The Writer's Tarot™
a Wicked Works Project
Sample Reading Applications
- Quicklink Index -
1) Magic 8-Ball (draw)
2) Destination Unknown (draw)
3) Plot Finder (spread)
4) Spreadborn Character (spread)
2) Destination Unknown (draw)
3) Plot Finder (spread)
4) Spreadborn Character (spread)
5) Deckborn Character (draw)
6) Hybrid Character (mixed)
7) Trait Picker (draw)
8) Character Versus... (draw)
6) Hybrid Character (mixed)
7) Trait Picker (draw)
8) Character Versus... (draw)
1) Magic 8-Ball (draw)
This is the simplest application. But also, it provides an equally simple answer.
First, decide on your query subject: a particular story component or question; it’s best to write the subject down, for reference. Next draw a card from the deck and "read" it in relation to your query (see Card Reading Defined in previous section if needed). The resulting value may be as obvious as “YES” or “NO”, or something derived through association. If you can’t determine a clear result with the single card, then draw/add another card and meditate on how the two cards relate to each other and to your subject. Continue this process until your subject has been sufficiently addressed.
You’ll find various forms and subject lists on our Supplementals page. Consider drawing on queries derived from there if not something of your own.
This is the simplest application. But also, it provides an equally simple answer.
First, decide on your query subject: a particular story component or question; it’s best to write the subject down, for reference. Next draw a card from the deck and "read" it in relation to your query (see Card Reading Defined in previous section if needed). The resulting value may be as obvious as “YES” or “NO”, or something derived through association. If you can’t determine a clear result with the single card, then draw/add another card and meditate on how the two cards relate to each other and to your subject. Continue this process until your subject has been sufficiently addressed.
You’ll find various forms and subject lists on our Supplementals page. Consider drawing on queries derived from there if not something of your own.
2) Destination Unknown (draw)
There's no required starting point to a story's conception. The very first component to surface and inspire you the writer may be a clever title, or it may be the notion of an interesting character quirk or location or prop ... or any story element. These inspiring fragments can surface in no particular order. And as more fragments come into view, you begin to see how they fit together in forming the whole of your story.
If uncertain where to begin or what comes next, then simply draw two cards and explore their relationship. In this way, you’re asking the cards to select your query for you. This may result in the beginnings of a scene, or a new or changing character, or some dialogue or plot development, or an event, or maybe a brand new plot concept. You may wish to draw a third card, but three would be the recommended limit for this application.
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There's no required starting point to a story's conception. The very first component to surface and inspire you the writer may be a clever title, or it may be the notion of an interesting character quirk or location or prop ... or any story element. These inspiring fragments can surface in no particular order. And as more fragments come into view, you begin to see how they fit together in forming the whole of your story.
If uncertain where to begin or what comes next, then simply draw two cards and explore their relationship. In this way, you’re asking the cards to select your query for you. This may result in the beginnings of a scene, or a new or changing character, or some dialogue or plot development, or an event, or maybe a brand new plot concept. You may wish to draw a third card, but three would be the recommended limit for this application.
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3) Plot Finder (spread)
Here, you’re trying to glean the overall plot of your story, in terms of Prime, Trigger, and Result. Essentially, Prime is the beginning and initial baseline of your story, Trigger is an event that impacts that baseline in a profound way and causes characters to react, and Result is the story's end, with a revised baseline (after characters accept and acclimate to the change, or challenge and overcome/alter the change, or challenge and are defeated by it).
More complex stories can have multiple Trigger/Result pairings. These may be sequenced end-to-end for escalating the stakes and reader anticipation, or play out simultaneously in a weave of subplots or secondary stories.
Here, you’re trying to glean the overall plot of your story, in terms of Prime, Trigger, and Result. Essentially, Prime is the beginning and initial baseline of your story, Trigger is an event that impacts that baseline in a profound way and causes characters to react, and Result is the story's end, with a revised baseline (after characters accept and acclimate to the change, or challenge and overcome/alter the change, or challenge and are defeated by it).
More complex stories can have multiple Trigger/Result pairings. These may be sequenced end-to-end for escalating the stakes and reader anticipation, or play out simultaneously in a weave of subplots or secondary stories.
Begin by placing three cards face down as shown. Pick any one card and turn it face-up. This card will become one of your three plot components: Prime, Trigger, or Result. Focus on the card a moment and try to imagine where it may fit in your story. Regardless if Archetype, Incident, or Element, does this card feel like it fits best in the beginning (Prime), middle (Trigger), or end (Result)? Is your plot coming into focus now?
If you still need help identifying the other plot components, turn up another of the cards (either one). Now, consider how these two face-up cards relate to each other and how they differ. It’s in their interaction that your story will be born. Are you seeing the plot yet? If so, then stop here and record the plot components before moving on to some other aspect (and card reading) in the story's development. Otherwise, turn up the final card and explore relationships between all three. And if you still don't see it, try drawing another card from the deck to replace or compliment one of the initial three.
If you still need help identifying the other plot components, turn up another of the cards (either one). Now, consider how these two face-up cards relate to each other and how they differ. It’s in their interaction that your story will be born. Are you seeing the plot yet? If so, then stop here and record the plot components before moving on to some other aspect (and card reading) in the story's development. Otherwise, turn up the final card and explore relationships between all three. And if you still don't see it, try drawing another card from the deck to replace or compliment one of the initial three.
Note that your Prime also requires a hook, some element that appeals to the reader's intellectual curiosity, morality, or empathy and engages them in the story. You may wish to include the hook as part of this exercise by drawing an additional card off the deck to represent it. Also, note that each plot component (Prime, Trigger, and Result) can introduce its own additional hook or else impact those previously defined along the way. You have options.
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4) Spreadborn Character (spread)
Character building can a complex and daunting process. To keep it manageable, try to define only what is required to tell your story--in both broad and fine strokes as needed. Compare your character to the norm of your story world, record any deviations from that norm, and assume the rest is unremarkable. Next, compare with other characters to determine who is stronger or weaker in various arenas. For example, it will generally suffice to say that Sam runs much faster than Alex, without knowing specifically how fast Sam can run. Also, this comparative information is only necessary if Sam and Alex will be racing for some reason in your story. And as you write, new details may surface and you can simply record those on the fly (so long as they don't contradict anything prior). This approach is generally preferable to defining every possible character trait for all key characters. Or, maybe you'll prefer some altogether different method, which is just fine. In any case, the nine position diagram below is a broad-stroke beginning.
First, shuffle the deck and lay out nine positions in a diamond configuration of 1-2-3-2-1, with two cards occupying all but the center column of single-card positions, as shown below.
Character building can a complex and daunting process. To keep it manageable, try to define only what is required to tell your story--in both broad and fine strokes as needed. Compare your character to the norm of your story world, record any deviations from that norm, and assume the rest is unremarkable. Next, compare with other characters to determine who is stronger or weaker in various arenas. For example, it will generally suffice to say that Sam runs much faster than Alex, without knowing specifically how fast Sam can run. Also, this comparative information is only necessary if Sam and Alex will be racing for some reason in your story. And as you write, new details may surface and you can simply record those on the fly (so long as they don't contradict anything prior). This approach is generally preferable to defining every possible character trait for all key characters. Or, maybe you'll prefer some altogether different method, which is just fine. In any case, the nine position diagram below is a broad-stroke beginning.
First, shuffle the deck and lay out nine positions in a diamond configuration of 1-2-3-2-1, with two cards occupying all but the center column of single-card positions, as shown below.
Before flipping any of these cards, you must have a clear understanding of what aspect of your character each card represents. These are as follows:
(A) Primary Trait: If there was one trait to best represent this character, the thing setting him/her/it apart from the rest, it would be the Primary Trait. This may be good, bad, or neither. There may be other significant traits as well, but this one stands above the rest. The selected Tarot card shares or inspires this trait.
(B) What Is Carried: This position represents some present struggle or burden. But also, it provides challenge and wisdom. Again, it may have a positive and/or negative impact.
(C) What Carries: This position carries or supports the character, for better or worse. It may be helpful in times of need, or may also weaken or stifle growth.
(D) Perceived Destiny: This position is represented by two cards. It’s a combination of what is desired with what is believed (or deserved?) to come. These may align perfectly or conflict terribly. When compared with the rest of the character, the future could be vague or ill-conceived, or well-planned and obsessively pursued, or something else entirely different.
(E) Found Family: Two cards, same as Origin Family (H) in concept, but references what comes next in life, such as spouse or lover, children, and newfound friends.
(F) Social Present: Also two cards. Similar to Social Origin (I). References the current most significant social entity or institution outside family or friends (part 1), and then determines the state or measure of that relationship (part 2).
(G) Perceived Origin: Two cards occupy this position. One is the single most important Incident or character of influence or setting, etc., from the past which contributed to the character’s current state (for better or worse). The second card is something from the past which is always present in/with the character—for better or worse. And the two cards will always be somehow related.
(H) Origin Family: Two cards. One indicates the size of the character’s family, and the other references what that family experience was like, for better or worse. Also includes close friends. This is a broad stroke that may require refinement later on.
(I) Social Origin: Also two cards. Outside of family and close friends, this refers to a most influential social entity or institution (card 1), and then the state or measure of the character’s relationship with that entity or institution (card 2).
Note: you must decide which card in multiple card positions applies to which aspect of that position, after meditating on their relationship with each other and the spread.
It's recommended (but not required) that positions be flipped/revealed in the order presented above (A-I). Take your time and meditate on each newly flipped card, how it relates to the spread position and to the other cards. This process is all about relationships: how things compare or differ, attract or repel, how they interact. And it’s the core principle of the 27 Elements system.
You can see how the subjects of these cards may overlap, duplicate, or even conflict with each other. All of that is fine in that the end result amplifies some traits, leaves the character conflicted or confused over others, and possibly leaves both writer and reader with some new questions to be answered at a later time. The important thing is that you discover how everything fits together in the end. And if there’s no way to make a card or concept fit what develops, then you simply remove/replace that card, or else you remove/replace all/some other cards until it finally does fit. Remember, the deck only offers suggestions you may or may not put to use. Never force square pegs into round holes.
Among other things, you'll find a helpful list of possible of character traits on our Supplementals page.
(Click here to return to Index)
(A) Primary Trait: If there was one trait to best represent this character, the thing setting him/her/it apart from the rest, it would be the Primary Trait. This may be good, bad, or neither. There may be other significant traits as well, but this one stands above the rest. The selected Tarot card shares or inspires this trait.
(B) What Is Carried: This position represents some present struggle or burden. But also, it provides challenge and wisdom. Again, it may have a positive and/or negative impact.
(C) What Carries: This position carries or supports the character, for better or worse. It may be helpful in times of need, or may also weaken or stifle growth.
(D) Perceived Destiny: This position is represented by two cards. It’s a combination of what is desired with what is believed (or deserved?) to come. These may align perfectly or conflict terribly. When compared with the rest of the character, the future could be vague or ill-conceived, or well-planned and obsessively pursued, or something else entirely different.
(E) Found Family: Two cards, same as Origin Family (H) in concept, but references what comes next in life, such as spouse or lover, children, and newfound friends.
(F) Social Present: Also two cards. Similar to Social Origin (I). References the current most significant social entity or institution outside family or friends (part 1), and then determines the state or measure of that relationship (part 2).
(G) Perceived Origin: Two cards occupy this position. One is the single most important Incident or character of influence or setting, etc., from the past which contributed to the character’s current state (for better or worse). The second card is something from the past which is always present in/with the character—for better or worse. And the two cards will always be somehow related.
(H) Origin Family: Two cards. One indicates the size of the character’s family, and the other references what that family experience was like, for better or worse. Also includes close friends. This is a broad stroke that may require refinement later on.
(I) Social Origin: Also two cards. Outside of family and close friends, this refers to a most influential social entity or institution (card 1), and then the state or measure of the character’s relationship with that entity or institution (card 2).
Note: you must decide which card in multiple card positions applies to which aspect of that position, after meditating on their relationship with each other and the spread.
It's recommended (but not required) that positions be flipped/revealed in the order presented above (A-I). Take your time and meditate on each newly flipped card, how it relates to the spread position and to the other cards. This process is all about relationships: how things compare or differ, attract or repel, how they interact. And it’s the core principle of the 27 Elements system.
You can see how the subjects of these cards may overlap, duplicate, or even conflict with each other. All of that is fine in that the end result amplifies some traits, leaves the character conflicted or confused over others, and possibly leaves both writer and reader with some new questions to be answered at a later time. The important thing is that you discover how everything fits together in the end. And if there’s no way to make a card or concept fit what develops, then you simply remove/replace that card, or else you remove/replace all/some other cards until it finally does fit. Remember, the deck only offers suggestions you may or may not put to use. Never force square pegs into round holes.
Among other things, you'll find a helpful list of possible of character traits on our Supplementals page.
(Click here to return to Index)