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23805790 Mind Control Language Patterns Dantalion Jones

23805790 Mind Control Language Patterns Dantalion Jones

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When anyone tells a vivid and compelling stol)', they are using
metaphor to covertly influence and hypnotize. This is true, because a
stol)' is not personally about the listeners' lives, and therefore, the audi-
ence can absorb the messages, without feeling preached to. Also, in or-
der for them to truly understand the stol)', they have to, at some level,
feel the emotions of the characters. Because of the emotions a good sto-
I)' creates, stories are a great tool for mind control.

There are several good examples of this that can help a beginner
understand the process of Mind Control. The first example is fairly
common and happens any time someone reads a stol)' or watches a
movie and becomes so involved in the stol)' line that they forget the fact
they are involving themselves in a fiction.

In spite of the fact that they are maybe sitting on their couch
reading or watching a TV show, they react as if they are in the stol)'. In
other words, they are being affected by what they are reading/watching
AS IF IT WERE REAL.

This has been used by Mind Controllers all throughout histol)',
and many shamanic cultures place the story teller as central person in
their rituals.

To learn this skill, it is best that the controller first go into their
histol)', and remember times when they were reading or watching a
show and got so intensely involved that they lost track of time and be-
gan to care about the characters in the stol)'.

What was it that made it so interesting?

How was it youforgot that you were at and 'got into the story?

What emotions did the story involve?

By answering these questions, the controller can begin to under-
stand what kinds of stories move them, and begin to craft stories they
can tell that are equally involving.

How does one craft a story that delivers a covert message?

There are a few factors that one needs to consider and tl)' to incorporate.

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Mind Control Language Patterns

1. Tell a story with a character that is similar to the listener. The main
character needs to have something that the listener can relate to, regard
less if the main character is a turtle or a human being.

2. If telling the story orally (aloud), become involved, yourself. The
more passion, energy and enthusiasm you can put in the story, the more
the audience will react to it.

3. Lead off the subject, at times. The more one convolutes a story, the
more the listener must involve themselves to follow it. Often you will
hear a story begin like this:

"When I was little boy, my mother would send me over to her
mother's house, my grandmother. And she would tell me stories
from the old country. I've never heard these stories, except from
here, so I don't know ifshe made them up or ifthey're just part
ofthe folklore. She told me that when she was a little girl her
cousin would tease her to go to the "The Witch's House" and
talk to the lady they called "The Witch. " The thing was that the
witch didn't mind being called that, and my grandmother al-
ways approached the house scared, and every time The Witch
would befriend her, take her in, tell her a story and she'd leave,
always feeling better. Her friends told her that The Witch put a
spell on her, which scared her every time, yet she would still go
backfor more.

Well, one day The Witch told her a story about when she was a
little girl and how she was always concerned about getting too
close to the Black Lake. The Black Lake, they told her, was
haunted and would pull young girls in from the shore and
drown them, ifthey didn't take a certain path to the shore .... "

Just from this introduction, it is hard to tell who the story is re
ally about -the person telling the story, the grandmother or the witch?

In order to understand it, the listener must forget who the story
is about, and follow deeper and deeper into the story, eventually, losing
themselves in it.

4) Design a message in the story. The message in the story can be like a
moral of the story, like Aesop's Fables. The message can also be much

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more covert. The covert message is one of emotion, meaning there is an
emotion that the main character feels that motivates them. This emotion
must be justified in the story. In doing this, the subject that hears the
story can relate to the emotion. Remember a simple story, like Snow
White...

Make up and tell a story that is convoluted, like the one above.
Write it down, if you have to. Tell it to someone, and make impression
able young girls dream of a Prince Charming.

Exercise:

Observe how they respond. If you get a glassy-eyed stare in the midst of
telling it, that is a sign of a hypnotic state induced by the story.

Other Variations of Story Telling

A testimonial is another example of story telling, because it is
one person saying what happened to them with a certain product or ser
vice. It is used everywhere, from the religious practice of "witnessing"
to TV commercials featuring both stars and ordinary people telling their
story.

Exercise:

Make a list of all the times a testimonial has been used to sell a product
or promote a service. Consider how you can do that with your outcome
in mind. Who can tell the story? What will they say?

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