FLEE JOG DEPRESSED HAPPY

IINHAPPY PE,PPER

0.831

DLINE AFRAID FRIGHT FRIGHTENED ITCH

0.s80 0.597

YELL LOOK

0.s 10

ESTE,EM

0.s94 0.836

BI]YE,R CONDOM OUIVER HEAD & SHOULDERS JAWS HE DEPUTY FLEET BLOUSE BRIEF

0.6t4 0.603

0.772

0.s40 0.735 0.732 0.701

0.603 0.717 0.527

REMEMBER RE,MEMBER REPUBLICAN RICH RIGHT RIGHT RING RING ROCK RIJLES RUN RUN SAD SAD SAD

SALT SAND SCARE SCARE SCARED SCRATCH SCREAM SEE

SELF SELLER SEX

SHAKE SHAMPOO SHARK SHE SHERIFF SHIPS SHIRT SHORT

t73

0.528

0.516 0.507 0.510 0.939 0.723 0.630 0.592 0.6s6 0.662 0.592 0.783 0.521 0.628 0.738 0.695 0.s68 0.604 0.636 0.784 0.848 0.578 0.678 0.584 0.572 0.s33 0.61 5

0.578 0.587 0.776

0.679 0.5 14

0.647 0.s82

LONG

TALL BASHFUL

TIMII) FLU TLL ILLNESS NAUSEOUS BROTHTR FLESH BED DOZE DROWSY NAP FAST BIG LARGE

TINY BRILLIANT CLEVER INTELLIGENT AROMA ODOR CIGAR ESCARGOT COBRA REPTILE LATHER ZEST HARD APOLOCY BROTH NORTH ASTRONAUT

SHORT SHORT SHY SHY SICK SICK SICK

SICK SISTER

SKIN SLEEP SLEEP SLEEP

0.536 0.696 0.730 0.689 0.s85 0.824 0.723 0.613

0.746 0.s75 0.638 0.682 0.551

SLEE,P

0.730

SLOW

0.598 0.635

SMALL SMAT-I-

SMALL SMART SMART SMART SMELL SMELL SMOKE SNAIL SNAKE SNAKE SOAP SOAP SOFT SORRY SOUP

SOUTH SPACE

174

0.606 0.650 0.520 0.615

0.71t 0.678 0.697 0.507 0.629 0.831 0.514 0.673 0.574 0.564 0.578 0.806 0.772 0.s26

MEATBALLS VELOCITY COBWEB WEB CIRCLE RE,CTANGLE POSTAGE ASTROLOGY

ASTRONOMY TWINKLE UNITET) RE,MAIN ROB MOTIONLESS ABDOMEN GO

HALT REFRAIN FAIRYTALE TALE AVENLJE BOULEVARD POWERFUL

WEAK PUPIL DUMB ADD

ADDITION RAYS DINNER MARSH PERSPIRE

BROOM WAG

SPAGHETTI SPEED SPIDER SPIDER SOUARE SOUARE STAMP STAR STAR STAR STATES STAY STEAL STILL STOMACH STOP STOP STOP

STORY STORY STREET STREET STRONG STRONG STUDENT STUPID SUBTRACT SUBTRACTION SI]N SUPPER

SWAMP SWEAT SWEEP

TAIL 175

0.675

0.5s9 0.849 0.84s 0.635

0.7t6 0.740 0.662 0.7s3 0.662 0.500 0.784 0.669 0.5 13

0.566 0.539

0.906 0.s 14

0.s24 0.589 0.678 0.587 0.587

0.557 0.683 0.s26 0.685 0.621

0.624 0.53s 0.s21 0.837 0.504 0.680

FAIRY COMMLINICATE CONVERSATION DISCUSS DISCUSSION FLAVOR INSTRUCT INSTRI]CTOR PROFESSOR RIP BRACES GUMS CABLE NETWORK ZENITH NINE RACKET EXAM OTJIZ

HERE

THICK CONSIDER OUENCH TOSS

LOOSE

CLOCK E,XHAI]STED WEARY TOMORROW TODAY CAVITY BOTTOM PLAYTHING CABOOSE

TALE TAI,K TALK

TALK TALK

0.543 0.652 0.642 0.689 0.550

TASTE TEACH TEACHER TEACHER

0.500 0.s29 0.566

TE,AR

0.711

TEETH TEETH TELEVISION TELEVISION TE,LEVISION TEN

0.647 0.705

TENNTS

TEST TEST THE,RE

THIN THINK THIRST THROW TIGHT TIME TIRED TIRED TODAY TOMORROW TOOTH TOP

TOY TRAIN

176

0.sl1

0.689 0.547 0.698 0.566 0.504 0.778 0.792 0.632 0.682 0.500 0.815 0.618 0.565 0.6s2 0.895 0.60s 0.527 0.503 0.543 0.507 0.664 0.721

RAILROAD BRANCH ELM FOREST

LEAF OAK PTNE

FAME ATTEMPT THANKSGIVING ONCE ONE ALINT OVER COMPREHEND DOWN DOWNSTAIRS NOLIN ERUPT

BALLOT PEDESTRIAN DES]RE NEED OBSERVE

DAM FAUCET FLOOD FOLINTATN EAST DRENCH

MOIST BLACK WHOM HUSBAND

TRAIN

0.500 0.528

TREE TREE TREE TREE TREE TREE TRUE

0.642 0.703

TRY TURKEY TWICE TWO UNCLE UNDER LINDERSTAND

0.749 0.503 0.612 0.703 0.746 0.542 0.829

0.61 8

0.628 0.642

0.79s

UP

0.581

UPSTAIRS VERB VOLCANO VOTE

0.591 0.690

WALK WANT WANT WATCH WATER

0.641 0.518 0.597

WATER WATER WATER WEST WET WET WHITE

0.610 0.599 0.500 0.503 0.615 0.622 0.s86 0.886 0.503 0.543 0.557

wHo

0.531

WIF'E

0.885

177

I

RREEZE PANE CORK LOSER

VICTOR MAN MEN LUMBER DICTIONARY VOCABULARY JOB

LABOR GLOBE BEST CORRECT INCORRECT

ANNUAL HOLLER NO ME MINE

WIND WTNDOW

WINE WINNER WINNER WOMAN WOMEN WOOD WORDS WORDS WORK WORK WORLD WORST WRONG WRONG YEARLY YELL YES

YOU YOURS

t78

0.606 0.833 0.5 17

0.508 0.503 0.660

0.6r4 0.s96 0.520 0.s07 0.567 0.690 0.679 0.536 0.554 0.673 0.707 0.533 0.761 0.500 0.555

179