These invented domains give another way to practise each day's maker decision after the full teaching source. They are not the fresh assessment cases, real community dance, actual performance or audience results. A child may stay with paper, object, AAC, tactile strip or words; physical exploration and sharing remain optional and locally approved.
Day 11
- Library welcome. A fictional maker scores OPEN–WAIT–POINT for a new shelf display. Worked report: The maker chooses an opening and an answer shape; whether anyone notices it is unknown.
- Garden gate story. A paper mover makes a wide offer, leaves space and changes direction. Worked report: The score can suggest an invitation without requiring a child to walk to a real gate.
Day 12
- Train-platform fiction. A maker draws a straight offer; another draws a soft curve. Worked report: The second line answers differently; it is not an exact copy or a real person's response.
- Art-table dialogue. Two broad cards show high line and low line. Worked report: A changed level on paper can be named as a maker choice, not bodily range evidence.
Day 13
- Bakery-window story. A paper score says OFFER–WAIT–ANSWER. Worked report: The wait separates ideas; no child must hold a difficult pose.
- Bus-stop drawing. A PAUSE label moves from after an arrow to before it. Worked report: Timing and possible maker intention change; no viewer effect is guaranteed.
Day 14
- Class poster idea. A puppet asks a peer to see a paper score and hears “not now.” Worked report: Accept no and keep the work private or choose a later willing adult; the puppet is not a real audience.
- Story-corner maker. A fictional maker chooses one willing educator. Worked report: Actual sharing evidence exists only if a real educator receives the child's own idea, not from this invented sentence.
Day 15
- Post-check museum label. A paper maker draws offer–space–curve. Worked report: After the fresh first response, name the changed answer and keep it a paper composition.
- Post-check sports banner. A maker declines to show a draft. Worked report: Respect the choice; no audience-sharing result is recorded.
Day 16
- Beach-map fiction. A broad drawn arc leads to a pause box. Worked report: The smooth line is a paper flow cue, not an instruction to slide a body.
- Space-window story. A paper mover follows a long line. Worked report: The maker can intend calm travel, but no human movement or audience feeling is observed.
Day 17
- Farmers-market sketch. Version two bends left instead of right at one mark. Worked report: One directional revision can communicate a changed focus, if the maker says so.
- Book-fair sign. A line changes from connected to broken near its end. Worked report: The changed quality is visible on paper; an actual dancer's quality remains unobserved.
Day 18
- Quiet-stage idea. A pause before a line is chosen to begin with room for another mark. Worked report: Record the maker's intention, not a claim every viewer felt welcome.
- Workshop map. A pause after a curve suggests the end of an idea. Worked report: This differs from pause-first; no required body freeze follows.
Day 19
- Paper-gallery card. The original maker title and purpose are printed, but no teacher performs it. Worked report: A real work encounter has not occurred; mark TEACHER DEMO NOT PERFORMED.
- Willing listener. A child actually shows a paper score to a teacher who says, “I saw your second pause.” Worked report: Only a real matching event could be recorded as audience response; this written example is fictional.
Day 20
- Post-check kite display. A maker changes a broad line to a corner, then pauses. Worked report: After the held check, point to the revised mark and state a possible intention without claiming actual performance.
- Post-check story window. An adult moves a marker for a child-directed score. Worked report: Credit the child's composition choice; label the motion adult/paper, not child physical dance.