NAKEDMENTALISMu

Secrets of the Primes

Jon Thompson

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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 reproducedin any manner whatsoever without written permission of the

author.

NOT FOR RESALE

If you didn't pay for this book, in whatever form you'rereading these words, you have stolen it. I wish you nothing

less than a life filled with pain, failure and frustration. endingwith a lingering, agonising death.

I'm profoundly grateful to the following people past andpresent, either for helping shape this book by providing

inspiration, advice, or by generally keeping me fairly sane.

As ever, Celia, Penny and RickyTheodore Annemann

Paul BrookIain "Abraxus" Dunford

Enrique EnriquezBruce Frey

Jerome "TT2" FinleyIan Harling & Martin Nyrup

Lewis JonesThomas Korelin

Dr Todd Landmar.r

Joe RidingIan Rowland

Steve "Banachek" ShawTony "Corinda" Simpson

Matthew "Malchat" Sl-routen

Thank you. ['m profbundly grateful to you all.

"Well, I could call out when the goittg gets tttugh'

The thtings that we've learnt are no longer enough'

No language, iust sound, that's all we need know'

ro ,irriroiise lo,'e to the beat of'the shotv'"

.Ian Curtis

Tarr,r or ConrENTs

Dere Tasr.ss AND Draen AMs

Table I Geometry and shapes ...........36Table 2 Shapes... .............36Table 3 Combining geometry and shape.. ...........37

Tiifi8lf]ll : 13

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

Diagram: Negative Childhood Memories.. .........98Diagram: Positive childhood memories.. ............98Table 68 Celebrations.......... ..............99Table 69 Continents............. ............105Table 70 Colours - Red......... ..........109Table 7l Colours - 81ue....... ...........109Table 72 Colours - Purple..... ..........109Table 73 Colours - Black...... ........... I 10

Table 74 Colours - Pink........ ...........110Table 75 Colours - Green...... ..........110Table 76 Colours - Yellow.... ..........110Table 77 Colours - White..... ..........1 10

Table 78 Colours - Violet..... ..........1 10

Table 79 Colours - Orange... ...........1 I ITable 80 Colours - Gold....... ..........1 I 1

r. INrtoDUcrroNelcome to Naked Mentalism II. The philosophyunderpinning this and the previous book in the series

concems creating mentalism that as far as possible plays outlike a genuine paranonnal ability - but with vastly improvedresults.

Naked effects deliberately abandon all the usual physicalapparatus available to the mentalist. There's nothing up yoursleeve, nothing to peek, crib, write down, bum, tear, or erase.There's no pre-show work, no stooges and no otherconfederates. Your only prop is your mind, meaning that ifnecessary, you could perform naked to prove there's nosubterfuge.

Psychology says that what someone experiences as genuineparanorrnal ability is actually their personal interpretation ofanswers emerging from their subconscious mind. In turn, thesubconscious takes everything it knows about the world as itsstarting point for producing those answers. In situationswhere there's plenty of detailed knowledge to draw upon,such inferences can be astonishingly accurate without youever being consciously aware of accumulating the underlyingknowledge. But when there's little or no such "heuristic"knowledge to call upon, the answers that emerge are no betterthan guesswork.

Subconscious guesswork is no basis for constructing areliable psychic-like ability. So, when performing Nakedeffects, you instead call upon accurate, purpose-built mentalmodels of specific parts of the world. These data models you

21

carry around in your head - hence both the learning aspectand the irnpromptu. propless nature of Naked effbcts.

After completing the previous volume, I soon realised therewas much more I could write about one specific data modelI'd begun to cover. I showed how to exploit it using theconcept of "priming" the mind to have certain thoughts ondemand. This second volume is the result.

Priming gives the spectator a seemingly free choice ofthought while actually working to make that choicepredictable. 'Ihis book takes as its starting point the 27-pagesdevoted to priming that appeared in the previous volume andgreatly expands on it, including examples of deliveringpriming forces so powerful that some people actually find itphysically difficult not to deliver the desired answer despitethemselves.

For most readers, the meat of this book will be the chaptercalled "Priming Data". As you can see from the index oftables and diagranrs, this introduces and explains a largestorehouse of priming categories. I've included the well-known classics from the previous volume, and I explain indepth why they work. I also give a model for why thepowerful psychological forces discussed in the first chapterwork so well, and give a template for discovering new ones.

I then discuss and develop uses for this priming data byshowing how to select and prepare spectators to obtainmaximum participation. I then introduce the concept of a"pragmagram", which is a technique for finding anddeveloping a wide range of psychic-like effects that enableyou, amongst other things, to begin giving the spectatorinformation about her choices be.fore she says a word.

When used in Naked priming effects, pragmagrams are a

particularly powerful method of registering at least a partialhit where none would normally exist. I used them to developa number of presentations in the previous volume (includingthe Naked Book and Coin Tests), but the technique isdescribed 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. Iconclude the book with an appendix containing more analysisof the data covered in the main body of the book.

To conclude this introduction, let me reiterate what I stressedat the end of the introduction to the first volume: I encourageyou to read, learn, and finally perform using my techniques.and create effects that play out the way the real thing claimsto do. Many of the techniques contained in this book are theresult of studying the ways in which genuine "shut eye"psychics interact and reveal information. Being conscious,deliberate techniques, however, those found in this bookbring far greater accuracy and success than the real thing canever hope to achieve. All I ask is that you do nothingdownright ugly or cynical with my work. such as exploitingthe vulnerable.

Jon ThompsonDarkest CheshireJuly 2008

22 23

z. How Pn,rrrarNc Wonxsl\ /ft first serious exploration of priming began by readingIYIa short piece in "statistics Hacks"t by Bruce Frey. Inthis 4-page section fucked away at the back of the book, Freyexplains that some words naturally hold particularly strongassociations for us:

"The human brain is so ellicient that it processeswords or ideas in the context o.f'whatever wordsor concepts have been previously over-learned.Research studies have found that when people areasked to state whether a series of letters is aword, they respond more quickly to words thathave been primed or preactivated by words thatwere shown to them just prior to the identificationtask. For example, if "stripes" is shown, and theneither "tiger" or "lemon", people will respondmore quicklyJbr "tiger" than.for "lemon".

By talking about words or topics that are closelyrelated to other words or topics, you hegin athought process in your .fiiend's brain in whichactivation of neurons spreads to neurons thatgenerally Jire at the same time. Your brain haslearned that certain words and topics almostalways occltr together, so it knows that when oneof the associated words or topics is activated, itshould also ./ire the regions where thoseassociated words or topics are activated. Thatway, your thought process can proceedsmoothlv. "

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

24 25

This pre-emptive activation process is priming in action, andits automatic nature nrakes it predictable and therefbreexploitable. The skill in using it rests on presenting it as a featof creativity, either consciously, when we have the spectatorbelieve she has generated a random thought, orunconsciously, when we wish her to believe a thought has

been transmitted to her and has popped into her consciousmind. Here's an example to get the ball rolling. If I ask you tothink of a yellow fruit, which one pops into your mind first?

As I said in the previous volurne, befbre thinking consciouslyabout which to select, you almost certainly had an image of abanana flash into your mind, and if not that, then in a

significantly smaller number of cases, an impression of a

lemon popped up instead.

Your brain pre-empted the need to recall a banana fromreading the words "yellow" and "firrit" and provided youwith the rnost likely choice, thereby smoothing the thoughtprocess just as Frey suggests. The question is why didn't animage of a melon, a pineapple, a grapefruit, or even a starfiuit appear in your mind first'? Why can I conf-rdently saythat it's a "significantly" smaller number of readers who willthink of a lemon first than a banana?

Fn ou Mrssss ro HmsIn his seminal book Psychological Subtleties2, Steve"Banachek" Shaw collected a number of examples ofpsychological forces spaming several areas, includingcolours, numbers, shapes and drawings. Many of these forcesare explainable in tenns of priming. A good example isforcing an apparently fiee choice of colour.

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

Shaw showed that if you ask a spectator to quickly give you a

random colour, red will very probably flash through her mindfirst. 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 conceptof red fire most strongly. However, with slightly differentwording and just a few seconds thinking time, Shaw says thatthe spectator will probably change her choice to blue. Theproblem is that if you give her slightly too long to ponderherchoice. if the wording is wrong, or if she sirnply decides todeliberately step through other options to trip you up. she

almost certainly won't be thinking of blue either after a

further second or so.

For some performers. a mix of wilfully bad choices and

genuine mistakes make psychological forces too unreliablefor practical use. I agree that making a psychological forcethe sole focus of a major effect (in other words, making itabsolutely vital that the spectator retums the correct thoughtbefore you can continue successfully) could set you up for a

bad fall. Sorne basic tests, such as guessing a colour, are littlemore than the force itself, so what do you do if it goes

wrong?

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

26 27

By exploiting the concept of priming, we can turn thrsunknown thought into a strong and possibly even shockinglyaccurate hit by seeming to access the hidden string of choicesmade by the spectator. This is knowledge that has never lefther mind. Here's a simple example I gave in the previousvolume:

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

Spectator: After a couple of seconds pause, "Yes."

Performer: "You're not thinking of red any more are

you."

Spectator: fSlightly surprised] "No."

Performer: "No, from red it feels like you quickly wentto blue, then found your way to purple. Isthat the colour you've stopped on?"

Spectator: "Yes!"

Performer: "Yes, I think you started very briefly with aspontaneous flash of red, didn't you. Thenyou deliberately went to blue for a second. ltgets a httle hazy now because your thoughtsare fading, but you were led to purple fromthere, weren't you?"

Spectator: "Yes I was!"

Performer: "And the fact that you took this path showsme that you're an independent thinker. Youdon't simply take what people tell you to doat face value. That's good, but it's not

necessary for you to do so in thisexperiment. lt's your intuition that'simportant 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. Iremember that this style of interaction felt unwieldy andalmost confrontational at the time (it was certainly borne offrustration!), but looking back, it's still quite convincing. Thespectator was certainly convinced that something strange hadjust happened. I was apparently aware of her privatethoughts. That makes a powerful statement in itself.

The practical upshot of this dialogue was that if I hadn'tfound her colour, I could still have recorded a very good hitat an unexpected, deeper level. It occurred to me much laterthat in doing so, l'd also hinted at the true strength of mysupposed ability to reach inside minds, which also makes a

powerful statement.

From my perspective, however, what happened was that hereyes flicked to the side, and she paused fbr a second or twobefore answering, indicating that she was actively selecting a

choice of colour rather than simply accepting the first answerher subconscious gave to her3. The colours I named for herwere 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 Iknow will deliberately discard red or blue. The fact that thismechanism is reliable also poses a question, which we needto answer before moving on to the main section of the book.If the spectator's train of thought is so predictable, why doesit include something as seemingly obscure as purple so early,.=--'I'll further explore thc use of eye movements in giving away dcliberatcselections latcr.

29

7-

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

To explain, allow me to recap the work of the psychologistsBruce Frey references in "Statistics Hacks", and which ledme to the sudden realisation that their work could be the basis

for a whole approach to creating new psychological forces.

Inrn oDUcING THE Fr.on IDIAN

DarasAsEIn 1973, researchers Douglas L. Nelson and Cathy L.McEvoy of the University of South Florida, along withThomas 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 nearly750,000 responses (called targets) to 5,019 trigger words(called cues). The volunteers wrote the flrst thing that cameinto their minds upon seeing each cue word, followed by thesecond choice, the third, and so on. What the resultingdatabase shows is that each cue word "primes" thesubconscious to deliver the associated targets, beginning withthe strongest first, just as the phrase "yellow fruit" primesmost people to imagine a banana first and not a lemon or agrapefruit.

The great beauty of exploring the Floridian database is thateach relationship between cue and target word has an

associated decimal number ranging from zero and one. Thisstatistic is the "forward strength" or FSG of the associationbetween cue and target.

What's interesting about the FSG is that if you sorl the targetsfor a single cue word by this value, you get both the

spectator's most likely first choice followed by a highlypredictable order in which she's is likely to make subsequentchoices if she discards the first, just as we saw in the examplecolour dialogue above.

The fact that the FSGs in a list might be small overall doesn'tmatter. All that does is the size of each FSG relative to othersin the list. The closeness in size of the FSGs also gives a goodindication as to whether the spectator's choices will be clearand reliable. or whether there could be some troublesome butgenuine ambiguity involved. In other words, it gives a

measure of the robustness of a priming force.

This also suggests that to find new categories, all we need dois search this database for interesting or relevant subject areasamongst the mass of cues, obtain the list of targets they relateto and sort them by FSG to discover the order in which thespectator is highly likely to work through them. Suchextracted lists form the data model underpinning the use ofpriming in Naked effects.

After the release of Naked Mentalism, people asked if a

database constructed in Florida isn't mostly irrelevant tothose living in other parts of the world. Happily, by carefullyselecting only concepts common to most people, these can beavoided. For instance, when asked to name a crop, somesubjects 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 anexcellent way of making it as sure a thing as possible. Ideally,

30 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. Hereare a few well-known and yet curiously strong examplesusing different activation rnethods. You may remember usingthe first as a trick to play on each other at school, but it's noless a valid as a demonstration, and shows the almostphysical power that priming can have over us.

Simply ask someone to say "milk" quickly ten times whilecounting off the number of times they say the word on theirfingers. Now immediately ask what a cow drinks. Even whenanticipating something unusual happening, the spectator willstill find it very difficult indeed to keep fiom answering"milk". Here's the really curious thing: sometimes, if yousimply ask someone what a cow drinks without having themrepeat the word first, a very large number of people will stillreply. "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 agowhen the son of a friend tried it on me. Even anticipating thetrick 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 cuewhen written down and read aloud can callse a parlicularlystrong pre-activation of a target, as this second exampleamply dcmonstrates.

Write down the word "folk" on a piece of paper. Asksomeone to say the word aloud. and then immediately ask,"What's the white of an egg called?" Most people willimmediately answer "yolk" without thinking about it. Even ifyou subsequently ask if they're sure, many people will quitereasonably look ben'rused and reiterate that the white of anegg is called the yolk - not the white, or the albumen.

I'll discuss why these two forces work so powerfully in termsof priming in the next chapter. In the meantime, here's a thirdexample that denronstrates another very irlportant concept.

Tnr ttSrucxtt SoncHow nrany times have yor"r heard a snatch of a song you knowwell, and have instantly heard very clearly in your rnind whatcomes next when the music suddenly stops again? You mayeven have heard the music continuing quite strongly for a

while.

Put simply, our brains record memories using each of thesenses, (technically each sense is called a "modality").Hearing the first few notes primed you using tlre samernodality as was used to fonn the original memory. lJsing thesame modality to prime a memory (which is all a target reallyis) has the curious effect of turbo charging the activationprocess.

ln the case of a song, the activation will be far stronger whenactivated by a snippet of the original sound than if someonesimply speaks the lyrics, and will be far stronger still than ifyou only seen them written down'. In some cases, ifsufficiently activated, it's actually quite difficult to get thesong "unstuck" from inside your head. even if it's one youdislike.

This idea of using the same modalities as the memory orconcept 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 StarTrek fan had devcloped the ability to name thc star date mentioncd in anyepisode in response to a mere snippet of Kirk's opening dialogue, whichhints at the power of using the correct modalitics.

32 JJ

of creating and triggering multi-modal anchors in NLP. Andin the book "Pure Effect", Derren Brown describes an

interesting multi-modal psychological force fbr a playingcard, invoked using both hand gestures and careful wordingabout its colour6.

So, when designing a new priming force, it pays to thinkabout the modalities over which the spectator would haveoriginally experienced the target concept. Those are the bestones to use to have her recall it.

So, if you want to invoke targets associated with thekindergarten, for instance, the odour of a certain disinfectantswill do so far more powerfully than asking the spectator torelax, close her eyes, and imagine the sights and soundsassociated 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.

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

3. PnrMrNG DeraThis chapter is the result of extensively searching theFloridian database for as many useful priming categories as Icould find. For consistency, it reproduces the original 22

categories from the previous volume.

The database is huge. There are probably many. many morecategories and connections left to discover. Most of thosepresented here use one cue. There's certainly scope for alsodeveloping ones that use more. Let's begin with a classic thatdemonstrates very clearly the use of multiple subtle cues toincrease the activation level of the primed target.

Tnr Cr,assrc Snars TssrRuvrsrrED

For decades now, mentalists have asked spectators tovisualise 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 thistest his own on TV in the early 1970s to tlre stunnedamazement of chat show hosts and their audiences alike. Noone, it seemed, simply tried copying what Geller said and didTverbatim to see what happened. If they'd done so, there's agood chance that they'd have obtained the same results.

7 "suggestion" may be a better worcl to usc. You're mcrcly inrplying thetarget concept using the cue words. This is like using a euphemism ormetaphor to generate a thought in the spcctator's mind. If I say thatsomcone is "coming in on three engines". for instaltcc, you know instantlywhat I mean based on your knowledge of acroplancs without mc havingto say "hc's a bit stupid".

34 35

A good handling of this classic psychological designduplication test is described in Chapter 4 of PsychologicalSubtleties, but it's also worthy of explanation in terms ofpriming because it serves to demonstrate how to increase the

target activation in the mind of the spectator.

Why, in the original test, do most people tend to draw atriangle containing a circle? More importantly, why do a fewchoose to draw a square instead of a circle? To understandthe 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 Floridiandatabase. The first shows the FSGs between the concept of"geometry" and various shapes.

GEOMETRY TRIANGLE 0.081

GEOMETRY CIRCLE 0.027GEOMETRY SOUARE 0.014

Tasr,E, r GsousrRY AND sHAPEs

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

SHAPE CIRCLE 0.028SHAPE SOUARE 0.028SHAPE, TRIANGLE 0.011

Tesr,E, z Snerss

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 themtogether to get the following derived information:

GROMETRY+SHAPE TRIANGLE 0.092GROMETRY+SHAPE CIRCLE 0.055GROMETRY+SHAPE SOUARE 0.042

Tasr,r t ConsrNrNG GEoMETRv AND sHApE

From this table, it's easy to see why a combination of thecues "geometry" and "shape" (formed by asking for a

"geometric shape") is statistically almost twice as likely toproduce 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 broughtthe concept of geometry into the spectator's mind might bewhy most people tend to favour "circle" over "square".Maybe this activation occurs partly because the concepts ofcircles and geometry were associated from an early age whenlearning about lt in school, whereas squares are more to dowith area.

Shapes are understood visually, as Shaw, Brown and othersall say. By casually and vaguely indicating the shapes youwant chosen in the air in front of the spectator, you can alsosubliminally boost the activation level of the desired target.

For a triangle, you might hold our hands apart as if graspingan imaginary basketball, with your hands forming the cornersof the triangle's base. These gestures aren't for the consciousmind, however. so be VERy subtle.

36 J/

THs PnsorcrABrr,rrY oF

Cor.ouRsIn tlie previous chapter, I asked why spectators tend to thinkof colour choices in a certain order. To answer that question,the table for colours appears below, and may explain thereason for the predictability of the sequence.

COLOR RED 0.242

COLOR BLUE 0.215COLOR PURPLE 0.1 54

COLOR BLACK 0.074COLOR PINK 0.047

COLOR GREEN 0.040

COLOR YELLOW 0.01 3

COLOR WHITE 0.013

Tasr,E, 4 Coloun s

I think this table also shows how closely FSGs tend to modelreality. It gives a reason fbr a legitimate situation Shaw wamsabout in Psychological Subtleties. Red has the highest FSG,but when asked to simply blurt out the first colour that enterstheir heads, some spectators will quite reasonably say "blue",possibly because its FSG is 87Yo that of red. What issurprising is not that something as seemingly obscure as

purple appears next, but that it has an FSG of over twice thatof the fourth choice, which is also surprising for being"black". Conversely, both green and yellow have surprisinglylow FSGs. For convenience, the Appendix at the end of thisbook contains tables for the target colours above, as well as across-reference chart.

It's vital to remember that colours don't exist in abstractisolation. ln the real world, they're applied to objects. This ishow we've grown accustomed to thinking about them. Patter

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

How THr'.Mrr,xtt FoncrWonxs

Do you remember the trick of having someone repeat theword "milk" aloud in Chapter 2, and then quickly askingwhat a cow drinks'/ The tbllowing mechanism rnight well bewhy people find it diflcult to say anything but "milk" inresponse. First, here's the table for a cue of "cow".

cow MILK 0.352cow CALF 0.194cow BULL 0.097cow MOO 0.061cow HORSE 0.06 r

cow FARM 0.055cow PASTURE 0.042cow PIG 0.024cow ANIMAL 0.018cow FAT 0.012

Tasls 5 Cow

38 39

And here's the table for "milk"

MILK cow 0.388MILK DRINK 0.r03MILK HONEY 0.073MILK WHITE 0.06r

Tasls 6 MrlxHere's a graphical representation of the FSGs involved:

Mitk

Drink Cow

Dracn au: 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 thespectator finds no answers popping up automatically because

there's no link between "Cow" and "Drink". She has to askher subconscious what she knows about cows. By far thestrongest association (which therefore pops up first) is

"Milk", especially after repeating the word so much. Thesecond strongest FSG from "Milk" is to "Drink" (the onlyone stronger is back to "Cow"!), and so, under unexpectedpressure, the spectator's subconscious mind finds it difficultnot to fill with the idea of milk.

This also provides circumstantial evidence of how powerful agrip 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 activelythought 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 ofpaper, 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" isover 3.25 times higher than that of "White".

EGG YOLK 0.079EGG WHITE 0.024

Terr,t 7 Panrs oF AN EGG

ln the next chapter, we'll examine the concept of limiting thespectator's mental "reach" by mentioning some of the choicesopen to her. This has the curious effect of eliminating them as

viable options. By mentioning the "white of an egg" in thequestion, maybe this also removes it as an option for her, as

well as the word "folk" priming her by looking and soundingso similar to "yolP"r.

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

40 4l

Fooo AND DruNrFood 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 FnulrVegetables and other salad ingredients are a particularly

popular source of psychological forces. Here's their table:

VEGETABLE CARROT 0.r29VEGE,TABLE LETTUCE 0.076

VEGETABLE BROCCOLI 0.0s3

VEGETABLE TOMATO 0.0s3

VEGETABLE CORN 0.023

VEGE,TABLE PEAS 0.015

Tasr,t 8 Vparraslrs

It's a playground joke to ask someone to perform a set oftrivial mental calculations at speed, and then to suddenly

catch her off guard by asking for the name of a vegetable'

with carrot being having a much higher FSG than the rest ofthe table, as long as you can guarantee that the spectator willanswer with the first vegetable she thinks of, she should tell

you it's a carrot. In the case of the playground joke, the job ofthe rnental arithmetic puzzles is to both throw the spectator

off the scent and to prime her to deliver answers quicklye'

Here's the table for salad ingredients.

SALAD LETTUCE 0.299SALAD TOMATO 0.039SALAD POTATO 0.016

Tasr,s 9 Sar,ao rNG&EDTENTS

In this table, the FSG for lettuce is by far the largest, makingit an ideal force from a seemingly open choice of vegetables

found in the average salad. Here's the table fbr fmit:

FRUIT APPLE 0.223FRUIT ORANGE 0.174FRUIT BANANA 0.065FRUIT GRAPE 0.016

Tasr,r ro Fn urrWhat concems many people when they begin to explore theuse of psychological forces in their mentalism is peoplegenuinely picking the wrong thing. Asking for a fmithighlights a classic example of this anxiety. The FSGs forapple and orange might give some peace of mind to thoseworrying about such things. In fact, in a straight mind readingeffect, why not follow the advice in the last chapter if you'reworried, and write down then cross out orange and replace itwith apple to cover both bases?

ln the previous chapter. I also used the example of a "yellowfiuit", 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 FSGsfor cues of yellow and fiuit and a target of "banana" gives anoverall FSG of 0.085. While weaker than the FSGs for"apple" or "orange", these latter fruits aren't yellow, whichexcludes them as possible choices.

' There's that word again.

You can also prittre PcoPlcfor thcm to foilon'.

Priming isn't just about accessing mcmorles.

to act by establislring a pattern of bchaviour

42 43

Lreutos AND DuxxsI-IOUID WATER 0.423

LIOUID BEER 0.028

LIOUID MILK 0.0r4

Taslr rr Ltqulos

The overwhelming strength of the FSG for water makes it auseful 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 WATER 0.t52DRINK BEE,R 0.r03DRINK COKE 0.060

DRINK ALCOHOL 0.049

DRINK LIOUOR 0.033

DRINK SODA 0.033

DRINK WINE, 0.027

DRINK VODKA 0.016

Tasln 12 DRINKS

Adding the FSGs gives us the following derived data:

DRINK + LIOUID WATER 0.575

DRINK + LIOUID BEER 0.t31DRINK - LIOUID MILK 0.014

Taslr rr DRINK + Lrqulo

So, a liquid you can drink is highly likely to be water. The

Floridian database also includes entries for soft drinks:

]OFT DRINK COKE ).338JOFT DRINK SODA t.236

JOFT DRINK PEPSI .101

JOFT DRINK COCA-COLA ).07 4

Taslr 14 Som DRTNKs

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

MrscsLLANEous FooosSEAFOOD FISH 0.2s2SEAFOOD SHRIMP 0.245SEAFOOD LOBSTER 0.r43SEAFOOD CRAB 0.082SEAFOOD CLAM 0.014SEAFOOD OYSTER 0.014

Tasr,r rJ sEAFooD

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

SANDWICH HAM 0.111SANDWICH TURKEY 0.059SANDWICH TLINA 0.030SANDWICH CHICKEN 0.01 s

Tasr,r 16 SaNowrcHEs

Ham has an FSG nearly twice that of turkey. What'ssurprising is that tuna and chicken are so low.

44 45

MEAL DINNER 0.213MEAL EAT 0.063MEAL LUNCH 0.063MEAL SUPPER 0.063

Tesr,s r7 Mrar,s

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

MEAT STEAK 0.t8tMEAT CHICKEN 0.067MEAT BEEF 0.060MEAT FISH 0.034MEAT HAM 0.020

Tasr,r 18 Mrars

CoNTTNENTsCONTINENT AFRICA 0.169

CONTINENT ASIA 0.115

CONTTNENT USA 0.0s4CONTINENT NORTH AMERICA 0.041

CONTINE,NT EUROPE 0.041

CONTINENT ANTARCTICA 0.02

Tasr,u zr ConrlNENTs

The above table might go some way to explaining whypeople tend to name Africa when asked to think of a

continent (and sometimes even a country).

ON rHs FanuFARM ANIMAL 0.316FARM cow 0.176FARM BARN 0.042FARM HOUSE 0.042FARM RANCH 0.036FARM CHICKEN 0.024FARM CROPS 0.024

Tasr,n zz ON THE FARM

Asked to think of something you'd find on a farm, beingprepared with a bit of clever patter will subsequently enableyou to turn "animal" into at least a convincing partial hit for"cow", "chicken", and so on. Ranch appears because theoriginal database was compiled in the USA. In the UK, use"farmhouse".

This idea of having patter ready to cover all eventualities is avery strong one, and enables you to easily cover the word"crops". If our spectator is being deliberately awkward, youcan use her rogue answer to simply segue into the next effect

Pr,acgs AND LocarroNs

Pr,exgrsPI,ANET EARTH 0.606PLANET MARS 0.1 03

PLANET PLUTO 0.024PLANET MOON 0.024PLANET VENUS 0.012PLANET SATURN 0.012

TasLs zo Pr,aNrrs

46

ICE CREAM CHOCOLATE 0.100ICE CREAM VANILLA 0.021ICE CREAM STRAWBERRY 0.014

Taslp rg Icr CrEau Fr,avoun s

47

by telling her it reveals something of who she is, so it literallydoesn't matter. All you need do is to build branches into yourpatter for such eventualities and you can carry on without the

telltale flicker in your response that indicates you stumblingover unexpected answers.

By appearing to seem interested in a non-committal response

of "crops", you can modify your prediction dynamically byasking: "Yes. but what kind of crop?" if you're using a slateto write your predictions on, by not revealing too much aboutwhere the process of asking the questions leads, you couldsirnply write the name of a crop before asking which andshow it to the audience after she speaks.

As we'll see in Chapter 5, even if you seemed to have missedby writing down "animal" or a type of animal, you can

anticipate the spectator giving an answer of "crops" (or evenof her naming one directly), by perhaps saying up front thatyou're getting a strong hurnanitarian f.eel fiom her. When she

delivers a crops-based target, asking if she's particularlyconcemed for animal welfare may tell you if she's a

vegetarian. If she is, it will give you an opportunity to patterfurtlier about that feeling you had of her being humanitarian.You could say that her natural fondness for animals made youwant to write the word but that it wasn't clear why itpresented itself in your mind quite so forcefully (a decentpartial hit on a conceptual level if ever there was one. Afterall, we're aiming for the illusion of a significant naturalability, not a guaranteed trick). Here's the data for crops.

CROPS CORN 0.301

CROPS WHEAT 0.034CROPS ORANGE 0.021

CROPS VEGETABLES 0.014

Tesr,r zt Cnors

The FSG for com is nearly 9 times as strong as that lbrwheat, making it a safe bet. lf you're worried about thespectator not understanding the different crops that grow on afarm, you could predict that she'll choose a "cereal crop" ormake a sketch of something that could be wheat or corn.Surprisingly, oranges make an appearance in Table I 1. As Imentioned in the previous chapter, this is an artefact of thedatabase that has to do with it being created in Florida, whicliis a part of the world known for orange production. Thisanomaly also highlights an important idea. tf you're trying toapply priming to an effect in an area of the world known forbreeding horses, an animal that lives on a farm is perhaps lesslikely to be a cow.

IN rHs GenosxGARDEN FLOWER 0.39 r

GARDEN HOSE 0.132GARDEN PLANT 0.1 l9GARDEN VEGETABLES 0.086GARDEN ROSE 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. Ifyou've written down or have drawn a flower as a prediction,you instantly cover different types. If you're drawing aflower, however. be careful to have some patter ready in casethe spectator thinks your flower isn't sufticiently like the oneshe imagined.

48 49

Ix rHs MreoowME,ADOW GRASS 0.219

MEADOW FLOWER 0. r03

MEADOW GREEN 0.027

MEADOW cow 0.014

MEADOW SHEE,P 0.014

Tasr,r z5 CoNrrNTs oF a Mraoow

Roous IN THE HoussYou 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 forrooms 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.

ROOM BEDROOM 0.150ROOM I,IVING ROOM 0.047

T,rsls z6 Roous

IN rnr Krrcsrx

Ix rsr Lrvrxa Roou

Ix ftrs Barsn oou

Ix rHg Brpn oott

-TVING ROOM COTJCH 0,144IVING ROOM TELEVISION 0.111

IVING ROOM SOFA 0.052IVING ROOM CHAIR 0.033IVING ROOM TABLE 0.026

Taslr z8 LrvrNc RooM coNTENTs

]ATHROOM TOILET 0.33 8

]ATHROOM SHOWER 0.1s I]ATHROOM STNK 0.094]ATHROOM TOWEL 0.050]ATHROOM BATHTUB 0.0433ATHROOM MIRROR 0.0143ATHROOM SOAP 0.014

Tasr,r zg BarnnooM coNTENTs

(ITCHEN SINK 0.173<ITCHEN FOOD 0.t62(ITCHEN STOVE 0.056(ITCHEN UTENSIL 0.025(ITCHEN CABINET 0.020

<ITCHEN COLINTER 0.020(ITCHEN KNIFE 0.015

<ITCHEN POT 0.0r5(ITCHEN TABLE 0.01 5

(ITCHEN DISH 0.010

Tasr,r z7 KrtcuEN coNTENTs

BEDROOM BED 0.353BEDROOM SLEEP 0.t87BEDROOM SEX 0.079BEDROOM BATHROOM 0.050BEDROOM HOUSE 0.043BEDROOM WINDOW 0.036BEDROOM DOOR 0.022BE,DROOM LIVING ROOM 0.022BEDROOM FURNITURE 0.014BEDROOM HOME, 0.014BEDROOM LIGHT 0.014BEDROOM MASTER 0.014

Taslr 3o Barun ooM coNTENTs

50 5l

Ox Tns BsacHBEACH SAND 0.394

BEACH SLTN 0.145

BE,ACH OCEAN 0.073

BEACH WATER 0.073

BEACH TOWE,L 0.042BEACH BALL 0.024

BEACH SUMMER 0.024REACH SURF 0.024

BE,ACH SWIM 0.024BEACH FLIN 0.0 8

BEACH WAVE 0.0 8

BEACH RLANKET 0.0 2

BEACH BUM 0.0 2

BEACH COAST 0.0 2

BEACH GIRLS 0.0 2

BE,ACH SHORE 0.0 2

Tasr,E tr BracH

HoussHoLD FunxrruRETURNITURE CHAIR 0.r76URNITURE COUCH 0.r49URNITURE, BED 0.034

FURNITURE SOFA 0.020

Tesr,n rz Fun Ntrun rThe difference between a chair and a couch might be the

difference between wanting to be alone and sitting withothers. 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.

HuuaNSr Pms AND OrurnANruar,s

The data for pets throws up an interesting surprise. The FSG

between pet and dog is very high indeed.

PrrsPET DOG 0.637PET CAT 0.082PET FISH 0.021PET HAMSTER 0.014

Taslr 3t Psrs

For a cue of"pet", the FSG for "dog" is over seven and a halftimes 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 tosay "dog". By way of completeness, here are the tables fordog and cat:

DoaDOG CAT 0.667DOG PUPPY 0.1 1s

Tasls 34 Doc

CarCAT DOG 0.s 13

CAT MOUSE 0.256CAT KITTEN 0.1 60

Tasr,s 35 CarA pet is an animal of some description, so let's examine thetable for "animal".

52 53

Axruar. (srxaur,an )ANIMAL DOG 0.293ANIMAL CAT 0.t20ANIMAL LION 0.022ANTMAL BEAR 0.016ANIMAL BIRD 0.016ANIMAL HORSE 0.016ANIMAL PIG 0.011

ANIMAL RABBIT 0.011

Tasls t6 ANruar,

Surprisingly, this differs somewhat from the table for"animals" (plural).

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

ANIMALS CAT 0.074ANIMALS MONKEY 0.027ANIMALS TIGER 0.027ANIMALS LION 0.020

ANIMALS PUPPY 0.020ANIMALS cow 0.013

Tegr,s 37 ANrrvrar,s

Mauuer.s

It's interesting that most respondents thought of sea-dwelling

mammals as well as humans.

ON SarauSAFARI LION 0.078SAFARI GIRAFFE 0.033SAFARI ELEPHANT 0.026SAFARI TIGER 0.013

Tasr,s lg Ar.rrMar,s oN SAFART

Ar rHs Zoozoo ANIMAL 0.649zoo LION 0.062zoo ZEBRA 0.0s2zoo MONKEY 0.041

zoo BEAR 0.031zoo ELEPHANT 0.031

Tasr,r 4o Zoo ANTMALs

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

Ar rsr Crn cusCIRCUS CLOWN 0.594CIRCUS ANIMAL 0.056CIRCUS ELEPHANT 0.028CIRCUS PARADE 0.011CIRCUS LION 0.011

Tasr,r 4r Ar rHE crRcus

Despite inducing a deep-seated and irrational fear in somepeople, the most memorable aspect of a trip to the circus byfar is the clown. Maybe for some this is because of thosefears.

MAMMAL WHALE 0.212MAMMAL HUMAN 0.068

MAMMAL DOLPHIN 0.062MAMMAL MAN 0.048MAMMAL DOG 0.041

Tasls t8 Mauuar,s

54 55

CRANDPARENTS GRANDMOTHER 0.0s4GRANDPARENTS GRANDFATHER 0.027

Teslr 4z GnaNopARENTs

Gn anopaRENTs

OrHsR, RslerrvgsRELATIVE AUNT 0.1 69RELATIVE COUSIN 0.074RELATIVE MOTHER 0.074RELATIVE SISTER 0.061RELATIVE PARENT 0.034RELATIVE BROTHER 0.027RELATIVE GRANDMA 0.027RELATIVE UNCLE 0.027

Tyms or An rrsrARTIST PAINTER 0.431ARTIST MUSICIAN 0.015ARTIST WRITER 0.010

Tasls 4J Tyrus oF aRTrsr

Jrwrr.s AND Jnwu.LERYWhether you like it or think it's gaudy, we live in a "bling"society, so jewellery and jewels make an interesting set ofpriming categories.

Jrwrr,sJEWEL DIAMOND 0.3s4JE,WEL RT]BY 0.07 r

JEWEL GOLD 0.0s 1

JEWE,L E,ME,RALD 0.04s

Tasr,r 46 Jnwrr.s

Jrwrr.r.ERYJEWELLRY GOLD 0.309JEWELLRY DIAMOND 0.140JEWELLRY RTNG 0.1 18

JEWELLRY NECKLACE 0.074JEWELLRY NONE 0.037JEWELLRY WIlAR 0.029JEWELLRY CHAIN 0.015JEWELLRY EARRING 0.015JEWET,LRY WATCH 0.0t5

Tesr,r 47 JzwzrLERYAsking the spectator for an item ofjewellery should eliminatethe top two choices. The target "None" is a curious anomaly,

rhe above ,,," ,"0,I^,1""*T,i::il* tendency to choosefemale relatives. The male relatives all have ,"uk psc, incomparison, so patter building up a picture of a selectedrelative beginning with the gender of the person beingimagined can get you a succession of partial hits.

Fraunrs oF AurnoRrryAUTHORITY POLICE 0.206AUTHORITY TEACHER 0.106AUTHORITY BOSS 0.064AUTHORITY PARENT 0.064AUT}IORITY PRIIICIPAL 0.03sAUTHORITY MOM 0.021AUTHORITY DAI) 0.014AUTHORITY PRESIDENT 0.014

Tenr,s 44 Frcun rs or AursoRrry

56 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 acircle when fastened. This is a form of pragmagram, whichwe'll cover in depth in a later chapter. Rings play a pivotalparl in our culture, especially for women, so here's the table

for them:

RtxasRING FINGER 0.1 95

RING WEDDING 0.101

RING BELL 0.10t

RING ENGAGEMENT 0.081

RING DIAMOND 0.081

RING MARRIAGE 0.067

RING GOLD 0.067

RING PHONE 0.054

RING .IEWELRY 0.054

TasI,s 48 Rnrc

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

Gor,oGOLD SILVER 0.472

GOLD MONEY 0.t02GOLD JEWEL 0.096

GOLD RICH 0.046

GOLD DIAMOND 0.030

GOLD METAL 0.025

Tesr,E 4s GoLo

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

other ring and jewel combination, so when asked to name thejewel in an imagined ring, there's a very good chance that the

spectator will answer "diamond".

MrscsLLANEous CarsaoRrEs

Fr.owgn s

FLOWER ROSE 0.248FLOWER DAISY 0.06rFLOWER TULTP 0.012

Tarls 5o Fr.owun s

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

MoxrssMONTH MAY 0.060MONTH JI]LY 0.0s4MONTH AUGUST 0.040MONTH JUNE 0.034MONTH MARCH 0.034MONTH SEPTEMBER 0.034MONTH DECEMBER 0.027MONTH APRIL 0.020MONTH JANUARY 0.020MONTH NOVEMBER 0.020MONTH OCTOBER 0.020

Tesr,r 5r MoNrHslnterestingly, the warrner months are near the top of thistable, and the colder ones are near the bottom. If the spectatordiscards "May" and works through several others, it's likelythat she'll still be in a "warm" part of the year.

58 59

'WraroxsWEAPON GUN 0.s92WEAPON KNIFE 0.075

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'reperforming an intuitive routine that involves a murderweapon, 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.gxcgVIOLE,NCE GUN 0.1 05

VIOLENCE, CRIME 0.078

VIOLE,NCE FIGHT 0.072

VIOLENCE DEATH 0.052

Tasr,r Jt YToLENcE

Tn axsroRTTRANSPORTATION CAR 0.595

TRANSPORTATION BUS 0.1 89

TRANSPORTATION TRAIN 0.020

TRANSPORTATION AIRPLANE 0.014

Tasr,r J4 MrrnoDs oF TRANsPoRT

Answers to questions about transpott could hold the key tounlocking the spectator's social attitude to global watming, oreven her place in society. Someone who immediately says

"bus" may be consciously trying to reduce her carbon

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.

Similarly, an answer of "train" could indicate that she

cornmutes. It also implies that she has a job that pays wellenough for commuting to be viable. By asking casual follow-up 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 WEDDING 0.439CEREMONY FUNE,RAL 0.072CEREMONY MASS 0.022

Tasr,r JJ CEREMoNTES

I've updated this table to include "mass". Though you couldtwist the answer into "wedding mass", some readers of theprevious volume reported that a few spectators had indicatedthat they meant a Catholic mass. This could be useful if yougive the spectator time to make a choice of ceremony in orderto then reveal her discarded choices.

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

Given that her religion might also affect the spectator'schoice, how can we eliminate ceremonies such as barmitzvahs? 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.

CsusrMAsHRISTMAS TREE 0.337

HRISTMAS NEW YEAR 0.042

HRISTMAS PRESENT 0.042HRISTMAS EVE, 0.021

HRISTMAS SANTA 0.021

HRISTMAS 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 religiousaspect to it. As well as ours being a "bling" society, it also

seems to be a predominantly secular one.

ExTsnTAINMENTNTERTAINMENT TELEVISION 0.216NTERTAINMENT MOVIE 0.1 69

NTERTAINMENT MI]SIC 0.09s

]NTERTAINMENT SHOW 0.027

Taslr 57 ENTnnTAINMENT

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 minireading about the difference between controlling what'sbeing given to enjoy (television), and passively watching(movie).

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.

Toor,sTOOL HAMMER 0.402TOOL SCREWDRIVER 0.0s2TOOL WRENCH 0.052TOOL SAW 0.021

TOOL SHOVEL 0.021

Tasr,s 58 Toor,s

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

CHsss PrscssCHESS KING 0.092CHESS KNIGHT 0.033CHESS BISHOP 0.01 3

CHE,SS PAWN 0.01 3

Tasr,r J9 CHrss Prrcss

What surprised me about this category was the absence of thequeen.

Mexr UrMAKE UP LIPSTICK 0.04sMAKE UP BLUSH 0.023MAKE UP EYE SHADOW 0.015MAKE UP MASCARA 0.01 sMAKE UP POWDER 0.015

Taslr 6o Maxr [Jp

62 63

Sran, SrcxsHOROSCOPE AOUARIUS 0.056

HOROSCOPE PISCES 0.042

HOROSCOPE ARIES 0.035

HOROSCOPE CAPRICORN 0.035

HOROSCOPE LE,O 0.035

HOROSCOPE SCORPIO 0.028

HOROSCOPE TAURUS 0.021

HOROSCOPE VIRGO 0.021

HOROSCOPE LIBRA 0.014

Tasr,p 6r Sran sIGNs

What's immediately interesting about this table is the lack ofGemini, Cancer, and Sagittarius. Maybe like funerals, the

concept of "cancer" isn't something people like to thinkabout 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 indifferent 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 withthe winter months. Getting people to stop simply choosing

their own star sign could be as easy as asking for a "randomstar sign, not your own".

r0 Somcthing to do with cold wintcrs?

64

Basxsrs

DrrscrroNs

BASKET FRUIT 0.084BASKET F'LOWER 0.049BASKET EASTER 0.042BASKET WICKER 0.042BASKET PICNIC 0.03sBASKET STRAW 0.028BASKET BOWL 0.021BASKET BREAD 0.0 4BASKET CARRY 0.0 4BASKET EGGS 0.0 4BASKET GARBAGE 0.0 4BASKET LALINDRY 0.0 4BASKET TRASH 0.0 4BASKET WASTE 0.0 4BASKET wooD 0.0 4

Tasr,r 6z Basxrrs

DIRECTION NORTH 0.t64DIRECTION UP 0.086DIRECTION LEFT 0.0s0DIRECTION RIGHT 0.043DIRECTION SOUTH 0.036DIRECTION EAST 0.029DIRECTION WEST 0.029DIRECTION FORWARD 0.014

Tasln 6t Drn scrroNs

65

Cgr.rgRATIoNsCELEBRATION PARTY 0.6s8CELEBRATION BIRTHDAY 0.072

CELEBRATION HAPPY 0.039CELEBRATION HOLIDAY 0.020CELEBRATION FUN 0.020CELEBRATION FIREWORKS 0.0r3CELEBRATION BEER 0.013

CELEBRATION JOY 0.013

Tagls 64 Crr,EnrATroNs

4. SmrrNG Ths ScrNs

\tr/. have a robust working explanation for why primingY Y forces work, data for a wide range of categories, and

we know where to go online to get more. We now need someinteresting, subtle and convincing ways of using them. Wecan do a lot better than the crude usage examples from theprevious chapter, however. After all, we're not playing"Family Fortunes".

There are three classic types of test we can perform. In thefirst, the spectator is the transmitter of the thought to bereceived by the performer. The second reverses the roles andhas the spectator as the receiver of the performer'stransmitted 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 willinevitably occur, hopefully to tum them into at least partialhits. This requirement means using every tiny and seeminglyinconsequential scrap of information as completely aspossible. Let's begin by examining ways of selecting thespectator and gaining her cooperation as fully as possible.

SrucrAToR CooruRATroNln his book "The Alchemical Tools",t' UK mentalist andpsychologist Paul Brook discusses the "paralanguage" peopleuse and how it gives away their thoughts and attitudes to asituation. He first describes how to spot different types ofperson you might want to avoid using in your demonstrations.Analytical people, he says, are too concerned with howsomething is done to pay attention to you and to go alongI I Availabic directly from www.paulbrook.co.uk

AccrosNTsACCIDENT CAR 0.358ACCIDENT CRASH 0.1 28

ACCIDENT MISTAKE 0.074ACCIDENT WRECK 0.054ACCIDENT FALL 0.014

ACCIDENT MISHAP 0.014ACCIDENT TRAGEDY 0.014

Tasls 65 Accrornrs

SsesoxsSEASON SUMMER 0.211

SEASON FALL 0.1 91

SEASON WINTER 0.171SEASON SPRING 0.086

Tasr,s 66 SsesoNs

66 67

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

Bored people, or those not particularly interested in joining inas spectators, are another problematic group. Paul says

they're easily distracted and I agree wholeheartedly, makingthem unsuitable. As a performer, I'm sure you'll have come

across these people regularly.

Egotists are people who want to be the focus of attention,want to control the situation, or to influence others to theirway of thinking. Paul details methods of spotting andhandling these types of people with techniques that are easilyadapted 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, andis comfortable that nothing bad is going to happen, we need

to be as sure as we can be that she will play her part honestlyand deliver initial, spontaneous choices. Simply demandingthis happens, however, is likely create defiance at just themoment when we need compliance - even from a willingparticipant.

The method I favour for achieving this deeper level ofcooperation is to use patter that includes what appears to be

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

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

68 69

her advantage is being offered, and also gives her an

understandable method of possibly bringing it into being.

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

In"The Alchemical Tools", Paul Brook also gives excellentadvice on how to enhance spectator buy-in. In the sectionabout "demonstrative conformity" (beginning on page 79),heexplains that showing the spectator what you require from hercan help her to conform to your wishes. It might be as simpleas demonstrating how you want her to relax by taking a deepbreath yourself. If you really think about what you need thespectator to do, you can bring extremely fine control to thesituation through such demonstrations.

By seeming to hand responsibility for the success or failure ofthe experiment over to the spectator, you also create an in-built, pre-emptive "out" in cases where she's secretlyanalytical and is merely playing along until it's time to gatherher own proof that you're not really reading her mind. If shedoes so, you can easily explain that she failed to transmit fbrthe reason that the energy level of her consciously selectedthought was too low to escape her mind. When shecooperates by taking her natural first choice, however, resultsflow without problems. If you still miss when naming thetarget with the highest FSG, you also have scope forexplaining that you could feel it fighting to transmit becauseit was the strongest. Be imaginative, but be prepared!

It would take a very deceitful spectator indeed tosubsequently argue that she was following your instructions.In an informal setting, a suitably sorry spectator (or one that

genuinely did give the wrong first choice) will quite often

iequest a chance to redeem herself'

It also pays to introduce the etfect in a way that stresses the

i*p"nun". of takin; it seriously' This isn't a trick but a real

demonstratiou of ail ""pe'i*ental

technique in real .mind;;;g. Any skylarking'will lead to poor results' and will

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

As I tnentioned earlier, the spectator can also act as the

receiver. We just need to recast things so that whatever pops

uf nrrt into her conscious mind is whatever thought you're

supposedly transmitting Thil also .has the, side tllt::. "t

"*tling you to tell the audience that the better recelvers

u*ong it'tem migtrt also be able to pick up your transmissions

which is a very good "out" for instances where the spectator

herself is wrong.-Dutch mentalist Matthew Shouten explains:

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

The rest of your audience can literally come to your rescue ifthe 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, likethis [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 .vourmind as vou let it oLtt again [here he turns his palms

down and let.s them sink as he slowly and silentlyallows the air to escape through his noseJ. It's that

/beling of a calnt, quiet mind yotr need ./br this,

okay? "

Paul Brook notes in "The Alchemical Tools" that while both

mentalists and magicians initially leam to demonstrate whatthey require of a spectator to gain compliance like this, theylater seem to forget how powerful a technique it can be' It'suseful 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,crAToRThere will come a tirne when, for whatever reason, you have

to reject a spectator. To help with this potentiallyuncomfortable experience, it pays to handle rejecting as akind of out. Whatever the circumstances (and logically, theremust be as many potential reasons for rejection as there are

spectators to reject), your task is to still make the spectator

"When performing J'or an audience' you hat;e acces's

to a very po*"r-1ut'out: most of'the audience will be

thinking ^oJ'

your ctred target word even if the

volunteer tlenies it. Usually, i.f you have good rappor.t

witlt yotrr ,spectators, ))ou'can see this because people

stta'rito ,t ift i, their'seats ancl some may even spelk

ul fuot they 'got it' aJier the volunteer declures the

Jxp,eriment to be a.fa'ilure' A .simple

o.ttt could be to

ort p, a show of hancls; f' you printed the fbrce

corr:ectly, the majoritlt o/-hancls should go up, which

is u clranratic and ,'isual entling to a failed ffic't'

However, tlon't alienate the originul volunteer antl

send them to their seat with the idea that they did

sontetlting wrotlg. Be polite' try to involve them in

another demonstration, or compliment them on their

intiividtrcIlrQ antl unique u'ay o.f thi.nking' It's also

worth noting that Jim Callahan has done some

7l

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

Primarily, your performance persona dictates how you handlerejecting unsuitable spectators. The important thing toremember 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 includesrejection. Framing the rejection positively, you might say yousense the spectator has more psychic ability than is usual inthe population, which is a problem for you because it'suntamed:

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

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

LuttrrtNc SrucrAToR CsorcsgY ExAMPLE

ln "Psychological Subtleties 11', Steve Shaw discusses theidea of "mental reach". The spectator's "rsach" is the list ofchoices on offer to her rnind when asked to think ofsomething. Shaw says that to remove ceftain options you

72 73

simply need mention those you wish to eliminate by usingthem as examples just before you ask for her choice. Here'san 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 prefer-ably not a square because I've already mentioned itnow and I don't want you to think I'rn trying to influ-ence you."

Beware, however, because you may remove it fromsubsequent choices too. Matthew Shouten also suggests thatgiving the third entry in the list as the exarnple works verywell in completely limiting the choices on offer to iust thefirst two and no more. This may be because the removal ofthe third option causes a break in the expected pattem ofchoices. Forced to think quickly, the spectator only has acouple from which to choose.

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

"Think of a geometric shape, but not a sqLrare. It's justthat everyone picks a square and it's really too obvi-ous, so think another simple geometric shape."

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

Exrr,oITING Evs Accrss CursThough over the years some parts of the neuro-linguisticprogramming (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 wouldhave you believe without first carrying out sorne careful

calibration of the spectator's responses to different types ofquestion. 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 ofwhether 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 forbreakfast) 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.

13 See "Sleight of Mind" by Ian Harling and Marlin Nyrup. ISBN: 9-

788799-04t3106, page 26, for a clear and concisc description ofeye access

cues.

74

ra www.hutch.demon.co.uk/lcwis

75

Supposing you've asked her to think of, say, a colour. If she'sreally giving you the flrst one that f'lashes up from hersubconscious, her eyes will usually continue to regard you as

she immediately answers. They might flicker for a slightmoment as she "goes inside" momentarily to request ananswer 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. Shemay overplay the length of time she takes to finish sayingshe's made a choice to hide changing her mind. Knowing thiswe can select a different line of patter that takes this intoaccount

Fnona Mrss ro Colp RTADTNGThe idea of keeping the spectator in the dark about whyyou're asking her to think of something is the basis of areliable method of ensuring that only you know you'vemissed. 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 givesoffbeat answers. What do you do? In his book ,,The

Encyclopaedia of ImpromptLt Card.force.s"r4, in the section onequivocation, Lewis Jones has an answer that can be adaptedto Naked effects, and which allows you to continue as ifnothing had gone wrong.

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

situation, you can't suddenly redefine the meaning of tlie pile

by changing your mind and asking to swap'

To avoid this situation' you might ask her simply to point to a

pile without saying wtry. ff it's the one you want' you take it

yours.tf. Otherwise, you tell her to.pick it up and take the

tther yourself without drawing attention to it'

Similarly, it would be fbolish to define the meaning of the

qu"r,io* you're about to ask by saying that you've.written

do*n what the spectator \s going to say' This could quite

,"aronaUty pro,rok" a challenge' Instead, you nright silently

write sori"thing down (or if you're being completely Naked'

f.rhup, whispJr it to a second spectator)' and if it's what the'first

spectatoi subsequently says, you can simply tum the card

or slate over, or hive the second spectator confirm- your

prediction and thereby produce a minor miracle of

preco gnitiorVthought control/whatever'

If the spectator manages to give you genuine misses- in this

situation, you call handle them in many ways. [f your

pr"r"ntuiion style is psychologic-al, a very good out is to

explain that what you'u. written dgwn is what people tend to

,"ply, using Matthew Schouten's idea of including the

audience asieceivers to add weight to that claim'

In a more psychic presentation' you could nlove swiftly into a

cold reading to explain the significance of the choice and why

you thoughi it would be what you wrote' In doing so' you're

iefining ilre meaning of her answer in terms of an interesting

extra piece of personal information, thereby adding to being

in your presence rather than simply presenting the miss and

taking awaY lronr the exPerience'

As with all Naked techniques, the key is adaptability' and of

thinking on your feet ai much as careful planning and

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 theprevious volume:

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

banana or something." (expecting"Apple")

Spectator: Ianswersimmediately]"Alemon."

Performer: "A lemon? That's very interesting. CanI tell you why? I sensed a jolt ofemotion fiom you to do with a memoryinvolving the idea of fruit. Did you feelit'J"

Spectator: "I suppose so."

Performer: "I want to say that there's an elementof conflict attached to this memory,isn't there. Fruit's not your first choiceof food, is it?"

Spectator:

Performer:

Spectator:

Performer:

Spectator:

"No, it's not."

"You were made to eat it when youwanted something else, weren't you, along time ago."

"Yes."

"But you'd rather have eaten otherthings."

"Yes."

7776

Performer: "This was when you were a lotyounger, during childhood. It feels likethere 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 eatingsweets!"

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.

Just as tarot readers will memorise a detailed meaning foreach 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 SUMMARYChoose the spectator wisely, and reject her if you

have any doubts as to her buy-in or integrity.

Make the spectator aware that she's responsible forthe 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 followthem.

78 79

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

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

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

o Always have an out up your sleeve.

80 81

5. Pn,aGMAGRAMS

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

Pragmagrams are in essence the opposite of progressiveanagrams. Think of how a progressive anagram works. Givena subject, the spectator makes a mental choice. You then verysubtly probe for enough unique letters in its name to identifyit. While progressive anagrams can be astounding whenpresented well, their presentation is a skill in itself. It struckme that any collection of things you care to imagine hasplenty of other useful attributes way beyond just the letters inthe names. By using whatever attributes the choices have, (inother words, by being pragmatic), a powerful and yet subtletechnique emerges.

So, like a progressive anagram, a pragmagram is both theanalysis of the choices on offer to the spectator beforehand,and a method of identifying the spectator's choice duringperformance. But while a progressive anagram is aboutfinding the spectator's choice by discovering what makes itunique within the group of possible choices, a pragmagram isabout finding common factors that could apply to any of thepossible choices. This is what I mean by pragmagrams being

the opposite of progressive anagrams. But what good are

they?

Well, as I mentioned above, being pragmatic and using alland any attributes available gives us the ability to createpatter 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, crypticknowledge can be very useful indeed in helping to rescue the

situation.

If you've read either the Naked Book Test section of the firstvolume of Naked Mentalism or the Fully Scripted NakedBook Test, you'll already be familiar with the use ofpragmagrams. I used them in some instances to tease outattributes common to the different word possibilities. The

subsequent patter then describes these attributes before Ifinally make a definite choice of word. This way, if I'mwrong, 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: Theyare: this. that, they, and them. Being pragmatic instead ofjusttaking the four words at face value, we can see that a verystrong but subtle comrnon attribute is that they all point tosomething, 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 inmy mind pointing to something, but me not being able to see

clearly how far away it is (whether it's THIS or THAT, inother words), or whether it's one thing or a number of things(THEY or THEM). That's all four possibilities covered on aconceptual level. The spectator can see nle trying to interpreta cryptic image I've received clearly describing the concept

underlying her choice of word. The flow of information is

82 83

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

ln a priming force effect, you miglrt use the pragmagramapproach to tell the spectator that you're receiving a bizarreimage early on in your patter; something not obviouslyassociated with the concept you've asked the spectator tothink of, but still embodying it in a way that only comes clearlater. Here's a basic example using that old perennial, thecolour force:

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

Spectator: [immediately] "yes."

Performer: "It's strange, but as you answered, I got animage of a flag coming through for somereason. It's indistinct. but I think it's a

Union Jack. I can see two bright colours, butthey're somewhat blurred and almostblending together. I can't tell which isbrightest. I feel I'm being asked to choosebetween them. Is it red you were thinkingofl"

Spectator: "No, it's blue."

Performer: "Ah, now, that's interesting. Before youspoke, I got a red white and blue UnionJack coming through, didn't I?"

Spectator: "Yes."

Performer: "And I nearly said blue immediately becauseit's a Union Jack, and that's associated with

royal blood, which is blue blood. I receivethese insights in symbolic form, you see.

The way I do this is to interpret what I'mseeing, but the image was fading and I

wasn't sure about which was brightestcolour any louger. Both colours werestanding out vividly, as if giving lne a

choice between just those two and noothers. 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 ofmagic and mentalism is to keep the element of surprise.

Suddenly giving details of a seemingly abstract vision you'vereceived is certainly surprising. Never defitre what you'reintroducing into the situation until it's too late and you'realready 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 insynbolic 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 colouror not, we have either a direct hit, or enough leeway in theimage 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 withoutregistering a complete miss if we pick the wrong colour.What's more, if we impress the spectator sufficiently, she's

84 85

tkely to remember the experience as a hit purely because we

talked about the flag bet'bre she said any'thing'

If she decides on purple, 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

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 fail-

Another useful aspect of the pragmagram approach is that itenables us to use priming categories where the most popular

targets all have FSGs that are so close they'd be difficult tour" in other ways. Don't worry if this makes your brain

bleed. Here's another simple example that should clarifythings.

TEr,r,rNa CaRRors FnouLsrrucEs

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

some outer leaves missing too' Both vegetables are also

Lrigftt in colour, and can be eaten without cooking'

Dr Todd Landman, co-fbunder of ..Psycrets,', the British

Society of Mystery llntertainersr5, notes that these and very

,i-itui comlrlon factors could also be used to cover a wide

range of root vegetables' With careful wording' you could

cover items such as radishes, parsnips, tumips, etc. and

;;f; ; the local supermarkei.where the spectator could

huu. o"""rs to a wide range of choices'

ln summary then, the colnmon factors identified between a

carrot and a lettuce above are:

o Wider at the toP than the bottom

o Something cut from at least one end

. BrightlY colouredo Edible raw

Hete's one idea for using these attributes to weave a

pragmatic image:

Performer:..Keepholdofthefirstvegetablethatflashesthrough Your rnind' Got it?"

Spectator: [inrmediately] "yes'"

Performer: "I'm picking up sonething now' more a

feeling than anyhing' It's wide at one end

and rmrch naffower at the other' I can't tell

if it's had something cut otf or if it's been

cut from something itself' but there's

something missing or cut away' I get the

distinct iJea that it's edible without cooking'

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

8687

too. I'm not sure. but because it has a

f-eeling of being a vivid colour even thoughthe colour's not coming through yet, I wantto say, and it's a close choice between thisand letturce, I want to say that it's a carrot."

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":

GARDEN FLOWER 0.391

GARDEN HOSE 0.132GARDE,N PLANT 0.1 l9GARDEN VEGETABLES 0.086

GARDEN ROSE 0.073

TaslE o7 Ix rHE GARDEN

Suddenly, "Hose" being the second entry isn't the problem itcould be. It's directly related to plants, so what commonattributes could we weave into a simple, brzane image

covering all options? Maybe it could include the concept ofthirst. Flowers and plants grow in summer, so maybe it'sthirst caused by the sun. If the spectator chooses a garden

hose, thirst is covered, as are the thirsty plants. Let yourimagination run wild in finding such pragmatic attributes toexploit 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 ofthis. I feel the sun in the sky and how I needto drink. I think water is coming, however.There's no drought, just a delay. I'm seeingthe garden from the point of view of someform of plant waiting in the sun forwatering, a flower, I think."

If 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.

88 89

6. PtrMrNG ErrscrsFinally, here's a selection of efTects r"rsing what we've learnedabout priming in the preceding chapters. The key inperforming Naked effects well. and certainly ones that rely onpriming forces, is to be subtle. Bury the underlyingmechanism as deeply as possible and keep it as far from sightas you can. Naked effects have no physical component, andthat helps, but presentation plays the major part. AsAnnemann said over half a century ago, "Audiences are farfrom being as dumb as some perfonners seem to think." Thatadvice is becoming ever more relevant, even prophetic, as wesettle 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 andspecial; that's part of what makes itmysterious. For you to be special as a mysteryperformer you must be - or appear to be -unique. You must do your best to make thernthink they have never seen anything like youbefore, and accornplishing that is worthwhatever it takes."

With access to the Intemet and cynicism levels rising, it'smore important than ever to leave no trail for the spectator tobacktrack along. Simply presenting priming forces as aneffect in the fbrm: "think of, this, think of that, think of theother... You thought of A, B and C" will quite rightly makethe spectator think of statistics as an explanation. You shouldaim to make your priming fbrces feel like free choices. To

r" Available at any good n-ragic shop-

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 SHEErSupposing 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 ofbrzarre 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.

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 ofpreparing for your performance today, but one that you

believed you were ready to test it out in front of others. l'msure 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 IIn "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

9l

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 inthe room influence them to make certain choices.

Of course. Bemstein didn't know about the rich wealth ofpriming categories in the Floridian database and so had torely 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 psychologicalafis, you could present a set of priming forces in the form of atalk about your ability and how you developed it, duringwhich you ask fbr the first thoughts entering the audience'sheads when you say certain words.

You could also litter such a talk with lower FSG choices fromthe categories you then force. If these choices stick outslightly in the patter by being slightly unusual, then somespectators will claim you were trying to make them think ofthose choices and so avoided them, or even claim to t'eel yourinfluence over them. which all adds to the fun. With a talkthat puts the audience at their ease about what's coming up inyour act, this approach also fosters an air of acceptance.Using a show of hands, it's easier for individual audiencemembers to allow themselves to join in and enjoy theexperience.

Such an aggregation also presents an excellent opportunity toexploit a natural quirk in our thinking called Pareidolia. Thisis the mistaken belief that vague pattems are stronger thanthey actually are. By talking up the significance of each showof hands, Pareidolia is simple to 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:

"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

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

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 allcommunication changes the receiver, and that's

certainly true. Communicatiou happens over all fivesenses. We're not like other animals. Oursubconscious records every'thing we experience in

great detail, which provides a mery-go-round ofmeaning 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

'* This may sound likc a fact, but it's notl That docsn't lnatter. As long as

it sounds like a tirct, it'll back up what you say ancl gi"'c it validity in the

spectator's minds.

92 93

randomness, in other words, and yet we got 3 timesmore than that. The more you relax and just let yourfirst thought cross your mind, the easier it is. Let's see

how much higher we can score when I ask you tothink of a fruit.

The first image you got was of an orange, right'? Let'shave a show of hands. Good, that was even higher thistime.

It's not just the things people say that can have thiskind of effect on us. Get a simple shape in your mindfor me and put your hand up if it's a square?"

And so on. Another approach here is to use a printedquestionnaire that audience members fill in at appropriatepoints during your talk giving possible choices for eachnamed category. You could hand out index cards and pensinstead. Wren complete, the audience members then swapthese sheets and see that they're all predominantly the same.

Gnour SuacrsrroN IIYou can easily invert the previous test by using the idea ofthe group delivering a certain thought to you. One idea forpresenting this efl-ect is to hand out pieces of paper withnumbered categories. Someone throws a dice or otherwisegenerates a random number. Each audience member transmitsthe image that comes naturally to rnind when they read theassociated category.

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

didgetthewrongtargetcanhelptoreinforcetheideathatyoui. 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'

Two-PERsoN TTmTATHYwhat could be more impressive than two spectators, one the

transmitter, the other the receiver, achieving an apparently

extrasensory exchange of information? The problem is' how

do we create a situation where both have the same thought

without our priming activities becoming obvious to--either

party or the other spectators? Clearly, for such an effect to

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'

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

those instructions in her ear.

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'

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.

94 95

Performer: "I'd like to try something nowtwo of you. I want to see ifcommunicate a simple thoughtyour minds. Is that okay?"

"Sure."

"Okay."

involvingyou canbetween

Spec #1:

Spec #2:

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 youto do is to keep hold of the first thought thatcomes to mind when I give to you. Thereason for asking you to do this is that thethought that pops up first is the mostenergetic and will transmit the best. It'scalled the Ward Effectre. Is that okay?"

Spec #1: "Sure."

Performer: lto Spec #1] "Good. Let's keep it simple. Iwant you to get the first instance of a colourin your mind. Got it?"

Spec #1: "Yes."

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

'' Of course, thcrc's no such cff'ect, but if it gcts spcctator br-ry-in it's a

"fact".

Spec #1:

Performer:

Spec #1:

Performer:

Spec #1:

Performer:

Spec #1:

"Yes."

fto Spec #2] "Okay, your friend is nowtransn-ritting something to you. Don't try toconsciously make a selection at all. Just letthe transmitted thought enter your rnind.You might be getting a lot of noise or evennothing, so I'll help you tune in. Take a

moment to let your mind become nice andstill. and when I tell you the category ofthing she's transmitting, simply say thervord that becomes apparent in your nrind.Relax and tell me when you're happy?"

[after a brief pause] "Okay."

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

"Red."

[to Spec #l] "And what colour were youtransmitting?"

"Ited."

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

#2 confirm them.

96 97

PnacuATrc Cor.o RsaorNaA "Barnum Statement" is a basic ingredient in cold reading.

It's a statement that while being general enough to apply topractically anyone also has a tendency to invoke a

psychological "mistake" in people's thinking called thepersonal validation fallacy2o. This causes the spectator tothink the statement is specific to them.

The problem with Barnum statements lies partly in theirsuperficial nature. They don't really contain any specificinformation. 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 likeand admire you, and yet you tend to be critical of yourself'won't fool a modern. alert spectator for long without youmiraculously producing specific details to back it up.

Because Barnum statements still work when the spectatorhasn't heard them befbre, a good use for the pragmagramtechnique is in helping you find new ones that no one hasever heard. This isn't difficult to do. and the results can bevery efficient at invoking the personal validation fallacy.

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

Emba r ra s smen 1-

Foolrshness at being observedE:<posure of a secret

Bu L lyingAgalnst youAqainst others

LossDeat-h

ReLat-ive

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

Fr re ndSepa ral, ion

Movrng houseLosing something'Having something stofen

Inj uryI llnessAcc i dent

Dracn an: Nrcerrvs Csrr,onooD MEMoRTEs

At just a couple of levels of decomposition, the memorieshave a good deal in comnron with each other, which you can

exploit to build new Barnum statements. Let's quickly alsodo the same for memories of celebrations:

Ce lebra 1- io nBi rt hda y

PresentsCardsPar ty

c;r,t.=tnlultPrisePre sen t s

:::*=Tr-oe

Dracnau: Posrrrvn cHrLDHooD MEMoRTEs

Neither of these sirnple diagrams is at all exhaustive by anymeans. Even so, both second level categories on the positivechildhood memories diagram already contain memories ofpafties. What to these have in comlnon? One thing is presentsand cards. A Barnum statement exploiting this comrnonfactor might also take in the idea that almost everyone has afavourite birthday or Christmas present from childhood.

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

98 99

CELEBRATION PARTY 0.658CELEBRATION BIRTHDAY 0.072CELEBRATION HAPPY 0.039CELEBRATION HOLIDAY 0.020CELEBRATION FUN 0.020CE,LEBRATION FIREWORKS 0.0r3CELEBRATION BE,ER 0.013CELEBRATION JOY 0.013

Tanr,r, 68 Crr,r,snATroNS

Judging by the FSGs, a memory of a party is by far the mostlikely to be invoked by a suggestion of a celebration:

Performer: "Try not to give anything away, okay. butI'm picking up a memoly now. [t's of a

bright colour linked to a celebration. Youcan feel a memory of a particularcelebration too, can't you?"

Spectator: "Yes."

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 particularyear, more special than usual?"

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

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

Spectator: "Yes, bright pink."

And so on. Contrast this approach with simply announcingthat, "You have a favourite birthday frorn childhood." Mostkids' bicycles are bright in colour (as are most toys forchildren), so the link to a bright colour at the start of thepatter easily resolves itself. We could have taken another stepback and asked ourselves what happens at both birthdays andChristmas? Kids receive presents, so we could also add somepre-emptive patter at the start about seeing the spectatorreceiving 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 itto whatever she clairns the celebration actually was. After all,there's still the pre-emptive patter about seeing the spectatorr-eceiving something to fall back on. Maybe the vivid colourreferred to the lights on the Christmas tree. After all, "tree"has a curiously strong FSG fbr a cue of "Christmas". Asuitably ambiguous pre-emptive image will enable you toeasily map whatever the spectator says onto it.

Don't forget to use any and all details the spectator gives youto dig deeper. For example, the fact that it was a bicycle andnot a tricycle gives a probable age for the birthday orChristmas, and the opportunity to explore her rnemories ofriding it, falling off, scars, adventures, etc. Wlrateverhappens, you'll add value for the spectator by joggingpleasant memories.

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

100

amount by which it could invoke the personal validationfallacy was still impressive. For instance, after beingchallenged to read a friend's mind at a party, I respoldedwith patter along the lines of the following:

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

at the time. Some.friendships are more important thanothers, but this is one I.fbel ltou plac:ed too much em-phasis on. Another ./riendship sul/bred becattse of it,didn't it? You kns1,1t you'd made tlrc wrong c:hoice andquickly regretted it, but vou reulisetl too late thatyou'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 bestfriends) with someone she thought would be more excitingthan whoever was already her best friend. I think we've allmade that mistake in childhood, and my friend was indeedgrinning 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 betweendating one of two men and that she felt she'd nrade a

mistake.2r To her, I was bang on the money with a personalinsight into her past despite actually being well off target inmy assumptions and actually remaining quite vague in mypatter. Try it yourself and see what unexpected hits it givesyou.

2' In the prcvious volume of Naked Mentalism (pagc 95 to be cxact). I haclto apologise to my fricnd Hazel for practicing hot rcading on hcr. Thistime I need to apoiogisc to Sue for cold reading her. Sorry, Sue!

101

Exrrn rMENT No. ztt z6This 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 ideasin a week tlian any reasonable person has a right to expect ina 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 betweenour two minds as it were."

The perfonner produces two notepads. The spectator selectsone. The performer produces two pens from his pocket. "Tomake it easier to conduct this experiment," he explains, "lwant you to write the numbers one through three down theside of the pad, like this." The performer writes the numbersin a vertical column on the left hand side of the top page ofhis pad.

"Now, I need you to draw something," he says. "Anythingyou like, as long as it's not abstract. Abstract images are toodifficult to transmit, or rather, if I'm completely honest - toodifficult to receive clearly. Oh and please, don't drawsomething obvious; a house, matchstick man, or flower, andnot the sun either, or a star or tree. Why not these? Peopleusually pick these, and I already feel someone in the audienceis picking one. By a show of hands, who thought of one ofthose images?" If someone puts up their hand in response,milk it baby!

"So, just to be clear," continues tlre performer, "please drawA different image now in the first position. When you'redone, please place the pen down. Don't let me or anyone else

102

see what you've drawn." The performer waits for the

spectator to finish.

"Now, really scream the name of the image you've drawn inyour mind. Don't say it aloud. Just mentally shout it at me.

Keep going. ['ll try to draw it."

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

"Now," continues tlie perfomrer, "in case some people can'tsee at the back, or either your drawing or mine isn't thatclear, can you please tell the audience what you transmittedto me."

The spectator calls out the name of her drawing. Theperformer looks slightly worried. For this example, let's saythe spectator announces that she's drawn a cannon.Remember this.

Without showing his duplicate drawing, the perfotmer frownsand says, "I didn't do brilliantly there, but I was kind ofclose. Lets try it again, but this time, if you feel as if l'm stilltaking 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. Forinstance. 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 secondimage. She again mentally screams it at the performer, who infum draws a cannon (whatever the spectator announced she'ddrawn originally, in fact) in position I on his pad.

The performer places his pad face down again and asks the

103

spectator to announce what she drew in the number 2position. 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 topaper. 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 whiteboard, 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 amin'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 if you pref-er,"

explains the performer. "Okay, l'm transmitting now. Whenyou 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

The perfomer watches the spectator tear off her page, tryingto 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 AFRICA 0.169CONTINENT ASIA 0.115CONTINE,NT USA 0.054CONTINENT NORTH AMERICA 0.041

CONTINENT EI]ROPE 0.041

CONTINENT ANTARCTICA 0.020

Tasr-r 6g CoNTTNENTs

Africa is statistically very likely to be thought of first. Theperformer limits the spectator's choices by mentioningAmerica (read: USA or North America) and Asia, and on topof that, he's also rnimed the outline of Africa.

Being pragmatic, you could also design patter and even drawimages focusing on Asia and Africa both having the sameinitial letter, and South America has the same basic invertedtriangle shape as Aliica.

l0s

106 t07

ArrrNDrx

108 109

Not surprisingly,so asking for "aHere are the data

colours:

Cn oss-&EFE&ENcED Colou&sRED BLIJE 0.260RED WHITE 0.126RED BLACK 0.039RE,I) YELLOW 0.024RED ORANGE 0.024RED GREEN 0.024

Tasrr 7o Cor,ouns - Rs,o

blue has a high inverse association with red,colour like red" is likely to get you blue.tables for all the colours referenced by other

BLUE GREE,N 0.135BLUE RED 0.1 06BLUE BLACK 0.028BLUE WHITE 0.014

Taslr 7r Coloun s - Br,ur

Tasr,n T2 CoLouns - Pun rr,r

BLACK IWHITE 10.5.57

PURPLE BLUE 0.103PURPLE PINK 0.093PURPLE VIOLET 0.0s2PURPLE RED 0.041PURPLE ORANGE 0.041

PURPLE GREEN 0.041PURPLE YELLOW 0.021

Tast,r 7l Cotovn s - Br,acx

PINK BLUE 0.109PINK RED 0.082PINK PURPLE, 0.033

PINK WHITE 0.027PINK GREEN 0.022

Tasr,r 74 Corovns - PrNx

GREEN YELLOW 0.12sGREEN BLUE 0.118GREEN RED 0.03s

Tasr,s 75 Cotovns - Gn rsN

YELLOW GREEN 0.176YELLOW BLUE 0.068YE,LLOW GOLD 0.061

YELLOW BLACK 0.047YELLOW REI) 0.047

YELLOW PURPLE 0.027YELLOW ORANGE, 0.020

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

WHITE BLACK 0.655

WHITE RED 0.01 7

Taslr 77 Cotovn s - Wsnr,

VIOLET PURPLE 0.403VIOLET RED 0.062VIOLET BLUE 0.042

Tesr,s 78 Colouns - Vrolsr

ll0 111

ORANGE RED 0.03 r

ORANGE YELLOW 0.020

Taslr 7o Cotovn s - On aNcs

GOLD IYELLOW IO.OI5

Tasls 8o Cor,ours - Gor,o

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

GOLDo

ORANGE *c

oc]

-i

VIOLET alqO

WHITE \ocl $

qO

t-rat

i

YELLOW +ol

oal c]

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GREEN *cl

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* dc.]

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PINK;

d&A

BLACK o-\

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6ai

tr'tA

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PUR?LE:

t-ra]A n

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BLUE O\tcl OA o

€a

@\o;

cld

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RED \oal;

sO

tr-+ FT

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FhF<(,va

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Ar{dlrldra

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XC)

3FA

XzF{

zrqsl&(,

FoLlrJlJI

IrlHTF

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hatt*.Olrlo7lqalrlfrlrldI(n

CN

otOil,)ortoU

FSGs ArovE, .JooThere are a large number of cue/target pairs with incrediblyrobust FSGs. Perhaps some, like "Moo" and "Cow", began toform at the very point at which we began to deliberately learn

language and make sense of the world.

Son rro BY FSGMOO cow 0.960

IN oUT 0.940LEFT RIGHT 0.939

CHE,DDAR CHEESE, 0.922

WEEP CRY 0.917

TROUT FISH 0.913

HALT STOP 0.906TARDY LATE 0.899

OFF ON 0.897

EXHAIISTED TIRED 0.895

EAST WE,ST 0.886HUSBAND WIFE 0.885

KEG BEER 0.88sCOB CORN 0.882

TEXT BOOK 0.88 r

ON OFF 0.878DILL PICKLE 0.869BRIDE GROOM 0.865BEFORE AFTE,R 0.8s9MARGARINE BUTTER 0.856COBWEB SPIDER 0.849PEPPERONI PIZZA 0.849ITCH SCRATCH 0.848TROUSERS PANTS 0.846UP DOWN 0.845

113

WEB SPIDER 0.845ASSIST HELP 0.842CRIB BABY 0.842WICK CANDLE 0.841

MEOW CAT 0.839YOLK EGG 0.839PERSPIRE SWEAT 0.837.IIGSAW PUZZLE 0.836OMELET EGGS 0.836PANE WINDOW 0.833

COBRA SNAKE 0.831TAPIOCA PUDDING 0.831

YES NO 0.830COMPREHEND UNDERSTAND 0.829BOUOUET FLOWERS 0.828

TOAD FROG 0.828ILL SICK 0.824LOBE EAR 0.824DAY NIGHT 0.819PLASMA BLOOD 0.818

OUACK DUCK 0.818THLINDER LIGHTNING 0.818FIBER I,IE 0.816DENIM .TEANS 0.815

OUENCH THIRST 0.815CASH MONEY 0.814TELLER BANK 0.814FOIJND LOST 0.813ICING CAKE 0.812

FRAME PICTURE 0.811

HILARIOUS FUNNY 0.fi11

HIM HER 0.81 1

HIVE BEE 0.809BLAZE FIRE 0.80u

Lt4 115

TTJNA FISH 0.808BROTH SOUP 0.806OUT IN 0.804PHYSICIAN DOCTOR 0.804MTGRAINE HE,ADACHE 0.803AFFECTION LOVE 0.800BRAWL FIGHT 0.800

HAMMER NAIL 0.800BANK MONEY 0.799DESPISE HATE 0.197

FLIPPER DOLPHIN 0.797

HOUND DOG 0.795OAK TREE 0.795LIBRARY BOOK 0.794BT]MBLE BEE 0.793CINEMA MOVIE 0.793OUIZ TEST 0.792RYE RREAD 0.791KITTEN CAT 0.789BULB LTGHT 0.788CLOROX BLEACH 0.787AUTO CAR 0.784CHIRP BIRD 0.784FRIGHTENED SCARED 0.784REMAIN STAY 0.784JOG RUN 0.783TULIP FLOWER 0.782CRAYOLA CRAYON 0.780GIGGLE LAUGH 0.780WARDROBE CLOTHES 0.780WEST EAST 0.780EXAM TEST 0.778LOW HIGH 0.777MARROW BONE 0.777

HE SHE 0.776PISTOL GUN 0.77 4

KING OUEEN 0.772NORTH SOUTH 0.772PAL FRIEND 0.772LAMP LIGHT 0.769OPENER CAN 0.768

OUESTION ANSWER 0.767XEROX COPY 0.763

NO YES 0.761MOM DAT) 0.759THRONE KING 0.7s9GOOD BAD 0.7s8THREAD NEEDLtl 0.758AIRPORT PLANE 0.757ARTTHMETIC MATH 0.7 57

WIN LOSE 0.7s7TABLE CHAIR 0.756TRIBE INDIAN 0.756CHOWDER CLAM 0.75sWASHER DRYER 0.755ASTRONOMY STAR 0.753PONY HOI{SE, 0.752PUPPY DOG 0.7s2BAD GOOD 0.750INEXPENSIVE CHIIAP 0.750ATTEMPT TRY 0.149PETALS FLOWER 0.748BE,GINNING END 0.747CONVENT NUN 0.747I-OST FOUND 0.747ALINT UNCLE 0.746BROTHER SISTER 0.746INFANT BABY 0.746

116 tt7

CASHEW NUT 0.745

REPLY ANSWER 0.745

BLUEJAY BIRD 0.743

THERE HERE 0.743

HOG PIG 0.741

DASHBOARD CAR 0.740

MARE HORSE 0.740

POSTAGE STAMP 0.740

VEI]ICLE CAR 0.740

ROW BOAT 0.739

GTRL BOY 0.738

UNHAPPY SAD 0.738

BUNNY RABBIT 0.735

TANGERINE ORANGE 0.733

CHILL COLD 0.732

HARE RABB]T 0.732

PILOT PLANE 0.731

BASHFUL SHY 0.730

FUND MONEY 0.730

NAP SI,EEP 0.730

ORCHID FLOWER 0.730

OUEEN KINC 0.730

TEPEE INDTAN 0.727NEW OLD 0.725

GLACIER IC]E 0.723

GRIZZLY BEAR 0.723

ILLNESS SICK 0.723

OPEN CLOSE, 0.723

WRONG RiGHT 0.723

CABOOSE TRAIN 0.721

DIGIT NUMBER 0.720DOE DEER 0.719CATHEDRAL CHURCH 0.717TINCOOKE,D RAW 0.1t1

RECTANGLE UARE 0.716F'RONT BACK 0.7 5

REFLECTION MIRROR 0.7 5

INTELLIGENT SMART 0.7RIP TEAR 0.7DAD MOM 0.7 0

AUTOMOBILE CAR 0.709BACKWARD FORWARD 0.709CALCULUS MATH 0.709CAP HAT 0.709KIWI FRUIT 0.709ANNUAL YEARLY 0.701FATIGUE MOTHER 0.706UNCLE AUNT 0.706GUMS TEETH 0.705ELDERLY OLD 0.703FAME TRUE 0.703ONE TWO 0.703BOY GIRL 0.701TRIGGER GUN 0.701UMBRELLA RAIN 0.701YOU ME 0.701FILTHY DIRTY 0.700OUARREL FIGHT 0.699VANISH DISAPPEAR 0.699ZENITH TELEVISION 0.698CAI-F cow 0.697ODOR SMELL 0.697ASSISTANCB HELP 0.696TALL SHORT 0,696TOP BO'TTOM 0.696YOKE EGG 0.696INK PEN 0.695INTOXICATED DRUNK 0.695

I l8 lt9

OAR BOAT 0.69s

PEPPER SALT 0.695

CHALK BOARD 0.694

FILTH DIRT 0.693

CANARY BIRD 0.692

FEATHE,RS BIRD 0.692

ADDICT DRUGS 0.691

DIFFICULTY HARD 0.691

LABOR WORK 0.690

NOUN VERB 0.690

ADORABLE CUTE 0.689

BRTTANNICA E,NCYCLOPE,DIA 0.689

CABLE TELEVISION 0.689

DAISY FLOWER 0.689

DISCUSS TALK 0.689

RACOUET BALL 0.689

TIMID SHY 0.689

BANNE,R FLAG 0.687

BUDDY FRIE,ND 0.687

NIGHT DAY 0.686

ADD SUBTRACT 0.68s

OCCUPATION JOB 0.683

PLUS MINUS 0.683

PUPIL STUDENT 0.683

BARTENDE,R DRINK 0.682

DOZE SLEE,P 0.682

HOBO BUM 0.682

PORTRAIT PICTURE, 0.682

THICK THIN 0.682

NEST BIRD 0.681

CHIMPANZE,E, MONKEY 0.680

WAG TAIL 0.680

DE,PUTY SHERIFF 0.679

ERROR MISTAKE 0.619

GLOBE WORLD 0.679AROMA SMELL 0.678AVENUE STREET 0.678CLOSED OPEN 0.678

CRADLE BABY 0.678

LOOK SEE 0.678WIFE HUSBAND 0.677BLACKBOARD CHALK 0.676

DONE FINISH 0.676HOT COLD 0.676ACRE LAND 0.67sMEATBALLS SPAGHETTI 0.675

ANTIOUE OLD 0.673ARM LEG 0.673INCORRECT WRONG 0.673

LATHER SOAP 0.673TOUCH FEEL 0.673

YOURS MINE 0.673

KNOB DOOR 0.672NOISY LOUD 0.671FLIGHT AIRPLANE 0.669ROB STEAL 0.669BUCKLE BELT 0.667DOG CAT 0.667JOYOUS HAPPY 0.667ADDICTION DRUG 0.664CHLORINIl POOL 0.664E,TE,RNITY FOREVER 0.664FUEL GAS 0.664

PEPSI COLD 0.664PLAYTHING TOY 0.664ANCIENT OLD 0.662

ASTROLOGY STAR 0.662

GALLOP HORSE 0.662

t20 t21

JET PLANE 0.662REGULATIONS RULES 0.662RICH POOR 0.662TWTNKLE STAR 0.662MAN WOMAN 0.660TUSK ELEPHANT 0.660CELEBRATION PARTY 0.6s8MOWER LAWN 0.658NIE,CE NEPHEW 0.658

BOULDER ROCK 0.6s6ALGEBRA MATH 0.65sHIGH LOW 0.6s5JUICE ORANGE 0.655WHITE BLACK 0.655

COLT HORSE 0.654RESPIRATION BREATHE 0.654DANDELION F LOWER 0.6s3I ME 0.653TRUTHFUL HONEST 0.6s3UPSTAIRS DOWNSTAIRS 0.653

CLOCK TIME 0.6s2COMMUNICATE TALK 0.6s2FEUD FIGHT 0.652

ATTIRE CLOTHES 0.651

CREDIT CARD 0.651

HALO ANGEL 0.651

TINY SMAt-L 0.6s0AGONY PAIN 0.649GHOUL GHOST 0.649zoo ANIMAL 0.649MALE FEMALE, 0.648BLOUSE SHIR'T 4.647BRACES TEETH 0.647BUMPER CAR 0.647

DUPLICATE COPY 0.647

EOUATION MATH 0.647

PIGEON BIRD 0.646

ANTLERS DEER 0.64sCOMPANION FR IEND 0.643

FAMISHED HI]NGRY 0.643

OUILL PEN 0.643

ARCTIC COLD 0.642

CONVERSATION TALK 0.642

LEAF TREE 0.642

PINE TREE 0.642

VERB NOUN 0.642

ERUPT VOLCANO 0.641

HIJSK CORN 0.640REPAIR FIX 0.640

FORGIVE FORGET 0.639HELLO GOOD-BYE 0.639ATOMIC BOMB 0.638

BED SLEEP 0.638

OFFENSE DEFENSE 0.638

PET DOG 0.637

COMB BRUSH 0.636

FRIGHT SCARE 0.636PEANUT BUTTER JELLY 0.636

BIG SMALL 0.635

CIRCLE SOIJARE 0.63s

GLANCE LOOK 0.635

HARM HURT 0.635

OPTION CHOICE 0.635

POACH EGGS 0.63s

EIGHT NINE 0.634

ALTER CHANGE 0.633

BULLETIN BOARD 0.633

ROBIN BIRD 0.633

t22 123

VACATE LEAVE 0.633HERE THERE 0.632TOUCHDOWN FOOTBALL 0.632DIAMOND RING 0.630FOLLOW LEAD 0.630HINGE DOOR 0.630MORE LESS 0.630PASTE GLUE 0.630WALLET MONEY 0.630BAIT FISH 0.629CROCODILE ALLIGATOR 0.629ESCARGOT SNAIL 0.629LE,SS MORE 0.629FOREST TREE 0.628HAPPY SAD 0.628PARROT BIRD 0.628MORSE CODE 0.627POSITIVE NEGATIVE 0.627O-TIPS EAR 0.627UNSOLVED MYSTERY 0.62sRAYS SLIN 0.624FROSTING CAKE, 0.623CHEF COOK 0.622FLOOD WATER 0.622NAIL HAMMER 0.622RAKE LEAVES 0.622ADDITION SUBTRACTION 0.621CHAPET- CHURCH 0.621EVEN ODD 0.62rFLTINK FAIL 0.621

GROOM BRIDE 0.620HONK HORN 0.620DEPART LEAVE 0.619ALMIGHTY GOD 0.61 8

AWAKE ASLEEP 0.618ELM TREE 0.6 8

TOSS THROW 0.6 8

BEETLE BUG 0.6 6

ANTLER DEER 0.6 5

CLEVER SMART 0.6 5

ENTRANCE EXIT 0.6 5

FAUCET WATER 0.6 5

OUIVER SHAKE 0.6 5

CHAPTER BOOK 0.6 4DAGGER KNIFE 0.6 4DILEMMA PROBLEM 0.6 4MEN WOMEN 0.6 4

ROAR LION 0.6 4ROMANCE LOVE 0.6 4NAUSEOTJS SICK 0.6 a

-)

CONCLUSION ENDING 0.6 2

.IOKE LAUGH 0.6 2

KINETIC ENERGY 0.6 2

ONCE TWICE 0.6 2

EMPTY FULL 0.6 l

DESIRE WANT 0.6 0

BUBBLE GUM 0.609DUSK DAWN 0.609GIFT PRESENT 0.609IMMEDIATE NOW 0.609NOVEL BOOK 0.608PROFIT MONEY 0.608ANATOMY BODY 0.607CONSTRUCT BUILD 0.607BREEZE WIND 0.606CRACKLE POP 0.606LARGE SMALL 0.606PLANET EARTH 0.606

t24 125

WAGER BET 0.606

EMPLOYME,NT JOB 0.60s

FOLLOWER LEADER 0.605

TOE FOOT 0.605

VINE, GRAPE 0.605

WEARY TIRED 0.605

AFRAID SCARE 0.604

ISOLATED ALONE 0.604

CE,LEBRATE PARTY 0.603

CLIMBER MOLINTAIN 0.603

NEGATIVE POSITIVE, 0.603

PRIM PROPE,R 0.603

RODENT RAT 0.603

VASE FLOWER 0.603

PELICAN BIRD 0.602

LILY FLOWER 0.601

DISLIKE HATE 0.600

WINNE,R I-OSER 0.600

MUD DIRT 0.599

NEED WANT 0.s99

FAST SLOW 0.598

HANDBAG PURSE 0.597

MOTHER FATHER 0.s97

PEDESTRIAN WALK 0.597

INTERSTATE HIGHWAY 0.596

LUMBE,R wooD 0.s96

MACARONI CHEESE 0.596

TRANSPORTATION CAR 0.595

WOMAN MAN 0.595

YOIJNG OLD 0.s95

CIRCUS CLOWN 0.s94

DiFFICULT HARD 0.594MITTEN GLOVE 0.594

PEN PENCIL 0.s94

PORK PIG 0.594PULL PUSH 0.s94YACHT BOAT 0.594BLOOM FLOWER 0.s93CAFETERIA FOOD 0.593DOORBELL RING 0.592FLEE RUN 0.592WEAPON GUN 0.s92DTAPER BABY 0.591DOWNSTAIRS UPSTAIRS 0.591GROCERTES FOOD 0.s90BULLET GUN 0.589EMBRACE HUG 0.589TALE STORY 0.s89BLUBBER FAT 0.588BOULEVARD STREET 0.587TNSIDE OUTSIDE 0.587JAWS SHARK 0.587POWERFUL STRONG 0.587REPUBLICAN DEMOCRAT 0.587ATOM BOM B 0.s86FOLINTAIN WATER 0.586TEST TUBE BARY 0.s86CHEERFUL HAPPY 0.585CUB BEAR 0.585FLU SICK 0.585ESTEEM SELF 0.584MUSTARD KETCHUP 0.s84BRIEF SHORT 0.s82EASY HARD 0.582HOUSE HOME 0.582DOWN UP 0.581TUG PULL 0.580ACTOR ACTRESS 0.578

126 127

APOLOGY SORRY 0.578HEAD & SHOULDERS SHAMPOO 0.578TICKLE LAUGH 0.578TILE FLOOR 0.578YELL SCREAM 0.578FULL EMPTY 0.577PHOTO PICTURE 0.577PURCHASE BI]Y 0.577COD FISH 0.576

GROWN-UPS ADULTS 0.576NOW LATER 0.576COME GO 0.57 5

FLESH SKIN 0.575

KITE FLY 0.575LAST FIRST 0.575

PUN JOKE 0.575

URANUS PI,ANET 0.575

ZEST SOAP 0.s74LIME LEMON 0.573BTJYE,R SELLER 0.572AFTER BEFORE 0.571

BRT]NETTE, BLONDE 0.571

TNTOXICATE DRUNK 0.571PEEL ORANGE 0.571

FRIGID COLD 0.570BARK DOG 0.569OUAIL RIRD 0.s69DUNE SAND 0.568ENTER EXIT 0.568NUMEROUS MANY 0.s68JOB WORK 0.567ABDOMEN STOMACH 0.566INSTRUCTOR TEACHER 0.s66NINE TEN 0.566

PROTON NEUTRON 0.566RAPID FAST 0.s66ADORE LOVE 0.56sBLEND MIX 0.565

INFINITY FOREVER 0.565

LOOSE TIGHT 0.565

ABOVE BELOW 0.s64BOUNCE BALL 0.564HARD SOFT 0.564JACKET COAT 0.s64MURDER KILL 0.564GUM CHE,W 0.s63THIN FAT 0.563

CONE ICE CREAM 0.s62CRAFTS ART 0.562HERD cow 0.s62INDOORS OUTDOORS 0.561

CARDBOARD BOX 0.559DOCK BOAT 0.559FRANKENSTEIN MONSTER 0.559VELOCITY SPEED 0.559BULL cow 0.558

ODD EVEN 0.558

BLACK WHITE 0.557

RELY DEPEND 0.557

WEAK STRONG 0.s57HELIUM BALLOON 0.556

MONOPOLY GAME 0.556MTNE YOURS 0.555AT-IVE DEAD 0.554CORRECT WRONG 0.554FRACTURE BREAK 0.554LEND BORROW 0.5s4PUCK HOCKEY 0.554

t28

DEMON DEVII, 0.553GRANDPA GRANDMA 0.553LENS GLASSES 0.553FEMALE MALE, 0.552GLOVE HAND 0.552LOAF BREAI) 0.552DINE EAT 0.551

DROWSY SLEEP 0.551

LEAGUE BASEBALL 0.551

PAIN HURT 0.551

COMEDIAN FUNNY 0.550DISCUSSION TALK 0.550

DRAPES CT]RTAINS 0.550ARMS LEGS 0.549GLAD HAPPY 0.549FINISHED DONE 0.547

HUE COLOR 0.547NETWORK TELEVISION 0.s4'7

NURSE DOCTOR 0.547PERCH BIRD 0.547PRINCESS PRINCE, 0.547RECLTNER CHAIR 0.547BUTCHER MEAT 0.546CAREER JOB 0.546TRIGONOMETRY MATH 0.546WATT BULB 0.s46RIFLE GI]N 0.s45CLARIFY CLEAR 0.544PEDAL BIKE 0.s44TUMBLE FALL 0.544CAVITY TOOTH 0.543FAIRY TALE 0.543FILM MOVIE 0.543INCOME MONEY 0.543

t29

MOIST WET 0.s43MOUSE CAT 0.543NAVY ARMY 0.s43OI]TFIT CLOTHES 0.543OVER T]NDER 0.542BTJDGET MONEY 0.54 t

LEGS ARMS 0.s41

POVERTY POOR 0.541

RAGE ANGER 0.541VENT AIR 0.541

ANSWER OUESTION 0.540DEMOLISH DESTROY 0.s39GO STOP 0.s39MATTRESS BED 0.s39CROW BIRD 0.s38ETERNAL FOREVER 0.538GRANDMA GRANDPA 0.s38MINOR MAJOR 0.538

CORPSE DEAD 0.531TAXI CAB 0.537BEST WORST 0.536GUARDIAN PARENT 0.s36LONG SHORT 0.536LOTTERY MONEY 0.s36DINNER SUPPER 0.535NEAR FAR 0.535COP POLICE 0.534DONKEY ASS 0.534FAWN DEER 0.s34GEOMETRY MATH 0.s34CONDOM SEX 0.s33

DOLLARS MONEY 0.533GRASP HOLD 0.533

HOLLER YELL 0.s33

130 131

OUNCE POUND 0.s33

PUBLISHER BOOK 0.s33

TOES FE,E,T 0.s32

WHOM wHo 0.531

TRUE FALSE 0.531

ARROW BOW 0.530

HAWK BIRD 0.s29

INSTRUCT TEACH 0.529

TOWN CITY 0.529

BRANCH TRE,E 0.528

GRAMMAR ENGLISH 0.528

RE,CALL REMEMBER 0.s28

ATLAS MAP 0.s21

CALORIES FAT 0.527

CHECKBOOK MONEY 0.s21

CLEAN DIRTY 0.527

DEPRESSED SAD 0.s27

DIME NICKEL 0.527

FORGET REME,MBER 0.527

TOMORROW TODAY 0.527

ASTRONAUT SPACE 0.s26

AUTUMN FALL 0.526

CONCLUDE E,ND 0.526

DUMB STUPID 0.526

TRASH GARBAGE 0.s26

CAVERN CAVE 0.525

NICOTINE, CIGARETTE 0.525

VOLCANO E,RUPT 0.s25

CRESCENT MOON 0.524

DONOR BLOOD 0.524

FAIRYTALE STORY 0.524

DE,CRE,ASE INCREASE 0.523

INSANE, CRAZY 0.s23LE,AP JUMP 0.522

BT]ZZ BEE 0.521END BEGIN 0.s2HANGER CLOTHES 0.52HURT PAIN 0.s2MARSH SWAMP 0.52ANGRY MAD 0.s20BACK FRONT 0.s20BRILLIANT SMART 0.520DICTIONARY WORDS 0.520FLINERAL DEATH 0.s20MINUS PLUS 0.520COMPASS DIRECTION 0.5 9

GARAGE CAR 0.5 9

BALLOT VOTE 0.5 8

PIJB BEER 0.5 8

THIGH LEG 0.5 8

BACON E,GGS 0.5 7

CORK WINE 0.5 7

FREEZER COLD 0.5 7

FUDGE CHOCOLATE 0.5 7

KNIGHT ARMOR 0.5 7

MINK COAT 0.5 7

MEDICAL DOCTOR 0.5 6

REMINISCENCE REMEMBER 0.5 6

ARGUMENT FIGHT 0.5 4DRAFT BEER 0.5 4FLEET SHIPS 0.5 4PRECISE EXACT 0.5 4

REFRAIN STOP 0.5 4

REPTILE SNAKE 0.5 4

REOUEST ASK 0.5 4WEAR CLOTHES 0.5 4

CAT DOG 0.5 J

CAUTIOUS CAREFUL 0.5 -J

t32 133

ENVY JEALOI]SY 0.513

INEBRIATED DRUNK 0.5 13

MOTIONLESS STILL 0.513

REGION AREA 0.512FLAME FIRE 0.51 1

PROFE,SSOR TEACHE,R 0.51 1

ARCHITE,CTURE, BUILDING 0.510

GOODBYE HELLO 0.510

IMPLODE EXPLODE, 0.510

POCKETBOOK PIJRSE 0.510

POOR RICH 0.510

UMPIRE BASE,BALL 0.510

VENOM POISON 0.s09

LOSER WINNER 0.508

ACHE PAIN 0.507

ACTRESS ACTOR 0.507

ARGUE, FIGHT 0.507

BOTTOM TOP 0.507

CIGAR SMOKE 0.507

DEMOCRAT REPUBLICAN 0.s07

EARLY LATE 0.507

ERASER PENCIL 0.s07

FREOUENT OFTEN 0.507

HAMPER CLOTHES 0.507

HUMILIATE EMBARRASS 0.507

NEIGHBOR FRIEND 0.s07OPENING CLOSING 0.s07

REFLE,CT MIRROR 0.507

VOCABULARY WORDS 0.507

LISTEN HEAR 0.s06BROOM SWEE,P 0.504RACKET TENNIS 0.504WORST BEST 0.504BELOW ABOVE 0.s03

CREATOR GOD 0.503DAM WATER 0.503DRENCH WET 0.s03FAR NEAR 0.503GIRLS BOYS 0.s03LEG ARM 0.s03THANKSGIVING TURKEY 0.503TIN CAN 0.503TODAY TOMORROW 0.s03UNTRUE FALSE 0.503VICTOR WINNER 0.s03WHISKERS BEARD 0.s03ARIGHT OKAY 0.500ARMY NAVY 0.500BOYS GIRLS 0.s00CONSIDE,R THINK 0.500DRIVEWAY CAR 0.s00EVACUATE LEAVE 0.500FLAVOR TASTE 0.500FORWARD BACKWARD 0.s00KILOME,TE,R MILE 0.s00ME YOU 0.s00MINER COAL 0.500MIST FOG 0.s00OBSERVE WATCH 0.500PAIL BUCKET 0.500RAILROAD TRAIN 0.500TINITED STATES 0.500

134

Sonrso sv CusABDOMEN STOMACH 0.566

ABOVE BELOW 0.564ACITE PAIN 0.507

ACRE LAND 0.67s

ACTOR ACTRESS 0.578

ACTRESS ACTOR 0.507

ADD SUBTRACT 0.685

ADDICT DRUGS 0.691

ADDICTION DITUG 0.664

ADDITION St]BTRACTION 0.621

ADORABLE CUTE 0.689

ADORE LOVE 0.565

AFFECTION LOVE 0.800

AFRAID SCARE 0.604

AFTER BEFORE, 0.571

AGONY PAIN 0.649

AIRPORT PLANE 0.7 s]ALGEBRA MATH 0.655

ALIVE DEAD 0.554

ALMIGHTY GOD 0.61 8

ALTER CHANGE 0.633

ANATOMY BODY 0.607

ANCIENT OLD 0.662

ANGRY MAD 0.520

ANNUAL YEARLY 0.701

ANSWER OUESTION 0.540

ANTIOTJE, OLD 0.613

ANTLER DETIR 0.615

ANTLERS DEER 0.645

APOLOGY SORRY 0.578

ARCHITE,CTURE BUILDING 0.510ARCTIC COLD 0.642

13s

ARGUE FIGHT 0.507ARGUMENT FIGHT 0.s 14

ARIGHT OKAY 0.500ARITHMETIC MATH 0.757ARM LEG 0.673ARMS LEGS 0.549ARMY NAVY 0.500AROMA SMEI-L 0.678ARROW BOW 0.530ASSIST HELP 0.842ASSIS'TANCE HELP 0.696ASTROLOGY STAR 0.662ASTRONAUT SPACE 0.526ASTRONOMY STAR 0.753ATLAS MAP 0.527ATOM BOMB 0.586ATOMIC] BOMB 0.638ATTEMPT TRY 0.749ATTIRE CLO'fHES 0.651

AUNT TJNCLE 0.746AT]TO CAR 0.184AUTOMOBILE CAR 0.709AUTUMN FALI- 0.s26AVE,NUE STREET 0.678AWAKE ASLEEP 0.618BACK FRONT 0.s20BACKWARD FORWARD 0.709BACON EGGS 0.5t7BAD GOOD 0.750BAIT FISH 0.629BALLOT VOTE, 0.51 8

BANK MONEY 0.799BANNER F'LAG 0.687BARK DOG 0.s69

136 r37

BARTENDER DRINK 0.682BASHFUL ST{Y 0.730BED SLEEP 0.638

BEETLE BUG 0.616BEFORE AFTER 0.859BEGINNING END 0.7 47

BELOW ABOVE 0.503

BEST WORST 0.536

BIG SMALL 0.635

BLACK WHITE 0.5s7BLACKBOARD CHALK 0.676

BLAZE FIRE 0.808

BLEND MIX 0.565

BLOOM FLOWER 0.s93

BLOUSE, SHIRT 0.647

BLUBBER FAT 0.588

BLUEJAY BIRD 0.743

BOTTOM TOP 0.507

BOULDER ROCK 0.656

BOULEVARD STREE,T 0.587

BOLINCE RALL 0.s64BOUOUET FLOWERS 0.828

BOY GIRL 0.701

BOYS GIRLS 0.500

BRACES TEETH 0.647

BRANCH TRE,E 0.s28

BRAWL FIGHT 0.800

BREEZE WIND 0.606BRIDE, GROOM 0.865

BRIEF SHORT 0.s82BRILLIANT SMART 0.,s20

BRITANNICA ENCYCLOPEDIA 0.689BROOM SWEEP 0.504BROTH SOUP 0.806

BROTHER SISTER 0.746BRLINETTE BLONDE, 0.571BUBBLE GT]M 0.609BUCKLE BELT 0.667BUDDY FRIE,ND 0.687BUDCET MONEY 0.541BULB LIGHT 0.788BULL cow 0.558BULLET GUN 0.589BULLETIN BOARD 0.633BUMBLE BEE 0.793BUMPER CAR 0.647BT]NNY RABBIT 0.73sBUTCHIlR MEAT 0.546BUYER SELLER 0.572BUZZ BEE 0.521

CABLE TELEVISION 0.689CABOOSE TRAIN 0.721CAFETERIA F'OOD 0.s93CALCULUS MATH 0.709CALF cow 0.697CALORIE,S FAT 0.527CANARY BIRD 0.692CAP HAT 0.709CARDBOARD BOX 0.5s9CAREER .IOB 0.s46CASH MONEY 0.814CASHEW NUT 0.74sCAT DOG 0.5 13

CATHEDRAL CHURCH 0.717

CAUTIOUS CAREFTJL 0.513CAVERN CAVE 0.525CAVITY TOOTH 0.543CELEBRATE PARTY 0.603

r38 t39

CELEBRATION PARTY 0.658CHALK BOARD 0.694CHAPEL CHURCH 0.621CHAPTER BOOK 0.614CHECKBOOK MONEY 0.527

CHEDDAR CHEESE 0.922

CHEERFUL HAPPY 0.585

CHEF COOK 0.622

CHILL COLD 0.732

CHIMPANZEE, MONKEY 0.680

CHIRP BIRD 0.784CHLORINE POOL 0.664

CHOWDER CLAM 0.75s

CTGAR SMOKE 0.507

CINEMA MOVIE 0.793

CTRCLE SOUARE 0.63s

CIRCUS CLOWN 0.594

CLARIFY CLEAR 0.544

CLEAN DIRTY 0.527

CLEVER SMART 0.61 5

CLIMBE,R MOUNTAIN 0.603

CLOCK TIME 0.652

CLOROX BLEACH 0.787

CLOSED OPE,N 0.678

COB CORN 0.882

COBRA SNAKE 0.831

COBWEB SPIDER 0.849

COD FISH 0.576

COLT HORSE 0.654

COMB BRUSH 0.636

COME GO 0.575

COME,DIAN FUNNY 0.550

COMMTINICATE TALK 0.6s2COMPANION FRIEND 0.643

COMPASS DIRECTION 0.5 19

COMPREHEND T]NDERSTAND 0.829CONCLI]DE END 0.526CONCLUSION ENDING 0.612

CONDOM SEX 0.533

CONE ICE CREAM 0.562

CONSIDER THINK 0.s00CONSTRUCT BUILD 0.607

CONVENT NUN 0.7 47

CONVERSATION TALK 0.642

COP POLICE 0.534CORK WINE 0.5i7CORPSE DEAD 0.537

CORRECT WRONG 0.554CRACKLE POP 0.606CRADLE BABY 0.678

CRAFTS ART 0.562

CRAYOLA CRAYON 0.780

CREATOR GOD 0.s03

CREDIT CARD 0.651

CRESCENT MOON 0.s24CRIB BABY 0.842CROCODILE ALLIGATOR 0.629CROW BIRD 0.s38CUB BEAR 0.585

DAD MOM 0.710

DAGGER KNIFE 0.6t4DAISY FLOWER 0.689

DAM WATER 0.503

DANDELION FLOWER 0.6s3

DASHBOARD CAR 0.740DAY NIGHT 0.81 9

DECREASE INCREASE 0.523DEMOCRAT REPUBLICAN 0.507

t40

DEMOLISH DESTROY 0.539DEMON DEVIL 0.553DENIM JEANS 0.815DEPART LEAVE 0.619DEPRESSED SAD 0.527DEPUTY SHE,RIFF 0.679DESIRE WANT 0.610DESPISE HATE 0.797DIAMOND RING 0.630DIAPER BABY 0.s91

DICTIONARY WORDS 0.520DIFFICULT HARD 0.s94DIFFICULTY HARD 0.691

DIGIT NTJMBER 0.720DILEMMA PROBLEM 0.614DILL PICKLE 0.869DIME, NICKEL 0.527DINF, EAT 0.551

DINNER SUPPER 0.535DISCUSS TALK 0.689

DISCUSSION TALK 0.550

DISLIKE HATE 0.600

DOCK BOAT 0.559

DOE DE,ER 0.719DOG CAT 0.667

DOLLARS MONEY 0.533

DONE FINISH 0.616DONKEY ASS 0.s34DONOR BLOOD 0.s24DOORBELL RING 0.592DOWN UP 0.581

DOWNSTAIRS UPSTAIRS 0.591

DOZE SLEEP 0.682DRAFT BEER 0.514

141

DRAPES CURTAINS 0.550DRENCH WET 0.503DRIVEWAY CAR 0.s00DROWSY SLEEP 0.551

DUMB STUPID 0.s26DI]NE SAND 0.s68DUPLICATE COPY 0.647DUSK DAWN 0.609EARLY LATE 0.507EAST WEST 0.886EASY HARD 0.s82EIGHT NINE 0.634ELDERLY OLD 0.703ELM TREE 0.6r8EMBRACE HUG 0.s89EMPLOYMENT JOB 0.605EMPTY FULL 0.611

END BEGTN 0.521ENTER EXIT 0.568ENTRANCE EXIT 0.615ENVY JEALOI]SY 0.5 13

EOUATION MATH 0.647ERASER PENCIL 0.507ERROR MISTAKE 0.679ERUPT VOLCANO 0.641ESCARGOT SNAIL 0.629ESTEEM SELF 0.584ETERNAL FOREVER 0.538ETERNITY FOREVER 0.664EVACUATE LEAVE 0.500EVEN ODD 0.621

EXAM TEST 0.178EXHAUSTED TIRE,D 0.895

FAIRY TALE 0.s43

142

FAIRYTALE STORY o.s24FAME TRUE 0.703

FAMISHE,D HUNGRY 0.643FAR NEAR 0.s03

FAST SLOW 0.s98

FATIGUE MOTHER 0.706

FAUCE,T WATER 0.6r5FAWN DE,ER 0.s34FEATHERS BIRD 0.692

FEMALE MALE 0.552FEUD FIGHT 0.6s2FIBER LIE 0.816

FILM MOVIE 0.543

FILTH DIRT 0.693

FILTHY DIRTY 0.700

FINISHED DONE 0.547

FLAME FIRE 0.51 IFLAVOR TASTE 0.s00

FLEE, RUN 0.s92FLEET SHIPS 0.514

FLESH SKIN 0.575

FLIGHT AIRPLANE 0.669

FLIPPER DOLPHIN 0.797

FLOOD WATER 0.622

FLU SICK 0.s85

FLUNK FAIL 0.621FOLLOW LEAD 0.630FOLLOWER LEADER 0.605

FOREST TREE 0.62u

FORGET REMEMBE,R 0.521

FORGIVE FORGET 0.639FORWARD BACKWARD 0.s00FOUND LOST 0.813FOUNTAIN WATER 0.s86

t43

FRACTURE BREAK 0.554FRAME PICTURE 0.81 I

FRANKENSTEIN MONSTER 0.559

FREEZER COLD 0.511

FREOUENT OFTEN 0.507

FRIGHT SCARE 0.636FRIGHTEN ED SCARED 0.784FRIGID COLD 0.570FRONT BACK 0.715FROSTING CAKE 0.623FUDGE CHOCOLATE 0.517FUEL GAS 0.664FULL EMPTY 0.577

FTIND MONEY 0.730FUNERAL DEATH 0.s20GALLOP HORSE 0.662GARAGE CAR 0.519

GEOMETRY MATH 0.534

GHOUL GHOST 0.649GIFT PRESENT 0.609GIGGLE LAUGH 0.780GIRL BOY 0.738

GIRLS BOYS 0.s03GLACIER ICE 0.723

GLAD HAPPY 0.s49GLANCE LOOK 0.635GLOBE WORLD 0.679GLOVE HAND 0.552GO STOP 0.539

GOOD BAD 0.758

GOODBYE HELLO 0.510

GRAMMAR ENGLISH 0.528

GRANDMA GRANDPA 0.538GRANDPA GRANDMA 0.553

144

GR ASP HOLD 0.533

GRTZZLY BE,AR 0.723

GROCERIES FOOD 0.590

GROOM BRIDE 0.620

GROWN-UPS ADULTS 0.576

GUARDIAN PARENT 0.536

GUM CHEW 0.563

GUMS TEETH 0.705

HALO ANGE,L 0.651

HALT STOP 0.906

HAMME,R NAIL 0.800

HAMPE,R CLOTHES 0.507

HANDBAG PURSE 0.597

HANGE,R CLOTHES 0.521

HAPPY SAD 0.628

HARD SOFT 0.s64

HARE RABBIT 0.732

Hanu I HURT 0.63s

HAWK BIRD 0.529

HE, SHE 0.776

HE,AD & SHOULDERS SHAMPOO 0.578

HELIUM BALLOON 0.556

HE,LLO cooD-BYE, 10.63e

HE,RD cow I o.soz

HERE, THERE 0.632

HIGH LOW 0.655

HILARIOUS FUNNY 0.811

HIM HER 0.811

HINGE DOOR 0.630

HIVE BEE, 0.809

HOBO BUM 0.682

HOG PIG 0.741

HOLLE,R YE,LL 0.533

HONK HORN 0.620

r45

HOT COLD 0.676HOUND DOG 0.795HOUSE HOME 0.582HI]E COLOR 0.s47HUMILIATE EMBARRASS 0.s07HURT PAIN 0.521HUSBAND WIFE 0.88sHUSK CORN 0.640I ME 0.653ICING CAKE, 0.812ILL SICK 0.824ILLNESS SICK 0.723IMMEDIATE NOW 0.609IMPLODE EXPLODE 0.510]N OUT 0.940INCOME MONEY 0.543INCORRECT WRONG 0.673INDOORS OUTDOORS 0.561INEBRIATED DRUNK 0.513INEXPENSIVE CHEAP 0.750INFANT BABY 0.746INFINITY FOREVER 0.56-5INK PEN 0.695INSANE CRAZY 0.s23INSIDE OUTSIDE 0.587INSTRUCT TEACH 0.529INSTRUCTOR TEACHtrR 0.566TNTELLIGENT SMART 0.711INTERSTATE HIGHWAY 0.596INTOXICATE DRLINK 0.571TNTOXICATED DRUNK 0.695ISOLATED ALONE, 0.604ITC}I SCRATCH 0.848JACKET COAT 0.564

t46

JAWS SHARK 0.587JET PLANE o.662JIGSAW PUZZLE 0.836JOB WORK 0.567

.IOG RUN 0.783

JOKE LAUGH 0.612JOYOUS TIAPPY 0.667

JUICE ORANGE 0.655

KE,G BEER 0.88s

KILOMETER MILE 0.500

KINETIC ENERGY 0.6t2KING OUEEN 0.772

KITE FLY 0.515

KITTEN CAT 0.789

KIWI F-RUIT 0.709

KNIGHT ARMOR 0.517

KNOB DOOR 0.672

LABOR WORK 0.690

LAMP LIGHT 0.769

LARGE SMALL 0.606

LAST FIRST 0.575

LATHER SOAP 0.673

LEAF TREE 0.642

LEAGUE BASEBALL 0.5s 1

LEAP JUMP 0.522

I,EFT RIGHT 0.939

LEG ARM 0.503

LEGS ARMS 0.,s41

LEND BORROW 0.554

LENS GLASSE,S 0.553

LESS MORE 0.629LIBRARY BOOK 0.794LLY FLOWER 0.601

LIME I-E,MON 0.s73

147

LISTEN HEAR 0.506

LOAF BREAD 0.ss2LOBE EAR 0.824I-ONG SHORT 0.s36LOOK SEE 0.67uLOOSE TIGHT 0.565

LOSER WTNNER 0.508

LOST FOUND 0.747

LOTTERY MONEY 0.536

LOW HIGH 0.777LUMBER wooD 0.596MACARONI CHEESE 0.s96MALE FEMALE 0.648

MAN WOMAN 0.660MARE HORSE 0.740MARGARINE BUTTER 0.856MARROW BONE 0.777

MARSH SWAMP 0.521

MATTRESS BED 0.539ME YOIJ 0.s00MEATBALLS SPAGHETTI 0.675MEDICAL DOCTOR 0.516MEN WOMEN 0.6t4MEOW CAT 0.839MIGRAINE HEADACHE 0.803MTNE YOURS 0.555

MINER COAL 0.500MINK COAT 0.517

MINOR MAJOR 0.s38MINUS PLUS 0.s20MIST FOG 0.500MITTEN GLOVE 0.594MOIST WET 0.s43MOM DAD 0.759

148 149

Tr\D.\I V GAME 0.556

MOO cow 0.960

LESS 0.630f,a\() fl

MORSE,ar\ntr 621

0.597MOTHER F.A I HI,K

STTLL 0.s 13LVI\-,,

crD CAT 0.543IV I\-' LJ J L

N/Tf)\VFRI A \IN{ 0.658

0.599Nfr tl-)

NIDT0.564I/T T I0.584

MUSTARDI.trT(-I{I ]P

0.622NATL

HAMMh,KSLEE,P 0.730

NAPSICK 0.613

I TC Er\I Tq

ARMY 0.5431\ aa

FAR 0.s35L\ l-rar\

NE,ED

NEGATIVE,rrn r/ lI IDrlP

WANT 0.599

DN C,ITT\/tr 0.6030.507FRIEND

NESTR,TR D 0.681

T'tr,I,EVISION 0.541NETWORK

OLD 0.72s\l/

NICOTINEr-I(-l-AR trTTF 0.s75

0.658NEPHEW0.686

NIGHTnavTE,N 0.566

I\ lr'

NOvtrq 0.76

I OIID 0.671NOISY 0.172NORTH

S0IJIH0.690

NOUN Vh,RBBOOK 0.608

NOVELLATER 0.516

NUME,ROUSN/ ANY 0.568

0.54',7NURSE, DOC I UK

OAK TREE 0.795

OAR BOAT 0.695

OBSERVE WATCH 0.s00OCCUPATION .IOB 0.683

ODD EVE,N 0.558

ODOR SMELL 0.697

OFF ON 0.897

OFFENSE DEFENSE 0.638

OMELE,T E,GGS 0.836ON OFF 0.tt78

ONCE TWICE 0.612ONE TWO 0.703

OPEN CLOSE 0.723

OPENER CAN 0.768

OPENING CLOSING 0.507

OPTION CHOICE 0.63s

ORCHID FLOWER 0.730

OTINCE POUND 0.s33

OUT IN 0.804OUTFIT CLOTHE,S 0.s43OVER UNDER 0.s42PAIL BUCKET 0.s00PAIN HTJRT 0.55 r

PAL FRIEND 0.772

PANE wrNDow 0.833

PARROT BIRD 0.628PASTE GLUE 0.630

PEANUT BUTTER JELLY 0.636

PEDAL BIKE 0.s44PEDESTRIAN WALK 0.591

PEEL ORANGE 0.571

PELICAN BIRD 0.602PEN PENCIL 0.s94PEPPER SALT 0.695

150 l5l

PEPPERONI PtzzA I 0.849

PE,PSI COLD 0.664

PERCH BIRD 0.547

PERSPIRE, SWEAT 0.837

PET DOG 0.631

PETALS FLOWER 0.748

PHOTO PICTURE 0.577

PHYSICIAN DOCTOR 0.804

PIGEON BIRD 0.646

PILOT PLANE 0.731

PINE TRE,E, 0.642

PISTOL GUN 0.774

PLANE,T E,ARTH 0.606

PLASMA BLOOD 0.81 8

PLAYTHING TOY 0.664

PLUS MINUS 0.683

POACH EGGS 0.635

POCKETBOOK PURSE 0.s 10

PONY HORSE, 0.752

POOR RICH 0.510

PORK I PIG 0.594

PORTRAIT I PICTURE 0.682

POSITIVE NEGATIVE 0.627

POSTAGE STAMP 0.740

POVERTY POOR 0.541

POWERFUL STRONG 0.587

PRECISE E,XAC]T 0.514

PRIM PROPER 0.603

PRTNCESS PRINCE 0.547

PROFESSOR TE,ACHER 0.slIPROFIT MONEY 0.608

PROTON NE,UTRON 0.566

PUB BE,ER 0.518

PUBLISHER BOOK 0.533

PUCK HOCKEY 0.554PULL PI]SH 0.s94PUN JOKE 0.575PUPIL STUDE,NT 0.683PI]PPY DOG 0.752

PURCHASE BUY 0.577O-TIPS EAR 0.627

OUACK DIJCK 0.8r8OUAIL BIRD 0.569OUARREL FIGHT 0.699OUEEN KING 0.730

OUENCH THTRST 0.815

OUESTION ANSWER 0.767

OUILL PEN 0.643

OUIVER SHAKE 0.61s

OUIZ TEST 0.792

RACKET TENNIS 0.504

RACOUET BALL 0.689

RAGE ANGER 0.541

RAILROAD TRAIN 0.500RAKE LEAVES 0.622

RAPID FAST 0.566RAYS SUN 0.624

RECALL REMEMBER 0.528RECLTNER CHAIR 0.547RECTANGLE SOUARE 0.716REFLECT MIRROR 0.507

REFLECTION MIRROR 0.715REFRAIN STOP 0.s 14

REGION AREA 0.5t2REGULATIONS RTJLES 0.662

RELY DEPEND 0.557

REMAIN STAY 0.784RE,MINISCENCE REMEMBER 0.516

152 t53

REPAIR FIX 0.640

RE,PLY ANSWER 0.745

REPTILE SNAKE 0.514

RE,PUBLICAN DE,MOCRAT 0.587

REOUE,ST ASK 0.514

RESPIRATTON BREATHE 0.6s4

RICH POOR 0.662

RIFLE GUN 0.545

RIP TEAR 0.71 I

ROAR LION 0.614

ROB STEAL 0.669

ROBIN BIRD 0.633

RODENT RAT 0.603

ROMANCE, LOVE, 0.614

ROW BOAT 0.739

RYE BREAD 0.791

TABLE CHAIR 0.756

TALE STORY 0.589

TALL SHORT 0.696

TANGERTNE ORANGE 0.133

TAPIOCA PUDDINC 0.831

TARDY I L41E 0.899

TAXI CAB 0.s37

TE,LLER BANK 0.8 t4

TEPE,E INDIAN 0.727

TEST TUBE BABY 0.586

TEXT BOOK 0.881

THANKSGIVING TURKEY 0.s03

THERE HE,RE 0.743

THICK THIN 0.682

THIGH LE,G 0.5 18

THIN FAT 0.s63

THREAD NEEDLE 0.758

THRONE, KING 0.759

THT]NDER LIGHTNING 0.81 8

TICKLE LAUGH 0.578

TILE FLOOR 0.578

TIMID SHY 0.689TIN CAN 0.s03

TINY SMALL 0.650TOAD FROG 0.828

TODAY TOMORROW 0.s03

TOE FOOT 0.60sTOES FEET 0.532TOMORROW TODAY 0.527TOP BOTTOM 0.696TOSS THROW 0.61 8

TOUCH FEEL 0.673

TOIJCHDOWN FOOTBALL 0.632

TOWN CITY 0.529TRANSPORTATION CAR 0.595

TRASH GARBAGE 0.s26TRIBE TNDIAN 0.756TRIGGER GUN 0.701

TRIGONOMETRY MATH 0.s46TROUSERS PANTS 0.846TROUT F'ISH 0.913

TRUTHFUL HONEST 0.653

TUG PULL 0.580TULIP F'LOWER 0.782TUMBLE FALL 0.544TUNA FISH 0.808

TUSK EI,EPHANT 0.660

TWINKLE STAR 0.662

UMBRELLA RAIN 0.701

UMPIRE BASEBALL 0.510

UNCLE ATINT 0.706UNCOOKED RAW 0.717

t54 155

T]NHAPPY SAD 0.738UNITED STATES 0.500TJNSOLVED MYSTE,RY 0.625UNTRUE FALSE 0.s03UP DOWN 0.845

UPSTAIRS DOWNSTAIRS 0.6s3URANUS PLANET 0.575

VACATE LEAVE 0.633

VANISH DISAPPEAR 0.699

VASE FLOWER 0.603VEHICLE, CAR 0.740VELOCITY SPEED 0.559VENOM POISON 0.s09VENT AIR 0.541

VERB NOUN 0.642

VICTOR WINNER 0.503VINE GRAPE, 0.60s

VOCABULARY WORDS 0.507

VOLCANO ERUPT 0.525WAG TAIL 0.680WAGER BET 0.606WALLE,T MONEY 0.630

WARDROBE CLOTHES 0.780

WASHER DRYER 0.755

WATT BULB 0.546WE,AK STRONG 0.55',7

WEAPON GUN 0.s92WE,AR CLOTHES 0.s 14

WEARY TIRED 0.605WER SPIDER 0.845WEEP CRY 0.917WEST E,AST 0.780

WHISKERS BEARD 0.503

WHITE BLACK 0.6s5

WHOM wHo 0.531

WICK CANDLE 0.841

WIFE HI]SBAND 0.677

WIN LOSE 0.7 57

WINNER LOSER 0.600

WOMAN MAN 0.595

WORST BEST 0.504WRONG RIGHT 0.723

XEROX COPY 0.763YACHT BOAT 0.594YELL SCREAM 0.,s78

YES NO 0.830YOKE EGG 0.696YOLK EGG 0.839YOU ME 0.701

YOUNG OLD 0.59sYOURS MINE 0.673

ZENITFi TELEVISION 0.698

ZEST SOAP 0.574zoo ANIMAL 0.649TRUE, FALSIl 0.531

156 t57

SonrEo gy TaR GET

BELOW ABOVE 0.503

ACTRESS ACTOR 0.507

ACTOR ACTRESS 0.578

GROWN-UPS ADULTS 0.576

BEFORE AFTER 0.859

VENT AIR 0.54i

FLIGHT AIRPLANE, 0.669

CROCODILE ALLIGATOR 0.629

ISOLATED ALONE 0.604

HALO ANGEL 0.651

RAGE ANGER 0.s41

zoo ANIMAL 0.649

OUESTION ANSWER 0.761

REPLY ANSWER 0.745

REGION ARE,A 0.512

LE,G ARM 0.s03

KNIGHT ARMOR 0.51 7

LEGS ARMS 0.541

NAVY ARMY 0.s43

CRAFTS ART 0.562

REOUE,ST ASK 0.514

AWAKE ASLEEP 0.6r8

DONKEY ASS 0.534

TJNCLE AUNT 0.706

CRADLE BABY 0.678

CRIB BABY 0.842

DIAPER BABY 0.s91

INFANT BABY 0.746

TEST TUBE, BABY 0.s86

FRONT BACK 0.715

FORWARD BACKWARD 0.500

GOOD BAD 0.758

BOUNCE BALL 0.564RACQUE,T BAI,L 0.689

HELIUM BALLOON 0.5s6

TELLER BANK 0.814

LEAGUE BASEBALL 0.551

UMPIRE BASE,BALL 0.510

CUB BEAR 0.s85GRIZZLY BEAR 0.723

WHISKERS BEARD 0.s03MATTRESS BED 0.s39BUMBLE, BEE 0.793BUZZ BE,E 0.s21HIVE BEE 0.809DRAFT BEER 0.514KEG REER 0.885PUB BEER 0.518AFTER BE,FORE 0.571

END BEGIN 0.52 r

ABOVE BELOW 0.564BUCKLE BELT 0.667WORST BEST 0.50,1

WAGER BET 0.606PEDAL B KE 0.544BLTIE.IAY B RD 0.743CANARY B RD 0.692CHIRP B RD 0.784CROW B RD 0.538FEATHERS B RD 0.692HAWK B RD 0.s29NEST BIRT) 0.68 t

PARROT BIRD 0.628PELICAN BIRD 0.602PERCH BIRD 0.s47PIGE,ON BIRD 0.646

t58

AIL BIRD 0.569ROB]N BIRI) 0.633WHITE BLACK 0.655CLOROX BLEACH 0.787BRTINETTE BI,ONDE 0.571DONOR BLOOD 0.524PLASMA BLOOD 0.818BULLETTN BOARD 0.633CHALK BOARD 0.694DOCK BOAT 0.5s9OAR BOAT 0.69sROW BOAT 0.739YACHT BOAT 0.s94ANATOMY BODY 0.607ATOM BOMB 0.s86ATOMIC BOMB 0.638MARROW BONE 0.777CHAPTER BOOK 0.6t4LIBRARY BOOK 0.794NOVEL BOOK 0.608PUBLISHER BOOK 0.s33TEXT BOOK 0.88 r

LE,ND BORROW 0.554TOP BOTTOM 0.696ARROW BOW 0.530CARDBOARD BOX 0.559GIRL BOY 0.738GIRLS BOYS 0.503LOAF BREAD 0.5s2RYE BREAD 0.791FRACTURE BREAK 0.554RESPIRATION BREATHE 0.654GROOM BRIDE 0.620COMR BRUSH 0.636

r59

PAIL BUCKET 0.500BE,ETLE, BUG 0.616CONSTRUCl- BUILD 0.607ARCHITECTURE BUILDING 0.510WATT BULB 0.s46HOBO BTJM 0.682MARGARINE BUTTER 0.856PURCHASE BI]Y 0.577TAXI CAB 0.537FROSTING CAKF, 0.623ICING CAKE 0.812OPENER CAN 0.768TIN CAN 0.503WICK CANDLE 0.84 r

AUTO CAR 0.784AUTOMOBILE CAR 0.109BUMPER CAR 0.647DASHBOARD CAR 0.740DRIVEWAY CAR 0.500GARAGE CAR 0.519TRANSPORTATION CAR 0.595VE,HICLE CAR 0.740CREDIT CARD 0.651CAUTIOUS CAREFUL 0.5r3DOG CAT 0.667KITTEN CAT 0.789MEOW CAT 0.839MOUSE CAT 0.543CAVERN CAVE 0.52sRECLINI]R CHAIR 0.547TABLE CHAIR 0.756BLACKBOARD CHALK 0.676ALTER CHANGE 0.633INEXPENSIVE CHEAP 0.750

160 l6l

CHEDDAR CHEESE 0.922MACARONI CHEESE 0.596GUM CHEW 0.563FUDGE CHOCOLATE 0.5t7OPTION CHOICE 0.635CATHEDRAL CHURCH 0.717CHAPEL CHURCH 0.621NICOTINE CIGARETTE 0.525TOWN CITY 0.529CHOWDER CLAM 0.755CLARIFY CLEAR 0.544OPEN CLOSE 0.723OPENING CLOSING 0.507ATTIRE CLOTHES 0.651HAMPER CLOTHES 0.507HANGER CLOTHES 0.52tOUTFIT CLOTHES 0.s43WARDRORE CLOTHES 0.780WEAR CLOTITES 0.514CIRCUS CLOWN 0.s94MINER COAL 0.s00JACKET COAT 0.564MINK COAT 0.517MORSE CODE 0.627ARCTIC COLD 0.642CHILL COLD 0.732FREE,ZER COLD 0.s17FRIGII-) COLD 0.570HOT COLD 0.676PEPSI COLD 0.664HUE COLOR 0.s47CHEF COOK 0.622DUPLICATE COPY 0.647XEROX COPY 0.763

COB CORN 0.882HUSK CORN 0.640BULL cow 0.558

CALF cow 0.697HERD cow 0.562

MOO COW 0.960CRAYOLA CRAYON 0.780

INSANE CRAZY 0.s23WEEP CRY 0.917DRAPES CURTAINS 0.550

ADORABLE CUTE 0.689

MOM DAD 0.759

DUSK DAWN 0.609

NIGHT DAY 0.686ALTVE DEAD 0.554CORPSE DEAD 0.537FUNERAL DEATH 0.520

ANTLER DEER 0.61 5

ANTLERS DEER 0.64sDOE DEER 0.7 t9FAWN DEER 0.s34OFFENSE DEFENSE 0.638

REPI]BLICAN DEMOCRAT 0.587

RELY DEPEND 0.557DEMOLISH DESTROY 0.s39DEMON DEVIL 0.553

COMPASS DIRECTION 0.s 19

FILTH DIRT 0.693

MUD DIRT 0.599

CLEAN DIRTY 0.527

FILTHY DIRTY 0.700VANISH DISAPPEAR 0.699MEDICAL DOCTOR 0.516

NURSE DOCTOR 0.s47

162 163

PHYSICIAN DOCTOR 0.804BARK DOG 0.s69CAT DOG 0.5 13

HOUND DOG 0.795PET DOG 0.631

PUPPY DOG 0.752FI,IPPER DOLPHIN 0.797

FINISHED DONE 0.547

HINGE DOOR 0.630KNOB DOOR 0.672

UP DOWN 0.845

UPSTAIRS DOWNSTAIRS 0.653

BARTENDER DRINK 0.682ADDICTION DRUG 0.664ADDICT DRUGS 0.691

INEBRIATED DRTINK 0.513

TNTOXICATE DRLINK 0.571

INTOXICATE,D DRUNK 0.695

WASHER DRYER 0.7 55

OUACK DUCK 0.81 8

LOBE EAR 0.824O-TIPS EAR 0.627

PLANET EARTH 0.606

WEST EAST 0.780DINE EAT 0.551

YOKE EGG 0.696YOLK EGG 0.839BACON EGGS 0.517

OMELET EGGS 0.836POACH EGGS 0.635

TUSK E,LEPHANT 0.660

HTJM]LIATE EMBARRASS 0.507FI]LL EMPTY 0.571BRITANNICA ENCYCLOPEDIA 0.689

BEGINNING END 0.747

CONCLUDE END 0.s26

CONCLUSION ENDING 0.612KINETIC ENERGY 0.6t2GRAMMAR ENGLISH 0.s28

VOLCANO ERUPT 0.525

ODD EVEN 0.558

PRECISE EXACT 0.s 14

ENTER EXIT 0.568

ENTRANCE EXIT 0.615

IMPLODE EXPLODE 0.510

FLUNK FAIL 0.621

AUTUMN FALL 0.526

TI]MBLE FALL 0.s44UNTRUE, FALSE 0.503

TRUE FALSE 0.s31

NEAR FAR 0.535

RAPID FAST 0.s66BLUBBER FAT 0.s88CALORIES F'AT 0.527

THIN FAT 0.563

MOTHER FATHER 0.597

TOUCH FEEL 0.673

TOE,S FEET 0.532MALE FEMALE 0.648

ARGUE FIGHT 0.507

ARGUMENT FIGHT 0.514

BRAWL FIGHT 0.800

F'EUD FIGHT 0.652

OUARREL FIGHT 0.699DONE FINISH 0.676

BLAZE FIRE 0.808

FLAME FIRE 0.51 1

LAST FIRST 0.575

164 165

BAIT FISH 0.629COD FISH 0.s76TROUT FISH 0.913TTINA FISH 0.808RE,PAIR FIX 0.640BANNER FLAG 0.687TILE FLOOR 0.s78BLOOM FLOWER 0.593DAISY FLOWER 0.689DANDELION FLOWER 0.653LILY FLOWER 0.601ORCHID FLOWER 0.730PETALS FLOWER 0.748TULIP FLOWER 0.782VASE FLOWER 0.603BOUOUET FLOWERS 0.828KITE FLY 0.575MIST FOG 0.s00CAFETE,RIA FOOD 0.s93GROCERIES FOOD 0.590TOE FOOT 0.60sTOUCHDOWN FOOTBALL 0.632E,TERNAL FOREVER 0.s3 8

ETERNITY FOREVER 0.664INFINITY FOREVER 0.565FORGIVE FORGET 0.639BACKWARD FORWARD 0.709LOST FOUND 0.747BUDDY FRIE,ND 0.687COMPANION FRIENI) 0.643NEIGHBOR FRIENI) 0.507PAL FRIEND 0.772

TOAD FROC 0.828BACK FRONT 0.520

KIWI FRUIT 0.709EMPTY FULL 0.61 I

COMEDIAN FUNNY 0.550TTILARIOUS FUNNY 0.81 I

MONOPOLY GAME 0.556

TRASH GARBAGE 0.526FUEL GAS 0.664GHOUL GHOST 0.649BOY GIRL 0.701

BOYS GIRLS 0.500

LENS GLASSES 0.553

MITTEN GLOVE 0.594

PASTE GLUE 0.630

COME GO 0.575

ALMIGHTY GOD 0.618

CREATOR GOD 0.503

BAD GOOD 0.750HE,LLO GOOD-BYE 0.639

GRANDPA GRANDMA 0.s53

GRANDMA GRANDPA 0.538VINE GRAPE 0.60sBRIDE GROOM 0.865BUBBLE GUM 0.609

BULLET GUN 0.589

PISTOL GUN 0.77 4

RIFLE GUN 0.545

TRIGGER GUN 0.701

WEAPON GUN 0.592NAIL HAMMER 0.622

GLOVE HAND 0.552CHEERFUL HAPPY 0.585

GLAD HAPPY 0.s49JOYOUS HAPPY 0.667

DIFFICULT HARD 0.594

166t67

trrr-rnTY IunRP 0.69i

EACV HARD 0.582

HAT 0.709CAP

HATE, 0.797DCDfQE

HATE 0.600ICI TI<ZE

HE,ADACHE, 0.803'T^D A tNItr

HEAR 0.506L'

HE,LLO 0.510

HELP 0.842

ASSTSTANCEIIFI P 0.696

0.81iHtM HER

HtrRF, 0.743THERE, 0.771LOW

HI( iH0.596

INTERSTATE,H I( iH WAY

0.554PUCK H( X ]KbY

0.533GRASP HOLL)

HOME 0.582

TRUTHFUL HONE,ST 0.6s3

t]ORN 0.620HONK 0.654COLT HORSb

HORSE 0.662GALLOP

HORSE, 0.740MARE 0.752PONY HORSb,

HUG I o.saqEMBRACEr

^ T

'IC'UDT)a-uxcnY I o'o+:

f aLlvrr J

HARMLIt IRT 0.635

HURT 0.s51PAIN

HUSBAND 0.617WIFE

ICF 0.723GLACIER 0.562CONE

ICH ( ]Kb,AIVI0.804

T'T. IN

DECRE,ASE,fi{ap tr astr 0.52

0.727INDIANINDIAN 0.756

TRIBE

ENVY JEALOUSY 0.513DENIM JEANS 0.81sPEANUT BUTTER JELLY 0.636CAREER .IOB 0.546EMPLOYMENT JOB 0.60sOCCUPATION JOB 0.683PUN JOKE 0.575LEAP JUMP 0.522MUSTARD KETCHI]P 0.584MURDER KILL 0.564OUEEN KING 0.730THRONE KING 0.759DAGGER KNIFE 0.614ACRE LANI) 0.675EARLY LATE 0.507TARDY LA'fE 0.899NOW LATER 0.s76GIGGLE LAUGH 0.780JOKE LAUGH 0.6t2TICKLE LAUGH 0.578MOWER LAWN 0.658FOLLOW LEAD 0.630FOLLOWER LEADE,R 0.60sDIlPART LEAVE 0.619EVACUATI] LEAVE 0.500VACATE LEAVE 0.633RAKE LEAVES 0.622ARM LEG 0.673TTIIGH LEG 0.5 18

ARMS LEGS 0.549LIME LEMON 0.573MORE LESS 0.630FIBER LIE 0.816BULB LIGHT 0.788

r68

LAMP LTGHT 0.769

THUNDER LIGHTNING 0.81 8

ROAR LION 0.614

GLANCE LOOK 0.635

WIN LOSE 0.7 51

WINNER LOSER 0.600

FOUND LOST 0.813

NOISY LOUD 0.67 |

ADORE LOVE 0.565

AFFECTION LOVE 0.800

ROMANCE LOVE, 0.614

HIGH LOW 0.6s5

ANGRY MAD 0.520

MINOR MAJOR 0.538

FEMALE MALE 0.552

WOMAN MAN 0.595

NUMEROUS MANY 0.568

ATLAS MAP 0.527

ALGEBRA MATH 0.655

ARITHMETTC MATH 0.157

CALCULUS MATH 0.709

EOUATION MATH 0.641

GE,OMETRY MATH 0.534

TRIGONOMETRY MATH Q.546

I ME 0.653

YOU ME, 0.701

BUTCHER MEAT 0.546

KILOMIITER MILE 0.s00

YOURS MINE 0.673

PLUS MINUS 0.683

REFLECT MIRROR 0.507

REFLECTION MTRROR 0.715

ERROR MISTAKE 0.619

RLE,ND MIX 0.s65

t69

DAD MOM 0.710BANK MONEY 0.799BUDGET MONEY 0.54 r

CASH MONEY 0.8 r4CHECKBOOK MONEY 0.527DOLLARS MONEY 0.533FTIND MONEY 0.730INCOME MONEY 0.s43LOTTERY MONEY 0.536PROFIT MONEY 0.608WALLET MONEY 0.630CHIMPANZEE MONKEY 0.680FRANKENSTEIN MONSTER 0.559CRESCENT MOON 0.s24LESS MORE 0.629FATIGUE MOTHER 0.706CLIMBER MOUNTAIN 0.603CTNEMA MOVIE 0.793FILM MOVIE 0.543LINSOLVED MYSTERY 0.62sHAMMER NAIL 0.800ARMY NAVY 0.s00FAR NEAR 0.503THREAD NEEDLE 0.758POSITIVE NEGATIVE 0.627NIECE NEPHEW 0.658PROTON NEUTRON 0.566DIME NICKEL 0.527DAY NIGHT 0.819EIGHT NINE 0.634YES NO 0.830VERB NOUN 0.642IMMEDIATE NOW 0.609DIGIT NUMBER 0.720

t70 t7l

CONVENT NUN 0.747CASHEW NI]T 0.745EVEN ODD 0.62tON OFF 0.878FREOUENT OFTEN 0.507ARIGHT OKAY 0.s00ANCIENT OLD 0.662ANTIOUE OLD 0.673ELDERLY OLD 0.703

NEW OLD 0.725YOTING OLD 0.595

OFF ON 0.897

CLOSED OPEN 0.678

JUICE ORANGE 0.655PEEL ORANGE 0.571

TANGERINE ORANGE 0.733IN OUT 0.940INDOORS OUTDOORS 0.561

INSIDE OUTSIDE 0.587

ACHE PAIN 0.507

AGONY PAIN 0.649

HURT PAIN 0.52rTROUSERS PANTS 0.846GUARDIAN PARE,NT 0.536

CELEBRATE PARTY 0.603

CELEBRATION PARTY 0.658

INK PEN 0.695

OUILL PEN 0.643

ERASER PENCIL 0.507

PEN PENCIL 0.s94DILL PICKLE 0.869

FRAME PICTURE 0.81 1

PHOTO PICTURE 0.577PORTRAIT PICTURE 0.682

HOG PIG 0.741

PORK PIG 0.594PEPPERONI PIZZA 0.849

AIRPORT PLANE 0.757

JET PLANE 0.662

PILOT PLANE 0.731URANUS PLANET 0.s75MINUS PLUS 0.520VE,NOM POISON 0.s09COP POLICE 0.534CHLORINE POOL 0.664

POVERTY POOR 0.541

RICH POOR 0.662

CRACKLE POP 0.606NEGATIVE POSITIVE 0.603

oLTNCE POUND 0.533

GIFT PRESENT 0.609

PRINCESS PRTNCE 0.s47DILEMMA PROBLEM 0.6t4PRTM PROPER 0.603

TAPIOCA PUDDING 0.831

TUG PULL 0.s80HANDBAG PURSE 0.597POCKETBOOK PURSE 0.s 10

PULL PUSH 0.s94JIGSAW PUZZLE 0.836KING OUEEN 0.772

ANSWER OUESTION 0.s40BUNNY RABBIT 0.735HARE RABBIT 0.732

UMBRELLA RAIN 0.701

RODENT RAT 0.603

T]NCOOKED RAW 0.717

FORGET REMEMBER 0.527

t72 t73

RECALL REMEMBER 0.528REMTNISCENCE, RE,MEMBER 0.516DEMOCRAT REPUBLICAN 0.507POOR RICH 0.510LEFT RIGHT 0.939WRONG RIGHT 0.723DTAMOND RING 0.630DOORBELL RING 0.592BOULDER ROCK 0.6s6REGULATIONS RIJLES 0.662FLEE RUN 0.592JOG RUN 0.783

DEPRESSED SAD 0.521HAPPY SAD 0.628IINHAPPY SAD 0.738

PE,PPER SALT 0.695DLINE SAND 0.s68AFRAID SCARE 0.604FRIGHT SCARE 0.636

FRIGHTENED SCARED 0.784ITCH SCRATCH 0.848

YELL SCREAM 0.578

LOOK SEE 0.678

ESTE,EM SELF 0.584BI]YE,R SELLER 0.572

CONDOM SEX 0.s33

OUIVER SHAKE 0.61 5

HEAD & SHOULDERS SHAMPOO 0.578

JAWS SHARK 0.587

HE SHE 0.776

DEPUTY SHERIFF 0.679FLEET SHIPS 0.5 14

BLOUSE SHIRT 0.647BRIEF SHORT 0.s82

LONG SHORT 0.536TALL SHORT 0.696BASHFUL SHY 0.730TIMII) SHY 0.689FLU SICK 0.s85TLL SICK 0.824ILLNESS SICK 0.723NAUSEOUS SICK 0.613BROTHTR SISTER 0.746FLESH SKIN 0.s75BED SLEEP 0.638DOZE SLEEP 0.682DROWSY SLEEP 0.551NAP SLEE,P 0.730FAST SLOW 0.598BIG SMALL 0.635LARGE SMAT-I- 0.606TINY SMALL 0.650BRILLIANT SMART 0.520CLEVER SMART 0.615INTELLIGENT SMART 0.71tAROMA SMELL 0.678ODOR SMELL 0.697CIGAR SMOKE 0.507ESCARGOT SNAIL 0.629COBRA SNAKE 0.831REPTILE SNAKE 0.514LATHER SOAP 0.673ZEST SOAP 0.574HARD SOFT 0.564APOLOCY SORRY 0.578BROTH SOUP 0.806NORTH SOUTH 0.772ASTRONAUT SPACE 0.s26

174 175

MEATBALLS SPAGHETTI 0.675VELOCITY SPEED 0.5s9COBWEB SPIDER 0.849WEB SPIDER 0.84sCIRCLE SOUARE 0.635RE,CTANGLE SOUARE 0.7t6POSTAGE STAMP 0.740ASTROLOGY STAR 0.662ASTRONOMY STAR 0.7s3TWINKLE STAR 0.662

UNITET) STATES 0.500RE,MAIN STAY 0.784ROB STEAL 0.669

MOTIONLESS STILL 0.5 13

ABDOMEN STOMACH 0.566

GO STOP 0.539

HALT STOP 0.906REFRAIN STOP 0.s 14

FAIRYTALE STORY 0.s24TALE STORY 0.589AVENLJE STREET 0.678BOULEVARD STREET 0.587

POWERFUL STRONG 0.587

WEAK STRONG 0.557PUPIL STUDENT 0.683

DUMB STUPID 0.s26ADD SUBTRACT 0.685

ADDITION SUBTRACTION 0.621

RAYS SI]N 0.624DINNER SUPPER 0.53sMARSH SWAMP 0.s21

PERSPIRE SWEAT 0.837

BROOM SWEEP 0.504WAG TAIL 0.680

FAIRY TALE 0.543

COMMLINICATE TAI,K 0.652CONVERSATION TALK 0.642DISCUSS TALK 0.689DISCUSSION TALK 0.550FLAVOR TASTE 0.500INSTRUCT TEACH 0.s29INSTRI]CTOR TEACHER 0.566PROFESSOR TEACHER 0.sl1RIP TE,AR 0.711

BRACES TEETH 0.647

GUMS TEETH 0.705CABLE TELEVISION 0.689NETWORK TELEVISION 0.547ZENITH TE,LEVISION 0.698NINE TEN 0.566RACKET TENNTS 0.504EXAM TEST 0.778OTJIZ TEST 0.792HERE THE,RE 0.632THICK THIN 0.682CONSIDER THINK 0.500OUENCH THIRST 0.815TOSS THROW 0.618LOOSE TIGHT 0.565CLOCK TIME 0.6s2E,XHAI]STED TIRED 0.895WEARY TIRED 0.60s

TOMORROW TODAY 0.527TODAY TOMORROW 0.503CAVITY TOOTH 0.543BOTTOM TOP 0.507PLAYTHING TOY 0.664CABOOSE TRAIN 0.721

176 177

RAILROAD TRAIN 0.5000.5280.61 8

0.6280.6420.79s

BRANCH TREEELM TREEFOREST TREELEAF TREEOAK TREEPTNE TREE 0.642FAME TRUE 0.703ATTEMPT TRY 0.749THANKSGIVING TURKEY 0.503ONCE TWICE 0.612

0.703ONE TWOALINT UNCLE 0.746OVER UNDER 0.542COMPREHEND LINDERSTAND 0.829DOWN UP 0.581DOWNSTAIRS UPSTAIRS 0.591NOLIN VERB 0.690ERUPT VOLCANO 0.641BALLOT VOTE 0.518PEDESTRIAN WALK 0.597DES]RE WANT 0.610NEED WANT 0.599OBSERVE WATCH 0.500DAM WATER 0.503FAUCET WATER 0.615FLOOD WATER 0.622FOLINTATN WATER 0.s86EAST WEST 0.886DRENCH WET 0.503MOIST WET 0.543BLACK WHITE 0.557WHOM wHo 0.531HUSBAND WIF'E 0.885

RREEZE WIND 0.606PANE WTNDOW 0.833

CORK WINE 0.5 17

LOSER WINNER 0.508

VICTOR WINNER 0.503MAN WOMAN 0.660

MEN WOMEN 0.6r4LUMBER WOOD 0.s96DICTIONARY WORDS 0.520VOCABULARY WORDS 0.s07JOB WORK 0.567LABOR WORK 0.690GLOBE WORLD 0.679BEST WORST 0.536CORRECT WRONG 0.554INCORRECT WRONG 0.673

ANNUAL YEARLY 0.707HOLLER YELL 0.533NO YES 0.761ME YOU 0.500MINE YOURS 0.555

t78

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179