# Two worked supplementary swaps for each day

Use these after a learner has met the day's target, or as teacher models. The arrow shows the **actual changed score and possible consequence**, not a new unworked prompt. Swaps preserve the day's conceptual target and give another fictionally useful context. Check-day swaps are **after Check** feedback examples: do not reveal G/H's new response in advance.

| Day | Worked swap 1 | Worked swap 2 |
| --- | --- | --- |
| 1 | Fictional help desk: H–R–R–H → R stays on 3; a visitor may notice the right-hand help sign because attention does not immediately return. | Fictional exhibition: H–L–L–H → L stays on 3; a viewer may look left, but the card cannot prove their reaction. |
| 2 | Fictional garden map: H–F–R–H → change count 2 to N, H–N–R–H; the near edge may gain attention because only the path's first reach changes. | Fictional sports noticeboard: H–N–R–H → change count 2 to F, H–F–R–H; a far poster may be indicated while counts 1/3/4 hold. |
| 3 | Fictional station sign: gradual arrival across count 2 → early arrival at R on 2; the rightward cue may feel more immediate without adding force. | Fictional library display: early arrival at R on 2 → draw a sustained count-2 travel line; the arrival may feel less abrupt with the same H–R–R–H locations. |
| 4 | Fictional lamp display: marker approaches F on 2 → stays H and faces F on 2–3; the object remains a focus without changing proximity. | Fictional model shelf: marker stays H facing F → slides closer to F on 2; proximity becomes visible, with no partner or touch. |
| 5 | After Check G, new **practice** ticket: H–N–N–H → move the held position to F, H–F–F–H; a far-window purpose may become clearer by count 3. | After Check G, new **practice** ticket: H–L–H–H → hold L for count 3, H–L–L–H; a left-hand cue lasts longer, without claiming every viewer follows it. |
| 6 | Fictional shelf choice: A H–R–R–H → lateral mirror H–L–L–H; the signalled side changes but held timing remains. | Fictional queue cue: A H–R–R–H → early return H–R–H–H; right-side attention may shorten because count 3 is now home. |
| 7 | Fictional notice wall: facing arrow to F on 2–3 → approach marker to F on 2–3; proximity rather than orientation becomes the cue. | Fictional play-set model: approach F → keep marker H and aim arrow at F; the object can still be indicated with less implied travel. |
| 8 | Fictional gallery two walls: P then P H–R–R–H / H–R–R–H → P then Q second phrase H–L–L–H; focus may distribute across both walls. | Fictional queue single exit: P then Q → P then P; count 6 now R instead of L, so the same right exit is revisited. |
| 9 | After source question, original A choice H–R–R–H → H–L–L–H for a fictional left notice; record “our own score” separately from Bangarra metadata. | After source question, original D choice approach F → arrow towards F from H; the choice is ours, while permission for any third-party choreography remains unconfirmed. |
| 10 | After Check H, new **practice** map: H–F–H–H / H–N–H–H → repeat H–F–H–H / H–F–H–H; far-side cue repeats rather than contrasts. | After Check H, new **practice** map: H–R–R–H / H–R–R–H → second phrase H–L–L–H; two sides may be noticed, although response is unknown. |