Hypnotic Script-Writing Secrets

And Other Hypnosis

Tips The Masters Use

by

Susan Fox, C. H., AA, CBT

This report is dedicated to Jason, who mastered
creative scripting faster than anyone I know.
 I gratefully acknowledge the support of the man I married and the
son living with us now. While they entertained themselves, I was able to
complete this report. I also appreciate and acknowledge as priceless the master’s
teachings. Without the men, women and angel’s input and instruction this
report would not exist. Thanks, again, to Vicky Hilliard. Without her editing
help this report would look like a bound, misformatted collection of papers.
 DISCLAIMER

This report intends to provide accurate, constructive, reliable, useful information in regard to the
covered subject matter. It is sold with the understanding that the author is neither engaged in
rendering any professional counseling, medical, psychiatric or psychological advice or service. If
counseling, medical, psychiatric or psychological assistance is required, the services of these
professionals must be sought elsewhere than from this report.

This is an informational report only. The author guarantees, warranties nothing, nor makes
representations of any kind. All covered material is believed to be accurate, constructive, reliable
and useful as of the report's writing date. However, no guarantee or warranty is expressed or
implied, nor can the author be responsible for the business dealings, actions or reliability of any of
the report's listed sources provided herein.

Conduct your own research carefully when reading and learning from any self-help report. The
author of this report shall neither have liability or responsibility to anyone with respect to contacts,
negotiations, or agreements that may result from information in this report, or for any loss or
damage caused or alleged to have been caused directly or indirectly by such information.
 TABLE OF CONTENTS

INTRODUCTION ........................................................................................................................................................... i
PLANNING AND OUTLINING ................................................................................................................................... 1
SCRIPT CONTENTS CHECKLIST WORKSHEET .................................................................................................. 13
AUDIO/VIDEO PRODUCTION CHECKLIST .......................................................................................................... 23
THE NUMBERED TIPS ............................................................................................................................................. 25
1. HOW and WHERE do I begin? ..................................................................................................................... 25
Virtually experience their pain ...................................................................................................................... 26
Serotonin - the satisfaction brain neurotransmitter ........................................................................................ 26
Testosterone, Dopamine, Oxytocin and Serotonin ........................................................................................ 26
Client issue specialties ................................................................................................................................... 27
2. Avoid starting the script with, “It was a dark and stormy night.” ................................................................. 29
3. Thoughts are made up of two parts; knowledge bits and energy ................................................................... 30
4. We may not be talking about logic; we may be talking about the
ABSENCE of logic when a client doesn’t “get it.” ....................................................................................... 34
5. In the script somewhere suggest that the client demonstrates
the powerful concentration and focusing ability............................................................................................ 36
6. Use a written script whenever possible .......................................................................................................... 36
7. Use sensory words and phrases with impact ................................................................................................. 37
8. Find a suggestion the client strongly identifies with and
that idea will quickly help the client resolve conflict or evoke change ......................................................... 38
9. Describe AND tell information in a script ..................................................................................................... 39
10. Describe the behavior “problem” briefly at the end of the induction ............................................................ 40
11. Describe a desired behavior in specific and sensory detail............................................................................ 40
12. When describing a suggestion, start with general ideas, then go to specifics ............................................... 41
13. In a problem-resolving suggestion cover all the steps you can consciously think
a person might experience during the situation and take care of the steps you may not
consciously know with a “finalizing” suggestion .......................................................................................... 41
14. Offer suggestions in natural human behavior learning order ........................................................................ 43
15. Use the words THIS, THAT or THE to impersonalize a point ..................................................................... 44
16. Sometimes the answer is just plain “no.” ...................................................................................................... 46
17. Use the words CAN’T and WON’T appropriately ........................................................................................ 48
18. Use the words COULD and WOULD appropriately ..................................................................................... 50
19. Avoid using the word PROBLEM ................................................................................................................. 50
20. Every situation is CURRENT or TEMPORARY .......................................................................................... 52
21. Help the client securely perceive life’s events as CHALLENGES TO DIFFERENT
LIFE SKILL ABILITY LEVELS (as compared to threats to a person’s entire BEING/EXISTENCE) ....... 53
22. Help the client see that they demonstrate different levels of ability, not INABILITY ................................. 57
23. Help clients see they don’t “have” abilities, but instead that they DEMONSTRATE ability levels ............ 57
24. Appropriately use the word BE (or BEING), ARE and ACT ....................................................................... 57
25. Vary sentence length ...................................................................................................................................... 59
26. Three is an amazing number .......................................................................................................................... 60
27. Plant ideas of what is to come in one paragraph, then let the ideas grow
and perhaps blossom in a second paragraph .................................................................................................. 60
28. Relate previous suggestions to new suggestions ........................................................................................... 60
29. Suggest that your client solve life challenges in an EASY, PLEASANT, ENJOYABLE way .................... 62
30. Use hypnotic amnesia so a client forgets any reason to behave in a self-defeating, unproductive way........ 64
31. Use a single or double-binding control panel to eliminate/change undesired behavior ................................ 65
32. Use the “golden door in a round room” technique ........................................................................................ 68
33. Change the energy it takes to create a self-defeating behavior into a desired, useful behavior .................... 70
34. When reciting scripts vary voice pitch, tone and volume .............................................................................. 71
 TABLE OF CONTENTS

35. Be vague or specific as appropriate ............................................................................................................... 72

36. When using words OPEN TO OPINION further define what the opinion
means by using the general to specific routine .............................................................................................. 74
37. Understand and appropriately use some basic human behavior and mind rules as suggested here: ............. 75
38. Understand and work within brain dominance preferences/natural preferences ........................................... 81
39. Vary techniques within a script ..................................................................................................................... 83
40. Explain to clients that they can attain more control over their destiny by using the “What” and
“How” method ............................................................................................................................................... 84
41. Talk to the helpless/hopeless part of the mind and help it stop feeling that way .......................................... 85
42. Remember to encourage and praise a client along the way ........................................................................... 85
43. Watch out for unproductive creative scripting .............................................................................................. 85
44. Almost any “n’t” contraction word dooms a client to unproductive behaviors ............................................. 86
45. Using the word “positive” could be an unproductive suggestion .................................................................. 86
46. Remember that each script we create, no matter how closely
we’ve scrutinized it, probably contains “errors.” .......................................................................................... 87
47. Check and recheck a script looking for vaguely or incompletely finished suggestions ................................ 87
48. Incorporate some idea that “the tape’s suggestions leave
a lasting and permanent impression on your subconscious mind.” ............................................................... 88
49. Appropriately suggest when a client controls a situation or when you choose
the client to perceive a situation/event/environment “controls” (constructively affects) the client .............. 88
50. For your convenience consider creating a list of words not generally open to misinterpretation ................. 89
51. Write scripts using personal experiences and research .................................................................................. 90
52. More on generating business... ...................................................................................................................... 90
53. For marketing purposes, promate a hypnotic solution instead of trying to sell your hypnosis products and
services........................................................................................................................................................... 91

CLOSING NOTES ....................................................................................................................................................... 92

APPENDIX
SAMPLE DISCLAIMER STATEMENT
SAMPLE INDUCTION NUMBER ONE
SAMPLE INDUCTION NUMBER TWO
SAMPLE TRANCE TERMINATION
SAMPLE COPYRIGHT NOTICE
SAMPLE AUDIO/VIDEO RELEASE
REFERENCES
 Hypnotic Script-Writing Secrets

And Other Hypnosis

Tips The Masters Use

by

Susan Fox, C. H., AA, CBT

Copyright 1995 Susan Fox Trust. All rights reserved. No portion of this report
may be copied in any way, shape or form without the explicit permission of Susan
Fox.
 INTRODUCTION

The following report offers 53 hypnotic script writing ideas and tips. It is assumed
that the reader already understands the intricacies of hypnosis. This book is
intended only for use by professional hypnotists.

While practicing hypnosis since 1988, I’ve learned many amazing and wonderful
hypnotic applications. This document contains mainly hypnosis-based experiences
and studies done with men, women and children. Please adapt these experiences to
your particular specialty as you see fit.

Hypnotic scripting occurs the moment we begin consciously thinking for the day.
Why? Because everything we do begins with a thought. We first internally script
ideas and then share them with others. Master productive thinking and you’ve
learned one effective scripting secret. This report contains ideas for doing that and
other tips regarding hypnotic script writing and hypnosis techniques for benefiting
our clients.

Discover and Use Brain Research for Clear Script Communication

Even more beneficial for scripting effectiveness involves understanding how the
brain and how thoughts influence the brain’s neurochemical balance. To achieve
goals, we think thoughts. According to the way a client responds or reacts, the
brain’s neurochemical balance can be favorably or unfavorably affected. By
changing our thoughts and mental images we change neurochemical brain balance.
When neurochemistry balances, mood and behaviors change. Thus, the value in
understanding brain dialog and brain chemistry technology.

i
Brain Dialog

Current brain research reveals that the brain contains the equivalent of 4 unique
viewpoints or intentions. Each of the brain’s 4 quadrants is like an individual client
being 4 clients in one with each quadrant interpreting life using its interpretation.
Understanding each viewpoint, we can see where a client might feel misinformed
or confused about issues.

Understanding and using the complex workings of the human brain, you vitally
write effective scripts. For this reason, I encourage you to get another book I wrote
called Brainview: What Does Your Brain Think of You? In this book, you’ll read
extensive information about how the brain’s 4 quadrants interpret life. Also, if you
feel interested in getting certified in any of my courses on stress reduction, brain
dialog and harmonizing the body, please contact me directly. These courses do
give you NGH (National Guild of Hypnotists) CEUs.

In addition to this hypnotic scriptwriting book, you might also be interested in two
other books I’ve written for enhancing scripts. One book is called, Hypnotic
Script-Editing Secrets The Masters Use and A Crash Course In Creating
Hypnotic Scripting Metaphors for Client Transformation.

You can get many of my books in an instant download version by going here:

www.ezkey2life.com/SusanFox

I wrote the script editing secrets book to help especially beginning hypnotists
understand what syntax and structure errors to look for before they work with
clients.

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Clients create their own metaphors and associate their issues with metaphors that
represent physical connections to the issue. Understanding everything you can
about metaphors helps professional hypnotists with clients in their interactive
client sessions. That’s why I wrote the book about metaphors. All three books
help hypnotists increase the credibility and effectiveness of their work.

And, I encourage you to contact Beverly Keyes Taylor at

Beverly@easykeytolife.com. Get a free audio or ebook at
http://bit.ly/HypBrainChemSF. Ask about how you can get certified in her Gender
Brain Chemistry program and get NGH CEUs.

Help your clients effectively interpret the stories of their lives. Brainview
specifically reveals secrets about the human brain’s intuitive and individualized
way of seeing life. For further information about this book, please contact me at
hypnoticbraintalk@gmail.com. I love sharing this cutting edge research with you.

With peace, love and blessings,

Susan

iii
 PLANNING AND OUTLINING

The most effective, efficient, empowering scripts begin with planning. Think of
script-writing as a powerful puzzle-completing skill. The client’s current life
challenge is the puzzle.

Following a plan helps demystify client puzzles by providing direction. To most

quickly and effectively help the client reduce frustration about his or her current
puzzling life challenge before him or her, TAKE THE TIME TO PLAN.
Planning is how you work smart rather than hard.

Planning begins with outlining; by looking at logical steps for achieving a script’s
goals. Write down on paper desired goals using a script contents checklist
worksheet. (See sample script contents checklist.) Describe generally, then
specifically, what your client chooses to achieve in each of three outlined sections,
namely the induction, the suggestive body and the trance termination.

Consider limiting your desired script goals to a set number, say three or four at
most. And perhaps only one, depending on your client’s desires and abilities. This
eliminates an excessively lengthy script. It also helps you stay focused on relevant
topics contained within the script’s major theme.

Remember, if really required, you can create any number of scripts. Avoid
overwhelming the subconscious by providing a moderate amount of information
the client can manage.

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Describe Generally and Specifically

Describe the script’s general and specific goals in writing. Research shows that
simply by writing out ideas, we increase right brain-left brain communication.
Clear communication between the right and left brain increases conscious
awareness, SO WRITE YOUR IDEAS ON PAPER!!!!

Also Take Into Consideration Client Gender

Brain research shows that suggesting ideas to a male must typically be done
differently than suggesting ideas to a female. This research, proven and tested,
effectively helps clients better than writing a ‘shotgun’ or ‘unisex’ structured
script. In order for your client to achieve, it must be done by speaking the client’s
gender language.

Using gender language for each client also makes your sessions much more
valuable. So, I strongly encourage you to find out about Beverly Keyes Taylor’s
course and book on Gender Brain Chemistry Technology for Hypnosis
Practitioners (http://bit.ly/HypBrainChemSF).

Further solidify your ideas by vividly describing what you choose to achieve.
Describing differs from telling as you will discover in the following pages. When
writing a script description, clearly explain on paper script outcomes or benefits
you desire.

Work backwards and ask yourself open-ended questions. Examples might include:

2
1. What is the main topic of this script?

2. How do I achieve my desired outcome?

3. What’s the most important point I choose to cover in this script?

4. What suggestions can I use that will appeal to the broadest audience?

5. When do I know I’ve included enough? Where do I research this topic?

6. Is there another consulting hypnotist who might be able to help me?

7. What library books, magazine articles, self-help cassette tape programs, etc.
might I use as research material?

We could ask questions endlessly. Decide which ones satisfy the particular script’s
requirements or choose and discard irrelevant ones. Build a foundation leading to
the desired outcome. Writing out a vivid description of what you choose helps you
avoid missing script steps.

A technique for writing out a vivid description of what you choose can be
compared to writing out a cake-baking recipe. Following the individual steps, in
the proper sequence, produces an effectively baked cake.

Just as a person must follow all the cake-baking steps in a recipe, in the correct
sequence, to end up with a cake, a client requires to know all the correct steps, in
the proper sequence, to achieve his or her goals. Following a plan makes this
process happen.

Planning begins with outlining. Begin outlining your script by making a specific
script contents checklist. I find outlining easiest by dividing the script into three
sections, namely the induction, the suggestive body and the trance termination
sections. In each divided section include a description of the desired major and
minor suggestions.

3
Define Your Target Audience

Before planning the script define your target audience. Will the script be geared
toward adults, children, men, women, teenagers, electricians, lawyers, public
speakers, etc.? Decide who your script will appeal to most and visualize them as
you create the script. What kind of people are they? What things do they like to
do?

Find out about your audience before you write the script. More questions might
include…

• What age audience will hear this script?

• Do they require special consideration because of hearing or sight-

impairment?

• Are they in vegetative state?

• Where will you go to do research about the topic?

• Who might you contact as a resource? The library, another hypnotist, a

psychologist? A dentist, a lawyer, a woman’s group?
Write these specifics on paper so the subconscious and conscious can process the
information all together and create useful script ideas. Doing this preliminary work
helps you get in rapport with your audience and your creative abilities.

Now, let’s address specific induction section ideas. Write your induction using
passive language. Passively written sentences contain past tense words such as is,
was, are, were. You desire the listener to relax and induce themselves into a
trance.

4
Passive writing encourages relaxation because it contains little action. Couple
passive language with a slow moving, gentle sounding voice and the client will
almost assuredly relax and entrance easily.

Induction Type

Questions to ask about induction types might include…

• What KIND of an induction do you choose to use? Authoritative? Subtle?

Simple sensory?

• What suggestions do you choose to use in your induction?

• Do you choose to bind the listener to a safe place before entering into the
main part of the suggestive body?

• Or, do you choose to desensitize the client to a traumatic memory by first

binding in the induction then tying the desensitization into the suggestive
body and trance termination somehow?

• Do you choose to anchor a symbol in the induction and then enhance its
affects in the suggestive body and trance termination? Write out induction
ideas you choose to include using the script contents checklist worksheet.

Script Symbols

Let’s discuss script symbols a bit. A script symbol is like a computer macro.
Simply saying a symbol phrase or symbol word can instantly stimulate the client’s
subconscious mind to consciously review the script’s ideas whenever the client
desires.

A script symbol can be very helpful for scripts addressing fear or trauma-based
challenges. The client says the symbol and instantly reminds themselves, at a
conscious level, of easy, gentle, pleasant fear or trauma-resolving remedies that
eliminate the trigger.

5
What’s an appropriate induction symbol? Something simple like calm mind (for a
script about clear concentration) or smoke free (for a smoking cessation program)
or calm flying (for a fear-eliminating script regarding airplane flying.) Keep it
simple and, if possible, relative to the script’s main theme.

Creating a script’s induction requires making many decisions. Using a script

outline form can assist you when creating future scripts. Please refer to the
appendix for some sample inductions.

Suggestive Body

Next, decide suggestive body ideas to cover. Make your script brief, concise and
to the point. Involve the listener by requiring him or her to do some light problem-
solving along the way. Don’t give all the answers. Letting the client figure out the
solution him or herself makes change more meaningful.

When you choose the client to responsibly take control of his or her consciousness,
provide problem-solving structure. An effective way to do this is by 1) describing a
situation, 2) giving information about a situation, 3) but not giving the client the
answer to the degree that they must frequently co-depend on the script, audio/video
tape or consulting hypnotist to solve a problem.

We choose the client to empower him or herself. An empowering script provides

1) a formula for “gathering clues to solve the mystery,” and 2) “how-to”
instructions so the client then naturally learns to adapt the formula for solving other
life challenges.

For example, suppose you choose the script to suggest ideas that build self-
confidence. Instead of simply suggesting the listener is self-confident, suggest a
formula for problem-solving some life challenge.
6
Example:

“You demonstrate the ability to make any situation work for you.
Whenever you choose either now or in 3 seconds, you imagine
constructive ways to enhance and improve the situation in an easy,
pleasant, enjoyable way for you. Begin CONSTRUCTIVELY
solving the (current life challenge.) Say to yourself, “I am
responsible for my happiness. How can I make this situation work
for me?” Then begin writing down on paper ideas that can help
you turn the situation into something productive. And you choose
to act in ways that move you forward so you feel peaceful within.”
Offering a suggestion such as this encourages autonomy. We desire for the client
to comfortably express their autonomy. Empower and convince the client to
believe it’s okay to solve their own problems in an easy, pleasant, optimistic way.

With these ideas in mind, create the suggestive body by first deciding what major
and minor points you prefer to include in the script. For example, suppose you
choose to create a script about conquering the fear of spiders. Create a checklist
describing what major and minor topics to cover in the script.

Maybe one major point would be comparing the size of the human being to the size
of the spider. A minor point might be the fact that a human being can outrun a
spider because a human being takes bigger steps than a spider.

A second major point might be that a human being can out think a spider. A minor
point may be to explain that only humans can consciously choose which thoughts
to think. You might suggest that the person think about how much power he or she
has versus focusing on the idea that the person is powerless over spiders.

7
Suggestive Enhancement Techniques

Another suggestive body checklist category to consider is deciding which

suggestive enhancement techniques to use. Do you choose to use the control
panel technique? Anchor an ideo-motor response in crossed fingers? The Puzzle
Technique? Any other techniques? Add desired techniques to the checklist and
incorporate them into your script.

Specialty Words

Another suggestive body checklist category to consider using includes one with
favorite or most effective words you use for your particular specialty. In my
scripts I often include the words easy, pleasant, enjoyable. I find suggesting that
the client’s work will be “easy, pleasant and enjoyable” encourages him or her to
change undesirable behavior more readily. I learned the “easy, pleasant, enjoyable”
technique by reading and using Dr. Arthur Winkler’s scripts.

Specialty Phrases

Another suggestive body checklist category to consider is favorite or most

effective technique phrases you use for your particular specialty. This may be a
binding or double-binding suggestion, a modified neurolinguistic programming
(NLP) technique phrase, a sensory technique phrase, etcetera.

Defense Arguments In Favor of Changing From the Old to the New

Another suggestive body checklist category to consider is defense arguments

you offer in favor of the behavior change and/or accepting the idea to change.
Impeach the reasons why a client believes they “must” behave in self-defeating
ways. You may choose to create a list of common defenses you commonly use that

8
persuade a person to “give up” a certain undesirable behavior in favor of a
constructive one.

For example, suppose you’re working with a woman who refuses to believe she is
lovable because she makes mistakes in life. My defense for convincing the client
that she IS lovable despite her making mistakes might be saying any or all of these
next statements to her:

1) “Everybody makes mistakes. Just because you make mistakes doesn’t mean
you are unlovable, it means you’re human.”

2) “That might be a misperception. What does love have to do with making

mistakes? What idea could you think that shows you the two ideas might
now be unrelated, irrelevant and no longer applicable? Love is an emotion
and making mistakes has to do with living and learning how to perform life
tasks.”

3) “Somebody taught you that idea. How do you benefit yourself by believing
that obsolete idea? You are free to think as you choose.”

Disclaimer

Another suggestive body checklist category to consider is the disclaimer. A

disclaimer may explain the following points:

1) that the client is always in control and can accept or reject any or all
suggestions as the client sees fit,

2) the script listener accepts responsibility for the script’s effectiveness. The
client is responsible for his or her success or failure to achieve a desired

9
 goal depending upon whether he or she actually uses the offered
suggestions to evoke constructive change,

3) the script is meant for informational purposes only and not intended as
professional counseling (unless you DO intend the script as professional
counseling),

4) the script contains suggestions and not demands,

5) that the listener must never listen to the self-hypnosis program (if you’re
recording and producing a self-hypnosis recording) in the car and that doing
so will be done at the listener’s own risk. Other points may seem appropriate
for your use. These listed ideas may be added to your own ideas. A sample
disclaimer statement can be found in the appendix.

Take Aways and Returns

Consider another suggestive body checklist category; “take aways” and

“returns.” Whenever you “take away” or suggest that a client “forget” some idea,
it must be “returned” before the client returns to conscious awareness. The same is
true when you suggest some atypical situation.

For example, somewhere in the induction maybe you’ll suggest that the client feels
a tingling sensation in the hands or fingers as they relax. If you suggest this idea,
somewhere in the script (probably in the trance termination) you must “give them
back” normal sensations once again.

When you suggest “take aways” write down what you suggested on the checklist,
in what part of the script (or page number) you suggested it and where you

10
“returned” normal sensations in the script. This makes it easier to avoid a needless
script-writing error.

These possible checklist categories may provide an incomplete outline checklist

for your purposes. Pick and choose the ones most appropriate for your
requirements. Implement ones you personally use that may not already appear in
this report.

When deciding which trance termination ideas appropriately fit a script’s

requirements, again, determine if and when you choose to use an authoritative,
subtle, sensory, etcetera style. Do you choose to convince a resistant client to come
out of trance? I remember Gil Boyne telling about a client who didn’t choose to
come out of trance.

Gil suggested several times that the client must come out. The client finally did
return to conscious awareness only after Gil suggested that he would tap the
client’s forehead with his finger. He further suggested that each finger tap would
feel like a ball-peen hammer unless the client decided to come out.

If I remember correctly, Gil also suggested that if the client refused to come out of
trance he never again would be able to go back into a trance and achieve a deeply
relaxed state like the current one he was experiencing. The client did not like these
last two suggestions and finally did choose to return to conscious awareness.

Suggest Symbol in Induction and Repeat in Trance Termination

Do you choose to reinforce a symbol given in the induction and repeat it in the
trance termination to compound efficiency for the client? For example, suppose
you’ve suggested in the induction that a person typically experiencing an asthmatic
attack breathes easier every time they say or hear the symbol easy breathing.
11
Do you choose to anchor that symbol in the trance termination and remind the
client to say easy breathing and by doing so his or her ability to breathe easier in
general increases by ten times? Do you choose the symbol to be a stress reduction
ideo-motor mechanism, also? How do you choose to address this it?

Do you choose to suggest that the trance easily, pleasantly and enjoyably
completes when the client chooses it to or, perhaps, simply when the client focuses
on some different sensation such as the memory of something funny from the past?
Script-writing requires covering many ideas. When you take the time to plan your
script and practice it, the more you develop masterful script-writing skills.

To protect your creation, remember to tag on a copyright protection notice. See the
provided sample in the appendix if you don’t already have one of your own. To
protect yourself from being liable for lawsuits or paying royalties when
audio/video recording clients, remember to consult a lawyer for a release form. A
sample release form is included in this report, but it is intended for example
purposes only and not professional legal advice.

The script contents checklist worksheet follows. After the worksheet comes the
numbered tips and suggestions. The numbered ideas appear in no particular order.
Apply them in any of the three script divisions as appropriate.

12
 SCRIPT CONTENTS CHECKLIST WORKSHEET

Script Name: ________________________________________________________

Target Audience: ____________________________________________________
Target Audience Age: _________________________________________________
Special Target Audience Requirements: __________________________________
Research Sources: ____________________________________________________
__________________________________________________________________
__________________________ ________________________________________
__________________________________________________________________
__________________________ ________________________________________
__________________________________________________________________
__________________________ ________________________________________
__________________________________________________________________
__________________________ ________________________________________
1. The Induction

A. Main script topic:

B. Major points I choose to cover:

C. Minor points I choose to cover:

13
 D. What kind of induction do I choose to use?

E. What suggestions do I choose to use in the induction?

F. Do I choose to bind the listener to a happy place before entering into the
main part of suggestions?

G. Do I choose to bind the client to a symbol in the induction? Yes.

No.

H. Do I choose to use any anchoring symbols for quick program application

recall? If so, which ones do I choose to use?

14
I. What phrase words or picture symbol do I choose to use?

J. Other things to include:

15
2. The Suggestive Body

A. Major points I choose to cover:

B. Minor points I choose to cover:

C. Generally how many goals do I choose to cover? What are they exactly?

D. What techniques do I choose to include?

E. Do I choose to use the control panel?

F. Do I choose to use an ideo-motor response finger mechanism?

16
 G. What suggestive words do I choose to use?

H. What suggestive phrases or statements do I choose to use?

I. What defenses do I choose to use in favor of the client eliminating the

undesirable behavior?

J. What do I choose to include in my disclaimer?

K. What “take aways” do I choose to use? (A “take away” is a suggestion that

alters a body sensation. For example, if in the induction a suggestion
describes a client experiencing a tingling or prickly finger and toe sensation,
suggestions describing the return of “usual” toe and finger sensations must
be provided before the client “awakens” from trance.)

L. In which script section(s) do I choose to use “take aways”?

17
M. What other ideas or suggestions do I choose to include?

18
3. The Trance Termination

A. Major points I choose to cover:

B. Minor points I choose to cover:

C. Do I choose to include “wellness” suggestions in the termination?

D. Life challenge-solving suggestions?

E. Prosperity suggestions?

19
 F. Suggestions about being able to confidently go about life after coming out of
trance?

G. Suggestions about returning to full awareness again?

H. Suggestions about the tape’s ideas leaving a lasting and permanent

impression on the client’s mind so long as it is safe to do so?

I. What “returns” require implementing?

J. Do I choose to repeat any anchoring symbols for quick program application

recall I used in the suggestive body?

K. What other ideas or suggestions do I choose to include?

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4. Miscellaneous

A. Do I choose to audio/video-record this script? What criteria am I using to

justify or qualify deciding to commercially produce this script? List criteria.

B. I’ve decided to produce this script. That means I choose to refer to the
Audio/Video checklist. Additional notes here apply to that checklist.

C. If I choose to record and sell this script, what reasons can I give that will
make investing in this script cost and time effective?

D. How many pages do I choose to make this script?

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E. For recording purposes, what length do I choose to make this script? Do I
choose it to fit on a five minute recording, a ten minute recording, fifteen,
twenty, thirty, forty-eight?

F. What criteria will I use to decide the tape length? Client age? Budget
reasons? Target audience appeal? Amount of money I think this script will
generate when recorded? Other criteria?

G. How much money do I choose to spend making this script?

H. Do I choose to make this a self-hypnosis tape, a subliminal tape, a

paraliminal tape, a video tape? What reasons did I use to make the choice I
did?

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 AUDIO/VIDEO PRODUCTION CHECKLIST

A. Where will I find an audio/video recording studio and dubbing vendors? Should
I use local sources or go out of town? If I’m doing a video recording where do I
get a release form for subjects videoed in my production?

B. Should I let the audio/video recording studio make mass copies of the product?

C. Is there another company that offers a better price (than the recording studio)
for the dubbed copies?

D. Should I do the dubbing myself? Will I make time to do it myself? Do I know

how to do it myself?

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E. Should I use soft boxes? Hard boxes?

F. Paper labels? Imprinted cassettes?

G. What about packaging? Should I use “J” cards?

H. How will I market the product? What will my marketing letters contain? What
is my market plan?

I. What mailing containers should I use?

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 THE NUMBERED TIPS

1. HOW and WHERE do I begin? Once you’ve done your topic research and
know what goals you’d like to achieve for your clients, then decide which
voice and script inflection style to choose. The script actually takes on a
persona of it’s own. You reflect this persona using a voice and script
inflection.

Do you choose to add some humor? Make your script a story? Sound like an
authoritarian? Depending upon the goals and audience, you decide the voice
and script inflection.

Practice feeling comfortable with your scripts and your scripts sound
comfortable for your audience. Make the scripts sound natural by picturing your
ideal listener and catering to your audience’s best learning style.

An important note for scripts includes creating a script most appealing to the
gender of the audience. You have a minimum of 2 audiences for each script.
Each script comes in a female and a male version. Depending upon whom you
choose to work with, it may be easier to simply focus on male or female issues.
That makes your task easier when scripting for either male or female clients.

For example, if you naturally like scripting for chronic pain clients, (I don’t
mean difficult and resistant clients) put yourself in their shoes. Write the script
from their perceptions, male or female. Offer suggestions they might require by
imagining how they experience their pain. Then suggest solutions to their
particular situation in a way either a male or female would best accept that
solution to evoke necessary change. Change allows pain’s release.

Virtually Experience Their Pain

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When I suggest that you experience their pain, I don’t mean to cut your finger
off and see what it feels like. Draw from past painful experiences. If you’ve
suffered with back pain before, write a script especially using the back pain
experiences.

How did you suffer? What suggestions would have helped you conquer your
particular challenges? Or use the example of a book’s character or television
personality portraying chronic pain. Describe the pain’s solution as it may
appeal to a male or female in that situation.

Serotonin – the satisfaction brain neurotransmitter

Focusing on the solution also helps your client balance their serotonin levels.
This brain neurotransmitter directly affects the feeling of satisfaction. Each
behavior is directed by a thought. By using certain thoughts we actually affect
our brain chemistry balance.

We do desire to write satisfying suggestions for clients. Thus, write suggestions

that would help the character conquer their particular challenge in a contented
or satisfying way.

Testosterone, Dopamine, Oxytocin and Serotonin

These 4 neurochemicals drive, reward, give contentment feelings and give

feelings of satisfaction so we feel like changing behavior. Learning how to
write scripts to productively influence these 4 main neurochemicals can make
your scripts more valuable than your competitors’ scripts.

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In both genders, we use testosterone to drive ourselves to achieve goals.
Oxytocin is the hormone of love and bonding. Serotonin instructs the brain to
feel satisfied. Dopamine gives motivated, pleasant feelings of reward.

Men are typically low in testosterone and dopamine. Women are typically low
in oxytocin and serotonin. By saying certain phrases, words and terms, our
brain changes its neurochemical balance that can build us up or tear us down.
Knowing which words, terms and phrases to use for each gender is the key to
understanding how to write gender-specific scripts. Beverly Keyes Taylor is a
guru on this.

For this reason, I encourage you again, to contact Beverly Keyes Taylor
(Beverly@easykeytolife.com and http://bit.ly/HypBrainChemSF). She is a
master at understanding brain chemistry and how to balance it naturally. She
and I do work together. I teach brain dialog and she teaches brain chemistry.
Together these two technologies make your scripts superior to other hypnotists
who have no clue about how the brain works. Back to talking about pain release
scripts.

Writing a script as if your listener views another person experiencing the pain
helps remove your client from the immediate situation. This can be helpful for
either male or female clients as they see that if somebody else successfully
released pain, your client can do it, too.

Client Issue Specialties

For those newly-graduated consulting hypnotist professionals reading this book,

do you know which type of client with which you choose to work? If not, I

27
encourage you to get your feet wet. Work with everybody and anybody until
you know what you like.

For example, when I first started, I discovered I preferred working with short-
term clients. I felt very interested in learning brain dialog and how it quickly
improved client sessions. That requires a lot of time but I feel fascinated doing
it.

So, I work mainly in research and teach hypnosis training classes in groups to
other therapists. I’m known as a therapist’s therapist. Yes, therapists do have
problems themselves and that’s when they need to get therapy from a
therapist’s therapist. I prefer consulting with other hypnosis and stress reduction
professionals.

I like to write and I think my subconscious told me that in subtle ways. Thus,
my interest in scriptwriting developed. After doing research and developing an
expertise for natural healing and stress reduction, I see I still have a lot to learn.
But I naturally desire creative writing and it took me awhile to figure this out.

I’ve heard, seen and personally experienced an interesting phenomenon among

people doing consulting hypnotist. Those people, so busy writing scripts and
helping others conquer problems, forget to take themselves on as clients.

I encourage you to remember using hypnosis for your personal needs. In the
case where you still wonder which specialty works best for you, consider
writing yourself a script that provides you with solutions to the question,
“Which type of client will most suit my natural abilities and talents? What will
be the easiest, most pleasant, enjoyable way to develop my natural expertise for

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 this profession?” Focus on routinely using a script like that and I bet you’ll
quickly experience hypnotism skill mastery.

2. Avoid starting a script with, “It was a dark and stormy night.” In the comic
strip Peanuts, I’ve seen the beagle dog Snoopy sitting at a typewriter and begin
writing a story with, “It was a dark and stormy night.” That’s effective line if it
has something to do with moving the plot along to a purposeful end. But many
times writers begin stories (or scripts) with irrelevant ideas. If you don’t
naturally prefer writing or perhaps dread the task, you can feel hopelessly
uncertain where to begin writing.

Sometimes I begin writing a script by writing the first idea that pops into my
head. At that point it’s more important for me to just “get moving.” Once things
get moving, then I understand more clearly what I choose to create. So, if
you’ve figured out what you choose to write about, start at the beginning.

Keep referring to your planned out checklist. Doing so, you help yourself stay
focused and directed. If you are currently working on a script and have strayed
from your planned outline, strike the irrelevant ideas and work on getting to the
point.

For example, suppose you choose to write a script about releasing thoughts that
cause stagefright. Let’s say you’re working in a suggestive body paragraph.
You choose to suggest that the client finds calm, masterful, academy-award
generating stage performing effortless for him or her.

In the suggestive body, you may start with, “As a young child you always knew
you had talent. You always knew someday you would perform on stage.” What

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 do these two sentences have to do with the point you choose to make? They
seem somewhat irrelevant.

Instead of putting in these two sentences, describe what you choose the client to
envision NOW. You might use something like this:

“Imagine that yourself performing on stage now. See yourself. You’re

standing on the stage, calmly, masterfully, professionally acting. You
flawlessly remember the play’s lines. You recite them convincingly with
feeling in your voice. You feel comfortable performing and the audience
relates to your actions as if this scene were really happening right now.”
Do you understand the example? It is forward moving, focused on how one
CAN feel confident on stage.

3. Thoughts are made up of two parts; knowledge bits and energy. No human
behavior can occur without thought first occurring. Thoughts are instructions
from the mind that process through the brain and then make it possible for
specific body parts to act in some way.

The logical left brain provides knowledge bits. We most closely associate our
consciousness with the left brain. Before we can store any idea in the
subconscious memory the idea must first be processed consciously. We
consciously believe an idea by identifying with it emotionally.

The emotionally-driven right side of the brain provides the energy charge
making an idea “believable.” We must balance logic and emotion to create
“actual” truth in the mind. Hypnotists can help clients evoke productive change
by teaching them how to combine logic (knowledge bit(s)) with constructive
emotion/sensory activities (energy).

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A constructively-energized knowledge bit example might be “you act
successfully.” An unproductively-energized knowledge bit example could be
“Each time you think about eating cookies you only see bugs. You feel
disgusted when you think of eating bugs and so you no longer demonstrate any
desire at all to eat cookies.” (In my opinion, aversion therapy unproductively
manipulates, and therefore, destructs, rather than constructs.)

Here’s a further example. Suppose you’re working with a female client

experiencing post traumatic stress. The client consistently relives an automobile
accident. She can’t seem to forgive herself for causing it.

She explicitly details what’s troubling her in the pre-session interview. Provide
some constructive knowledge bits. Get in rapport with the client and couple
some knowledge bits with some constructive energy. Offer short, simple ideas
so your client easily identifies and accepts them. Here’s some possible partial
dialog for this client:

Therapist: “What did you feel during the accident?”

Client: “Scared! I felt so out of control.”

Therapist: “Could you view causing an automobile accident as just

making a mistake?”

Client: “Yes, I suppose, but what a mistake!”

Therapist: “Well, give yourself some options. Making a mistake is

really only acting with incomplete knowledge.”

Client: “But acting imperfectly is not something I choose to do.”

Therapist: “I like to use the dictionary when I’m talking with my clients
about acting imperfectly.” (Hand the dictionary to the
client.) I’d like you to look up the words “imperfect” and
“perfect.”

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After the client looks up the words “imperfect” and “perfect” explain that
imperfect acts really mean nothing more than incomplete acts. Ask the client
what that means to her. Request that the client write down on paper steps she
could take to “right the wrong.” When she realizes she can’t change the past,
again, ask her to write down on paper steps she could take to stop feeling so
unforgiving of her “mistake.”

Steps she might create may include forgiving herself for not knowing how to
“drive perfectly,” or perhaps admitting that she did do everything she could
have possibly done in the first place and still couldn’t avoid experiencing the
accident.

Suggest some options to the client and then ask the client to create some.
Ultimately you choose for the client to understand it’s okay that she didn’t “act
perfectly,” AND that she’s still an okay person regardless of her “imperfect”
behavior.

Thoughts make change possible. Since hypnotists constantly work with change,
understanding everything we can about thought helps hypnotists and clients.

Humans must use both parts of a thought (knowledge and energy) together, in
the proper combination and appropriate energy charge, to create effective or
intelligent ideas. Emotion (sensory activity) attached to an idea energizes it thus
making communication possible.

For example, in this author’s opinion, calmly and quietly telling a person to
move out of an oncoming bus’s way ineffectively alert’s the person to potential
danger. Combining a knowledge bit with insufficient energy (emotion/sensory
activities), makes identifying with and accepting an idea difficult for someone.

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Coupling excessive emotional charge with an idea may also create ineffective
communication. For example, yelling at someone without logically explaining
your point makes it difficult for the receiver to understand your message.
Again, this shows that clear, effective communication requires a constructive
and balanced (sensory) energy charge and knowledge bit(s).

After understanding this basic idea about thought and it’s two parts, if you’re
not making a point to your client, it’s either because 1) you haven’t found the
correct knowledge bit(s), 2) you haven’t found the correct energy charge, and/or
3) you are mismatching the knowledge bit(s) with the energy charge, 4) you’re
relating to a male client using language largely preferred by a female, or 5)
you’re relating to a female client using language largely preferred by a male
client. These five criteria may preclude your ability to “get a point across” to
the client.

As therapists, we can’t read the client’s thoughts. We may think we know how
to help a client, but variables such as personality, ill health, past trauma,
memories as yet unrevealed culture, gender and a host of other possible
information impacts suggestive choices.

For example, once while working with a young boy (eight-years-old) in

vegetative state, finding helpful suggestions he’d respond to proved difficult.
Since he could offer no verbal communication, the situation called for a
different way to get in rapport with him.

Eventually, I put my hand on his wrist and gently squeezed in rhythm with his
breathing. I watched his chest for respirations. When he inhaled, I squeezed his
wrist. On exhales, I only loosely held my hand around his wrist.

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 I silently observed him for a time. Then I simply said, “Calm” (on the inhale
and squeezed his wrist) and then I said, “and relaxed.” (on the exhale and
released my squeeze.) This procedure combined a logical knowledge bit and
constructive energy charge to evoke productive change.

As our relationship developed I eventually wrote several scripts for him and
audio-taped them. He accepted audio-taped suggestions and learned to calm
himself, breathe in a relaxed way and answer questions by using eye blinks.

If you get to a “stuck” point in a script, go back to basics. The clue to effective
script writing will most likely be found either in a missing knowledge bit and/or
in an incorrectly attached emotional charge combined with the knowledge bit.

4. We may not be talking about logic; we may be talking about the

ABSENCE of logic when a client doesn’t “get it.” Clients may “miss the
point” or “mismatch knowledge bits and/or energy charges” when they focus
more on being right rather than feeling happy. Even the world’s most effective
script may have little effect for the client using a closed-minded attitude.
Nothing you can say or write will help the client because the client doesn’t
really choose to be helped.

Some clients may choose to “get it” but physical situations (due to medication,
injury or unknown criteria) may prohibit success. For example, referring back
to the vegetative state child, not only were we working to communicate amidst
his physically damaged brain, but also amidst the influence of doctor-prescribed
drugs.

In vegetative state, the client inconsistently and spontaneously regains and loses
conscious awareness. Since I couldn’t reside by my client’s bed around the

34
clock, and keep suggesting productive ideas as I squeezed and unsqueezed his
wrist, I tape recorded scripts for him. This child’s attending staff (and the
parents) allowed the child to continuously hear the tapes (not subliminals) on an
auto-reverse tape recorder.

When I first met this child he was spastically gasping for breath through his
mouth, experiencing unpredictable crying jags and frequently acting upset. On
the first tape I told this child that he was breathing differently from the way he
really choose to because he had temporarily forgotten how to breath through his
mouth. I told him that he had temporarily forgotten how to breathe calmly
because of the accident and that sometimes people forget things when they
experience accidents.

Then, I simply suggested that he close his mouth, relax everything inside,
swallow naturally and breathe through his nose. I also suggested that when I
saw him smiling it would mean he choose to learn something else.

The client responded favorably and quickly to the first tape. Within 48-hours of
continuous listening he had successfully calmed himself so much that he almost
looked look like a different little boy.

He had accepted the tape’s suggestions. Once again, he intuitively breathed

through his nose while swallowing “normally.” Also, he had greatly reduced his
crying jags.

Additionally and astoundingly, he smiled at the appropriate places in the still

playing audio recording of the script. The boy did a lot of great work and that
smile indicated he had consciously heard and accepted the tape’s suggestions.

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 When this lad began to breathe naturally again, he demonstrated finding the
correct knowledge bits and energy. That’s all it takes; the appropriate
knowledge bits and energy frequencies and charges. Find those balanced
combinations and the clients effectively resolve their challenges themselves.

5. In the script somewhere suggest that the client demonstrates the powerful
concentration and focusing ability. Distractions interfere with thoughts. When
we keep speaking audibly to a client, we help them focus on desirable thoughts
instead of self-defeating ones. During a live session, if a client gets distracted,
keep speaking audibly to them, suggesting empowering ideas. Your audible
suggestions may very well override internal distractions.

Help the client return to calmness so they can think clearly. A frenzied state
makes clear thought almost impossible. For all these reasons and more,
empower a client by suggesting that he or she has the ability to concentrate and
focus. Change seems easier for those who master the concentrating and
focusing skills.

6. Use a written script whenever possible. I believe consistently using carefully

researched and tested script suggestions provides more predictable client
results. Dependable results not only assures a consulting hypnotist’s credibility,
but also helps quickly develop and establish expertise area.

Also, once you master writing a female compared with male script, the written
script language patterns do make a difference. That difference does include how
to constructively effect neurochemical balance.

Yes, I know. You can’t always read from a script. “Winging it” can work in a
pinch, but if you suddenly “spit out” some amazing suggestion that produced

36
 the most terrific results of your career, wouldn’t it be wonderful if you could
continually use that suggestion for future clients?

You may not be able to repeat amazing success if you keep “winging it.” Work
from a written script and duplicate your success. You and your clients will be
happy you did.

7. Use sensory words and phrases with impact. When combining knowledge
bits (logic) and energy (emotion/sensory activities) describe (as compared to
tell) suggestions. Describing almost effortlessly combines knowledge bits with
energy. Here’s a sample sensory induction:

Sample sensory induction:

“Imagine inhaling your very favorite aroma. As you imagine

this very favorite aroma, see yourself feeling more and more
relaxed. Immerse your body in this very pleasant and
favorite fragrance. Sense yourself feeling more and more
confident about resolving (today’s challenge) as you focus
on your favorite aroma.”

“Now, as you absorb yourself in your very pleasant aroma,

you may notice that there’s a particular taste you associate
with this aroma. Anytime you imagine this very pleasant
aroma and taste, your ability to make any situation
harmlessly and enjoyably work for you increases by 100
times. That’s right. All you have to do is recall your very
pleasant aroma and taste and instantly your ability to easily,
pleasantly and enjoyably solve personal life challenges
improves by 100 times.”

You can continue on with the induction using other sensory activities and
letting that sensation be the ideo-motor mechanism for improving life
challenge-solving ability. For example, suggest the client associates their very

37
 favorite aroma with a very favorite feeling, a very favorite picture, a very
favorite sound, etcetera.

Each time they recall that “very favorite sensory activity” they bind themselves
constructively to it. And they increase their easy, pleasant and enjoyable life
challenge-solving ability to it.

8. Find a suggestion the client strongly identifies with and that idea will
quickly help the client resolve conflict or evoke change. This could be almost
any encouraging statement. It may be reminding the client to recall past
successes. Recalling past successful behavior encourages the client to believe
they can act successfully again. Whatever the idea might be, whenever you find
that magic formula, use it repeatedly (as appropriate for your client) and help
them progress rapidly.

For example, let’s say in the pre-session interview you discover your client has
conquered some great life challenge. While in hypnosis suggest that the client
use the same methods to achieve success in the currently-perplexing life
challenge. Here’s a sample partial dialog:

Therapist: “Suddenly losing your husband in that car accident five

years ago seems to be on your mind right now. Would you
imagine one thing you did to successfully get through it?

Client: “I don’t know what I did. I just did what I had to do. Sometimes
I cried, but when I cried I let myself cry. I didn’t justify it, I just
let myself cry. Sometimes I screamed and pounded the walls
and carried on like a three-year-old throwing a tantrum. In the
beginning I took each second one step at a time. Then it went to
one minute at a time. Then five minutes at a time, until I just
somehow got through it.

38
 Therapist: “Recall the confidence you found to resolve that life
challenge five years ago. Let that memory swell up in the very
fiber of your being now like you’re watching it on a television
set. With determined focus and clear concentration, use that
same formula, those same effective life puzzle-solving methods
you used five years ago to work with this (current life mystery.)
Keep focusing on the memory of your past success. Could you
see that if you thrived through that previous life challenge you
can certainly triumphantly thrive through this (present life
challenge) as well.”
9. Describe AND tell information in a script. Describe using adjectives and
sensory language. This involves the client and gives a sense of control.

Tell using statements almost devoid of sensory stimulation. Telling uses more,
‘just the facts’, left-brain language. Describing uses more ‘verby’, emotion
evoking, right-brain language.

Example of telling ways to develop calm public-speaking self-confidence:

“You act confident when speaking publicly.”

Describing increases a client’s visualization ability. A clear description allows

a client to focus and achieve the desired goal more easily than without it.
Visualization makes issue change move along more smoothly and decreases the
necessity for too many sessions.

Example of describing ways to develop calm public speaking self-

confidence:

“Imagine yourself standing in front of 10,000 people. Your

heart beats strong and confidently. Focus on the idea that you’re
here to deliver a message to a group of friends. You feel
comfortable when you’re with friends. You feel happy,
respected, secure.

39
 “As you deliver today’s message, realize some people may use
the presented information and some may not. For those who use
the information, you feel happy. For those who choose not to
use the information, you remind yourself that their choice is
nothing personal against you. The presented information may
simply apply only to some situations.”
10. Describe the behavior “problem” briefly at the end of the induction. Briefly
describing the “problem” and solution leads as a transition from the end of the
induction into the suggestive body of the script. For an example of this
transition see sample induction number two in the appendix. The induction line
will say something like, “You’ve enjoyed being in your very favorite place.
Now your mind is drifting to other things. Currently you are remembering
(script topic.)”

11. Describe a desired behavior (or solution) in specific and sensory detail.
Description including specifics and sensory anchors, bind and intertwine an
idea giving the script believability, direction and life. (The underline indicates
sensory words.)

Example: “You feel calm and relaxed the moment you walk through
the laboratory entrance. You’re thinking about other, relaxing
moments in your life as the technician begins the procedure.

“The harder you try to feel afraid, the more deeply calm,
relaxed and confident you feel about contributing the lab
specimen. It’s easy for you to relax and focus on other events
while you complete the donation procedure.

“See yourself now while you’re sitting in the blood-drawing

chair. The technician focuses on your arm, cleaning and
preparing it. Then you sense a slight pinch and instantly you
focus on a pleasant memory from your past. The more you
focus on that past pleasant memory, the more quickly time
passes while you calmly, comfortably, confidently sit in the lab
chair.
40
 “Suddenly, it seems the visit is over. You feel calm, relaxed and
alert with a feeling of relief after the donation event ends. It’s
easy for you to return home safely. If you are driving, you feel
alert, capable, and perfectly strong.

“It’s safe for you to drive. You feel confident the trip home will
be perfect in every way.”
12. When describing a suggestion, start with general ideas, then go to specifics.
See the example in step number eleven. Notice that the event starts out with
vague generalizations then moves into specific ideas and back to
generalizations.

13. In a problem-resolving suggestion cover all the steps you can consciously
think a person might experience during the situation. Complete the
suggestion and cover other details you may not consciously know with a
“finalizing” suggestion. As scriptwriters, we create ideas for the listener (or
reader) to ponder that are actually steps for solving a seemingly unsolvable
situation. We aren’t mind readers and we can’t possibly be all things to all
people. This means we may sometimes unknowingly exclude a step in the
“problem-solving” description. We solve this “variable phenomenon” by using
what I call a “finalizing suggestion.”

A “finalizing suggestion” asks the unconscious mind to solve or release any

remaining “problem causing detail” the conscious mind missed. For example, if
we missed a step in helping the needle-nervous person calmly experience
blood-drawing for a blood test, we choose them to use their unconscious mind
to resolve the conflict. The following dialogue demonstrates a script “finalizing
suggestion” combining some of Dr. Arthur Winkler’s ideas and my own:

“Your unconscious mind pleasantly resolves and releases any

remaining causes of the test-taking anxieties. You already
41
 consciously know about many test-taking anxiety causes from
the past. You consciously and unconsciously know that
sometimes information becomes outdated. You can learn new
information. New information can enjoyably replace erroneous,
outdated information. Let new information replace old,
outdated, obsolete information now.

“Your unconscious mind is reviewing, understanding and

processing information about test-taking. It is easily, pleasantly,
confidently releasing and solving any remaining unconscious
causes of test-taking anxiety. Your unconscious mind
understands that you can now release yourself from feeling
anything but confident while taking a test.

“As always, you are in control. You are choosing to participate

in this test for your benefit. If any procedure, whether medical
or non-medical seems harmful somehow, you can choose to
refuse test-participation.”
Note that the example generically substitutes “test-taking anxieties” for the term
“test”. Notice also the impersonalization use of the (as compared to using your)
before “test-taking anxieties” in line one and “past” in line two.
Impersonalizing this issue helps the client desensitize him or herself to the
conflict and focus on conquering the temporarily perplexing life challenge.

14. Offer suggestions in natural human behavior learning order. When humans
first ponder a notion, we are wondering and thinking about accepting an idea.
We’re answering, yes or no, up or down, black or white, etcetera.

Before we can store any idea in our subconscious memory the idea must first be
CONSCIOUSLY pondered. For this reason, when you choose to make a point
to a client, first TELL the client information about a point you choose him or
her to accept (using mostly left-brain logic), then DESCRIBE reasons (using
right-brain emotional energy) to charge the idea for client acceptance. When

42
you suggest an idea in this order, you provide a knowledge bit(s) and then
energize it by describing reasons to accept it.

For example, suppose your client suffers from fearful job performance. He
paints ceilings for a living but recently has started falling off the painting
ladder. His critical mother-in-law keeps telling him he’s not good enough for
her pregnant daughter.

He believes the critical remarks he hears from his mother-in-law and it shows in
his work. He feels afraid that if he doesn’t change his behavior, he’ll lose his
job, won’t have money to pay for the “soon-to-arrive” baby and his wife,
etcetera.

Write a script that encourages him to focus on what he can do, not on what he
can’t do to help eliminate his fearfulness. You could employ the following
suggestion using first logic, then emotion. (The underline shows logic
suggestions, the bolded line identifies emotion. Sentences containing both logic
and emotion are bolded and underlined.)

“When people feel afraid, it helps to hear encouraging

words. If you hear a voice inside fearfully suggesting you’re
going to get fired, change your focus. Focus on your
successes. “My legs are strong beneath me.” That’s the
truth, isn’t it? If your legs were weak you wouldn’t be on the
ladder at all. As you paint, if you feel afraid you’ll fall keep
reminding yourself that your legs are strong beneath you.

“Now see yourself standing firm and strong on the

ladder. Imagine that your legs are steel girders. Your
heart beats calmly, confidently and strongly. It’s easy for
you to safely stand on the ladder until the job is done.”

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15. Use the words THIS, THAT or THE to impersonalize a point. Many people
perceive being personally attacked when they hear the word YOU. Since we
choose for the client to act responsibly and look for solutions, blame and
accusation usually serve only a limited purpose in hypnotic scripts.

Blaming and accusing keeps a client in the past, hopelessly focusing on what
cannot be undone or changed. We choose for the client to responsibly focus on
the future and what CAN be done to solve, improve or release a life challenge.
We choose to eliminate the destructive, repetitive shame cycle that currently
contributes to causing a client’s undesirable situation. Impersonalizing ideas
may appropriately do this.

Remember, we write script suggestions to change the client’s perception about

feeling powerless in some life conflict. Humans must take purposeful action to
make things happen and to feel in control again.

We can’t change the other person or all physical planes of a conflict. But a
script can suggest ways to change perceptions about the “conflicting interactor.”
So help the client evoke change by changing perceptions. That’s something the
client can often control. When a client feels in control he or she feels hopeful.
We can PLAN to make things happen. Script suggestions make up a part of that
planning process.

Here’s some other ideas about impersonalizing and personalizing in a script:

a. Use the word YOU during ego-strengthening and/or to personalize

strengths.

“You demonstrate the ability to make every situation work for you.”

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 “You find it easy to fearlessly express your true feelings for people.”

“You confidently, fearlessly, securely perform life tasks.”

b. Use YOU when constructively addressing a client’s entire being.

“You are lovable regardless of your abilities.”

“Each day, you feel more confident as you choose to behave like the real
you.”

“You act efficiently, confidently, successfully.”

c. Use this, that, the, to help free a client of blame, shame, being hopelessly
stuck in a responsibility loop for solving a seemingly unsolvable life event.
Simply put, use this, that, and the when impersonalizing a problem. (Dr.
Arthur Winkler taught me this concept.)

“You are solving this (not your) situation right now.”

“You no longer feel ashamed about that (not your) situation.”

“You find it easy to free yourself of shame for not previously knowing all
the answers to the (not your) situation. No one knows all the answers to
life’s mysteries. You ARE lovable regardless of only knowing some of life’s
answers.”
16. Sometimes the answer is just plain “no.” Sometimes a client will change their
perception when he or she understands that the answer would be “no” to
anybody in that particular situation. If the client can impersonalize a situation,
the therapist’s workload diminishes.

For example, suppose a female client believes her mother hates her. Use the
“no” technique to help the client change the self-defeating perception.
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Client: “As a child, I was quite the non-conformist. Whenever my
mother told me to do one thing I’d rebel. I didn’t like her way
of thinking and we were always clashing.”

Therapist: “Did your mother like being a mother?”

Client: “She did where my sister was concerned. Lucy and Mom
seemed to really hit it off. They’d do lots of things together.
Mom pretty much left me alone though. I preferred that she
would accept me for who I was, but she wouldn’t do that. She
choose me to be a little clone of her. She didn’t like me because
I thought for myself. So she wouldn’t spend time with me.”

Therapist: “Did you ever think that your mom didn’t like being a mom
at all?”

Client: “No, not really.”

Therapist: “Did it ever occur to you that she might have jealously
considered you a threat?”

Client: “Yes, but I don’t know why.”

Therapist: “Well, let’s look at the situation generically. Maybe she

would have “clashed” with anybody at all LIKE you. Maybe
she didn’t really have it in for you personally, but instead didn’t
make friends with anyone like you. What do you think?”

Client: “Noooo..., well, maybe.” (pondering the suggestion.)

Therapist: “Sometimes the answer is “no” to anybody acting a certain

way that seems contrary to our own ideas. Would you like
eating a sardine and broccoli pie?”

Client: “No! Gross!”

Therapist: “Who’s your favorite personality?”

Client: “Helen Hayes.”

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 Therapist: “If Helen Hayes asked you to eat a sardine and broccoli pie
that she had made specifically for you would you eat it?”

Client: “I wouldn’t eat it if ANYBODY made it for me.”

Therapist: “What if Helen Hayes’ feelings were hurt when you rejected
her pie?”

Client: “Well, too bad. I’d tell her it’s nothing personal but that I don’t
like sardines and broccoli together.”

Therapist: “So, the answer is “no” to anybody, not just Helen Hayes.”

Client: “That’s right.”

Therapist: “Well, let’s apply this example to your situation. Could it be

that your Mom liked sardine and broccoli pie and assumed
EVERYBODY liked it? When you “rejected” your mom’s
preferences, maybe she thought you didn’t like her, personally.
Maybe she felt rejected by you and all along she only meant to
be doing things she thought you’d like. How do you feel about
what I just said?”

Client: “I get your point. I never thought about it that way. Maybe I’ve
been looking at this the wrong way.”

Therapist: “Maybe not the wrong way, a different way from Mom.”

Client: “Yeah, a different way. I like that.”

17. Use the words CAN’T and WON’T appropriately. Anytime we use “n’t”
contraction words we’re working with a negative concept. We choose to avoid
using unproductive words like these and focus on productive suggestions.
Educate the client so they learn the difference between the two words.
Typically, use uplifting words about possibilities in hypnosis scripts because
you know the law of reverse process will almost assuredly make ‘n’t’
contraction concept words come true.

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When we use the word “can’t” we act as if something prohibits us from
achieving a goal; we believe we are powerless and unable to act for ourselves
for some reason. Using the word “won’t” consciously states a choice. The word
“won’t” shows we feel powerful, progressive and in control of the momentary
option. Suggest that your clients focus on saying what they will do or on what
they can do instead of what they can’t or won’t do.

Example: “You can tell your child to go to another room to cry if

that’s what they require.” (Instead of “You can’t just let your
child stand there and whine.”)

“It’s easy for you to tell your boss you will create a presentation
for someone else to give.” (Instead of “You won’t have to
accept that public speaking assignment.”)

Another point concerning “can’t” and “won’t.” When a client spontaneously

says, “I can’t do (X)” challenge him or her with, “Okay, you say you can’t do
(X.) Tell me one thing you can do to achieve your desired goal?” Ask the client
open-ended questions and help him or her THINK UP solutions.

Client: “I can’t possibly stop smoking. Smoking relaxes me.”

Therapist: “Okay, you say you can’t stop smoking. What can you do to
feel relaxed without using cigarettes?”

Client: “I could sit down in a chair and read a book.”

Therapist: “Okay, that’s one thing you can do. Let’s examine the word
“can’t” for a minute. Using the word “can’t” implies that
something prohibits you from stopping smoking. Is it true that
something is prohibiting you from stopping smoking or would a
more accurate word be “won’t” instead of “can’t? The word
“won’t” shows that you are making a choice instead of
experiencing something actually stopping you from acting a
certain way.”

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 Client: “I guess I really mean I won’t stop smoking because nothing is
actually physically preventing me from stopping smoking
unless you count the physical nicotine addiction. I guess I could
stop smoking if I really choose to, but I think if I stop smoking I
will be forced to give up feeling relaxed.”

Therapist: “Are you saying you would give up smoking if you didn’t
have to give up feeling relaxed?”

Client: “Yes, that’s what I’m saying.”

Therapist: “Did you ever understand that before this moment?”

Client: “Understand what?”

Therapist: “That you’re continuing to smoke because you thought

ceasing to smoke would mean giving up feeling relaxed?”

Client: “No, I guess I didn’t.”

Therapist: “Let’s create some non-tobacco relaxation solutions for you

then.”

Client: “I’m for that.”

18. Use the words COULD and WOULD appropriately. Using could means we
can achieve something; the possibility does exist. All we do is choose it. Using
would asks for a more definitive action.

Example: “You could do the job if you choose to but you choose to do
something else.”

“You choose to conquer the challenge and you would if you

only knew the challenge’s causes. Let’s focus on what causes
this situation now. Then you CAN begin to resolve the
conflict.”

19. Avoid using the word PROBLEM. Using the word problem unproductively
suggests “trouble.” We choose to empower clients and let them know it’s okay
to experience single, interrelated, life challenges. The word problem also

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encompasses an entire challenging situation instead of breaking it down into
manageable, conquerable steps. We choose to teach a client how to stop feeling
overwhelmed. Using the word problem probably won’t do that.

When people lump everything “wrong” about a life challenge altogether, that
challenge appears as unsolvable. Help a client see that each life challenge can
be divided into manageable, solvable parts.

Remind the client that humans can only consciously focus on effectively doing
one thing at a time. Using this logic, educate the client so they learn this
phenomenon also means it’s easiest to conquer an entire life challenge one step
at a time. Create your scripts with this idea in mind. Help the client perceive life
challenges as a naturally occurring series of interrelated, yet singular events.

Example:

Therapist: “Yes, it’s challenging to your grieving skills to completely

conquer, at this current time, the loss of your only child. Break
down this (remember, impersonalize it) temporary challenge
into manageable steps. What are some solutions you can use to
feel better?”

Client: “Well, I could get up each morning and tell myself it’s all right
to cry about missing him.”

Therapist: “How will that help you?”

Client: “I’ll be expressing my feelings and getting it all out. I choose to

get over this, not keep it all bottled up inside me.”

Therapist: “Do you feel more comfortable now?”

Client: “Yes, I do.”

Therapist: “What other ideas can you create to conquer this challenge?”

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 Client: “I can give myself a certain time each day to cry and then put a
limit on it. When I begin to feel depressed I’ll write down that I
can cry about that particular memory only at 3pm every day.
That will help me keep moving.”

Therapist: “How do you feel about that idea?”

Client: “Oh, I really like that one.”

Therapist: “I see you are breaking down this entire temporary challenge
into manageable parts of the whole.”

Client: “Yes. I never thought I could do that before. I think I’m going
to make it now. I just have to keep focused on the little bits of it
instead of the entire situation.”

Therapist: “You’re quite a life challenge solver.”

Client: “I never thought that about myself before, but I see I really am
now.”

Etcetera, etcetera, etcetera.

The following terms may be used to substitute “problem” words: life challenge,
life mystery, personal life challenge, life question, life puzzle, riddle, life
contest, current (or temporary) unsolved life mystery challenging issue,
challenging situation, life inquiry.

20. Every situation is CURRENT or TEMPORARY. Teaching this idea

generates hope for the hopeless feeling. Explain to a self-critical client that they
can’t solve every life challenge AND that it’s okay humans operate this way.

Nobody knows how to solve every life challenge because new things happen all
the time. That means our ability, life experience, knowledge or training for any
particular skill at any given moment is always incomplete. So, when you’re

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 scripting with a client, insert the idea that every situation is temporary. Help the
client gain control by recognizing that nothing stays the same forever.

Example:

Client: “I really screwed up. I lost my job and now I don’t know how
I’m going to support my family. I’ll probably never work again.
I can’t do anything else. I’m a loser.”

Therapist: “It seems like you’ve lumped a lot of ideas into one.”

Client: “What do you mean?”

Therapist: “I heard you say you don’t know how to support your family
now, that you’ll probably never work again and that you’re a
loser. Did you know you said all those things?”

Client: “I didn’t really mean all that.”

Therapist: “Well, that’s what you said.”

Client: “I guess I feel a little panicked.”

Therapist: “Well, let’s break down the situation into little parts first.
Each part of losing your job may be interrelated, but this
doesn’t mean the situation will last forever. Do you consider
yourself a capable person? Capable people find work. What do
you think?”

Client: “Thanks, I needed to hear that.”

Therapist: “Okay, how can you make this situation work for you?”

Client: “Well, maybe this is a blessing in disguise. I’ve always choose

to operate my own business. Now maybe I’ll get serious about
really doing it.”

Therapist: “That’s one option. What else could you do to resolve this one
situation?”

Etcetera, etcetera, etcetera.

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21. Help the client confidently perceive life’s events as CHALLENGES TO
DIFFERENT LIFE SKILL ABILITY LEVELS (as compared to threats to
a person’s entire BEING/EXISTENCE). I have found that many people learn
if they cannot “do” or perform a task “perfectly” (with “perfectly” often
meaning exactly satisfying somebody’s unrealistic desire) they do not deserve
to “be.” I think this erroneous concept is the single-most destructive idea taught
to human beings.

Believing that we must “do” according to another person’s wishes in order to

“be lovable” creates unhealthy co-dependency. Therapists finding ways of
teaching a client “doing” is unrelated to “being” help change this perception.

For example, suppose a female client comes to you devastated about her
husband leaving her for another woman. As the female client searches for
reasons causing the breakup, she will typically turn inward and think there is
something “wrong” with her. That’s because her brain is hardwired to define
her value according to who she is. This is different from a man.

A man defines his value according to what he can do. Interestingly in co-
dependency, a woman will intuitively compare herself to what the husband says
about her and assume he’s “right” and she’s “wrong.”

There was a study done with men, women and a puzzle. The men were given
the puzzle and told that it was the easiest puzzle in the world to put together.
The puzzle could not actually be put together but the men and women didn’t
know this bit of information.

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At the end of the allotted time, the men pushed the puzzle aside and intuitively
made remarks like, “I can’t put this puzzle together. There’s something wrong
with it.”

The women, however, made remarks like, “I can’t figure out how to put this
puzzle together. There must be something wrong with me.” (Source: the audio-
cassette program The Best Of Career Track.)

Now that you understand this typical human behavior phenomenon, reveal it to
your client. Help a client perceiving herself as “defective” for “performing
imperfectly” instead perceive herself as a person who acted contrary to a
desired way. For other clients feeling like “losers” explain this same
information to them as well.

Next, explain to your client that we all demonstrate natural abilities. We are all
born naturally preferring to develop certain abilities. (Source: Ned Herrmann’s
The Creative Brain.) This also means that we potentially can develop and
demonstrate success in our preferred abilities.

We excel in abilities and talents we naturally prefer to develop. Conversely, we

may appear incompetent when we perform “imperfectly” in our “unnatural”
preferences. (Source: Ned Herrmann’s The Creative Brain.)

For example, say a person prefers teaching. This person would probably feel
unhappy simply counting pencils in a factory. The “natural born teacher”
required to be a factory pencil counter (an “unnatural preference”) instead of
“being allowed” to develop his or her natural teaching preferences, will
intuitively experience many things such as:

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 1) If required, the “teacher” will develop a certain level of competency in
the “unnatural preference.”

2) The “teacher” behavior will emerge in the pencil counting job in some
way.

3) The “teacher” will probably feel unmotivated and unhappy going to work
every day as a pencil counter.

4) The “teacher” will never develop a natural expertise for pencil counting
like he or she would for “teaching.” (Source: Ned Herrmann’s The
Creative Brain.)
Help clients understand that “failures” really are not failures at all but instead,

1) simply results tallied after completing or participating in a life event or

exercise,

2) indications that we require further ability, experience, knowledge or

training in some skill to achieve a desired purpose, and/or

3) that we have identified some task we demonstrate no natural expertise for

doing, and/or that the current situation calls for an ability or talent we show
little or no natural preference for developing, and/or

4) that another person is required that really can satisfy a desired purpose,
and/or

5) an indication that we are not that other person AND that it’s okay that we
can’t be all things to all people.
There is a big difference between being “needed” and “chosen.” If someone is
“needed”, unhealthy co-dependency may exist because a purpose can’t be
fulfilled without that particular “needed” person. But if a person is “chosen” it
may show that their abilities and talents aren’t essential to achieving a certain
purpose, simply desired.

The skills we naturally excel in show our competency in those areas. The skills
we do not excel in show not incompetency of “being” but incompetency of

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 ability in only a specified skill or number of skills AND THAT’S OKAY.
We’re supposed to be different from one another. How boring life would be if
we were clones of each other.

When we help clients understand it’s okay to demonstrate different abilities and
different ability skill levels, we help them understand they’re still significant
and valuable to this world regardless of what they can or cannot do. Apply this
knowledge to the example of the female client working through upset
separation feelings. Tell her to remember it takes two to disagree.

Remind her that requirements or chooses change as we learn different things in

life. Encourage her to get involved in situations where she can develop her
natural abilities and talents. As she sees her natural abilities and talents
developing she’ll naturally feel encouraged and more secure.

22. Help the clients see that they demonstrate different levels of ability, not
INABILITY. Number twenty-one explains about our inborn natural talents. If
one person cannot bake delicious, flaky, mouth-watering pies and another one
can, it does not mean one person has baking ability and the other one doesn’t. It
means that the baking ability levels are DIFFERENT from one another’s.
Empower and suggest hopeful client options. Help clients see that less doesn’t
ALWAYS mean bad or worse, it may simply mean DIFFERENT.

23. Help clients see they don’t “have” abilities, but instead that they
DEMONSTRATE ability levels. If we perceive that we “have” abilities we
speak as if we can attain or purchase them like buying a newspaper from a
newsstand. This great misperception can create co-dependency feelings (in my
opinion) and jealousy if the desired “ability” cannot be “had.” Instead, explain

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 that every person can develop any ability possible within that person’s
capabilities and that’s okay.

24. Appropriately use the word BE (or BEING), ARE and ACT. For example,
when suggesting self-confidence to a client, suggest both that the client “feels”
self-confident (meaning that the client’s BEING is an existence of self-
confidence) AND that the client ACTS self-confidently. When we suggest that
the client ACTS self-confidently we are subtly saying the client is already
thinking self-confident thoughts which causes self-confident BEHAVIOR. WE
cannot ‘get’ a behavior. We ACT as a result of thinking a certain way.

Teach clients to focus on ACTS and that undesirable ACTS change when we
first substitute unproductive thoughts for productive ones. Teaching this
concept, we also suggest that the client can CHANGE behavior if they so
choose by changing thoughts.

Examples: Instead of “You ARE a success.”

use “You ACT in successful ways.”

“You think clearly before you ACT.”

ACTS provide visible proof of thoughts. Explain to the client that humans must
first think before behaving in any way. If the client currently behaves in an
undesired way, he or she must first examine self-defeating thoughts processing
through the brain making the body ACT in undesirable ways. Once the client
understands which thoughts result in undesirable ACTS, teach them how to
create success-promoting thoughts so they can ACT in successful ways.

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 More examples:

Client’s self-defeating thought: Changed to:

“I can’t lose weight. It’s hereditary.” “Even though I believe my excess

weight situation is hereditary there are
still things I can do to manage my
weight.”

“I’ll never be good at public “Never is a long time. If I practice I’ll

speaking.” improve my public speaking skill.”

“I’m crippled. I’ll never be “Everybody requires help now and then.
independent.” I just happen to currently require it more
than others. There’s nothing wrong with
me because I require help. That’s just
the way it is right now.”

25. Vary sentence length. Varying sentence length and using descriptive words
can slow down or speed up a script. You decide where to vary sentence length
depending on what impact you’re working to create.

Example: “You feel happy. You stand in front of the mirror, smiling. You
showing moisten your lips. Your stomach feels enthusiastic and calm although
action and this is an exciting moment in your life.”
movement

Example: “You...feel...calm...and...relaxed. Your head feels

intending so...heavy...on...your...shoulders. It’s
to calm a...tremendous...effort...to...keep...your...eyes...open. Your eyelids
and relax feel so...heavy. It’s easy...for you to close...them...down.”
client:
(when reading... pause one second for every period. Read quietly and
take deep breaths while reading.)

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26. Three is an amazing number. When writing ideas in a script, describe it or say
the idea in three ways. You’ll get the point across more effectively. I don’t
know why three seems to work best, but it does.

Saying it one time doesn’t seem to say enough, two is almost enough, but
there’s something comfortable and amazing about the number three. See what
you think as you read the following paragraph. (I’ve broken it down into three
parts, but it’s actually one paragraph.)

Example: “Somehow you survived the tornado. That’s because you

naturally succeed in the things you do.” (That’s saying it once.)
“You feel comfortable and can think clearly during all types of
challenges.” (Now twice.) “You demonstrate the ability to
make any situation work for you. No wonder you do things so
successfully.” (That’s three. Does the idea seem more complete
now?)

27. Plant ideas of what is to come in one paragraph, then let the ideas grow
and perhaps blossom in a second paragraph. Read the paragraph in number
twenty-six. Then add the paragraph in number twenty-seven. Do you see how
you can add ideas and associate them into other points? Hope so.

Example: “Though it may feel awkward going into court the first time
as a new attorney, as a naturally successful person you quickly
feel confident. You survived through a tornado. Compared to
that, this is easy!”

28. Relate previous suggestions to new suggestions. We all probably understand

about binding, double-binding. compounding and sensory anchoring, but I’ve
covered them here anyway. Use any of these techniques to create new
programming for “replacing” the old, unproductive programming.

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Of course all professionally trained hypnotists understand that old programming
doesn’t really erase. The new programming can be more attractive than the old
programming by using any or all of number twenty-eight’s techniques. It may
seem like the client “erased” the old idea, but actually, the client simply
identifies more strongly with a new idea instead of the old one.

Here’s some examples using binding, double-binding, compounding, and

sensory anchoring with nervous public speaking. Bold type reveals the specific
suggestion technique.

Compounding example:

“As a child, mother told you never to talk with strangers. She
told you strangers were unpredictable and could harm you.
Now you are much older and more experienced about life. You
calmly talk with strangers in your work, don’t you?

“When a telephone solicitor calls you calmly and confidently

talk with him or her, right? When a salesman comes to your
door, you confidently listen and then tell him or her to go away
or that you will buy if you choose the product, correct?

“As an adult you’ve learned to communicate with strangers

without requiring mother to protect you. The more you accept
public speaking engagements, the easier it is to master calm
public speaking. You’re doing it already in everyday life. So
it’s easy for you to calmly speak in public now that you
understand things differently than you did when you were an
inexperienced child.”
Binding example: (Using the law of reverse process.)

“The harder you try to act nervous about public speaking,

the calmer and more secure you feel when you speak
publicly.”
Double-bind:

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 “As a child you learned to be careful of strangers. Though you
may currently be speaking to a group of strangers, as an adult
you recognize the group means no harm to you now. They are
eagerly awaiting to hear your presented material.

“Are you ready to confidently speak publicly now, while you

take a deep, relaxing breath or will you be enthusiastically
ready to confidently speak publicly the moment you walk
up to the podium? You decide.”
Sensory anchor:

“As a child you were taught to be careful around strangers.

Now, you’re older and more experienced. You understand
everyone is a stranger until you meet and talk with them. As a
more mature, experienced person, you now can judge for
yourself how to confidently interact with strangers.

“As you walk into the presentation room, the minute you see
the group, you feel calm. You hear the sounds of the friendly
group and judge those sounds as meaning the crowd is eager to
hear your message. You touch the podium, table or microphone
at the front of the room and instantly you transform yourself
into the world’s most calm, confident, successful public
speaker.”
29. Suggest that your client solve life challenges in an EASY, PLEASANT,
ENJOYABLE way. Make problem-solving easy for your clients and most
likely they’ll feel encouraged to develop independent problem-solving skills.
Since this is the goal of change (isn’t it?) you choose to do everything you can
to generate this atmosphere for the client. Again, Dr. Arthur Winkler’s wisdom
suggests that if we offer specific, customized suggestions a client can
constructively problem-solve according to the carefully sculpted suggestion.

Example: “Ask your mind to show you easy, pleasant, enjoyable

solutions to this current challenge.”

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As an aside, after a client consciously knows his or her “problem’s” cause(s),
let the subconscious and conscious team up. Ask the subconscious mind to
create and reveal a very pleasant solution to the conscious mind.

Suggest that the conscious mind quickly and effortlessly accepts the new
thoughts confidently, happily, competently. Also suggest that the client can now
consciously act in the new, successful, impressive way. This is especially
important to a client suffering from the fear of success and/or the fear of failure.
Almost anybody raised with guilt or shame suffers from the fear of success
and/or the fear of failure. (Source: Brian Tracy’s The Psychology of
Achievement.)

Example: “You believe a solution exists for each life challenge. Each
human understands things in their own way. You understand
things in your own way. All levels of your conscious and
unconscious minds are working together in a team effort.

“A clear message is now being communicated to all levels of

your mind. Your conscious mind now knows an effective, new,
pleasant way to successfully solve the current life challenge
temporarily and partially puzzling you.

“I’m going to count from the number five through the number
one. When I say the number one, you will know, at a conscious
level, that very pleasant changes have begun to take place.
When I say the number one your conscious mind clearly
understands how to solve, improve and release this life
challenge in a very easy, pleasant, enjoyable way for you.

“Are you ready? (Wait for client’s response.) All right. I’m
counting. Five...four... three...two...one... Now, you consciously
know a very easy, pleasant, enjoyable way to conquer this life
challenge. It’s all right for you to find a useful solution to this
puzzle. You are a born success. You confidently, happily,
competently solve this puzzle now.”

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 As you talk about the client’s solution to the puzzle, ask him or her how she
feels about solving the life mystery. If he or she expresses fearful, shameful,
insecure feelings, etc., help the client sort those feelings out by asking open-
ended questions (who, what, where, when, how, but avoid asking why so they
don’t try to justify their feelings.)

Help clients accept their feelings for what they are and suggest ways they can
RESPONSIBLY do something to eliminate inadequate feelings. Ask something
like, “What can you do to release yourself from feeling (afraid, ashamed, guilty,
etc.) about acting successfully?”

After they respond, ask them, “How can you allow that idea to confidently,
happily, competently work for you?” Ask them to write down their ideas.
Writing down the ideas helps the left and right brains communicate more
clearly and helps the conscious mind understand the situation more quickly.

30. Use hypnotic amnesia so a client forgets any reason to behave in a self-
defeating, unproductive way. Hypnotic amnesia can be useful for some clients
“wishing they’d never done such-and-such.” Remember, we work within a
client’s belief system. Listen to the phrases the client is using. If they say things
like, “I wish I could just forget I ever behaved that way.” hypnotic amnesia may
be the technique to use. Here’s an example script to release oneself from
speaking profanity.

Example: “You’ve forgotten any reason at all why you choose to use
kind, respectful, loving words in your thoughts and speech. It is
simply your nature to speak using respectful, kind, impressive
vocabulary.”

31. Use a single or double-binding control panel to eliminate/change undesired

behavior. I learned about the control panel technique in a class at a convention
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several years ago. Have you ever used it before? First I’ll explain a single
control panel and then my own modification on it, a double control panel.

Suggest that your client imagines seeing a control panel with blinking lights,
digital gauges and knobs calibrated with numbers. Tell the client that one
specific gauge seems to “be very obvious” to him or her.

A sign appears above this particular gauge. The sign describes the client’s
current life challenge. (For example, back pain. It could be any life challenge
but I will use back pain for this example.) A calibrated knob numbered from
zero through ten rests directly below the gauge. Tell the client that the knob is
set on a specific number. This number represents the client’s current awareness
level of tension or discomfort.

After suggesting that the knob shows a specific number representing the client’s
current (pain level – described using tension or discomfort), ask the client to tell
you what that specific number is. When both of you know the current “tension
or discomfort level” number tell the client that you will instruct him or her how
to use the “tension or discomfort level” gauge and knob to reduce and/or
eliminate tension or discomfort.

Instruct the client to click down, one number at a time, the knob connected to
the “tension or discomfort level” gauge. As the client clicks down the numbers
one at a time, suggest that his or her ability to reduce tension or discomfort
increases by ten or one hundred times if you like. Slowly guide them down to
the number zero. When the client reaches zero, tell him or her that their tension
or discomfort is either completely gone or at the very least, tolerable now. Give
the client the option of choosing a tension or discomfort level.

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 Now if you’d like to modify the control panel a bit, add a complementing
second (or double) control panel. Read through this second part now and decide
if you choose to use one or two control gauges for the client session before
actually using this technique.

Modified control panel description:

Before you tell the client how to reduce his or her tension or discomfort, tell the
client to look to the right of the “tension or discomfort level” gauge. Tell him or
her to see a second gauge.

Internally connected to the “tension or discomfort level” gauge (for this

example) suggest this second gauge displays above it a sign saying “relaxation
and tension or discomfort reduction ability.”

NOTE: When using a double control panel you have not yet explained how
the client clicks down tension or discomfort. You wait to explain this (problem-
solving technique) until after you’ve introduced both tension or discomfort
control gauges.

Explain that you are about to instruct the client how to reduce or eliminate
tension or discomfort now. But ask that the client wait until you’ve explained
how to release his or her tension or discomfort before actually doing anything at
all with the control panel gauges.

After giving this forewarning, instruct the client to “click down” the “tension or
discomfort level” knob one number at a time. Each time you direct the client to
click the “tension or discomfort level” down one number, also suggest that the
client’s tension or discomfort will automatically reduce.

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Also suggest that simultaneously, and without any conscious effort on the
client’s part as their tension or discomfort reduces, their “relaxation and tension
or discomfort reduction ability” increases. In other words, as the client “clicks
down” tension or discomfort, their ability to relax and reduce tension or
discomfort increases. As you can see, using this technique creates a bind (if you
use one control panel gauge) or a double-bind (if you use two gauges.)

After you’re certain the client understands how the single or double control
panel gauge works, begin “counting down” with the client, one number at a
time. As you guide the client down each step of the way you can further suggest
compounding and binding instructions. Pick any of the following:

Customizing examples:

“Each time you click down one number your ability to reduce
tension or discomfort increases by ten times. That’s right.
Without any conscious effort at all, your mind automatically
knows to increase your tension or discomfort reduction ability,
so long as it is pleasant for you to do so, by ten times, every
time you click down the knob one number. This is happening
right now because you choose it to be so.”

“Slowly...gently...easily, you’re feeling great tension or

discomfort relief. At the same time your relaxation and tension
or discomfort reduction ability increases by ten times each time
you use the control panel.” (If you’re using the double control
panel method.)

“It’s easy for you to slowly...gently...safely...click the knob

down, one number at a time, to provide the most benefit for
you. Whenever you use the control panel you always use it in a
manner pleasant for you. You only reduce your tension or
discomfort when it is enjoyable and pleasant for you to do so.

When humans feel tension or discomfort it is a signal telling us

something requires attention. Demonstrating the ability to
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 identify tension or discomfort is important so we can stop doing
some activity that is harming us. You never eliminate your
body’s natural ability to tell you when you’ve harmed yourself.
Therefore, you only reduce your tension or discomfort after you
consciously understand if your body has been harmed. If your
body has been physically harmed some way, you choose to stop
the harmful activity and only enjoy living a healthy lifestyle.”

32. Use the “golden door in a round room” technique. (Laurie Allen Grant, the
world renowned psychic uses this technique when teaching the level one Reiki
class.) This technique works well when someone chooses an answer to a
specific question. In the pre-session interview, talk about the client’s
“unanswered life question.” Then tell the client a simple technique exists to find
the answer to virtually any life question. Explain the following procedure
thusly:

Ask the client to imagine that he or she is standing in the center of a large,
round, walled-room. Equally spaced along the walls in the room are doors.
Using his or her imagination, ask the client to look around the room and see that
indeed he or she is surrounded by doors.

Mention the client’s “unanswered life question.” This helps him or her focus on
the search topic again. Tell the client that he or she will “feel” (or sense) one
specific door in the room. Behind this door the client will find the answer to the
temporarily perplexing “life question.”

Ask the client to describe the “answer door’s” location in the round room. (I’ve
never had a client fail to reveal a location.) After the client reveals the location
(in back, in front, to the right, to the side, etc.,) ask the door’s color.

After revealing the door’s color, tell the client that he or she will feel very
comfortable, fearless and safe about what’s behind the door. Tell the client to
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 imagine walking up to the door. When the client touches it, he or she will know
that an easy, pleasant, enjoyable solution to his or her “unanswered question”
awaits specifically for him or her there.

The instant the client opens the door, ask him or her to tell you what’s
happening. As the client describes the event, encourage him or her to continue
through the door. If the client feels afraid, suggest that he or she sees someone
there with whom they feel trust. The very appearance of this “trustworthy
person” indicates that it is acceptable for the client to enter and accept the
answer waiting behind the door.

The “trustworthy friend” accompanies the client for moral support. Tell this
client that:

1) it’s easy to find the answer and use it in his or her life,

2) it’s easy to see how to easily, pleasantly and confidently use the revealed
solution effectively and efficiently according to his or her forward moving,
constructive desires,

3) the minute the client opens the door he or she will find it very easy to use this
technique to solve virtually any life challenge. Appropriately use other
techniques found in this book until the client finds resolution.

33. Change the energy it takes to create a self-defeating behavior into a

desired, useful behavior. All behavior requires knowledge bits and ENERGY
to be created. Suggest that the client displaying a particular self-defeating
behavior change the energy it takes to create the self-defeating behavior into
energy to create a desired, useful behavior.

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For example, I once worked with an eight-year-old boy so he could remove
some hand warts. In the session he discovered that he lacked confidence about
expressing and exerting his autonomy among his several sisters. As the family’s
only son, he felt outnumbered. The warts were a way of getting some attention.

He said he created the warts as a way to develop self-confidence about

demanding more attention for himself. I suggested that he change the energy it
took for him to feel neglected into easy, pleasant, enjoyable ways for
developing self-confidence to release the warts.

During the pre-session interview I heard him frequently pepper his sentences
with the word “like.” His sentences sounded something like this: “Like, well,
like what if I, like, it doesn’t like work? Like, what if I, like, can’t make my
warts, disappear?” I suggested that every time he used the word “like” his
ability to develop self-confidence would increase AND that his warts would
disappear very quickly.

He spoke without conscious awareness that he used the word “like” so often in
his everyday speaking. When I offered this suggestion the client asked with a
concerned voice, “What if I don’t say like often enough. Like, if I don’t like,
say like enough, my warts won’t go away.”

I then suggested that he allow himself to naturally say the word “like” more
often so the warts would go away. I told him his warts would only go away if
he really choose for them to go away.

Then I suggested that within two weeks his warts would either be completely or
almost completely gone, depending on what he choose to have happen. I further

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 suggested that he would stop using the word “like” more than he usually did
when he noticed that his warts were gone.

Later that afternoon when I saw the boy’s hands, the warts had already begun to
change shape. The change was obvious to me, and the boy, also. About three
weeks later I asked the mother how her son was doing. She said, “Well, I don’t
understand how this is working, but those warts are almost completely gone.
How did you do that?” I told her that I didn’t do anything except make a few
suggestions to her son. Obviously the boy had accepted the situation because he
was happier AND his warts were almost gone.

You can vary this energy diversion technique. Ask the client to harmlessly
divert all available body power to solving or releasing him or herself from his
or her current life challenge. Suggest that by diverting all stagnant and available
body power to the current life challenge, their subconscious mind naturally
creates more easy, pleasant, enjoyable ideas for solving the current challenging
mystery.

Tell the client that by diverting all available body power to the current life
challenge that he or she will

1) naturally attract ideas from people, and

2) convert ideas that the client may hear around them (like on the television
or radio) into ideas helping the client solve the perplexing situation, and

3) receive and easily understand the desired answer required to satisfy the
client’s requirements or chooses.

34. When reciting scripts vary voice pitch, tone and volume. Different people
respond to different things. That’s because we each internally process
information just a little bit differently from one another. By varying voice pitch,

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 tone and/or volume we can help the client evoke different sensory responses
according to the client’s preferred way of processing information at any given
time.

For example, one time, after a session with a woman who did not tell me she
was a multiple personality client, I varied my voice pitch, tone and volume
during the session at various points when I choose to:

1) get in rapport with the angry personality (I spoke quietly and with empathy
to get in rapport with this personality’s viewpoint without compromising my
self-respect), then

2) “coach” the angry personality to work through some of her anger (I used a
peppy, strong voice encouraging the angry personality to fully express her
feelings and vent them in a manner that didn’t harm the “host” personality
(my client)), then

3) listen to the client talk about her feelings after the angry personality “venting
experience” ended (I’d say, quietly and again with empathy using quiet
acknowledging sounds such as, “Yes.” “Uh, huh.” “I see.”)

As an aside, after I finished this session, I told the client I could no longer see her. I
asked her why she didn’t let me know about her serious medical condition. She
told me that she knew I wouldn’t see her if she did.

35. Be vague or specific as appropriate. When we assess a client’s requirements

or desires, first speak generally about the client’s life challenge then talk about
challenge specifics. The more information you can glean from the client, the
more quickly you can “find the answers.” Here are some more ideas about
vague and specific approaches.

a. Describe particulars as “bad” or “good” when you choose to start a client

down a certain programming or memory path. Ask them what “bad” or
“good” means to them. Get them answering open-ended questions about the
“bad” or “good” specifics. (Open-ended questions ask who, what, where,
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 when and how, but refrain from asking why.) Avoid letting the client
answer with quick “yes” or “no” answers (as appropriate.) You don’t choose
to annoy the client or delve into irrelevant matters unrelated to the current
situation. “Yes” and “no” answers don’t offer much insight into the client’s
psyche.

b. Use “good” or “bad” to briefly refer to a memory (after you understand

what the client means when they say something is “good” or “bad.”)
You may or may not choose to talk too extensively about some memory. It
may prove distracting from gaining the real answer to the situation.

c. Use “good” or “bad” to demonstrate how perceptions can vary according to

an individual’s perceived requirements, desires and/or beliefs. For example,
ask a client if they feel like they are a good person. Whatever their response
(either “yes” or “no”) ask the client what that means to him or her.

d. Avoid using the futuristic word “will” unless you qualify it with a specific
time, method, etc., for goal achievement. When using the word will such as,
“I will lose ten pounds” the mind naturally asks “when?” So if you feel the
word “will” warrants suggestion use, make sure you state “when” you will
lose ten pounds (or whatever.)

Example: “You will lose ten pounds by March 14, 1996; OR 9 weeks
from the day you begin drinking eight glasses of water each
day;”

36. When using words OPEN TO OPINION further define what the opinion
means by using the general to specific routine. Words like “right or wrong,”
“good or bad,” “positive or negative,” and others can be examples of opinion
words. For example, a general opinion phrase could be “you think and act like a

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 good person.” Define what your opinion of “good” means to develop idea
rapport with the client. “A good person is someone who intends never to hurt
themselves or anyone else needlessly. Even though you act like a good person,
you may unintentionally hurt someone. When you accidentally hurt someone,
your personal value is still good. Hurting someone means you’ve made a
mistake. Everyone makes mistakes. That’s how we learn. If you’ve harmed
someone, learn from it and work to avoid needlessly harming people in the
future.”

Sometimes you intend to suggest vagueness. For example the suggestion, “all
your extremities feel calm and relaxed” is vague compared with, “relax only
your arm.” Use words or phrases that clearly define.

Use constructive, yet vague descriptive words (wonderful, thrilling, incredible)

when you choose the script listener to generally participate in the script
suggestions. Use a more specific word or phrase meaning when you choose the
script listener to specifically participate. For example, “relax only your arm” as
compared with, “relax your entire body.”

37. Understand and appropriately use some basic human behavior and mind
rules as suggested here:

a. Get in rapport with an upset person’s belief and more quickly end/reduce
conflict. This is a common “parts therapy” idea. (For an example, refer back
to number 34 about the multiple personality client.)

b. The idea we focus on the most becomes our reality most quickly. Focus on
unproductive thinking “I just can’t do this!” and that “impossibility”
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 becomes your reality. Focus on constructive solutions, “How can I make this
situation work for me?” and you create productive realities.

c. The law of reverse process makes it possible for us to use a client’s resistant
idea to the client’s benefit. For example, we can use a client’s nervous
giggling as an ideo-motor response mechanism to relax and entrance the
client. Actually, using the nervous giggling develops rapport with the client
in an interesting way.

Simply stated, to create a thought encouraging the client to act in a desired

way, say something like this: “The harder you try to giggle, the easier it is
for you to relax and hypnotize yourself.” When we suggest an idea this way
we

1) ask the client to focus on something they can’t do,

2) convince the person that the “try” results in a favorable result,

3) suggest that the client acted successfully by failing to achieve an

undesirable behavior.
I can’t scientifically explain how or why this works. I only know that it does.
Practice using the law of reverse process until you develop some mastery at
it. Here are some other examples of it in action:

For a smoker: “The harder you try to choose to continue smoking,

the easier it is for you to forget any reason why you choose to smoke.”

For self-confidence: “The harder you try to convince yourself you’re

a “bad” person, the easier it is for you to love and respect yourself.”

Eye catalepsy: “The harder you try to open your eyes, the tighter they
are locking closed.”

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d. Like attracts like. This is the basic foundation of “rapport” issues. If you
focus on constructive ideas, you will attract and be drawn to
constructiveness. If you focus on unproductive ideas, you will attract and be
drawn to unproductive ideas.

e. Repeatedly suggesting an idea more firmly and quickly ingrains it in the

subconscious memory banks. When a client consciously discovers a
personal revelation, I often ask them to repeat it three times.

For example, suppose you are working with a female weight control client.
In the session, suppose she says for the first time, “Eating food makes me
feel calm.” I’d ask her to repeat that statement a total of three times. Then,
after she’s said it the third time, I’d ask her to explain to me “how” food
“makes her” feel calm. She may respond that she doesn’t know how food
“makes her” feel calm.

The client may be on the verge of a breakthrough when getting to this point.
When I used to work with compulsive behavior clients I’d usually have a
piece of food nearby (in the case of weight control clients) or a cigarette (in
the case of smokers) or whatever applied to the particular compulsion.

When a client gets to this breakthrough point and I’ve asked “How?” (a
piece of food “makes him or her” calm [or whatever] or “How?” a cigarette
“makes him or her” think more clearly [or whatever], etc.,) and the client
doesn’t understand “how,” I hand the person the compulsive-specific item
and guide them through a Gestalt dialog with it.

The dialog might start out like this: “Cookie, you “make me” feel calm when
I’m upset. How do you do that?” Then as the client answers for the cookie I

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 suggest more and more specifics. I address the client by name and say
something like this: “Evelyn (or whatever the client’s name is), ask the
cookie to explain in a “how to” format what steps it takes to “make you” feel
calm. Pretend you choose the ability to “make people” feel calm the same
way the cookie does. Ask the cookie to describe exactly what it does to
“make you” feel calm so that you can learn how to do it, too.”

The client may chuckle talking to an inanimate object as if it has intelligence

and can communicate. Just get them to work with it. It usually offers great
insight.

A word of caution: this technique may be counterproductive for Obsessive

Compulsive Disorder (OCD) clients. Once they begin to “sort things out”
they may obsessively use the technique on every facet of their lives and soon
feel overwhelmed. So be careful using this technique with OCD clients.

f. Emotional requirements or desires probably can’t be released with logic.

Changing a client’s behavior works best when you find an emotional trigger
the client identifies with more strongly than the undesirable behavior trigger.
For example, for the smoker you can offer lots of logical reasons why he or
she would benefit from smoking cessation, but the energy charge from
emotion is what will (most likely) finally evoke a desired change. This
phenomenon occurs because an emotional requirement or desire isn’t usually
satisfied by logical reasoning.

To evoke change we must provide a strong emotional benefit for giving up a

self-defeating behavior before a desired change can occur. Thus the
importance of evoking a client to react or respond WITH FEELING (the
energy part of thought) to an idea before change can occur.
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To continue with the smoker example, you can provide all kinds of logical
ideas to the smoker. Watch how he responds. He’ll respond consciously and
say he understands all the health reasons, financial reasons, ugly habit
reasons, etc., that show he would benefit from stopping smoking. But until
he charges an idea with energy (emotion) and identifies emotionally with an
idea as being true he’ll keep smoking.

Often the energy-charged knowledge bit is a forehead knocking, AHA!

statement like, “I never realized I’ve been letting a cigarette waste all the
money I’ve been looking for to buy a boat. Boy, I’m going to quit smoking
now. I really choose a boat.” The AHA! may not make much sense to the
therapist, but that matters little. If the client effectively resolves the self-
defeating behavior, success resulted.

Many people smoke to avoid some type of responsibility. Find out

1) what responsibility (or feeling they fear facing or) they are avoiding,

2) what benefit exists for avoiding the responsibility and

3) help the client slowly change perception by changing the wording of their
perception. When the client says, “The cigarette calms me.” Ask the
client to restate it in a responsible way. “I choose to believe the cigarette
calms me.” Asking the client to restate their feelings using “I choose to
believe” instead of “the cigarette” changes responsibility.

The “I choose to believe” statement tells the client they are choosing to
feel a certain way. The “the cigarette” phrase talks as if the cigarette
controls the client. This second way irresponsibly places “blame” for the
habit on the cigarette, not on the client.
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 Once you explain that the client is choosing to use the cigarette (or food
or whatever the compulsive behavior) as nothing more than a reminder
memo (you know, like a yellow sticky note on a file paper) to achieve a
desired purpose, you can suggest that the client use some other harmless
memo vehicle such as a positive affirmation sign or a deep breath to
achieve their desired goal.

What does it take to get every client to “wake up” to reality and act
responsibly? Ask the client that very question. Ask, “What benefits do you
gain by continuing (the undesirable behavior?)” Then, after the client writes
down on paper the benefits of the (undesirable behavior) ask him or her,
“What could you do that would bring you those same benefits without
behaving in a harmful way to yourself?”

If the person answers with nothing, then they won’t give up smoking. You
haven’t yet found the missing puzzle piece helping the client energize the
idea that smoking cessation is possible.

Remember, it may not be your fault if the client session ends without the
desired result. The client must responsibly act for him or herself. Some
people find the answer and do nothing with the knowledge.

After exhausting all your suggestive knowledge without helping a client

achieve a desired goal, either refer the client to another consulting hypnotist
or accept the fact that this client is just not ready to really change his or her
behavior. Remember that even though the client doesn’t see the benefit in
changing yet, it doesn’t mean that your session didn’t plant seeds for future
success.

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g. Learning occurs more quickly when we change tasks for a bit in between
intense learning periods. I consider a consulting hypnotist session to be an
intense learning period. In the audio/video program Where There’s A Will
There’s An A, Arizona State University professor Claude Olney discovered
that people learn and retain more when they change tasks for a little bit in
between intense learning situations.

Applying this principle to a consulting hypnotist session dealing with trauma

or intense emotional reactions, “break” a client to a “happy place” every so
often. I suggest doing this only as an occasional “vacation from resolution
work.”

You can establish at the session’s beginning a “happy place” in the client’s
mind. Ask the client to choose a very comfortable, happy place in his or her
mind. It may be a mountain scene or a beach scene or just sitting at home in
a favorite recliner. After the client has created his or her “happy place”
suggest that returning there can be done whenever desired.

I suggest that a client can return to a happy place when they’re taking a five
minute pause from during personal development work. Instead of a smoke,
they can take a “mind vacation.” I tell the client how to use their mind like a
timer so they can feel confident about going on a “mind vacation” for 5
minutes. Using their mind’s timer eliminates fear about returning late to
work.

Also, at the beginning of a session, I may include an ideo-motor mechanism.

It’s usually a light stroke on the back of the hand. I tell the client that when I
believe their body language may show excessive stress signs, I’ll simply

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 stroke the back of their (right or left hand.) The hand stroke signals the client
to instantly imagine going to their very happy place.

38. Understand and work within brain dominance preferences/natural

preferences. Ned Herrmann’s The Creative Brain explains research findings
about the intuitive differences between the right and left brain. Understanding
some of these findings helps a therapist more quickly get in rapport with a
client. The differences in abilities between the right and left brain are different
than the differences between male and female versions of perceptions in clients.

A sincere rapport decreases the time it takes to evoke change and makes
creating scripts easier. The summary included here only briefly explains the
book’s findings. I wholeheartedly recommend you either purchase this book for
yourself or check it out of your local public library (probably through
interlibrary loan.)

To begin with Ned Herrmann discovered (after interviewing thousands of

people) that each individual is born intuitively and naturally preferring to
develop certain abilities and talents. It’s a good thing too, because if everybody
chose to do plumbing work and nobody chose to do electrical work we’d have
plenty of toilets but no electric lights when we sat on the throne to read.

Mr. Herrmann’s research further revealed that mismatching a person’s natural

abilities and talents generates the idea that the person is generally incompetent.
However, the truth is that each of us can excel in different tasks according to a
natural ability pre-wired in our brain from birth. Each of us is predisposed to be
experts at something. So, if managers need certain tasks done, the most time
and cost-effective way to get work done is to appropriately match people’s
natural abilities with tasks they can actually do.
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 Implement this valuable knowledge when working with men and women. If a
man doesn’t understand a woman’s viewpoint, it’s because he intuitively uses
his left brain to process information. Generally men won’t talk out their
problems. They internalize and mull over ideas and then come up with a
solution. That’s typical left-brain behavior.

Research shows that men generally feel awkward or uncomfortable “showing

their feelings” (a right-brain behavior.) That makes sense. I feel awkward AND
uncomfortable when my husband begins talking to me in “math” language
(requiring me to use the brain quadrant I don’t intuitively prefer using, the
upper left.)

Men feel more comfortable focusing on getting tasks done (left-brain behavior),
but not primarily interested about making sure workers feel happy doing the
task. Women place primary importance on job fulfillment and secondary
importance on task completion. In other words, generally, woman like tasks
completed but not at the expense of happily doing them. It’s a gender brain
thing!

Misperceptions can occur just by not understanding the intuitive, natural

differences between the left and right brain and the differences between the
genders. There is much more to understand about left and right brain behavior.
The more we educate ourselves and our clients about things contributing to
misperceptions, the easier misperceptions can be eliminated.

39. Vary techniques within a script. Because each individual processes

information by using their natural preferences and unique thinking styles,
varying techniques within a script assures clear communication. Some clients
won’t respond or react the way you hope they will to an authoritative style
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 while others will. For this reason I’ve found varying techniques within a script
usually increases the chance that a client will “get the point.”

If one explanation or suggestion doesn’t work, usually another one will. Also,
taking into consideration the differences between males and females and the
way they interpret their world can make a huge difference in scripts that evoke
desired change.

40. Explain to clients that they can attain more control over their destiny by
using the “What” and “How” method. Simply telling a client he or she needs
to make changes won’t evoke a desired behavior. The client requires knowing
“how” to change. So, after you tell a client to change their outlook or perception
(the “what”), tell them how to do it, also. Examples often make this easier.

For example, you can tell a client who feels trapped in a relationship that
changing the way they perceive the situation may help. We teach the “how” by
using a simple, three-step, life challenge solving formula:

a. “When you consciously understand that you feel trapped, say to yourself,
“Focus on feeling calm.” It’s easier to think clearly when you feel calm. Life
challenge-solving is easier when you feel calm, too.”

b. “After you’ve calmed down, ask yourself this simple question: “What do I
think is happening to me right now?” Get out a piece of paper and write out
on the paper the actions you think seem to be “making you” feel trapped.”

c. “After you’ve written out on paper the actions that seem to be “making you”
(see the compulsiveness here?) feel trapped, ask yourself, “How can I
change this situation so that things improve for me and perhaps all
concerned?”

“Again, write down on paper ideas you can implement to eliminate the
trapped feelings. Create some easy, pleasant, enjoyable, useful options for
the situation. Follow this formula anytime you feel it’s appropriate.”

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 That’s the gist of the “what” and “how” method. You can write it into a script,
almost any script, because it’s a generic, life challenge-solving formula. Notice
the last step suggests the client find ways to “improve” the situation for him or
her (as compared to perceiving the situation controls the client.)

41. Talk to the helpless/hopeless part of the mind and help it stop feeling that
way. The mind and body connection works because of interconnected
intelligences. All the body’s cells have little brains within them, constantly
communicating with one another. When a client feels trapped, hopeless,
helpless or some other unproductive feeling, do a Gestalt dialog with the
trapped feeling. Treat it as if it were a lost child in a department store looking to
feel safe with his or her found parent.

Get in rapport with and help it “challenge-solve” its way out of hopelessness.
You can use Parts therapy, the “what” and “how” method, Gestalt, or simply set
up a teleconference call between all the body’s cells. Conduct an “information
exchange convention” within the body to clear up the misunderstandings
causing the helpless feelings.

42. Remember to encourage and praise a client along the way. Telling and
describing how to solve a life challenge is great. However, encouragement and
praise effectively complement instruction within the script. Remember to add
generous pepperings of encouragement and praise within your scripting to help
perpetuate an empowerment cycle.

43. Watch out for unproductive creative scripting. Dr. Arthur Winkler at St.
John’s University teaches about unproductive creative scripting. If a client

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 chooses to express feelings suggest they verbalize exactly what they mean. For
example, say you’re working with a male client who does not like public
speaking. Public speaking for him seems especially troubling because he almost
always experiences a stiff neck when he does it. As you interview him you hear
him say several times that for him, “public speaking is a pain in the neck.”

Help your client become consciously aware of what he may be suggesting to

himself. Suggest that he describes what he actually means, in generic terms, to
eliminate suggesting undesirable behaviors. He can simply say, “I don’t like
public speaking.” as compared to metaphorically saying, “Speaking in public is
a pain in the neck.” Once he becomes consciously aware that he’s been
suggesting physical ailments to himself, then you can work on the performance
anxiety aspect of the situation.

44. Almost any “n’t” contraction word dooms a client to unproductive

behaviors. When we say, “I won’t be afraid, I don’t fear, I can’t be afraid,”
etc., those “n’t” contractions become our reality. That’s why we avoid using
those self-defeating words in a script unless that’s what we really mean to be
using in a suggestion.

When we say, “I won’t act afraid,” we are admitting that we already DO feel
afraid of something. Focus on what we actually choose the client to achieve by
stating it simply and straightforward.

Example: “You CAN express your feelings confidently, calmly,

freely.”

(As compared to: “You can’t ignore the idea that you feel
uptight expressing your true opinions.”)

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45. Using the word “positive” could be an unproductive suggestion. I think Dr.
Arthur Winkler makes a good point with this idea. For example, a needle-
nervous client could interpret the suggestion “You’ll enjoy a positive
experience during your next blood test.” as meaning the blood test results will
come out positive. For an HIV test, this is not welcome news. The well-
intended word “positive” could be more clearly substituted with other
suggestions. Perhaps something more explicit such as, “The next time you
participate in a blood test, you’ll feel calm and relaxed during the procedure.”
It’s important to write precise, clear suggestions as we script. Adding the
suggestion “easy, pleasant, enjoyable” helps clearly define an idea.

46. Remember that each script we create, no matter how closely we’ve
scrutinized it, probably contains “errors.” We can’t possibly satisfy
everybody’s requirements and desires in one script because perceptions on
anything vary. As appropriate, make a general suggestion and then clarify the
suggestion with specifics.

In scripts, avoid using vague terms such as “good or bad,” “right or wrong,”
“whole or hole.” “Whole or hole?” Yes, words can sound vague and meanings
misunderstood. Again, Dr. Winkler points this out to us. You may intend for a
client to have a “whole new body.” But they may interpret the word “whole” as
“hole” and cause some body part to manifest “holes.”

Instead of using the word “whole” the word “entire” more closely defines the
sentence’s meaning. So remember that errors will inadvertently slip into our
scripts. The errors are a matter of perception AND a matter of not watching for
vague definitions and/or sounding words. Scrutinize and be alert to the
meanings and sounds of script word and phrase choices.

85
47. Check and recheck a script looking for vaguely or incompletely finished
suggestions. In other words, check your work. After completing your first
script-writing session, read and re-read the written material. Check scripts by
reciting them aloud into a tape recorder. When I do this errors seem to “scream
out” at me. Reading a script to another person helps, too. “Other reading” to a
consulting hypnotist colleague especially helps. If you don’t have one handy,
send me the script or call me. I’ll offer whatever suggestions I can. Or, contact
the local NGH chapter.

48. Incorporate some idea that “the tape’s suggestions leave a lasting and
permanent impression on your subconscious mind.” Gil Boyne taught this
technique in his classes. I’ve found that putting a suggestion similar to this
(usually somewhere in the trance termination) feels most comfortable to me.
I’ve modified this suggestion of Gil’s by adding to the end of his suggestion
something like “as long as it is beneficial for you to do so.” As we know,
requirements, desires and information changes. We desire for clients to behave
in physically safe ways to themselves and others.

Finding ways to “build-in” ideas making scripts timeless, instead of timely

increases a script’s value, too. Using timeless language automatically generates
a timelessness script. Faddish language (cool, groovy, rad) makes a script
timely. Timely scripts lose their value because eventually somebody won’t
remember what “rad” meant. Thus, in my opinion, adding the “beneficial” idea
to Gil’s original suggestion makes it timeless.

49. Appropriately suggest when a client controls a situation or when you

choose the client to perceive a situation/event/environment as “controlling”
(constructively affecting) the client. Remember, for the most part script

86
 suggestions offer ideas for changing perceptions of an event, situation or
environment. We desire for the client to understand that he or she perceives
things according to CHOICE. Be aware of the way an idea is worded when a
suggestion states that the client ACTS a certain way in a certain situation:

Client “You feel relaxed in the warm bath water.”

choosing
and
ACTING:
Or when a constructive idea suggests the client is ACTED UPON:

Client “The bath water relaxes you.”

ACTED
UPON:
Either way can evoke constructive or destructive change depending on the way
it’s used. Be mindful to carefully word suggestions so that they empower
instead of generate unhealthy co-dependency.

50. For your convenience consider creating a list of words not generally open
to misinterpretation. This may seem like a monumental task at first, but it
doesn’t have to be. You can have a notebook and simply jot down words as you
use them that provide a clear meaning. Here are some I’ve found:

Instead of “whole” use “entire”

Instead of “train” use “educate”

When using “present” add a qualifying word with it; “present time”,
“present moment”, “present life challenge”, etc., to avoid suggesting the
client lives or will live in or with a “gift”

To avoid suggesting the eating implement “fork” use “crossroads” or “two

paths” instead of “forks in the road”

87
 If meaning a sore throat use “sore, painful, rough feeling throat.” Avoid
using “frog in the throat” or “hoarse (horse) throat.”

“Coat of arms” could suggest a visualization generating a coat consisting of

human arms. Avoid using the term coat of arms. Use “family history” if
necessary.

Avoid using the word “need.” Instead use require or requirement,

obligation, choose, necessity, desire, shortage, lack.

Here’s some words generally not open to misinterpretation:

alert calm complete conscious mind

entire frustrated permanent relaxed

separate simple subconscious mind

Sound alikes (homonyms):

plain, plane reigned, rained trane, train boar, bore knead, need

whole, hole dear, deer bear, bare hoarse, horse

fair, fare mail, male prince, prints sore, soar

51. Write scripts using personal experiences and research. Using personal
experience helps you identify with your client’s struggles. You never know
what will develop out of a personal experience.

The tape program RELAXED PUBLIC SPEAKING was created to satisfy a

friend’s requirement. I discovered that public speaking is the number one fear
among people. Building on that knowledge, I developed a short (approximately
three-hour) workshop to complement the tape. I’ve taught the workshop in
community education classes, junior college continuing education classes and at
an International Toastmaster’s convention. Hypnosis truly has unlimited
applications. If you’re looking for places to generate business, look to personal
experiences. Apply those experiences hypnotically and see what emerges.
88
52. More on generating business... Appeal to the masses. Follow current trends.
Look for unanswered problems the masses desire to be solved.

53. For marketing purposes promote a hypnotic solution instead of trying to

sell your hypnosis products and services. When promoting hypnosis to a
profitable market, promote a solution instead of selling. No one likes to feel like
they are being sold. So, promote your solution to a currently unsolved problem.
That’s the way to make sales.

89
CLOSING NOTES

Well, this scriptwriting book comes to a close, but perhaps your script-writing
requirements still need help. A book can give lots of direction but talking over
your questions with another scriptwriter can be helpful. Please call with
question on my 24-hour voicemail (740) 531-0400. I’ll call or email you back.
Please visit my website at www.yoursecretwishes.com.

Thanks for letting me share this information with you. Keep learning and
writing.

Best regards,

Susan Fox

90
Appendix
 SAMPLE DISCLAIMER STATEMENT

“This program intends to offer attitudes, ideas and information that may be helpful
in conquering, eliminating and/or managing (the specific topic.) It is offered as
information only and not intended as professional medical, psychological, or
psychiatric advice. Should you require professional medical, psychological, or
psychiatric advice it must be obtained elsewhere than from this program.

“This recording is meant to be played in a quiet place. Never listen to this program
while driving a car or operating machines of any kind. Should any emergency
happen while you are listening to this program, you will instantly awaken and
become aware of the world around you. You confidently give attention to any
emergency events or any other event you believe calls for your attention.”

(Majority of disclaimer statement taught to me by Gil Boyne.)

 SAMPLE INDUCTION NUMBER ONE
(Mostly Sensory-Description)

“Imagine smelling your very favorite aroma. As you imagine this very favorite
aroma, see yourself feeling more and more relaxed. Immerse your body in this very
pleasant and favorite aroma. Sense yourself feeling more and more confident about
resolving (today’s challenge) as you focus on your favorite aroma.

“Now, as you absorb yourself in your very pleasant aroma, you may notice that
there’s a particular taste you associate with this aroma. Anytime you imagine this
very pleasant aroma and taste, your ability to make any situation harmlessly and
confidently work for you increases by 100 times. That’s right. Simply recall your
very pleasant aroma and taste and instantly your ability to easily, pleasantly and
confidently solve life challenges improves by 100 times.

“As you continue immersing yourself in your very pleasant aroma and taste, you
may notice a very pleasant sound associated with your very pleasant aroma and
taste. Whenever you hear your very pleasant sound, again, your ability to make any
situation harmlessly and confidently work for you increases by 100 times. You feel
relaxed, confident and calm whenever you remember your very pleasant aroma,
taste or sound. You remember that you are an effective life challenge-solver.

“You naturally act in successful ways every time you focus on your very pleasant
aroma, taste or sound. It’s easy for you to absorb yourself in your favorite senses.
You successfully improve life challenges. Lately, you’ve been feeling challenged
about (client’s particular challenge.) You’ve felt challenged because you didn’t
understand everything causing the challenge or how to eliminate the causes. Focus
now on your successful life challenge-solving abilities and learn now how to
conquer this life challenge today.”
 SAMPLE INDUCTION NUMBER TWO
(From a Self-Confidence Script)

The symbol for this program is “GOOD FEELINGS.” Whenever you go into
trance and say to yourself the program symbol “GOOD FEELINGS” you more
easily and quickly remember every program suggestion your subconscious deems
beneficial for you. You are thinking the program symbol “GOOD FEELINGS” and
remembering every beneficial idea in this program whenever you choose to
confidently improve a life challenge.

Now find an imaginary spot on the ceiling and stare at that spot without moving a
muscle. Take a deep breath, fill up your lungs, exhale slowly, relax. Take a second
and even deeper breath. Take in all the air your lungs can hold. Exhale slowly,
relax. Take a third deep breath. As you exhale this time, feel a deep wave of
relaxation flow through your body. Relax. Close your eyelids down. Leave them
closed down until I tell you it’s time to open them again.

You feel relaxed, imagining in your mind a staircase. This staircase leads down to
a very special place. This place is a place you love to visit. It’s your special place
and you love visiting here because it’s like a long dreamed about vacation. It’s a
vacation to a place that is for relaxation and calm. It is a place in your mind that no
one else can visit because it is just for you. As you walk down each step you feel
more and more relaxed. You are walking down to step number one now.

You feel yourself relax as you step down. As you walk down each of the five steps
in the staircase you go deeper and deeper into drowsy relaxation. You feel relaxed
and are walking down to step number two. As you walk down step number two
you feel more relaxed than you did on the previous step.
On step number three you feel carefree and relaxed, more so than you did on step
number two. As you reach step number four you feel so very relaxed and calm.
You’re going deeper and deeper into relaxation. On step number five you are so
deeply relaxed and happy. You feel happy because you have reached your very
special place. You are in that place now.

You feel so calm, safe and relaxed here. You feel so relaxed it’s as if you are
floating upon a big, soft velvety cloud. On this velvety cloud, you are seated in a
big, plush velvety recliner. See your colored recliner on the soft, white cloud?
What color is it? (PAUSE. You may decide to ask client for verbal response. You
decide what’s appropriate.)

It is a very attractive, comfortable chair. It is the softest, most comfortable recliner

you have ever been in. It is contoured to your very body shape and no one else’s. It
has been designed and built especially for your body and so it is extremely
comfortable for you.

You enjoy sitting here because you choose to feel so very relaxed in this special
chair. You feel this velvety calm against your skin and it feels so good, so plush, so
relaxing. You are in the arms of love.

You feel so peaceful here. It is a wonderful feeling. This velvety feeling provides
you with a calmness you’ve never before experienced. It’s all you’ve ever dreamed
of before about happiness, confidence, comfort. See yourself now on this velvety
cloud of relaxation and love. Each time you visit your very special place the easier
it is for you to return. Each sound around you takes you deeper, and deeper into
relaxation.
The sounds around you are fading away and your special place is more important
to you. You focus easily on your special place and on my voice. You easily accept
all the suggestions on this program because you know they are offered for your
benefit. With each easy beat of your heart and with each easy breath that you take
you go deeper and deeper into drowsy relaxation.

In this special place of yours you feel the feeling of love and comfort. You enjoy
being here with great delight. You feel so glad to return here. You return easily and
happily and choose to visit this comfortable place daily. You enjoy yourself here.
You think about many things while you are in your very special place.

Right now you’re thinking about (go into your suggestive body here).

(Induction taught to me by Gil Boyne.)

 SAMPLE TRANCE TERMINATION

(Only use the first sentence if you’ve decided to use a program symbol.)

“Now it is time for you to go about the learning and remembering of your program.
The symbol for this program is (symbol name.)

“Now I am going to count from one to five. On the number five you will feel fully
alert and aware. Your eyes will open and you’ll feel confident and secure about
doing any task including driving home after your session.

“Number one. Calmly, gently, confidently, you are returning to your full awareness
and alertness. You’re beginning to be aware of the world around you once again.

“Number two. Your entire body from the top of your head to the tip of your toes
feels calm, relaxed, free of stress.

“Number three. You feel complete, perfect in every way. Your entire body is
working at its healthiest level ever.

“Number four. Your face feels refreshed almost as if you’d just splashed some cool
water on it.

“On the next number you feel fully awake and aware of the world around you.
Number five, eyes open, fully aware of the world around you, take a deep, relaxed
breath and stretch. You feel confident that traveling home will be easy and
delightful for you to do.”

(Trance termination taught to me by Gil Boyne.)

 SAMPLE COPYRIGHT NOTICE

“Copyright 1995 by Susan Fox Trust. All rights reserved.

No portion of the material in this manuscript may be
reproduced in any way, shape or form without the written
permission of the author.”

NOTE: This copyright notice is not intended as legal advice. It is

recommended that you consult an attorney to clarify whether this notice
is legally binding or not.
 REFERENCES

The Creative Brain by Ned Herrmann, (The Ned Herrmann Group: Brain Books,)
2075 Buffalo Creek Rd., Lake Lure, NC 28746, (704) 625-9153

The Psychology of Achievement by Brian Tracy (cassette series available from

Nightingale-Conant Corporation, The Human Resources Company, 7300 North
Lehigh Avenue, Chicago, IL 60648, (312) 647-0300 or (800) 323-5552

Where There’s A Will, There’s An A by Claude Olney, Chesterbrook

Educational Publishers, Inc., Paoli Corporate Center, 16 Industrial Blvd., Paoli, PA
19301, (800) 932-2323

The Best Of CareerTrack by CareerTrack Publications, audio cassette program

available through CareerTrack Publications, 3085 Center Green Drive, PO Box
18778, Boulder, CO 80308-1778

Dealing With People You Can’t Stand by Dr. Rick Kirschner and Dr. Rick
Brinkman
 ABOUT THE AUTHOR

An internationally known, accomplished and highly respected brain dialog

researcher, hypnotic consultant, trainer and writer, in 1988 Susan certified in
consulting hypnotist at the Hypnotism Training Institute of Los Angeles, CA. She
earned an associates degree in consulting hypnotist from St. John’s University.

Susan specializes in sharing self-empowerment information. Columnist for the

world’s largest professional hypnosis organization, The National Guild of
Hypnotists, Susan shares self-empowerment techniques with her readers. She is a
Jin Shin Jyutsu Practitioner, a Reiki Master Teacher and an energy field intuitive.
Her program, Hypnotic Brain Dialog creates internal harmony to enhance or
greatly improve your personal, business and leisure life.

Susan received the 1998 International Hypnosis Hall of Fame’s Woman of the
Year Award. She was nominated to receive the 1998 Sealah Award and induction
into the International Hypnosis Hall of Fame. She was nominated in 2004 to be
included in the American Biographical Institute’s Great Women of the 21st
Century. She is a 2005 nominee for the United Cultural Convention of The United
States of America’s International Peace Prize.

Contact Susan for public appearances, consultation, training classes or to purchase

her products at:

Susan Fox
PO Box 421
Avon, Ohio 44011
(740) 531-0400

e-mail: hypnoticbraintalk@gmail.com
website: www.yoursecretwishes.com