Mind Control Language Patterns: This Is A 30 Page Excerpt From The Book

This is a 30 page excerpt from the book
Mind Control Language Patterns

by Dantalion Jones
To discoer more about Mind Control Language Patterns go to
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Table of Contents
Introduction 1
The Foundational Mindset 4
More on The Mind Set of Persuasive Language Patterns. 6
Taking Mind Control From the Laorator! to The Streets "
Providing and #eleting $%tions 1&
'sing (our )oice To Control *motions 16
The Parts Pattern + Creating ,nother Personalit! 1-
.ive Them */actl! 0hat ($' 0ant 11
Taking Peo%le on a Time Travel ,dventure 12
0easeling Into Peo%les Minds &1
The Language Pattern That Frightened Ps!chologist &6
0hen I Talk ,out Me I3m Talking ,out (ou 44
Com%are Things So That (ou ,l5a!s .et 0hat (ou 0ant 41
.etting To The 6Core7 $f ,n! 0oman 42
#out and 'ncertaint! Patterns 46
8o5 To Make $ther 8ear ($'9 )oice in T8*I9 8eads 4-
8o5 To Motivate Peo%le To #o ,:(T8I:. (ou 0ant 24
8o5 to #estro! $ld ;eliefs and Install :e5 $nes 2&
8o5 To Make (ourself The Instant */%ert 22
Instantl! Mani%ulate (our Social Status 26
8o5 To Control The Mind 6;ecause7 It3s *as! 2-
8o5 to Make ,n!thing Mean ,n!thing (ou 0ant 64
8o5 to ;ind (our Success 61
Choosing ;et5een T5o *vils is Still Choosing *vil 61
8o5 To #oule the Im%act< Seal The #eal and Lock In The *motions
(ou 0ant 6&
8o5 To Make Peo%le Cra=! + .aslighting 62
>no5 The 0eakness of ,n!one ? 8idden ,ddictions 6"
8o5 To $%en The #oor To , 0omans 8eart @&
0h! ,sk 0hen (ou Can Tell Them 0hat To #oA @4
Lead $thers Through ConfusionB Confusion Patterns @6
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The 8!%notic 8andshake @-
Fun Pla!ing 0ith Peo%le3s *motions -1
Influence Their 8earts and Minds -@
Mind Control Language Pattern */am%le "1
Punctuation ,miguities "4
Covertl! Induce a 8!%notic State In Less Than &4 Seconds "@
Force a Thought Into Someone3s Mind ""
$%erant Conditioning 144
#istracted Sentencing 141
0hat (ou Can Learn Form Peo%le 0ho Can Make (ou To Coin The
,rm! 14&
Changing Peo%les ;eliefs 11&
Meta Model Persuasion 11"
#istracted Sentencing 1&6
Scri%ted Patterns vs. Process Patterns 1&-
The #oor 1&"
;o!friend #estro!ers 144
#eath Pattern + The Connection Pattern + Fascination Pattern 14&
The ;C Pattern 144
Foridden 6#ark7 Patterns 146
The 8os%ital Pattern 146
The #e%ression Pattern 14@
*lements of #ark :LP Patterns 146
Stor! Telling as Language Pattern 14"
Magic DuestionsB The Cue 121
.orilla 0ar Linguistics 124
Meta Programs ,s Language Patterns 16@
'sing *motions to Persuade 1@4
'sing Mind Control to Create an ,ddiction 1@"
The )oice 9oll 1-1
$ctoer Man 1-1
The ;ook of Forgetting 1"&
9eferences 112
Page 3
$ther ;ooks and Products ;! #antalion Cones 11@
Language Pattern Lessons 11-
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&ntroduction
Language %atterns are a uniEue form of covert h!%notic
suggestion. (ou 5ill hear them referred to ! the terms Fconversational
h!%nosis<F Fcovert h!%nosis<F F*ricksonian h!%nosis<F Fcovert
%ersuasion or influence<F or m! favorite< Fmind control.F
In traditional h!%nosis the h!%notist gives direct suggestions
and tells the suGect 5hat to do and ho5 to res%ond. Language %atterns
differ ecause the! are not direct. Instead< the o%erator often descries a
%rocess< and in order for the suGect listening to understand 5hat !ou3re
sa!ing the! have to go through the %rocess in their mind< and end u%
convincing themselves.
The %o%ularit! of covert language %atterns evolved from :LP
%ractitioners using them for seduction. The! 5ere %ackaged into Fget
laidF :LP %roducts and seminars designed for the horn! male too us!
to take an :LP course and figure it out for themselves.
Likel! !ou have heard the claim that onl! seven %ercent of a
message3s meaning is received from the veral content< thirt!+eight
%ercent from vocal cues< and fift!+five %ercent from facial e/%ressions.
This ook o%enl! dis%utes that claim.
)oltaire said< F.ive me ten minutes to talk a5a! m! ugl! face
and I 5ill ed the Dueen of France.F 0hile other factors can influence
the results of !our communication< it is the s%oken 5ord that gets
results. ,lso< kee% in mind that )oltaire did sa! he 5ould have to talk to
the Dueen< meaning he 5ould have to e in front of her to make his
%resentation. This is im%ortant ecause there is a mind set that is vital to
the effective use of Fmind control.F
For those ne5 to :LP+t!%e %ersuasion there is often a elief
that all one has to do is sa! a fe5 language %atterns and %eo%le 5ill
end to one3s 5ill. Some ne5ies ho%e the! can Fget into someone3s
mind and drive it around.F
ST$PHH
If !ou held that elief< then understand that language %atterns
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are entirel! interactive< and reEuire oth %art!3s %artici%ation.
Consider a child3s game 5here someone hides an oGect and the
onl! clues given are F5armerF 5hen the seeker gets close and FcolderF
5hen the! move a5a! from the oGect. The effectiveness of language
%atterns 5orks much the same 5a!. The user must %a! attention to the
other3s res%onses. From that information the! kno5 5hether the! are
getting F5armerF or Fcolder.F The difference is in the degree of sutle
changes that !ou 5ill e oserving. For man! those sutle changes have
never een given %ro%er attention< ut the truth is that this information
makes all the difference in getting 5hat !ou 5ant.
(our ailit! to notice ho5 someone is reacting is essential to
!our effectiveness. 0hen !ou egin to see the sutle flush of the cheek<
for e/am%le< it3s a sign that something is ha%%ening. (ou ma! not kno5
immediatel! 5hat the %erson is feeling + it could e anger<
emarrassment< arousal< or sim%l! a hot flash. It could e good or ad.
,ll !ou kno5 is that something is ha%%eningH To ignore it< as most do<
5ould e a fatal fla5 in getting 5hat !ou 5ant. It 5ould e eEuall!
5rong to read too much into it. #on3t fall %re! to Fmind reading<F 5here
!ou make assum%tions aout 5hat %eo%le think. It could e com%letel!
untrue. In the late 1"64s came a arrage of ooks on od! language that
%roclaimed that someone sitting 5ith crossed arms and legs is closed to
learning. These 5ere the est ooks at the time< ut man! %eo%le have
%roved these sim%listic statements 5rong. ,n!one can sit 5ith their
arms and legs crossed and still learn. Tr! it for !ourself.
Language %atterns 5ork for man! reasons< a %rimar! one eing
that they bring about an emotional state and then suggest an action
to accompany the emotion. The truth is that someone can e talked
into ed< a usiness %artnershi%< or sold a %roduct or service Gust 5ith
5ords.
If one controls the emotions of others then the! are ver! likel!
to follo5 suggestions. This is ecause %eo%le almost universall! make
their decisions ased on feelings rather than reason. The skillful
mani%ulation of emotions can drive a nation to 5ar or to uild giant
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monuments and institutions. Individuals in one+on+one encounters are
no different< and gaining control is then often easier ecause feedack is
instant.
Most %eo%le learn language %atterns ! first memori=ing
e/isting %atterns and< if the!3re smart< %racticing them. ,fter some
%ractice one Euickl! understands the theor! ehind the %atterns and
egins to generate creative %atterns on their o5n.
Dark and Light Language Patterns
0hen :LP 5as discovered a fe5 %eo%le egan to %la! 5ith the
techniEues and %atterns in 5a!s that 5ere 6less than hel%ful7.
In fact< the! devised and a%%lied these skills in com%letel!
harmful and 5icked 5a!s like finding 5a!s to create %hoias of %overt!
for those %eo%le 5ho 5ant to e rich. 0orse the! 5ould create %hoias
in %eo%le 5ith no %ositive intent. This rought aout the field of 6#ark
:LP7 also kno5n as 6;lack $%s Patterns7.
There are several reason that this ook is going to discuss and
reveal 6;lack $%s Patterns7
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The *oundational Mindset
If there 5ere onl! one section of this ook that !ou could read
in order to get the est enefit then this is it< and it has nothing to do
5ith language %atternsH It is aout !our mindset< the mental attitude and
eliefs !ou take on that allo5s language %atterns to 5ork their magic
and make !ourself incredil! effective.
Language %atterns are merel! the outer game of mind control
and %ersuasion. It is in !our inner game that lies the difference that
makes the difference.
(ou3re aout to discover a list of eliefs that make the
difference et5een eing effective 5ith language %atterns< or merel!
reciting 5ords. Sit ack. 9ead them. 9ecite them. Let them echo in !our
o5n mind and ecome !our o5n eliefs. (ou can choose to elieve
them ! sim%l! elieving them. It3s that eas!.
1. (ou 5ill create for an!one the est< most %rofound and real
e/%erience the! 5ill have in their life.
1. :o other %erson can give the kind of e/%erience !ou can.
&. (ou can do this.
4. (ou kno5 it 5orks e!ond an! dout< Euestion or hesitation.
2. $thers 5ill elieve that !ou and !our ailities are ama=ing.
6. It is normal for !ou to give an!one e/actl! the t!%e of
e/%erience !ou 5ant them to have.
@. .iven the %lace< time and situation< !ou can do this 5ith
an!one 5ithout hesitation or dout.
Something else that further em%o5ers !our 5ords is !our
intention. In :LP terms this is referred to as Fhaving a clearl! formed
outcome.F More s%ecificall!< it means kno5ing 5hat !ou 5ant the other
%erson to do< and holding that in !our mind.
It also means having !our outcome e/%ress itself as an
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assum%tion that is sutl! e/%ressed in !our emotions and actions. For
e/am%le< let3s assume !ou 5ant a romantic encounter. If !ou hold in
!our mind this intention as !ou talk then !our actions 5ill egin to e
colored ! that intent. ;ecause this %rocess is interactive the intent 5ill
affect oth !ou and them. Part of !our intent is to %ull !our suGect<
through actions< into a shared realit! that !ou have created.
,sing Language Patterns
,s !ou go through these language %atterns !ou3ll 5ant to go out
and use them Gust for the sake of using them< and !ou can. 0hat !ou3ll
find is that !ou can onl! measure !our effectiveness if !ou have an
outcome in mind. (ou can start 5ith sim%le outcomes if !ou like. Like
getting a smile. From there feel free to e/%lore< ut al5a!s kee% !our
outcome in mind.
*ear of ,sing Language Patterns
Man! hesitate to use language %atterns ecause the!3re afraid of
getting caught< or ecause it feels different from ho5 the! normall!
communicate. M! advise on these t5o %oints is< first< !ou 5on3t get
caught< and second< get over itH
,n!thing 5orth learning is 5orth doing %oorl!. Consider for a
moment the enefits !ou3ll receive in eing ale to effectivel!
communicate in order to get 5hat !ou 5ant. (es< there are man!.
,mong them...

The ailit! to get 5hat !ou 5ant.
The ailit! to feel comfortale 5ith an!one as !ou
communicate 5ith them.
The ailit! to see sutle changes in their ehavior that hel%
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guide !ou to influence them.
The ailit! to change %eo%les mind.
The ailit!< if cornered< to make someone feel de%ressed and
confused.
.o ack and then re+read the seven eliefs mentioned aove.
More on The Mind .et of Persuasie Language Patterns"
8ave !ou ever een in conversation 5ith someone 5ho made
!ou feel as if !ou 5ere the most im%ortant %erson in the 5orld< and that
the! 5ere s%eaking to the dee%est %arts of !our soulA ;eing ale to
create this feeling in others makes delivering language %atterns easier
and more forceful.
The endless deate on ho5 to do it all oils do5n to one 5ordB
charisma. To understand this %o5erful Eualit!< consider ho5 most
%eo%le communicate. $ften their attention is on t5o levels. $n one level
the! are directl! communicating their thoughts< insights and information
to the other %erson. $n another level the! are indirectl! communicating
all the other things that are on their minds. Perha%s the! had a fight 5ith
a s%ouse that da!< or are 5orried aout ills. These semi+conscious
thoughts act to distract and %revent them from full! focusing on the
other %erson. For !ou reading this ook + focus full! on the other
%erson.
0hen !ou %ut aside all distractions< ! shear force of 5ill if
necessar!< !our a5areness o%ens to more sutle cues from the
individual and !our ailit! to influence them is multi%lied.
Comine this sense of focus 5ith !our o5n unsto%%ale
conviction< and !our 5ords take on a %o5er of their o5n.
The first ste% is to recogni=e that these distractions e/ist. The
ne/t ste% is to vo5 that 5hile !ou are attem%ting to influence someone
!ou %ut !our distractions aside in order to focus onl! on them and ho5
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to direct them to5ard !our outcome. See to it that nothing deters !our
focus.
;! the 5a!< 5hen %racticing it3s im%ortant to rememer that
!our %ur%ose is to %a! attention< and not to stare them do5n.
Man! teachers of %ersuasion 5ill tell !ou that sincerit! is a vital
com%onent of effective %ersuasion. (es< sincerit! is im%ortant even
5hen !ou don3t elieve 5hat !ou are sa!ingH Conmen have the ailit! to
elieve 5hat the! are sa!ing sincerel!< even if the! onl! elieve it for
that moment.
>no5 that it3s much easier to e sincere 5hen !ou actuall! are
sincere< ut it3s not essential.
The Dual /eality Principle
0hat !ou sa! is al5a!s suGect to inter%retation< and the
inter%retation is com%letel! de%endent u%on the %ers%ective of the
listener. 0hen more than one %erson hears !ou there can e man!
different inter%retations< and this can e used to !our advantage.
:othing demonstrates this conce%t more than 5hat stage magicians call
FThe #ual 9ealit! Princi%le.F
The #ual 9ealit! Princi%le is 5hen t5o %eo%le have hear one
thing< !et ! design the! each come to different conclusions.
$ne can notice this 5hen language %atterns are eing used. For
e/am%le< a man is using language %atterns to 5in a date. , !stander
hearing the conversation ma! think the gu! is a little strange talking
aout things that are t!%icall! non+gu! to%ics< like Fconnection<F
F%assionF and Fthe 5armth of feelings.F 8o5ever< the 5oman likel! has
a com%letel! different %erce%tion of the conversation.
Stage magicians make use of this effect all the time 5hen the!
allo5 the audience to %erceive something Fmagical<F 5hile the volunteer
on stage %erceives that the! are merel! follo5ing orders.
,n e/am%le of this 5ould e 5hen< 5ithout giving a5a! an
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entire magic trick< the magician asks a volunteer to reach into the
magician3s %ocket to %rove to the audience that it3s em%t!. ,s the
volunteer does so the magician sa!s< Fdon3t do an!thing< oka!HF This of
course gets a laugh from the audience as the! envision the volunteer3s
hands %otentiall! inGuring the magicians nether regions. 8e then tells the
volunteer< Foka!< take !our hand out<F and then he %roclaims to the
audience< F!our hand is em%t!.F
0hat the audience doesn3t kno5 is that the %ocket 5asn3t em%t!
ut had a deck of cards in it. The volunteer could even feel the deck of
cards< ut 5hen he heard the magician tell him< Fdon3t do an!thing<
oka!AF he heard it to mean< FGust %ut !our hand in m! %ocket...nothing
else.F 0hen the magician tells the volunteer< F!our hand is em%t!F the
volunteer thinks nothing of it ut the audience hears it to mean< Fthere is
nothing in m! %ocket.F
'nderstanding the #ual 9ealit! Princi%le 5ill give !ou a higher
level of thinking aout communication and language %atterns.
Im%lementing this %rinci%le ma! take some time and %lanning< ut is
al5a!s fun. To use it !ou must take on three %ers%ectivesB !our
%ers%ective and 5hat !ou 5ill sa!< the second %erson3s %ers%ective and
ho5 !ou 5ant them to %erceive 5hat !ou are sa!ing< and the third
%erson3s %ers%ective and ho5 !ou 5ant them to %erceive 5hat !ou sa!.
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Taking Mind Control *rom the Laboratory to The .treets
Mind Control Theory
Mind control theor! is sim%le< and can e descried as having
four asic levels of %erce%tion and influence. First consider the asic
theor! ehind mind control< 5hich is ver! sim%le< and then 5e3ll dive
into aout the %ractice of it< 5hich the remainder of this ook is
dedicated to descriing.
The first level of %erce%tion and influence is the most
su%erficialI this is 5here stimulus meets the senses. This is Euite sim%le
and straightfor5ard in theor! + %eo%le res%ond to 5hat their senses
%erceive. $n a %ractical level of influence and mind control this means
limiting 5hat the suGect %erceives 5ith the five senses so that the! can
make conclusions and assum%tions ased onl! on that information. This
is 5hat man! cults attem%t to do and man! of the %aranoid cons%irac!
theorist elieve the so+called Illuminati are doing to ever!od!.
The second level is an attem%t to define the meaning of the
sensor! %erce%tions. In other 5ords< if !ou introduce someone to %eo%le
Gum%ing u% and do5n 5ith drums eating then !ou can define it as
dancing or demon %ossession< and the definition 5ill e acce%ted as
long as the suGect has no %rior reference to the stimuli. If the suGect
does have some %rior associations then the! are likel! to ring that
information into the meaning the! create.
This third level is one in 5hich the suGect develo%s their o5n
meaning and inter%retation of the information. This %ersonal
inter%retation ma! incor%orate level t5o definitions. 8ere the individual
com%ares the sensor! information and it3s given meaning to their o5n
%ree/isting eliefs< %erce%tions< and e/%eriences in order to dra5 a
conclusion. For e/am%le< a eating 5ith a cane ma! include %ain Jfirst
level %erce%tionK and e %rescried as a %unishment Jsecond level
%erce%tionK< ut the suGect ma! associate it 5ith an e/%erience in their
!outh 5here the! 5ere 5hi%%ed ! an attractive nann! and e/%erienced
arousal. Thus< their third level %erce%tion 5ould e one of arousal
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instead of %unishment.
,t the fourth level of %erce%tion strong emotions and eliefs are
associated 5ith the e/ternal stimuli and thus ingraining them dee%er in
the individual %s!che. ,t this level these eliefs and emotions ecome
like elected %oliticians and s%end a great deal of energ! tr!ing to
maintain their %o5er. It is at this level that haits< osessions and
%hoias take hold.
Mind Control Practice
0hen ringing the aove theor! into %ractice it is al5a!s 5ise
to consider the design of ever! %art of 5hat the suGect 5ill e/%erience
5ith their senses. This is 5h! a salesman in his o5n sales office 5ill
sell more than visiting %ros%ects. In a sales office Jor church< tem%le<
recruiting center< ed room< etc.K the suGect has no control over the
environment< and must often !ield to the e/%erience that the sales office
creates for them.
,t this level< influence has less to do 5ith language and
language %atterns than 5hat the total five senses are %erceiving. ,t this
level one can create the F%acing and draggingF e/%erience for the
suGect. Pacing and dragging J5hich is not e/actl! %acing and leadingK
occurs 5hen the suGect figurativel! agrees to ste% into the door
J%acingK and then is rought from one e/%erience to another 5ith such
force< s%eed and intensit! JdraggingK that the! must agree to the
conclusions of 5hat the! e/%erience. This is ho5 some criminals create
a com%elling realit! 5hich makes their mark feel safe enough to give u%
his mone!.
,t the second level language %atterns can e a%%lied. The most
sim%le a%%lication of language %atterning is done ! calling an
e/%erience or %erce%tion good< ad< hol!< demonic< im%ortant<
5orthless< or something else. Practical a%%lication at this level of
influence is often done long efore the actual e/%erience. For e/am%le<
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man! !oung 5omen are raised to antici%ate their 5edding as a sacred<
s%ecial< and im%ortant event< and as a result the! minimi=e the 5ork<
troule< and e/%enses that an!one else 5ould consider a %ain in the ass.
,s a lesson to the mind controller it3s im%ortant to set u% this level of
influence as earl! as %ossile< so the suGect is read! to e/%erience it as
!ou %rescrie.
The third level of influence can e the most challenging to
control ecause it is difficult to kno5 ho5 the suGect 5ill incor%orate
the information the! receive. 0hile !ou can %rescrie a meaning to the
e/%erience< it does not guarantee that it 5ill e acce%ted< or that
variations is the meaning 5ill not e made. ,s a %ractical matter getting
feedack is ver! im%ortant. The meaning the e/%erience is given can e
nudged in one direction or the other 5ith accurate information. If the
suGect has a strong %ree/isting o%%osition to that direction then change
can e ver! difficult.
,ssuming the suGect3s %ersonal meaning of the events doesn3t
o%%ose ho5 !ou 5ant to %ersuade them< the fourth level of influence
can e the most %o5erful and enduring. For that reason it can also e
the most %erilous. To succeed can mean a long lasting and eneficial
alliance. To fail could create an enem! that osessivel! 5ants to hurt
!ou. ,t this level !ou can ingrain eliefs and emotions into the suGect
that make the resulting ehaviors self sustaining.
The &deal Persuasion
0e can descrie 5hat could e the ideal model of %ersuasion using
these four levels of %erce%tion and influence.
Leel 0ne
*ver! as%ect of 5hat the suGect 5ill %erceive is engineered to lead
to the most desirale result. Think of this as arranging the ideal date.
;ut it also a%%lies to sales< cult indoctrination< %olitical cam%aigning<
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and %olice interrogation.
Leel T!o
(ou give !our meaning to the events< descrie it in all the glorious or
gruesome terms that 5ould est suit !our needs. If %ossile !ou
inoculate !our suGect ! descriing their e/%erience and ho5 the! 5ill
inter%ret it efore the! have it. 'seful language %atterns include
%resu%%ositions< value elicitation< and elicitation of the feeling of
antici%ation.
Leel Three
8ere the suGect egins to make associations to the e/%erience ased
on their %revious e/%erience. Language %atterns can e used to guide
the suGect3s associations ased on !our %rior kno5ledge of their
histor!.
Leel *our
The suGect assigns eliefs and meanings for the e/%erience !ou
created for them. 0ith those meanings the! also have the emotional
e/%erience !ou 5anted. The e/%erience and it3s meaning ecomes solid
for them as something that is im%ortant. *motional elicitation and
anchoring 5ould e a fe5 of the language %atterns useful on this level.
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Proiding and Deleting 0ptions
So no5 !ou3re a5are of four levels of %erce%tion and four levels of
influence that can e used to give !ou more %o5er and control. , sense
of %o5er comes aout 5hen !ou ecome a5are of 5hat other %eo%le
don3t usuall! consider. ;ecause most %eo%le aren3t a5are of these are
levels of %erce%tion !our %o5er can gro5 ! increasing or decreasing
the o%tions that !ou offer %eo%le at these levels. 0hat follo5s are four
t!%es of information. 0ith each level the information gets more
com%le/.
1inary &nformation 23ll or 4othing5 6ood or 1ad5 1lack or 7hite8
This is the most limiting of information o%tions. It means the
information 5ill onl! fall into one categor!< or it 5ill not. 'sed in it3s
darkest form religious cult 5ill ask it3s memers to divide ever!thing
into usLthem categories. In terms of language %atterns it means
descriing something in inar! terms + good or ad.
1etter97orse &nformation
There is more fle/iilit! 5hen there are more o%tions. 8ere< choices
are not inar! ut have a rankI this one is etter than that one. 0hat is
asent 5ith this information is ho5 much etterL5orse something is
com%ared to its counter%art. There is no gradient or scale.
.caled &nformation 2rating on # to #008
8ere the information is %rovided on a gradient scale that starts at
=ero< or nothing< and goes to an! e/treme. 0ith this Eualit! of
information !ou can %rovide information that is Fgood enoughF or Fnot
ad enough<F and thus influence a decision the suGect can make.
Complex /elationship &nformation
This is the level of information 5ith the greatest degree of variailit!
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and therefore the greatest freedom and fle/iilit!. This Eualit! of
information contains certain traits that can e ranked on a gradient< and
there are relationshi%s et5een certain traits.
'sing this model of mind control and the various levels of %erce%tion
!ou can add and delete information 5ith varied Eualities at the various
levels of information. Thus if someone is stuck at seeing something in
inar! terms Jgood or adK !ou can go u% enough levels to give them
fle/iilit! of choice. $nce the! are directed to the decision !ou 5ant<
!ou can go ack do5n to the inar! level of information and call it
Fgood.F
It should e noted the difference et5een counselingLthera%! and
mind control. .enerall!< thera%! is designed to hel% a %erson move
from a narro5er to a roader range of %ers%ectives< all for the enefit of
the individual. Mind Control< ! com%arison< is interested in the results
as it relates to the controller< and %ers%ectives can e roadened and
narro5ed to suit the end result. To etter understand this %rocess let3s
look at some e/am%le.
(Binary Information) There is an experience that almost everyone
has shared of overhearing an interesting conversation and knowing
what every word means but still having to focus in on the words so that
you can follow what it being said. (Better/orse Information) !ou then
reali"e that you#ve moved from hearing $ust the words to understanding
the concepts and principles that are being discussed. %nd so the topic
becomes interesting to you. (&caled Information) so as you pay more
attention you start to learn. The words which were really $ust sounds
now have even greater meaning because this is something new to you
that#s interesting. ('omplex Information) (ow you can begin to wonder
how it is you are able to take in information so well and use it to make
changes in your life. That type of information has a )uality all it#s own.
Page #+
8ere is an e/am%le taken from the ook F'nderstanding ,dvanced
8!%notic Language PatternsF ! Cohn ;urton *d.#.
(Binary Information) *ave you ever been riding in a car... who
where you were exactly+ but you were a passenger in the car+ maybe in
the front seat ... and you were $ust looking out the window down at the
roadside+ watching the edge of the road as you passed along, !ou
noticed how incredibly fast the road passed beneath you+ how landmark
after landmark flew by. It seemed extremely fast. (Better/orse
Information) Then maybe you decided to look $ust a bit further off the
road maybe to a front yard as you passed by. %nd then the next front
yard as you passed+ noticing that the yards passed by more slowly. It
took longer for them to go by or really from you to go by them. (&caled
Information) %nd then maybe you decided to look even further off the
roadside and noticed the houses+ or beyond these+ behind the houses.
%nd you noticed how much more slowly these passed+ or you actually
passed them. This seems much slower and ('omplex Information) then
you decided to look even further off in the distance+ perhaps to the
uttermost edge of the hori"on or maybe up at a cloud in the sky+ way off
in the distance. !ou know how clouds can sometimes appear in the
shapes of something ease familiar+ like a dog or a boat or something
else, %nd you can start at a cloud way off in the distance not really
knowing )uite what shape in is taking but also noticing that it seems to
be completely still+ not moving at all+ and how paradoxical this stillness
feels. !ou know you are moving and yet at the same time completely
still+ completely still as you fix your eyes upon this cloud that remains in
constant view+ knowing that there are other clouds in other places that
are in constant view as well+ appearing completely still. %nd now a soft
still calm feeling steals down inside and you find you may absorb this
feeling+ $ust like a soft absorbent cloud within you that soaks up the
feeling+ saturating your very being with this comforting+ floating+ calm+
deeply relaxing sensation. %s you let go+ you reali"e this is everywhere.
Page #-
Page $0
,sing :our ;oice To Control <motions= Tones and Pacing
0hile the focus 5ill e on the 5ords themselves< !ou3ll find that
the tonalit! and %ace of s%eech are ver! im%ortant 5hen delivering
language %atterns. Please note that 5hat is descried here is s%ecificall!
for *nglish. $ther languages have their o5n rules regarding voice
tonalit!.
The -lat Tone
Consider the 5ords< F(ou 5ill lift that ag.F If s%oken in a flat
monotone then it sim%l! descries 5hat 5ill ha%%en< as if reading from
a to do list.
The .ising Tone
It egins to sound like a Euestion 5hen !ou sa!< F(ou 5ill lift
that agF 5ith a rising tone. This could e a Euestion< or a statement
said in a rising tone. , Euestion is an ackno5ledgment of uncertaint!<
so even if s%oken like a statement it sounds uncertain and 5eak.
The /ownward Tone
0hen s%oken 5ith a do5n5ard tone< F(ou 5ill lift that agF
ecomes an order< command or im%erative.
,n understanding of rising< do5n5ard and flat tones 5ill give
!ou a clue aout ho5 to modif! the im%act of the 5ords !ou use.
Perha%s !ou 5ant to make a suggestion< ut don3t 5ant to give it a
strong im%act. In that case !ou sa! it in a rising JEuestioningK tone. For
e/am%le< sa!ing FMa!e !ou can choose this %athAF has a different
im%act than 5hen said in lo5ering tones.
Pace of S%eech
The %ace of s%eech has a stronger im%act than one might think.
Page $#
$ne 5a! of noticing this is ! s%eaking at the %ace of !our reathing.
;egin ! sim%l! noticing !our reath 5hen not s%eaking. The length of
the inhale 5ill e as long as the e/hale. 0hen s%eaking 5e modif! our
reathing ecause 5e onl! s%eak 5hen e/haling. Therefore< inhales 5ill
e shorter than the e/hales. 0hen 5e %ace our voice to the natural
rh!thm of our reathing the attention of the listener is sutl! altered.
0hen s%eaking there is a %ause during the inhale 5hich is
usuall! not noticed< ut tends to have the unconscious effect of creating
antici%ation. 0hen it is follo5ed ! s%eech or the continuation of the
sentence there is an unconscious sense of relief.
,s !ou s%eak at the %ace of !our reath !ou are creating a
sutle c!cle of antici%ation and relief in the listener. ,ntici%ating !our
ne/t 5ords and feeling relief 5hen the! hear it.
That is Euite a com%elling %o5er. 0hen it is 5orking !ou 5ill
most likel! notice the face of the listener ga=ing intentl! and hanging on
!our ever! 5ord 5ithout linking.
,nother e/am%le of %ace of s%eech is often referred to as Fthe
voice rollF that is ver! common among evangelical %reachers. The %ace
of the voice roll is a it faster than the %ace of reath< ut the effect is
the same. )oice roll is usuall! delivered at the rate of fort!+five to si/t!
eats %er minute in order to ma/imi=e the h!%notic effect.
Listen to !our o5n voice as !ou s%eak. Most %eo%le have a
monotone voice even 5hen %assionate aout the to%ic. 9ead a sentence
aloud and change the tonalit! of each 5ord. 9ead it 5ith a Euestioning
tone. 9ead it as if it 5ere a command. :otice ho5 the tonalit! of !our
voice im%acts the meaning of 5hat !ou are sa!ing.
<xercise
Listen to !our o5n voice as !ou s%eak. Most %eo%le have a ver!
monotone voice even 5hen the! are %assionate aout 5hat the! are
s%eaking. Pick a sentence to read aloud and change the tonalit! of each
5ord. 9ead it 5ith a Euestioning tone. Then read it as if it 5ere a
Page $$
command. ;egin to notice ho5 the tonalit! of !our voice can im%act the
meaning of 5hat !ou are sa!ing.
Page $3
The Parts Pattern > Creating 3nother Personality
This first %attern should e eas! ecause it reEuires onl! to
understand a conce%t. (ou don3t have to memori=e an!thing 5ord for
5ord Jut !ou can if !ou 5antK.
To understand The Parts Pattern consider that 5e all have
F%artsF 5ithin us. There is a %art that finds learning %atterns interesting<
even fascinating. (ou can recogni=e it as the %art that made !ou u! this
ook. 0ith this %art no5 a5akened !ou can notice a gro5ing interest to
learn. ,s !ou learn more %atterns and ho5 to use them this %art comes
alive and gro5s stronger and stronger until it ecomes so over%o5ering
!ou have to go out and see ho5 the! effect %eo%le.
:o5< I Gust made that last %art u% ut it3s ver! likel! that !ou
noticed it had an effect.
The secret of F%artsF creation is to reali=e that 5hen !ou name
something it ecomes real. 0hen !ou start to descrie it< it comes alive.
It is sort of like that childlike %art of !ou that is curious to learn more.
;efore !ou read that last sentence there 5as no F%artF there< and after it
5as descried !our mind egan to connect the dots so that the Fcurious
childlikeF %art egan to come into a5areness.
Ste% one + name a %art.
Ste% t5o + descrie it.
The %art could e the %art that ecomes fascinated< or the %art
that ignores the unim%ortant< or the %art that ecomes remorseful or
de%ressed Jif %art of a FdarkF %atternK. Let3s no5 make these e/am%les
come aliveB
Interesting things happen when you notice something that you
recogni"e as interesting. It#s like there is a part of you that becomes
fascinated and it locks into whatever you#re focusing on. hen it comes
alive it#s almost like you close off all your awareness of the surrounding
world and it#s $ust this one sub$ect that commands all your attention and
Page $%
you can#t ignore it. In fact+ as much as you try to turn away it $ust draws
you closer.
hen you have a clear idea about what#s important and you
focus on it there is another part of you that begins to take everything
that doesn#t matter and pushes it way. *ave you ever noticed how as
soon as your attention becomes aware of a trivial distraction it shrinks
it in your mind and screams 0-1'2&30 and snap+ you#re right back on
what really does matter, %ll you have to do is reali"e that what you#re
doing is important and this part gets ready. This part that ignore the
unimportant will take what really matters and makes it grow bigger and
brighter in your mind so that nothing will distract you and the more you
try to turn away the more important these things becomes.
There is a part inside your mind that knows when you#ve done
something wrong. It#s the part that feels guilt and )uickly tries in vain to
push it away+ but only makes it more glaring+ noisy and sharp in your
mind. %gain and again it comes back+ even when you sleep+ and the
more you try to suppress it the stronger it becomes. -inally it becomes
so strong that you do everything in your power to avoid sleep because
of the guild that grows stronger like a cancer weighing you down. 4ven
in those moments when your mind is free of the guilt this part of you is
plotting to remind you of what you did. !ou#ll never outrun it. !ou#ll
never even out live it.
If there is one %art that does something< then there can e others
that have other functions. $ne %art could activate another %art< and all
!ou have to do is descrie ho5 the! interact 5ith each other. 8ere is an
e/am%le 5ith a %art that feels de%ression and a %art that takes action.
&ometimes there is part of each of us that makes us feel down.
-or some people it only pulls them down further and further and a lot of
Page $'
people get stuck there. But there is another part inside that pulls you
into action and straightens you spine and paints a clear path focuses on
simple and doable tasks. It#s the first part that calls the other into action
and keeps you going no matter what.
$ne can darkl! create t5o %arts that loo% ack on each other.
The first is the %art that gets confused. The second is the %art that feels
fear and terror. $ne causes the other< creating a loo% in 5hich the
%erson either feels confusion or terror. The onl! o%tion is to leave the
thought. The onl! use of this is to create amnesia to a s%ecific thought.
0hen the thought comes u% the confused %art comes alive. The
confused %art then a5akens the fearful terrori=ed %art. The! c!cle ack
and forth creating discomfort no matter 5hat< until the suGect sto%s
tr!ing to think aout the suggested to%ic. This is a sure %rescri%tion for
neurosis.
Page $(
6ie Them <xactly 7hat :0, 7ant"
Presuppositions
To %resu%%ose something sim%l! means that 5hat !ou 5ant is
going to ha%%en and !ou demonstrate that elief in !our 5ords and
actions. This is the linguistic eEuivalent of an assum%tion. In other
5ords< %resu%%ositions are not directl! stated ut assumed 5ithin the
language. For e/am%le< ! using the follo5ing 5ords one can
%resu%%ose that something 5ill ha%%en or has ha%%ened automaticall!B
automaticall!< continuousl!< s%ontaneousl!< steadil!< instinctivel!<
almost magicall!< constantl!< even 5ithout thinking< second nature<
unconsciousl!< involuntaril!.
F;efore !ou automaticall! o%en the refrigerator door< !ou
should hold !our nose.F This %resu%%oses that the refrigerator door 5ill
e o%ened 5ithout resistance< and that something smells ad inside.
,s an e/ercise< 5rite three sentences that %resu%%ose that
something !ou 5ant is ha%%ening automaticall!. Like5ise< ! using the
follo5ing 5ords one can %resu%%ose something is true< factual and
%rovenB actual< actuall!< asolute< genuine< self+evident< unim%eachale<
real< reall!< true< trul!< oviousl!< fact< factual< certified< %roven<
authentic< valid< verified< unEuestionale< undeniale< definite<
irrefutale.
Thus the follo5ing sentences %resu%%ose something aout this
ook and the %erson reading it...!ou.
By studying this material you#ll steadily appreciate the absolute
depth of the authors insights.
8ere the %resu%%osition of Fsteadil! a%%reciateF em%hasi=es that
Page $)
!ou 5ill e a%%reciative< and it is not Euestioned ecause it 5ill ha%%en
steadil!.
The irrefutable commitment to learn is the self5evident key mark
of the people who read this material.
8ere< the commitment is %resu%%osed ecause it is descried as
irrefutale.
Presuppositions of Permanence
There are man! enefits to %resu%%osing %ermanence. If !ou 5ant a
long term customer< enduring satisfaction< or for someone to feel a long
lasting feeling then %resu%%osing these indestructile Eualities has
value.
(ou can suggest moving to5ards %ermanence. In other 5ords
conve! ho5 the results and the hel% !ou3ll give !our customers and
clients 5ill e %ermanent or long lasting. (ou can also suggest moving
a5a! %ermanence. This is 5here !ou suggest that the %ain the!3re in 5ill
%ersist< and 5ill e %ermanent unless the! let !ou hel% them. Suggesting
all the %ermanent %rolems the!3ll get ! dealing 5ith !our com%etitors
is also a lot of fun.
,s a dark a%%lication !ou can suggest that all their guilt< shame and
fatigue e lasting and %ermanent.
8ere are some useful 5ords for %resu%%osing %ermanenceB lasting<
remaining< stale< secure< sta!ing< indestructile< endless< non+sto%< sta!
5ith< !ear after !ear< da! after da!< long term< continuing< eternal<
ceaseless< constant< enduring< %ersistent.
:ote< for ever!thing that !ou can %resu%%ose don3t forget that !ou
can also im%l! it and sim%l! sa! it straight out as 5ell. , %resu%%osition
might e< Fdo !ou kno5 an! other %rovider 5ith such a dedication to
long lasting customer serviceAF ,n im%lication might e< Four
Page $+
commitment to customer service egan 24 !ears ago 5hen the com%an!
started< and it3s %art of our mission to continue to im%rove in that area.F
, direct statement might look like this< F5e have a commitment to
customer service for as long as !ou have our %roducts.F
,s %o5erful as %resu%%ositions are it3s im%ortant to note that
linguistic %resu%%ositions alone 5ill not get an!one laid. Presu%%osition
%atterns like Fas !ou continue to focus !our attention on me anging
!ou...F Gust don3t %ull much 5eight. This is 5here !ou should make
some further distinctions.
First< if !ou3re using language to ring someone to arousal and have
se/ 5ith them the linguistic %resu%%ositions should e on the ease of
feeling certain emotions and feelings in the od!< and not the act of se/.
For e/am%le< FIt3s ama=ing ho5 Gust ! thinking aout it a %erson can
egin to naturall! feel an ongoing sense of comfort. 8ave !ou had a
chance to notice ho5 Euickl! that feeling of connectedness follo5s a
%ersistent sense of ease 5hen !ou3re talking to someoneAF
In the area of seduction there are some mental eliefs that !ou should
%resu%%ose that 5ill hel% !ou. These are the Foundational ;eliefs
mentioned earlier. Cust another good reason to go ack< read them and
make them a %art of !our %ersonalit!.
.0M< 70/D. :0, C34 ,.<=
lasting+ remaining+ stable+ secure+ staying+ indestructible+ endless+ non5
stop+ stay with+ year after year+ day after day+ long term+ continuing+
eternal+ ceaseless+ constant+ enduring+ persistent+ etc.
4otes on presuppositions=
For ever!thing that !ou can %resu%%ose don3t forget that !ou can
also imply it and sim%l! say it straight out as 5ell.
Page $-
Presuppose
#o !ou kno5 an! other %rovider 5ith such a dedication to long
lasting customer serviceA
&mply
$ur commitment to customer service egan 24 !ears ago 5hen
the com%an! started and it3s %art of our mission to continue to im%rove
in that area.
.aying is .traight 0ut
0e have a commitment to customer service for as long as !ou
have our %roducts.
Limitations of Presuppositions
,s %o5erful as %resu%%ositions trul! are it3s im%ortant to note
that linguistic %resu%%ositions alone 5ill not get an!one laid.
Presu%%osition %atterns like 6%s you continue to focus your attention on
me banging you....7 Cust don3t %ull much 5eight. This is 5here !ou
should make some further distinctions.
First< if !ou3re using language to ring someone to arousal and
have se/ 5ith them the linguistic %resu%%ositions should e on the ease
of feeling certain emotions and feelings in the od! not the act of se/.
For e/am%le 6It#s ama"ing how $ust by thinking about it a person can
begin to naturally feel an ongoing sense of comfort. *ave you have a
chance to notice how )uickly that feeling of connectedness follows a
persistent sense of ease when you#re talking to someone,7

In the area of seduction there are some mental eliefs that !ou
should %resu%%ose that will hel% !ou. These are the Foundational
;eliefs mentioned on %age 11. Cust another good reason to go ack<
read them and make them a %art of !our %ersonalit!.
Page 30
Taking People on a Time Trael 3denture
;erb Tenses of Past5 Present and *uture
'sing ver tenses to change %eo%le3s minds is oth ver!
advanced and ver! sim%le ecause 5hen !ou Fget itF !ou can make
dramatic changes in %eo%le 5ith seemingl! little effort. , good e/am%le
of this is the %erce%tive co% 5ho can tell a husand murdered his 5ife
ecause u%on integration at the murder scene he sa!s 6I loved m! 5ife.7
instead of sa!ing it in the %resent tense 6I love m! 5ife.7
,s 5e s%eak 5e are unconsciousl! using the vers 5e3ve
learned. These vers have a ver tense that indicates if the action of the
ver is in the %ast< %resent or future. $ka!< so much for the revie5 of
grade school *nglish. 8o5 can 5e a%%l! this for %ersuasionA
The easiest a%%lication is in thera%eutic settings 5here %rolems
can e s5itched from eing in the %resent to some5here in the %ast< and
solutions and resources can e moved into the %resent and availale in
the future.
To get a gras% on ho5 to use ver tenses< let3s think of ho5 5e
%erceive time. For most of us 5e are familiar 5ith a Ftime lineF 5ith
Fthe %astF in one direction and Fthe futureF in the other direction and
Fno5F eing 5here !ou are standing on the time line.
$
+++M+++
M
LN
Past ++++++++++++++++++ :$0 ++++++++++++++++ future
So someone is talking to !ou and !ou 5ant them to do something ut
the! have an oGection< or if !ou3re in a thera%eutic setting the %erson is
talking aout a %rolem that the! have. If the %rolem is %resent the!
Page 3#
5ill e talking aout it in the %resent tense.
:otice ho5 the e/%erience of the %rolemLoGection changes as the
ver tense changes.
I %rocrastinate. JPresent TenseK
I %rocrastinated. JPast TenseK
I 5ill %rocrastinate. JFuture TenseK.
:o5 notice ho5 !our e/%erience changes 5hen the %resent %artici%le
form J+ingK is added.
I am %rocrastinating.
I 5as %rocrastinating.
I3ll e %rocrastinating.
For man! %eo%le adding the +ing makes the %rocrastination more real
and F%resent<F regardless of 5hen it 5ill ha%%en.
The %rocrastination can e made to feel more distant ! using the
%ast %erfect.
I had %rocrastinated. J%ast %erfectK
This makes the action feel as if it is not onl! in the %ast ut
com%leted and< %erha%s< not likel! to e re%eated.
I had had %rocrastinated. J0hile this ma! not seem com%letel!
grammatical< the effect is significantK.
I have %rocrastinated. J%resent %erfectK
Present %erfect indicates that no5 the %rocrastination has ended.
Page 3$
I 5ill have %rocrastinated. Jfuture %erfectK
The future %erfect indicates that at a time in the future the
%rocrastination 5ill reach a %oint 5hen it ends.
So< using this kno5ledge one could take a %rolem that someone
states in the %resent tense and egin to talk aout it in the %ast %erfect
tense as if it 5ere over and done 5ith. Then the! could imagine a
res%onse or reaction that 5orks etter and talk aout it in the %resent
and the future.
Person ,B I notice that ever! time I 5ant to talk to a girl I get nervous.
Person ;B So< !ou have had a hait of getting nervous< rightA
Person ,B (eah.
Person ;B 0hat 5ould !ou rather e feeling no5 insteadA
Person ,B Confidence< I guess. (eah e/cited confidence.
Person ;B 8mmm...oka!< so !ou kno5 5hat e/cited confidence 5ould
feel likeA
Person ,B (eah I think so.
Person ;B So !ou %roal! can rememer a situation 5here e/cited
confidence 5as %resentA
Person ,B (eah< 5hen I 5as com%eting in deate in high school. I 5as
ver! good.
Person ;B Can !ou rememer that feeling no5A
Person ,B $h !eahH
Person ;B 0hen !ou3re feeling that feeling no5< ho5 do !ou notice it in
!our od! and ho5 !ou moveA
Person ,B M! mind is Euieter. I stand taller. I feel like...I3m in control.
Person ;B (ou do< don3t !ouA
Person ,B (eahH
Person ;B :o5< 5hat 5ould it e like at that time in the future< no5<
5hen !ou see a girl !ou 5ant to talk to and !ou feel this e/cited
Page 33
confidence %ull !ou into actionA It feels good doesn3t itA
This is a h!%othetical conversation< and not all changes can e
done so Euickl!. ,fter all< mind control and %ersuasion is an art not a
science.
In a conversation 5ith a friend ask< F5hat is a limitation !ou
5ould like to overcomeAF and egin to s%eak of it onl! in the %ast tense
and %ast %erfect tense. More im%ortantl!< assume it is in the %ast and
over 5ith.
:e/t ask< F5hat resource 5ould !ou rather have instead of that
limitationAF 0ith their res%onse egin to revivif! the resource< asking
them to rememer Jno5K 5hat it feels like and descrie it. Then follo5
! s%eaking aout the resource as if the! have it no5 in the %resent
tense and 5ill have it in the future. (ou can covertl! test ho5 5ell
!ou3ve done at the conclusion ! sim%l! asking< Fdo !ou think !ou
kno5 5hat to do no5AF If the! ans5er !es then !ou3ve done !our Go.
To an!one listening it ma! seem like nothing more than a sim%le
conversation ut the effect is a dramaticall! thera%eutic one.
,nother e/ercise in covert use of time tenses is to first
determine !our outcome for the other %erson< and then 5hat emotions
and res%onses 5ithin them 5ould facilitate that outcome.
Ste% 1. *licit the emotional state. F#o !ou rememer a time 5hen !ou
felt...AF
Ste% 1. ;ring it from the %ast to the %resent. F0hat does that feel likeAF
and Fthat3s a neat feeling< isn3t itAF J%ut it in the %resent.K
Ste% &. 'se the ver tense to %rogram that feeling into the future< or link
it no5 to !our outcome. F0hat 5ould it e like at that time right no5
5hen !ou have a chance to decide on a 5idget that !ou see< and !ou feel
that emotion right no5A That has got to e a solid feeling< isn3t itAF
Page 3%
'sing ver tense can also e used to create %rolems< 5orries
and dout in others. ,ll !ou have to do is take the good feelings and
state them in the %ast tense< and state negative feelings in the %resent
and future tense. In this lack o%s e/am%le the feelings of insecurit! are
reinforced.
Person ,B I3m noticing I3m feeling more confident 5ith m!self 5hen I
talk to %eo%le.
Person ;B $h !ou had< hadn3t !ouA
Person ,B 0ell< !eah.
Person ;B I rememer !ou3ve een feeling uncertaint! 5hen !ou3re
around %eo%le. #o !ou ever find !ourself rememering ho5 heav! that
feelsA
Person ,B :o< not so much.
Person ;B 0hile !ou3re feeling that dout and insecurit! right no5< ho5
do !ou kno5 !ou 5ill have never gotten rid of itA
Person ,B (ou3re an asshole.
0hen using this< and man!< dark %atterns !ou3ll find that the!
5ill Euickl! alienate !ou ut the! can still accom%lish !our goal of
creating dout and insecurit!.
,s a final note on ver tenses< this is so %o5erful that it can
accidentall! e used to create %rolems. In fact< %eo%le do this
unconsciousl! all the time ! sim%l! reminding others< F5hat aout
!our fear of large cro5dsAF or Fdo !ou still have that %rolemAF $f
course the! mean 5ell< ut the effect is to make the %rolem real and
%resent.
, ver! sim%le and formulaic 5a! to do this %rocess for
thera%eutic reasons is to first ask 6hat is a challenge you#re
facing,7 and make sure the challenge is an internal state and
%otentiall! under their control. Then ask 6hat state or emotion
would you rather have instead,7 These t5o Euestions 5ill give
Page 3'
!ou the challenge and the resource. To remove the challenge ask
three Euestions that %resu%%ose the challenge is in the %ast. 6&o+
you had had that challenge+ right,7 6%nd you remember having
felt that challenge,7 6*aving remembered have felt that
challenge in the past you then knew what it had felt like+ right,#
To %ut the resourceful res%onse in the %resent ask three
Euestions that %resu%%ose having and feeling the resource right
no5. 6Because you#re mentioning this resource you know what
this resource feels like and it feels pretty good+ doesn#t it,7 6%nd
as you#re feeling this resource now it feels better+ doesn#t it,7
6*aving this resource now present can really make a difference+
agreed,7
The final ste% is a sentence attriuted to 9ichard ;andler
that 5ill lock it into %lace in the future 6hat would it be like at
that time in the future+ right now+ when you remember having had
that challenge but now you feel that resource with you at every
moment... that#s got to feel pretty good+ doesn#t it,7
,fter doing this %rocess the most interesting res%onse I3ve found
is that 5hen I ask 6So is there reall! a %rolemA7 the! sa! 6:o< theres
no %rolemA7 and the! trul! mean itH
1lack 0ps ;ariation
'sing ver tense can e done to hurt or create %rolems< 5orries
and dout in others. ,ll !ou have to do is take the good feelings and
state them in the %ast tense and negative feelings in the %resent and
future tense.
0hen using this< and man!< dark %atterns !ou3ll find that the!
5ill Euickl! alienate !ou ut the! can still accom%lish !our goal of
creating dout and insecurit!.
Page 3(
Time Distortion ;ariations
;! %la!ing 5ith tenses and 5ith ho5 %eo%le %erceive time !ou
can %ut them into a h!%notic state 5here there is no Fno5.F
Think of time distortion as taking someone on a tem%oral roller
coaster that goes from %ast to future to %resent in a seemingl! chaotic
order. , good e/am%le of this effect is the connection %attern that is
introduced in the seduction communit!. The connection %attern is
designed to create an emotional connection that seems as though it has
een there forever. This eternal connection is created ! riding the roller
coaster of time distortion.
*ave you ever noticed what it#s like when you really connect
with someone, It#s as if there is this cord of light that connects the two
of you and that cord glows warm with the feeling of this connection.
!ou can even imagine yourself+ six months from now+ still feeling this
connection and you can remember back to this day+ right now and
remember when you first felt it.
Page 3)

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Mind Control Language Patterns

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