SKU: 11395950863
dracaena potting

dracaena potting Warneckii Dracaena

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Description

dracaena potting Warneckii DracaenaDracaena fragrans 'Warneckii' Dracaena fragrans 'Warneckii' is a classic striped cane Dracaena with arching sword shaped leaves in grey green, green and white. The pale edging and fine striping give the foliage a crisp linear pattern as it develops around woody stems. With age, the plant forms visible canes carrying leafy heads near the active tips. Lower leaves gradually age away, leaving ringed stems that give mature plants their familiar upright

Dracaena fragrans 'Warneckii'

Dracaena fragrans 'Warneckii' is a classic striped cane Dracaena with arching sword-shaped leaves in grey-green, green and white. The pale edging and fine striping give the foliage a crisp linear pattern as it develops around woody stems.

With age, the plant forms visible canes carrying leafy heads near the active tips. Lower leaves gradually age away, leaving ringed stems that give mature plants their familiar upright Dracaena shape.

Grey-green leaves with pale margins

  • Foliage: Arching sword-shaped leaves with grey-green centres, green striping and narrow pale margins.
  • Stem habit: Evergreen cane growth with foliage clustered near the top of each stem.
  • Mature shape: Develops visible woody stems as lower leaves naturally shed over time.
  • Foliage variation: Pale margins and grey-green striping give each blade a clear linear pattern.

A long-grown striped Dracaena

'Warneckii' belongs to the striped Dracaena fragrans cane plants, with woody stems and leaf heads gathered near active tips. The species grows as a shrub or small tree in tropical Africa, while indoor plants develop as potted canes with visible ringed stems over time.

The plant’s mature form comes from its woody stems. New leaves emerge from the active tips, while older leaves leave visible rings on the cane. Mature stems may branch after pruning or age, producing several striped leaf heads from one plant.

Care for pale-edged cane foliage

  • Light: Grow in bright filtered light or clear moderate light. Pale margins stay cleaner when protected from intense direct sun.
  • Watering: Let the upper half or a little more of the mix dry before watering deeply and draining the pot.
  • Drainage: Use a pot with drainage holes and a mix that combines moisture retention with coarse aeration.
  • Warmth: Keep the plant above 18 °C where possible, with protection from cold draughts and chilled wet substrate.
  • Humidity: Normal room humidity is usually sufficient, though very dry heat can contribute to tip burn.
  • Feeding: Feed modestly during active growth and reduce fertiliser when winter light slows new leaves.
  • Repotting: Repot once roots have filled the container or the cane needs a heavier, more stable base.
  • Pruning: Shorten tall stems in spring or summer to encourage new shoots from lower nodes.

Stress patterns on pale-edged leaves

  • Dry brown tips: Check mineral build-up, low humidity, dry heat and irregular watering before adjusting the full routine.
  • Yellow lower leaves: Gradual old-leaf loss is normal; quick yellowing suggests wet roots, cold soil or weak light.
  • Tan bleached patches: Move the plant back from direct sun if pale sections turn papery.
  • Weak new growth: Improve filtered light and check that the root ball is not sitting in compacted, airless mix.
  • Hidden insects: Inspect cane joints and leaf bases for scale and mealybugs during cleaning.

Safety around chewing pets

Dracaena fragrans 'Warneckii' can irritate cats and dogs if eaten. Keep the striped leaves away from pets that nibble houseplants, and remove shed leaves from the pot surface.

Botanical name and etymology

The cultivar appears under both spellings, 'Warneckii' and 'Warneckei'. The genus name Dracaena comes from Greek drakaina, meaning female dragon. The species epithet fragrans means fragrant and refers to the scented flowers of Dracaena fragrans, which are rarely produced on indoor plants.

Dracaena fragrans 'Warneckii' has pale-edged leaves, visible canes and a vertical striped form.

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SKU: 11395950863

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Trendy Chic
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Not what I was expecting, but I liked it.
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My first book by Emma Slate. Wonderful writing style, I wanna read some more MC books.
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Not worth the hype. Was poorly written and had to put it down and not finish it.
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Reviewed in the United States on May 20, 2025
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Great story
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I’m not an avid reader, but this was finished in a few days. Such a good book!
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Houston, US
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Entertaining enough but poorly written. Lots of typos. Won’t be buying book two.
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Dr.C.J.Singh.Wallia
Draper, US
★★★★★ 5
An Excellent Primer on Novel-Writing
Format: Paperback
WIRED FOR STORY By Lisa Cron Reviewed by C J Singh (Berkeley, California) Excellent Primer on Novel-Writing In Berkeley, California, we happily have access to four independent bookstores that display literary novels and creative-writing craft books. Browsing, I picked up two books by Lisa Cron on using "Brain Science" for writing fiction. The jacket quote by Caroline Leavitt rivetted my attention: "I'd never consider writing a novel without Lisa's input, and neither should you." As a longtime fan of Leavitt's novels "Is This Tomorrow," " Pictures of You, " "Girls in Trouble," I looked up Stanford Continuing Education where Leavitt regularly teaches online courses. As a Stanford Alumnus (Psychology PhD), I've taken several on-campus and online workshops on fiction-writing. While still at the bookstore, I promptly signed up for Leavitt's soon-to-begin course that uses two coaching books: Cron's Wired For Story and John Truby's The Anatomy of Story. I'm familiar with Truby's book and its nine excellent exercises. See my detailed review on amazon: https://www.amazon.com/review/R29NU7U6LAHGBV/ Here's my review of Lisa Cron's "Wired For Story" "WIRED FOR STORY' presents a unique, distinguishing feature among fiction-writing primers: throughout its text, the author includes excerpts from the published works of leading contemporary brain-scientists that validate the principles of narrative craft. Cron explains the principles of narrative craft in twelve well-organized chapters that focus on theme, the protagonist's issue, characters' bios, points of view, rising conflicts, subplots, suspense, reveals, and the arc from setup to payoff. At the beginning of each chapter, she presents sentences in italics that illuminate the cognitive-science underpinnings of narrative craft. Examples follow. "Cognitive Secret: When the brain focuses its full attention on something, it filters out all unnecessary information. Story Secret: To hold the brain's attention, everything in a story must be there on a need-to-know basis" (page 23). . "Cognitive Secret: Everything we do is goal directed and our biggest goal is figuring out everyone else's agenda, the better to figure out our own. Story Secret: A protagonist without a clear goal has nothing to figure out and nowhere to go" (p 65) . "Cognitive Secret: It takes long-term, conscious effort to hone a skill before the brain assigns it to the cognitive unconscious. "Story Secret: There's no writing; there's only rewriting" (p 219). Also remarkable are sentences in bold that challenge advice offered in some writing-craft workshops and books. Examples follow. "Myth: Write What You Know. "Reality: Write What You Know EMOTIONALLY" (p 62). . "Myth: Sensory Details Bring a Story to Life." "Reality: Unless They Convey Necessary Information, Sensory Details Clog a Story's Arteries" (p 118). . "Myth: `Show, Don't Tell' Is Literal - Don't Tell Me John Is Sad, Show Him Crying. "Reality: `Show, Don't Tell Is Figurative - Don't Tell Me John Is Sad, Show Me WHY He's Sad" (p 152). Has the author introduced a Myth of her own? I am afraid so. On page 57, "No matter whose point of view you're writing in, you may be in only one head per scene." In my opinion, the Reality is: No matter whose point of view you're writing in, you may be in only one head per PARAGRAPH. This is the new reality -- virtually every fiction-readers' perception has been reshaped by watching films and TV dramas that imply the camera engaged in frequent head-hopping in a scene. At the end of each chapter, Cron presents a concise series of checkpoints to remind the readers while they develop their work-in-progress. Throughout, she includes many examples from literary works and films. Literary works like Gabriel Marquez's "Love in the Time of Cholera," Margaret Mitchell's "Gone with the Wind," and Caroline Leavitt's "Girls in Trouble." Films like "It's a Wonderful Life," "Vertigo," and "American Graffiti." An inspiring citation for writers: " `Recent breakthroughs in neuroscience reveal that our brain is hardwired to respond to story.... It turns that a powerful story can have a hand in rewiring the reader's brain -- helping empathy, for instance - `which is why writers are, and always have been among the most powerful people in the world'. " (On p 239 of Endnotes is the specific citation of three scientists' 2009 article "On Being Moved by Art: How Reading Fiction Transforms the Self" in the Creativity Research Journal vol. 21, no.1 ) WIRED FOR STORY fully earns its title with its numerous citations of recent contributions of neuroscience that validate narrative craft. Examples of cited works included are: V. S. Ramachandran's "The Tell-Tale Brain: A Neuroscientist's Quest for What Makes Us Human"; Michael Gazzaniga's "Human: The Science Behind What Makes Your Brain Unique; and Steven Pinker's "How the Mind Works." These stellar books illuminate the nexus between art and science; their shining light reflects on Lisa Cron's book as a five-star primer for novel-writing.
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Reviewed in the United States on March 7, 2020

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