HYPNOSATSANG:

POWER MOVES -
UTILITY TOOLS FOR
CHANGE
 THE DIAGNOSTIC TRANCE PROCESS
INSPIRED BY HAVEN’S

• Sit comfortably.

• OK.

• With your eyes closed, concentrate on the problem, on any unpleasant sensations and
feelings that you associate with this. Just let them come up, say yes to them.

• As you wait patiently, observing those feelings and sensations, just report now any
thoughts and images that come to mind. They may be obviously related, they may be
obscure, allow the feelings to come up, then report any images that come to mind.

• Now I would like you to allow your creative mind to come up with a thought or an image
that removes or displaces the unpleasant feelings. Let your creative capacity do this. Pay
attention to that. When you have done that, nod your head. Notice how you did that, rather
than turning away from it, you allowed it to come up and say what it wanted to say. You can
even leave that until it starts to subside. You can let go of that, knowing it is done.

• Practice this skill until it becomes habitual.

 THE VISUAL SWISH
NOT THIS, THAT!

• An early NLP technique.

• ‘From a first person perspective, find a trigger image, something you see, just before the
unwanted behaviour begins.’ For example, for nail biting, an image of hand in front of the
face.

• From a third person perspective, see an outcome image where you are free of the problem.
Something attractive to you.

• Reduce the size of that outcome image, very small and place it in the corner of that trigger
image.

• Now bring up that trigger image, with that outcome spring loaded down there in the
corner and when I make this sound ‘swish’, allow that outcome image to expand and fill
your field of view, and then open your eyes.

• Good now close your eyes clear your mind. Now bring up that outcome image again. Swish.

• Repeat until they cannot do it anymore

 THE SUBJECTIVE UNITS OF DISTRESS SCALE
IT’S FL AW AND POTENTIAL

• The SUDS scale is a way of measuring the subjective intensity of disturbance or

distress currently experienced by an individual. The individual self assesses where
they are on a scale between 0-10. Use your language and their imagined
perspective to make it very bad at the beginning and impossible to feel at the
end. Use direct suggestion at the emotional spike at the beginning and the
confusing moment at the end.

• OK. Close your eyes. Imagine you are in that situation (add gory details). On a
scale of 0 to 10, 0 meaning nothing and 10 meaning very bad, how bad is that?

• Excellent, when we have done this work, you will no longer be able to feel that.

• Close your eyes and think about that again? Where has that feeling gone now?
Try and feel it and find you cannot. On a scale of 0 to 10 where has that feeling
gone. Really, try and feel it and find you cannot. Excellent, this will never bother
you again.
 THE THREE-STEP REFRAME
ROSSI S T YLE BRIEF THERAPY

• Put your hands out like this for me. With your eyes closed, if you unconscious mind is
willing to look at this, you will feel those hands being drawn together and when they
touch, they will just hang out there for a moment.

• Now I would like your unconscious mind to use this opportunity now to go over all of
the things that support that problem, the memories, the associations, the blocks, the
feelings, and to do that at some level of consciousness in the time it takes for that
left hand to drift down to your lap.

• Now I would like to ask your creative unconscious mind to identify all of the changes
it can make, that will give you freedom from that problem, the things it can let go of,
the new ideas it can take on board, the lines of communication it can connect, the
resources it can tap into, and to do that in the time it takes for that right hand to drift
down to your lap.

• Now if your unconscious is willing to take those changes and consciously you accept
those changes, then that head will nod, so that I understand.
 BASIC REGRESSION TO AN EVENT
A SIMPLIFIED TIMELINE

• Think about something you would like to feel differently about.

• Close your eyes. Allow that feeling to come up. We are going to use this feeling almost like a line to orientate your
attention.

• In your mind picture a line that represents your entire life, a line that represents your past, present and future. However
you imagine it is fine.

• Drift up above that imaginary line until you can see it all down below you, stay above it unless I say otherwise. Notice how
good it feels to be above all that.

• Now turn toward your past and go back to the very first memory, experience or event, that relates to that feeling. When
you see that, and your head so I understand.

• From up there you can understand that you can keep any useful learnings in the place you have for such things.

• Be brave about this now, drop down b side that younger you. Thanks them for going through that for you. Let them know
they survived it. And tell them exactly what they need to hear. Give them the benefit of your experience, give them the
comfort and the confidence they need to know, everything will be OK. Stay with them until everything is calmed down.

• Then give them a hug and say goodbye to them. Then drift up above that point in time. Drift along that line only as quickly
as your unconscious can make the necessary changes to every subsequent event, in the light of those changes.

• Then drop down onto that line at now, facing your future.
 THE REWIND
FAR MORE THAN A PHOBIA CURE

• You are sitting in a cinema seat, in an empty cinema, looking up at a blank cinema screen.

• Drift out of your body, leaving it behind, up into the projection booth at the back of the cinema. Stay in there unless I say otherwise.

• Flick the projector on and a still image of you standing outside a set of double doors will appear on the screen. Imagine this is the
first frame of a film.

• Stay in the projection booth, remember this is just a film. Press play and watch yourself walk through those doors into a room, there
are spiders in that room. Watch yourself walk through that room, through a door on the other side, closing it behind you, safe and
sound. Pause the film at that point.

• Now, I’ll make this sound zzzzzzzzzip and I want you to rewind that entire movie, very fast, as if you have hit rewind search.
zzzzzzzzzip

• Now in a moment I would like you to run it again, only this time it is a cartoon room with cartoon spiders. The sillier the better. Stay
in the projection booth and run that cartoon. Watch yourself walking into the cartoon room, see the cartoon spiders, see their silly
faces, some are wearing little rubber boots. Watch as you leave the room by the other door. Close it. Safe and sound. Now rewind
zzzzzip.

• Now get some music playing in your mind that we can use as a soundtrack for the film. Hear it as you run that cartoon again, gear
the music as you watch yourself walk past those cartoon spiders, wave goodbye, leave the room safe and sound.

• Now drift down from the projection booth into your cinema seat. Walk up to the screen. Thank that other you for doing that. Then
reach out and pul them from the screen into your body with these new learnings and understandings.

• This will never bother you again. The harder you try to remember what it was like to be anxious about spiders, the more distant
those concerns will become.
 PARTS WORK
SIX S TEPS TO A NEW BEHAVIOUR

• If your unconscious mind is willing to look at this I’d like it to communicate in some way so that I
understand. It may be a finger that twitches. That’s right.

• I want your unconscious to hand that signal to the part that runs that habit. When that part has taken full
control I would like that signal to occur.

• Now if it is willing to do so, I would like that part to let you know, what the positive intention of that habit
has been.

• Now I would like to ask that part to use the creative resources and search for otherwise to satisfy that
positive intention other than the way it has been doing that. New choices that are at least if not more
immediate, available and lasting. Each time it finds one I would like that signal to occur.

• Now I would like that part to look at the new choices and pick the one it believes to be the best. When it
has done that I would like that signal to occur.

• Now I would like to ask that part to take that new choice and do this for you, apply it in every future event.
When it has taken that choice that signal will occur.

• Now I would like to thank the part that ran that habit for communicating. I would like every other part to go
ahead and make any adjustments to accommodate that new choice, seamlessly and automatically into your
life.
 THE TRANCE KILLER SUGGESTION
IT’S JUS T IMAGINATION

• You know you have told me some things about that problem and it is a
privilege that you shared that with me.

• The fact is, when we look back it is obvious. Something happened. You
imagined something and you experienced this feeling in response to
that. That response became automatic and has been running ever since.

• Now you remember, it is just your imagination, you can stop imagining
that any time can’t you?

• You can imagine something else entirely right?

• That’s right, from today it will be easy, the harder you try to remember
what it was like to feel that old response the more distant it will become
as you remember it was just your imagination.
 HYPNOSATSANG:

SELF HYPNOSIS -
BEGIN
“THERE IS NO SUC H THING AS SELF -HYPNOSIS.
HYPNOSIS REQUIRES A HYPNOTIST.”

“ALL HYPNOSIS IS SELF -HYPNOSIS. THE

HYPNOTIST IS JUST A GUIDE.”
 FOUR WAYS TO DO SELF-HYPNOSIS

• Get hypnotised and be given a trigger to get back into it.

• Create your own script and have someone read it to you.

• Create your own script, record it and play it back.

• Learn the processes and journey through them. Rather than

listening to a script, just set-off the process imaginatively.
 “
A VIVID IMAGINATION COMPELS THE BODY TO
OBEY IT, FOR IT IS A NATURAL PRINCIPLE OF
MOVEMENT. IMAGINATION , INDEED, GOVERNS
ALL THE FORCES OF SENSIBILIT Y, WHILE THE
L ATTER, IN ITS TURN , CONTROLS THE BEATING
OF THE HEART, AND THROUGH IT SETS IN
MOTION ALL VITAL FUNCTIONS; THUS THE
ENTIRE ORGANISM MAY BE RAPIDLY MODIFIED.
NEVERTHELESS, HOWEVER VIVID THE
IMAGINATION , IT CANNOT C HANGE THE FORM
OF A HAND OR FOOT OR OTHER MEMBER.
— Aristotle

”
 “
IT IS COMMONLY SAID THAT SEEING IS BELIEVING, BUT FEELING IS THE VERY TRUTH. I SHALL, THEREFORE,
GIVE THE RESULT OF MY EXPERIENCE OF HYPNOTISM IN MY OWN PERSON.IN THE MIDDLE OF SEPTEMBER,
1844, I SUFFERED FROM A MOST SEVERE ATTAC K OF RHEUMATISM, IMPLICATING THE LEFT SIDE OF THE
NEC K AND C HEST, AND THE LEFT ARM. AT FIRST THE PAIN WAS MODERATELY SEVERE, AND I TOOK SOME
MEDICINE TO REMOVE IT; BUT, INSTEAD OF THIS, IT BECAME MORE AND MORE VIOLENT, AND HAD
TORMENTED ME FOR THREE DAYS, AND WAS SO EXCRUCIATING, THAT IT ENTIRELY DEPRIVED ME OF SLEEP
FOR THREE NIGHTS SUCCESSIVELY, AND ON THE L AST OF THE THREE NIGHTS I COULD NOT REMAIN IN ANY
ONE POSTURE FOR FIVE MINUTES, FROM THE SEVERIT Y OF THE PAIN. ON THE FORENOON OF THE NEXT
DAY, WHILST VISITING MY PATIENTS, EVERY JOLT OF THE CARRIAGE I COULD ONLY COMPARE TO SEVERAL
SHARP INSTRUMENTS BEING THRUST THROUGH MY SHOULDER, NEC K, AND C HEST. A FULL INSPIRATION
WAS ATTENDED WITH STABBING PAIN , SUC H AS IS EXPERIENCED IN PLEURISY. WHEN I RETURNED HOME
FOR DINNER I COULD NEITHER TURN MY HEAD, LIFT MY ARM, NOR DRAW A BREATH, WITHOUT SUFFERING
EXTREME PAIN. IN THIS CONDITION I RESOLVED TO TRY THE EFFECTS OF HYPNOTISM. I REQUESTED T WO
FRIENDS, WHO WERE PRESENT, AND WHO BOTH UNDERSTOOD THE SYSTEM, TO WATC H THE EFFECTS, AND
AROUSE ME WHEN I HAD PASSED SUFFICIENTLY INTO THE CONDITION; AND, WITH THEIR ASSURANCE THAT
THEY WOULD GIVE STRICT ATTENTION TO THEIR C HARGE, I SAT DOWN AND HYPNOTISED MYSELF,
EXTENDING THE EXTREMITIES. AT THE EXPIRATION OF NINE MINUTES THEY AROUSED ME, AND, TO MY
AGREEABLE SURPRISE, I WAS QUITE FREE FROM PAIN , BEING ABLE TO MOVE IN ANY WAY WITH PERFECT
EASE. I SAY AGREEABLY SURPRISED, ON THIS ACCOUNT; I HAD SEEN LIKE RESULTS WITH MANY PATIENTS;
BUT IT IS ONE THING TO HEAR OF PAIN , AND ANOTHER TO FEEL IT. MY SUFFERING WAS SO EXQUISITE THAT
I COULD NOT IMAGINE ANYONE ELSE EVER SUFFERED SO INTENSELY AS MYSELF ON THAT OCCASION; AND,
THEREFORE, I MERELY EXPECTED A MITIGATION , SO THAT I WAS TRULY AGREEABLY SURPRISED TO FIND
MYSELF QUITE FREE FROM PAIN. I CONTINUED QUITE EASY ALL THE AFTERNOON , SLEPT COMFORTABLY ALL
NIGHT, AND THE FOLLOWING MORNING FELT A LITTLE STIFFNESS, BUT NO PAIN. A WEEK THEREAFTER I HAD
A SLIGHT RETURN , WHIC H I REMOVED BY HYPNOTISING MYSELF ONCE MORE; AND I HAVE REMAINED QUITE
FREE FROM RHEUMATISM EVER SINCE, NOW NEARLY SIX YEARS.

— Dr. James Braid

”
 “
DAY BY DAY, IN EVERY WAY, I AM GETTING BETTER
AND BETTER.


WHEN THE IMAGINATION AND WILL POWER ARE IN
CONFLICT, ARE ANTAGONISTIC, IT IS ALWAYS THE
IMAGINATION WHIC H WINS, WITHOUT ANY
EXCEPTION.

WE CAN MAKE, TO OURSELVES, VERY MUC H

STRONGER SUGGESTIONS THAN ANYONE ELSE
CAN , WHOEVER THAT PERSON MAY BE.

A SUGGESTER IS NOT NEEDED.

— Emile Coue

”
 “
HYPNOTIC BEHAVIOUR IS MEANINGFUL, GOAL -
DIRECTED STRIVING, ITS MOST GENERAL GOAL
BEING TO BEHAVE LIKE A HYPNOTISED PERSON AS
THIS IS CONTINUOUSLY DEFINED BY THE OPERATOR
AND UNDERSTOOD BY THE CLIENT. 
— Robert White

”
A COGNITIVE-BEHAVIOURAL APPROACH TO SELF-HYPNOSIS 
ENGAGE BY ATTENDING TO THE FOLLOWING FACTORS 

• Enactment of the role of a hypnotised person.

• Adopt positive attitudes and beliefs about hypnosis, fantasy

involvements and motivated engagement with imaginative
suggestions.

• Adopt cognitive strategies, goal-directed activities and a flexible

interpretation of suggestions.

• Consider your expectancies, response sets and automatic

responses in everyday actions.
 TEACHING YOUR HYPNOTEE SELF-HYPNOSIS
HYPNOTISE THEM AND USE POS T HYPNOTIC SUGGES TION

• When hypnotised give this suggestion a few times, “From today whenever you wish to get back into
hypnosis and use hypnosis for yourself, all you need to do is repeat the word “Relax” four times in your
mind and the fourth time you will immediately return into hypnosis any time it is safe and appropriate to do
so.

• After the session practice. “OK, what I would like you to do is to sit comfortably, look at the top left corner
of the picture frame, breath in for a count of seven and out for a count of eleven a few times. The next time
you exhale, repeat the word “relax” four time in your mind, and the fourth time, allow the eyes to close,
only as quickly as you are ready to go into hypnosis

• With the eyes closed you can use that inner voice of yours, you can use your imagination to direct your
unconscious resources. Use it now and tel it to lift your left hand up off your leg, tell it to do that.

• Excellent. Now you will remember how to do this, you will use positive suggestions and put on a time on it,
telling your mind what it will do and when, how you will feel and when.

• You cannot get stuck in hypnosis. If you needed to return to full alertness suddenly then you would just
come back to full alertness and respond appropriately. Or you could simply choose to return to full alertness
by counting from one to five in your mind and on five your eyes will open. Try that now.”

• Repeat the exercise, encouraging them to gain control, learn how to use ideomotor communication and
apply other techniques.
 THE BETTY ERICKSON METHOD
A JOURNEY FROM EXTERNAL TO INTERNAL
• I am going to teach you something you can use after you leave here.

• A good thing to do before you begin is to set your intention. To state to yourself why you are doing this,
something like ‘I am going to take myself into self-hypnosis so I can experience deep relaxation and recuperation’.

• Turn your attention to three things that you can see outside of yourself. In your mind state ‘I can see…’ and name
them. Then turn your attention to three things you can hear and internally state what they are. Turn your attention
to three things you can feel and do the same thing.

• Close your eyes and turn your attention to one thing in your inner experience that you can see or imagine seeing.
Then one that you can hear or imagine hearing. Then one you can feel or imagine feeling.

• Open your eyes and not two things that you can see in the external world. Then two things you can hear. Then
two things you can feel.

• Close your eyes and become aware of two things you can see in your inner imagination, two things you can hear
or imagine hearing and two things you can feel or imagine feeling.

• Finally open your eyes and notice just one thing in the external environment. Then one thing you hear and one
that you feel.

• Now close your eyes and identify three things you can imagine seeing, hearing and feeling.

• Then deepen, suggest and journey.

 ADAM EASON’S BASIC PROTOCOL
A TO E
• Access hypnosis - Use a ritual, a process that gives you the
impression something is happening, that the door is open, that
connection has been made.

• Be in control - Know that you are, take the driving seat, engage
with your process.

• Continually deepen - keep folding anything that is occurring back

into the process, take any sign as a positive sign, use your inner
dialogue.

• Do the work - Run therapeutic techniques.

• Exit - Always end clean; have a protocol to bring things to an end.

 DR. CHEEK PROTOCOL
THE PENCIL -DROP METHOD
• Hold a pencil in one hand and prop that hand and forearm up on your elbow at a forty-five
degree angle. Hold the pencil in such a way that it will easily drop when your fingers pull apart.

• Your fingers will pull apart and drop the instrument when you are able to recall how numb and
pin-and-needles like your other arm would feel if you had been lying on it for a couple of hours.

• Now as that happens bring up the image of a lighted candle of your preferred colour and
fragrance, sitting on a table about six feet in front of you. If you have trouble seeing, just what
for the image to come to you. Everyone knows what a candle looks and behaves like and is able
to visualise that, moving, flickering.

• While you are watching that candle flame, gradually relax the muscles of your forehead, neck and
shoulders. These are the muscles we tense when anxious or uncomfortable so, take some time to
relax them now, and feel yourself relaxing with each breath that you exhale. Now as you continue
imagine you are counting down from 20 to 0 and with each number, just think to yourself relax.

• If your fingers are still holding the instrument, let it drop now and on some level, you will get the
message from your other arm, that they can feel pins-and-needles. When your inner mind knows
that you are feeling twice as relaxed as you were before, or that your arm is twice as relaxed,
your index finger that was holding the pencil will lift up or move to let you know
 ZARREN’S PROTOCOL
THE MARBLE METHOD
• Hold the marble between your thumb and fingers and feel it by rolling it around. Look at your marble and notice its
colours and pattern. Notice the way the light changes the colours embedded in the marble. Notice any
imperfections, let it remind you beauty doesn’t have to be perfect.

• As you continue to look and roll it around in your hand, notice how much more relaxed you feel. Notice how, as you
continue to stare at it, your eyelids are lining more frequently than usual. When they are ready or the marble goes
out of focus allow your eyes to close and close your hand around the marble so it does not fall out of your hand.

• Pay attention to how it feels, the temperature, the surface. See in your minds eye the changing swirls of colour.
Continue to concentrate on it and permit yourself to go deeper into concentration and relaxation.



If your mind wanders, the moment you realise you are thinking of something else, just bring your mind back to
concentrating on the marble. After a while blink your eyes and open them wide.



You control the marble. You are in charge of it and the marble helps you to experience deep relaxation without
pressure or tension or stress. It helps you to feel comfortable. Just holding it can help you to feel very comfortable.
The next time you close your eyes and pay attention to it, your concentration and relaxation will be even deeper.
When relaxed, you cannot be anxious or angry, you can let go of any discomfort. Relaxation is the first goal in
changing how you think, feel and respond. You are building a memory of deep relaxation you can use yourself to
relax on your own.

• Use the marble a few times each day and as you enjoy the freedom and comfort it brings, and when your deepest
mind knows it can maintain that, turn your hand face-up and open it. Blink your eyes, one them wide and come back
fully alert.