The Writer's Tarot™
a Wicked Works Project
Basic Rules of the Deck
Card Reading Defined:
Card reading works by association. You'll examine the content of a revealed card face in accordance with it's position in a spread (or else some query defined prior to drawing straight from the deck). Focus on that card and also on what it's meant to address until certain words or symbols begin to stand out from the rest. Those words and symbols may be applied directly, or they can trigger an associative reaction in your mind, where alternative content is derived. In this exercise, your mind's eye should always stay centered on the card and what subject it addresses, but also observe any peripheral thoughts pulled into orbit by way of association. The resulting inspiration is then applied in some way to your story composition.
Note that the mind often conjures up one thing while pondering another, whereas the two have no obvious connection. This transcends what's purely quantitative and logical by adding layers of intimacy and mysticism. It may stem subconsciously from one's past personal experience (aspect of intimacy), or perhaps it's the result of calculations or communications occurring on a spiritual level (aspect of mysticism). In any case, you should open yourself to those inexplicable associative conjurings, as they can yield marvelous results.
This exercise is also about exploring relationships. We must consider relationships with other cards and with various components in your story. After pondering the singular, you should next expand that mind's eye focus to encompass more and more of the greater whole.
To relate cards in a reading (also applies to story components), consider the following:
Card reading works by association. You'll examine the content of a revealed card face in accordance with it's position in a spread (or else some query defined prior to drawing straight from the deck). Focus on that card and also on what it's meant to address until certain words or symbols begin to stand out from the rest. Those words and symbols may be applied directly, or they can trigger an associative reaction in your mind, where alternative content is derived. In this exercise, your mind's eye should always stay centered on the card and what subject it addresses, but also observe any peripheral thoughts pulled into orbit by way of association. The resulting inspiration is then applied in some way to your story composition.
Note that the mind often conjures up one thing while pondering another, whereas the two have no obvious connection. This transcends what's purely quantitative and logical by adding layers of intimacy and mysticism. It may stem subconsciously from one's past personal experience (aspect of intimacy), or perhaps it's the result of calculations or communications occurring on a spiritual level (aspect of mysticism). In any case, you should open yourself to those inexplicable associative conjurings, as they can yield marvelous results.
This exercise is also about exploring relationships. We must consider relationships with other cards and with various components in your story. After pondering the singular, you should next expand that mind's eye focus to encompass more and more of the greater whole.
To relate cards in a reading (also applies to story components), consider the following:
1) What do the subjects have in common?
2) What draws them together?
3) How do the subjects differ?
4) What repels them apart?
5) How would they interact?
6) What would be the product or outcome of their interaction?
2) What draws them together?
3) How do the subjects differ?
4) What repels them apart?
5) How would they interact?
6) What would be the product or outcome of their interaction?
The tale gradually takes shape as you define relationships among cards and story components.
Results of these associative/relational exercises will differ from reader to reader, even when card spreads are identical. And this is why the resulting story is your story. How you alone connect those dots (even when no obvious connection can be seen) is what makes the process so personal and fun. The magic happens when you and the cards work together.
You may want to reread this section a few times until you fully understand its contents. The associative and relational meditations described here (derived from classic Tarot) are absolutely essential. And training your mind's eye to focus and observe in such a way can take time, but the rewards are well worth the effort. It takes patience and practice.
Results of these associative/relational exercises will differ from reader to reader, even when card spreads are identical. And this is why the resulting story is your story. How you alone connect those dots (even when no obvious connection can be seen) is what makes the process so personal and fun. The magic happens when you and the cards work together.
You may want to reread this section a few times until you fully understand its contents. The associative and relational meditations described here (derived from classic Tarot) are absolutely essential. And training your mind's eye to focus and observe in such a way can take time, but the rewards are well worth the effort. It takes patience and practice.
Deck Handling Rules:
For best results, observe the following…
For best results, observe the following…
Shuffling: If you have difficulty shuffling all 72 cards, then divide into halves, thoroughly shuffling each half, cut the deck a few times (a.k.a. “striping” shuffle), then shuffle it in halves again, cut it a few more times, and the cards should then be sufficiently randomized (or perhaps arranged according to Fate’s dictates).
Rule of Nines: You're encouraged to develop your own custom card spreads or layouts at some point. But try not to exceed more than nine positions per spread (though each position may hold multiple cards). Otherwise, a spread may become too complex to thoroughly evaluate. Also, excess positions will diminish the deck’s random potential. It’s best to divide complex subjects into more than one spread.
Rule of Nines: You're encouraged to develop your own custom card spreads or layouts at some point. But try not to exceed more than nine positions per spread (though each position may hold multiple cards). Otherwise, a spread may become too complex to thoroughly evaluate. Also, excess positions will diminish the deck’s random potential. It’s best to divide complex subjects into more than one spread.
Card Orientation: When positioning cards in a reading layout, regardless if facing up or down, always be sure each card is aligned in a “portrait” orientation, so that the width of the card (from dealer’s POV) is less than its height. Each card presents one of two different values or meanings, determined by which end is up in portrait orientation.
Consistent Flips: To “flip” a card is to turn it face-up, and which edge is pivotal in the flip (long edge or short) will impact which end of the card lands upright. Since both ends of any card have different meanings, this is important. To avoid confusion or second guessing, you should decide in advance how you'll flip the cards positioned in a table spread (by their long edges or short) and also how you'll flip cards drawn off the top of the deck (by long edges or short). Then try to be consistent in that activity.
The problem occurs as a card face is exposed. If you glimpse its face and then decide to flip long or short, your knowledge of the card contents can influence that decision and yield biased/false results.
The problem occurs as a card face is exposed. If you glimpse its face and then decide to flip long or short, your knowledge of the card contents can influence that decision and yield biased/false results.
Focus! Focus! Focus!: Before flipping any card, you should always have a crystal clear idea of what spread position and/or story component and/or specific question that card is about to address. If you are “fuzzy” when turning up a card, then it’s meaning to you and your story will be equally fuzzy.
Predetermination: At times, you may prefer to pre-assign values to certain spread positions in a reading. This is perfectly acceptable and even encouraged. Always remember, it’s your story and the cards are only offering suggestions as needed. To pre-assign a value or meaning, simply select a card from the deck you feel will best represents that value and place it face-up in that position, then proceed with your reading as if the card appeared there randomly. Or, an alternative would be to place a sticky note with written details in that position, or even some token placeholder such as a coin or Chess piece or anything else you desire, so long as it sufficiently represents the value you have chosen. The value doesn’t need to come from the cards, which provides an opportunity to expand your storytelling ideas beyond the deck—also encouraged (see next rule), once you know the basics.
Tarot Customization: Once you’re familiar with the Writer's Tarot™ cards and reading methods, you may think up new ways of expanding its classes or underlying principles. And maybe you'll want to include some unspecified tag in the Element cards, or else redefine or “evolve” some of the referenced story components, or include some sort of wild card. Each deck includes a few blanks you can customize for this purpose. But wait until you’ve thoroughly learned the system before adding custom content. It’s possible your particular concern has already been addressed in some subtle and carefully considered way.
Spread Diagram Markers: You’ll find the card positions in our sample spreads are first tagged with an alphabetic value (A-I) and then possibly a numeric value. The letter signifies card position and is explained in that layout’s legend. Also, the cards are generally flipped or revealed in this same alphabetic order. A number will tell you how many cards occupy that particular position (no number “1” because this is an implied default). Multiple cards in a position will indicate a complex or composite value. Their order in the stack typically doesn’t matter because they are equal contributors to a single position. You must discover their relationship, or “relate” them, to determine their collective value.
Examples of spread diagram markers follow:
Predetermination: At times, you may prefer to pre-assign values to certain spread positions in a reading. This is perfectly acceptable and even encouraged. Always remember, it’s your story and the cards are only offering suggestions as needed. To pre-assign a value or meaning, simply select a card from the deck you feel will best represents that value and place it face-up in that position, then proceed with your reading as if the card appeared there randomly. Or, an alternative would be to place a sticky note with written details in that position, or even some token placeholder such as a coin or Chess piece or anything else you desire, so long as it sufficiently represents the value you have chosen. The value doesn’t need to come from the cards, which provides an opportunity to expand your storytelling ideas beyond the deck—also encouraged (see next rule), once you know the basics.
Tarot Customization: Once you’re familiar with the Writer's Tarot™ cards and reading methods, you may think up new ways of expanding its classes or underlying principles. And maybe you'll want to include some unspecified tag in the Element cards, or else redefine or “evolve” some of the referenced story components, or include some sort of wild card. Each deck includes a few blanks you can customize for this purpose. But wait until you’ve thoroughly learned the system before adding custom content. It’s possible your particular concern has already been addressed in some subtle and carefully considered way.
Spread Diagram Markers: You’ll find the card positions in our sample spreads are first tagged with an alphabetic value (A-I) and then possibly a numeric value. The letter signifies card position and is explained in that layout’s legend. Also, the cards are generally flipped or revealed in this same alphabetic order. A number will tell you how many cards occupy that particular position (no number “1” because this is an implied default). Multiple cards in a position will indicate a complex or composite value. Their order in the stack typically doesn’t matter because they are equal contributors to a single position. You must discover their relationship, or “relate” them, to determine their collective value.
Examples of spread diagram markers follow:
Diagram vs. Draw: There are three different formats to card readings. First, you can arrange them into various table-top spread diagrams, composed of two or more positions, each referencing a particular storytelling component or sub-component. Second, you can draw one or more cards off the top of the deck for directly addressing some focus component or query. The third and final approach is a mix of the two.
We’ll reference one of these three approaches in the headings of our samples (next page) as “Spread”, “Draw”, or “Mixed” beside each title.
We’ll reference one of these three approaches in the headings of our samples (next page) as “Spread”, “Draw”, or “Mixed” beside each title.
This covers the basic principles. On the next page, you'll find samples of the endless possible applications for your Writer's Tarot™ deck. To grow our community and improve the experience, we're always adding to that collection and recommend you return on occasion to see what's new. Also, you're invited to contribute sample applications of your own for possible publication. Write to editor@wickedworksmag.com and we'll credit you with a byline if your sample is added.