312412188-SHM-Special-NLP-Manual-pdf.pdf

Street

Hypnosis

(TM)

s r e t s a M s i s o n p y H f O n o i t a r e n e G t x e N e h T r o F

SHM

Discover How To Really Use NLP In Hypnosis For Amazing Results Results

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Table Of Contents

TABLE OF CONTENTS

2

FOREWORD BY STEPHEN BROOKS

9

INTRODUCTION

10

YOUR GUIDE, CURIOUS?

11

NLP AND THE MIND

12

THE UNCONSCIOUS MIND COMMUNICATION – B IRDWHISTELL STUDY THE UNIVERSAL MODELLING PROCESS PREMATURE COGNITIVE COMMITMENT WHAT IS NLP? PROCESSES – V- CONTENT LEARNING STRATEGIES NLP MODELLING MECHANICS, ENGINEERS AND MAGICIANS

12 13 14 16 17 18 19 21 23

RAPPORT

27

TRUST & COMFORT MATCHING & MIRRORING APPORT UNCONSCIOUS R APPORT MATCHING EXPERIENCES MATCHING LANGUAGE VOCABULARY SLANG EPRESENTATIONAL SYSTEMS – P REDICATES R EPRESENTATIONAL

27 28 30 32 33 33 33 34







































BREAKING R APPORT APPORT

35

CALIBRATION

36

PRIMARY EXPERIENCE BMIR S CALIBRATION EXERCISES CALIBRATION EXERCISE 1: LIKE/D ISLIKE VISUAL CALIBRATION EXERCISE 2: LIKE/D ISLIKE AUDITORY CALIBRATION EXERCISE 3: LIKE/D ISLIKE K INAESTHETIC INAESTHETIC CALIBRATION EXERCISE VARIATION 1: T RUTH/L IE CALIBRATION EXERCISE VARIATION 2: Y ES/NO EADING – V – S ENSORY BASED CALIBRATION EXERCISE 4: M IND R EADING DESCRIPTIONS MINIMAL CUES IMPROVING VISUAL ACUITY IMPROVING AUDITORY ACUITY IMPROVING K INAESTHETIC INAESTHETIC ACUITY EYE ACCESSING CUES EYE ACCESSING ELICITATION QUESTIONS PRIMARY SYSTEMS, LEAD SYSTEMS AND SYNAESTHESIAS PRIMARY SYSTEM LEAD SYSTEM SYNAESTHESIA HAKALAO

36 38 39 39 40 41 42 43

OUTCOMES

50

GOAL SETTING SMART GOALS SPECIFIC MEASURABLE AFFECT EALISTIC R EALISTIC TIMED

50 52 52 52 52 53 53

44 45 45 45 45 46 47 48 48 48 48 49







































I NITIATED AND A ND MAINTAINED BY I NDIVIDUAL NDIVIDU AL ECOLOGICAL PRESERVES THE POSITIVE BY-PRODUCT OF THE PRESENT STATE SPECIFIC AND CONTEXTUALISED I NCLUDES : I NTERNAL PROCESS , I NTERNAL STATE AND EXTERNAL BEHAVIOUR WELL FORMED OUTCOMES – E LICITATION QUESTIONS TRADITIONAL GOAL GETTING STRATEGIES AFFIRMATIONS VISUALISATIONS

55 55 56 56

LANGUAGE PATTERNS

61

PRESUPPOSITIONS LINGUISTIC PRESUPPOSITIONS PRESUPPOSITIONS EXERCISES PRESUPPOSITIONS EXERCISE 1: I MPLICATION PRESUPPOSITIONS EXERCISE 2: PRESUPPOSITIONS – V – M IND R EADING EADING THE META MODEL HISTORY THE META MODEL – S HORT FORM THE META MODEL TABLE R E-CHUNKING QUESTIONS I NTENTION CLASS THE MILTON MODEL HISTORY THE MILTON MODEL – S HORT FORM ADDITIONAL LANGUAGE PATTERNS CONGRUENCE LANGUAGE FLOW CARDS (4 WORDS OF POWER ) EXERCISES: CONSTRUCTING LANGUAGE PATTERNS EXERCISE 1: CREATING PRESUPPOSITIONS EXERCISE 2: STACKING PRESUPPOSITIONS EXERCISE 3: PREDICATES AND LINGUISTIC BRIDGING EXERCISE 4: META MODEL EXERCISE 5: M ILTON MODEL EXERCISE 6: META MODEL CHALLENGE

62 63 67 67 68 69 70 73 74 75 75 76 77 79 81 83 84 84 84 84 85 85 86

56 57 59 59 60







































EXERCISE 10: TRANSFORMATIONAL LANGUAGE EXERCISE 12: TRANCE FORMING ABILITIES

88 88

FRAMES

89

SETTING THE CONTEXT FOR MEANING EFRAMING R EFRAMING USEFUL FRAMES THE NLP P RESUPPOSITIONS CAUSE – V – EFFECT BLAME – V – O UTCOME FEEDBACK FRAME ASSOCIATION – V – DISSOCIATION PERCEPTUAL POSITIONS NEGOTIATION FRAME TROUBLESHOOTING

89 90 91 91 92 93 93 94 95 96 97

ANCHORING

98

STATE DEPENDANT LEARNING NATURAL STATE GENERATORS ELICITING STATES R EVIVIFICATION EVIVIFICATION PROCESS LANGUAGE GO FIRST! USEFUL STATES TO ELICIT CONDITIONS FOR ELEGANT ANCHORING BASIC ANCHORING TECHNIQUES BASIC A NCHORING STACKING A NCHORS SLIDING A NCHORS

99 100 101 101 102 102 103 104 105 105 106 107

SUBMODALITIES

108







































CONTRASTIVE ANALYSIS SUBMODALITIES ELICITATION HINTS SUBMODALITIES EXERCISES EXERCISE 1: FEEL GOOD EXERCISE 2: FEEL BAD INAESTHETIC EXPLORATION EXERCISE 3: K INAESTHETIC EXERCISE 4: SYNAESTHESIAS TIMELINES UBMODALITIES EXPRESSED IN LANGUAGE SUBMODALITIES CHANGING SUBMODALITIES MAP ACROSS DIRECT SUGGESTION PRESUPPOSITIONS & HYPNOTIC LANGUAGE EPRESENTATIONS BUILDING POWERFUL INTERNAL R EPRESENTATIONS CONFUSION TO U NDERSTANDING NDERST ANDING MAP ACROSS E NHANCING EXPERIENCES HAVE A GREAT TIME … NOW!

111 112 113 113 113 114 115 116 117 118 118 119 119 120 120 120 121

NLP PRACTITIONER TECHNIQUES

122

GUIDELINES FOR CHANGEWORK ANCHORING COLLAPSE A NCHORS CHAINING A NCHORS NCHOR S CHANGE PERSONAL HISTORY R E-IMPRINT METHOD THE CIRCLE OF EXCELLENCE SUBMODALITIES SWISH TECHNIQUE THE FAST PHOBIA CURE INAESTHETIC DISSOCIATION VISUAL –K INAESTHETIC VISUAL SQUASH HYPNOSIS EFRAME SIX STEP R EFRAME THE NEW BEHAVIOUR GENERATOR TIMELINES – CHANGE PERSONAL HISTORY

122 124 124 125 127 128 129 130 130 131 132 133 134 134 135 136









































STRATEGIES

139

STRATEGIES DEFINED THE TOTE MODEL UTILISING STRATEGIES WELL FORMED STRATEGIES STRATEGY ELICITATION ORIENTING QUESTIONS ELICITATION OF THE TRIGGER (ALSO THE FIRST TEST IN THE CYCLE) ELICITING THE OPERATION ELICITING THE TEST ELICITING THE EXIT GUIDELINES FOR STRATEGY ELICITATIONS STRATEGY INSTALLATION EHEARSAL R EHEARSAL NCHOR S CHAINING A NCHORS SUBMODALITY SHIFTS METAPHORS

139 140 142 143 144 144 144 145 145 145 146 147 147 147 148 148

HYPNOSIS & TRANCE

149

WHAT IS HYPNOSIS? THE PURPOSE OF THE UNCONSCIOUS TRANCE INDUCTIONS GO FIRST! 10 SECOND HYPNOTIST LINGUISTIC BRIDGES (4 WORDS OF POWER ) PACING & LEADING S R D

149 150 151 151 151 152 152 153









































CLOSE LOOPS CANCEL SUGGESTIONS SELF -ESTEEM BOOSTING SUGGESTIONS ESULTS FUTURE PACE R ESULTS THE META -PATTERN OF ALL CHANGE A BASIC STRUCTURE FOR HYPNOTHERAPY THERAPEUTIC PREPARATION MEET AND GREET I NTERVIEW CLIENT IDENTIFY WHAT CHUNK TO WORK ON I NDUCE TRANCE CHANGEWORK PATTERNS TEST & FUTURE PACE E ND TRANCE TASK & DISMISS

162 162 163 163 164 165 166 166 167 167 168 168 168 169 169

NLP COACHING

170

COACHING – V – THERAPY OLE OF THE COACH THE R OLE A BASIC STRUCTURE FOR COACHING PREPARE EVIEW MEET , GREET AND R EVIEW THE COACHING QUESTIONS NFORMATIO N GATHERING GENERAL I NFORMATION SMART GOALS HONING THE CLIENT’S THINKING TASKING GETTING COMMITMENT FROM THE CLIENT

170 171 172 173 173 174 174 175 175 176 178









































Foreword by Stephen Brooks When I d iscovere iscovered d that Igor Ledochowski Ledochowski had managed managed to track track me down to my home in the jungles of Northe Northern rn Thailand Tha iland I felt felt instant ins tant panic. Why would this somewhat somewhat over enthusiastic enthusiastic man, trek through remote remote tropical tropical jung le, with his backpack, backpack, cassette recorde recorderr and no financial incentive, to try and persuade me to write wri te a for forew eword ord to his book? book ? After fter he had finally finally coaxed coaxed the vil lage Shaman to point the way to my home (turn ( turn left at the waterfall – second cave on the right), I realized that this remarkable young man had a manner manner that was highly infe infectious, ctious, somewhat similar to my own, own , and that he was a man of of commitment to his purpose. He claimed claimed to practi practice ce something something called NLP, it sounded s ounded a bit weird to me bu t I acce accepte pted d his h is grubby gr ubby manuscript manuscript never never the less and then sent him packing. packing. Well it’s it ’s not a bad read, read, in fact fact it’s quite good, possibly the work of genius. genius. So S o this is my forewor foreword d to his remarka remarkable ble book. Igor modestly made me swear that I would not praise him too highly, so I am not going going to. But I will say this th is - if you want want a book that is written written by someone someone with total dedication dedication to helping people achieve achieve what is best, that is i s concise and precise, precise, and that teache teachess you how ho w to put into practic practicee the core core skills of what what NLP is about right now, then this book is it. There is no better better book available, available, apart from from any that I might migh t subseque s ubsequently ntly write mysel m yself. f. Stephen Brooks – Thailand. www.waterheart-foundation.com

Stephen Brooks was a pioneer in the field of indirect hypnosis and perso nal









































Introduction Welcome to the companion companion manual for the “ How Ho w To Really Use NLP NL P For Amazing Results” Results” course. course. This Th is guide is no t meant to be yet yet another another defi definitive nitive textbook textbook on NLP and its applications. application s. There Th ere are are all too t oo many books b ooks like lik e that in existence alrea already. dy. Rather Rather its purpose is to serve serve you in your exploration exploration of NLP and to act as a reference guide for you to dip into time and again after your your initial steps down a very interesting path. Now, allow all ow me to congratulate you for for taking your first steps down that path p ath at this thi s time. As you learn, learn, you can expect expect to take change change of of the way you think, feel and behave. behave. This Th is will wil l give g ive you more free freedom dom and success in the way you communicate com municate and move through life. life. In the modern world world there there are countless countless opportunities oppo rtunities for people to live their dreams. NLP is a discipline discip line whose wh ose speci sp eciffic purpose is to enable people to acquire the skills sk ills and access the resources you will wi ll need to achieve the things that you want. want. Whilst Whils t this manual does cover cover all the elements elements a NLP practitioner practitioner should know (and a few few more things), it is not meant as a substitute sub stitute for for a live training training programme. programme. NLP is not an academic academic discipline. NLP is a practic practical al set of attitudes, attitudes, understanding understanding no t an and and skills. Like any skill, much insight can be glean gleaned ed from a book, but bu t to truly learn it you need experience. The hard way to get experience is to use trial and error over over extended extended periods periods of time time to work out what works and what does no t. The easy way way to do it is to go to a skilled guide. guide. Such a guide guide will help help you to condense condense many years years of expe experie rienc ncee into a short time fram frame. e. He can help you to avoid the blind alleys so you can concentrate on the experiences that create true insight. On the spot feedback dback and elegant demonstrations demonstrations are things that you can only get from from a live, interactive interactive environment! enviro nment! Having Having said that, there there are are still many useful useful things that you can can gle g lean an from from this manual. manual. You are about to embark on a fascin fascinating ating adventure. adventure. This T his companion guide will reveal reveal to you some of the vast treasur treasures es that NLP has to offe offer. r. Beyond that, the audio audio seminar seminar that comes with this manual is specifi specifica cally lly designed to bring the heart heart f NLP to life life fo the attitudes and understandings understandings that will allow to weave









































Your Guide, Curious? Igor Ledocho Ledochowski wski is a certifie certified d Trainer Trainer of NLP, HNLP and Hypnosis. He has helped countless countless people to release release rema remarka rkable ble abilities. As an Executive Coach, his h is main focus ocus was on working with senior executive executivess at some of the world’s leading leading blue b lue chip corporations to help them realise not just their own potential but to show them how to harness harness and grow the dynamic abilities of the people that they lead. Igor began his career as a lawyer with the international law firm Linklaters. After several several years years with them, and following extensive retrai retraining, ning, he decided decided to launch launch his own training and executive coaching organisation, iledo . iledo soon became very successful and he started to collaborate with a diverse group of interesting and dynamic people to offer organisations wildly different solutions that no one else could off offer. In late 2003 that group g roup of people people decided to come com e together offic officially, ially, and they crea created ted the Curious Company. Since then he has taught at many hypnosis conventions and AGMs in the UK, he has presented presented special special seminars for for his Fortune 500 clients and been a guest lecture lecturerr at a business school in Chicago. Igor also runs the unique Private Hypnosis Club ( www.PrivateHypnosisClub.com) where where novice novice and experien experienced ced hypnotists get to participa participate te in unique hypnosis hypnos is masterclasses. He created the concept of Street Hypnosis, a unique concept akin to Guerrilla Kindness (random acts of kindness deliberately calculated to spread 1 www.StreetHypnosis.com)) is pronoia through the population.) Street Hypnosis ( www.StreetHypnosis.com about using skills such as NLP and Hypnosis in ordinary everyday relationships in such a way as to positively affect the realities realities of all the people around you. This Th is is also where where people people who wish w ish to deepen deepen their learning learning will find most of Igor’s books and other products products online. “ Ig I g o r is the th e de fin fi n it ive expe e xpe rt on the th e min m in d, on o n fa f a s t resu re su lts, lt s, a n d a gen ge n iu s in i n t he f ield ie ld of subcon scious in fluence and change. He He influences you you consciou sly and su bco bc o n scio sc io u sly sl y to t o rel r elea ease se a n im i m p re ss ive p o ten te n tia ti a l in peop pe op le. Its It s lik l ikee mag m ag ic: he get g etss abso lutely amazing results ! If you you want to work work with the best work with him !! But











































NLP and the Mind The Unconscious Mind Human consciousne consciousness ss is a strange thing indeed. We like to think of ourselves ourselves and our intellect intellect as being at the top of the the food food chain chain – after after all all look lo ok at all the things th ings we have have accomplished. accomplished. To a certain certain extend we might migh t even be correct. correct. But there there is an error error that most mos t people (understa (un derstandably) ndably) make: they confuse confuse what they th ey are aware aware of of with who they are/what they are capable of. Allow me to explai exp lain: n: the mind functions functions in diff different, rent, simultaneousl sim ultaneously y processed processed streams. On the one side (to use a basic model) is the conscious mind, which is that part of your thinking think ing that you yo u are aware aware of of right NOW! On the other o ther side is a whole collection of processes that happen outside of your ordinary awareness. So when you heart heart keeps keeps beating, beating, or your breathing breathing continues at night, or you go to slee s leep p with a problem on your mind and you yo u wake up with a solut s olution ion – at these times ti mes somethi s omething ng clearl clearly y happens outside of your ordinary ordinary conscious aware awareness. ness. That something is incredibly powerful, and we will call this set of processes the “unconscious” because you are, not conscious of it. Studies on preconsci preconscious ous learning learning have suggested that ALL learning , behaviour and 2 change occur unconsciously first ! In fact there is a noticeable time lag between being unconscious unco nscious in i n your learnings learnings and realising you know it. Often Often you will w ill have 3 learne learned d somet so mething hing and you might never never actually actually realise realise that you have done so . This is important, because it shows you that it is natural to learn with your unconscious. In fa fact, your unconscious m ind has been estimated to be processing processing somewhere somewhere in











































Communication – Birdwhistell Study Dr Ray L. Birdwhistell was an anthropologist who specialised in studying nonverbal verbal communication. communication. He spent his lifetime lifetime studying the way that people 6 communicate communicate using all a ll channels. channels. He is famous for for suggesting that in a general context, context, the meaning of of a communication communication is transmitted by: 7% 38 % 55 %

Words Tonality Non-verbal Non-verbal cues

By non-verba non-verball cues we mean mean signals s ignals such as faci facial al expression, expression, eye blinks, blinks , breathing breathing rate, rate, skin sk in colour, and posture. Tonality refe refers rs to the pitch, rh ythm, voice tone, timbre, tempo and the like. This concept is incredibly important when you communicate with others. When people send mixed signals – known k nown as incongruent communication commu nication i.e. i .e. when their non-verba non-verball cues or tonality do not match the actual actual words they th ey are are using – then they signific significantl antly y impact how that message is receiv received. ed. Humour, Hu mour, sarca sarcasm, sm, lies, dishonesty, ironies, ironies, disdain, scorn, approval, approval, admirati adm iration on or agreeme agreement nt are all perce perceptions ptions sugges suggested ted more more by how you how you say something than by what you you actually say! This is not too surprising when you remember how the unconscious mind prefe prefers rs to process many things thi ngs at the same t ime. The really interesting interesting thing th ing is how we all naturally naturally convey messages messages within messages messages within messages messages every time we communicate. communicate. Most of us are not aware aware of the subtexts that we are signalling signalling to othe o thers, rs, or indeed how we unconsciously unconsciously











































The Universal Modelling Process Internal Representation

Sensory Input (VAKO/G) State Behaviour Physiology

There are are many philosophical philosophical schools debating what what is True, Good or Real. I don’ t want to open that intellectual intellectual debate. debate. What I wil l assume however however (and (and it is only a small assumption), is that we have no way of of knowing knowing what is in the world world “out “o ut there there”” apart apart from from through our 5 senses. When a stimulus stim ulus activates one of our senses senses a process process is i s kick started that ultimately ulti mately ends up in some kind of sense being made of things. For example: when a photon (light) strikes the retina, a chemical reacti reaction on starts a chain of electro-chemical signals that pass along special nerve cells to the brain (primaril (primarily y the visual cortex). cortex). It I t is only in the brain that these signals are translate translated d into something s omething meaningful meaningful that we can can understand understand as a p ictur That picture picture is in











































A distortion d istortion occurs occurs when we change change our basic percepti perception on of something. If you have ever seen faces or shapes in cloud structures, then you have distorted information. Likewise Likewise you can pick out your name spoken softly softly in the middle m iddle of a gathering gathering because because it “ seems louder”. Distortion Dis tortionss underpin un derpin our creativit creativity y – our ability abi lity to take one thing and creat createe something “new” “n ew” out of it. A general generalisation isation is the ability to take one experien experience ce and apply it to simi s imilar lar experi experien ences ces in the future future – as a gene g eneral ral rule. You know how to open doors because because you have opened opened them in the past and have “generalised “generalised”” that knowledge to anything that exhibits door-like qualities. Putting the door handles on the wrong part of the the door doo r (i.e. on the inside, insi de, next to the hinges) h inges) will throw most mos t adults adult s who wh o expect expect the door to work di d iffere ferently ntly and so get stuck s tuck pushing or pulling the wrong part of the the door. doo r. Generalisations are the basis bas is for our ability abili ty to learn. learn. Now, over o ver the years our minds mind s develop a series of filters that make it automatic for us to know what inform information ation to delete, what to distort and what w hat to generalise. generalise. These T hese filters are made up of our beliefs, the things we value in life, previous experiences and conclusions conclusions etc. As an event in the world stimulate stimu latess our senses, the Primary Experience of it gets filtered and leaves inside our minds a representation of what is happening happening “out “o ut there”. there”. Much like P lato’s cave analogy, analogy, we have a kind of map inside us of what we think is going on. This map is made up of pictures, sounds, feelings, elings, tastes and smells that are meant meant to represent represent what is happening happening “out “o ut there” there”.. This Th is is called an an “Inter “In ternal nal Represe Representati ntation” on” or IR. Our IRs are what what tell u s how to feel feel about something and how to behave behave towards towards it. So our IRs (or internal maps or our model of the world) world) tell us how we should feel feel at











































Premature Cognitive Commitment As you know, the inform information ation our senses draw draw in as Primary Experienc Experiencee get filtere filtered d down to something manageable and meaningful (our Secondary Experience – our IRs). The filters filters that do this are incredibl incredibly y useful useful – when they work properly. properly. The trouble is sometimes we outgrow ou tgrow these filters filters or adopt unhelpful unhelpful filte filters rs from from our environment as we grow up (from parents, friends, school society in general etc). If we get stuck with an old, o ld, unhelpful, unhelpful, filter filter it can severel severely y restrict how we lead our Premature Cognitive Cog nitive Commitment Commitment . lives. In mainstream psychology this is called Premature As an example you migh t try the following following experiment: get a large jar jar and fill it with flie flies. s. Cover the top with a plastic lid or cling film, film, leaving leaving enough air a food in the jar for several several days. Typically Typ ically the th e flies flies will wil l buzz b uzz around bouncing into the “invis “in visible ible ceiling” for for some so me time. t ime. After After a few few days you yo u can remove r emove the cover. cover. Very few few flies will wil l escap escape. e. They have cre creat ated ed a limiting limit ing belief belief – a cognitive commitment – about what is possible in their their little world and and so they stop trying to get out. Human beings beings do exactly exactly the same thing. thing . Often Often we continue continue to engage engage in limiting limi ting patterns long after fter the conditions condi tions that gave rise to them disappea d isappeared. red. Take a phobia ph obia for exam example. ple. As a child, Bobby was bitten by a dog. He was frighten frightened ed and hurt. This experience generalised over time (maybe even outside of conscious awareness) to a general general fea fear of of dogs. All dogs. Bobby may be six foot four four and built like a tank, but he h e still s till goes to pieces when he is i s nea n earr dogs. dog s. Even Chihuahuas. Chihu ahuas. He has no no “ choice” in the matter because because the filters filters in his mind turn any encounter encounter with a Chihuahua into something of life-threatening proportions.













































What is NLP? This is truly the million dollar question. There can be as many definitions of it as there there are are people people in this th is world. The quick qu ick answer answer would be to look at the words that describe this discipline: Neuro: from from the Greek Greek neuron, neuron, referring to your neurology. Linguistic: from from the Latin lingua, lingua , re r eferring ferring to language. Programming: how components of a system are organised to create a predictable pattern of of behaviour behaviour..

So Neuro-Linguistic Programming is the study of how language affects your neurology neurology and your behaviour. Many people have defin defined ed NLP as the “ Psychology of Achiev Achievement ement”” or “ Softwa Software re for for the Brain” Brain” – as it allows you to run your own mental processes more effectively so you can consistently get the kind of results in the world that you want. In fact fact John Grinder, one of the the two Co-develope Co-developers rs of NLP, NLP, defined defined NLP













































Processes –v- Content There is a psychologi p sychological cal game we engage engage in that is called Backwar Backwards ds Rationalisation. In essence you make your mind up about something or do something for for non-logical non-logical reasons, and you later later rationalise the decisions decisions as being logical. logical. One neurologist neurologist at the University University of Iowa claims claims that every decision decision we 7 make make is an emotional one; one which we later later rationalise rationalise . In fact, in some cases 8 trying to exclude emotions from a decision can actually lead to irrational behaviour ! This Th is means that people rarel rarely y apprecia appreciate te consciously consciously why th ey do so mething mething – like have have a problem with something, or make a given choice choice (even (even a really really good decision). decision). In fact fact there is other evidence evidence to suggest that all our dec d ecisions isions are made unconsciously a fraction fraction of a second befo before re we think we we have made a conscious 9 (rational) (rational) decision . People’s descriptions about their own behaviour can therefore often be misleading. Such descripti ant to ate the kind of ality in which the problems they













































Learning Strategies Whilst Whils t many of the material materialss in this manual are set set down in an orderly, orderly, seemingly linear fashion, NLP is not a linear discipline. By that I mean that NLP is not like a story that has a definitive beginning, middle and end. Consider NLP to be more like a picares picaresque que adventur adventure: e: though there there are guiding themes, it is the detours when the story branches off to the left or take the right path time and again – then you notice the really interesting things happening. You see the mind prefers to learn quickly and all at once. Classical education tries to chunk things down into small, dull pieces that can be understood thoroughly befo before re they are are digested. This Th is is like eating a meal one pea or grain of rice rice at a time and never mixing mixing things up. Or like reading a book and restricting yourself to reading only one word per week. That is dull and boring. boring. As Mark Twain Twain put it “ I never let my schooling interfere inter fere with my education education”” and neither neither should you! Learning Learning is a fun fun activity. activity. If it is not you are not doing it right! righ t! Learning Learning should also a lso happen in comp lex layers. layers. The fac factt fir st . Th is is a is all learning (and behaviour and change) occurs unconsciously first













































the unknown. That is when people start to crave crave rules, rules, order, predicta predictability bility.. Small chunks they can can digest slowly s lowly befor beforee they are are willing to do anything with w ith them. I would like to invite you to revisit that kind of childhood only long enough to reali realise se that your mind has continued con tinued to learn countless countless things , most of which happene happened d when you were were not paying attention. It I t is a fact. fact. Everyone Everyone has had an experience of surprising themselves at one time or another, when you forgot to inhibit yourself! The ability is still there. Just as the childhood rebel is who likes to break break all the rules, on purpose, purpo se, just ju st to find things th ings out for yourself! yourself! Imagine that, breaking breaking the rules just because because you were w ere curious. curious . Wantonly Wanton ly Curious ?! Watch children children at play and you can only marvel marvel at how adaptive they are. are. Most of the most fantastic discoveries made by man happened as a result of an accident – an event event most mo st adults adu lts would be embarrass embarrassed ed about. NLP is not a traditional discipl d iscipline, ine, and I would wou ld encourage you to not-learn it in the traditional traditional way. That leaves leaves you free free to discover other other ways. Take everything everything and test it. By all means learn the individual pieces thoroughly, but enjoy the process.













































NLP Modelling NLP has a very valuable v aluable perspective perspective to add to learning. learning. John and Richard actually first first developed developed the NLP skills and techniques techniques by using us ing this non-traditional non-traditional methodology. methodology. It is a very human way of learning learning – children do it instinctivel ins tinctively. y. So do adults when they are not paying not paying attention atten tion!! I am of course refe referring rring to the art of Modelling . Modelling is this “methodology “ methodology that leaves behind a trail of techniques” techniques ” that Richard Richard talked about. It is a systematic way of of learni learning ng a skill that someone so meone has has ingrained ingrained so deeply that even they do not know what they are actua actually lly doing. Remember Remember that what people do and what they think/say they do are ofte often n totally dif differe ferent nt things. things . This Th is is just as true when when we do things r ight as when when we do things badly. Modelling Modellin g not only avoids avoid s learning learning the t he wrong wron g thing thin g because because you were told to, it completely bypasses traditional, slower learning methods. Modelling slip streams streams strai s traight ght to where where things really really happen: the unconscious! unconscious!















































problematic resources resources (raw materials, materials, staff staff shortages etc) etc) you have to juggle jugg le elements that feed feed into a very complex form formula. ula. No one is given the formul formula, a, you just play the game game cold. Over time, people start to make the right decisions decisions consistently. When asked asked why they are are doing it , they make replies replies such as “ it w as a guess”, guess”, “ it felt right”, “no “n o particular particular reason” reason”.. They T hey had no conscious insigh t into what they were were doing and so assumed that they were were just “getting “g etting lucky”. lucky”. In fac factt they were were getting getting smart. Modelling relies on our ability to get smart in this way. So the first step is to get your conscious conscious mind (and the various various internal internal filters) filters) out of the way. You need need to















































Mechanics, Engineers and Magician M agicians s Both NLP and Hypnosis (and related related disciplines) are based based around the th e simple simp le fa fact that what we think is reality reality (our maps or IRs) is malleable. malleable. Change the way way we think and perceiv perceivee it and we change the entire entire world world we live in . The result is that you are left happier and more successful in your endeavours. At least that is the theory. Now when look ing at the malleability ma lleability of reality reality Change i one extremely useful unit















































great! great! The mistake is a simple simp le one: they get caught up with and are are stuck at the level of technique. technique. To get stuck s tuck at the level of technique technique is to conf confuse the content with the process. process. When you y ou do this thi s you yo u are basically saying: say ing: NLP is the Swish technique, a Collapse Anchors or a Visual Squash. This level of thought (which, by the way, is a useful one to go through in your evolution evolution into a NLP practitioner/ practitioner/Hypnotist!) Hypnotist!) is what I like to refe referr to as the level of of reality mechanics. mechanics. A Reality Reality Mechani Mechanicc is someone who has a bag of tricks, tricks, or a toolkit. Every time she s he meets an unpleasant unpleasant reality reality she s he pulls out the appropria appropriate te tool, follows the step by step instructions on the gadget and somehow, inexplicably,















































A Reality Engineer Engineer is free free to explore the world with w ith new eyes eyes and to choose how the world should respond to him. As he gets better with this process, he internalises the principles that form the stuff stuff of of his magic. What once required required a conscious consciou s choice cho ice to engage begins to be turned over to the vastly superior resources of unconsciousness. At that moment a magical door opens to him. When he steps through that doorway he will have become become a reality magician. magician . This Th is level level of being being is the most mo st diffi difficult cult to describe. describe. It is an incredi incredibly bly powerful powerful state state in which you s tand beyond the self self imposed limits lim its that holds back even even the Reality Engineer. Engineer. I am not suggesting that the Reality Magician operat operates es at a level level beyond















































That is in an interesting question. It is pointless intellectualising about such questions: it is absolutely a comp lete lete paradox paradox when judged from from a segmented mindset. There was was reall really y only one way in which I could answer answer such a question: I put the student in trance. trance. I led him through throu gh an experiential process culminating culminat ing with w ith that exact same set of contradictory suggestions. When the student emerged from tranc trancee he had a little g lint in his h is eyes and simply simp ly said "I understand!" understand!" - he had had a glimpse of how a Reality Magician thinks. And that is something you must experience for yourself. Or to put it more accurately, it is a way of thinking that you have to remember all over again.

















































Rapport

















































Matching & Mirroring Mirr oring

















































mirroring) mirroring) and then to “Lead” by changing something. If they they follow, follow, you have a good level of of rapport rapport!! If If they do not, no t, you simply simp ly have to do a little bit b it more!

















































Unconscious Rapport

















































Now what th is does d oes is i s trigger your unconscious to begin broadcasti b roadcasting ng rapport signals to the people around around you. You will wil l naturally naturally tend to engage engage in in matching matching and











































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































Presuppositions A presupposition is a linguistic assumption, usually implied, that something is true. As an example, example, if I tell you the th e “ the chair chair is in the back of of the room”, room”, I am presupposing an almost almo st endless en dless set of things: thing s: • •

• •

• •

There is such a thing as a room. There is a larger structure to which the room belongs (rooms don’t exist by themselves!). There is a “front” “front” and at at least two “ sides” of the room. The item identifie identified d as “chair” is separat separatee from from other items and from from the rest of the room. I am aware of of the chair. You understand understand the English language language..

The list of presuppositions presuppositions that can be infe inferr rred ed from from the simple s imple statement statement can be extended extended from from the pedantic to the bizarre. bizarre. And yet these assumed meanings still st ill guide our thought processes and can lock up our thinking. As these assumptions work work outside outs ide of of conscious conscious analysis analysis,, we do not even know that there there is an assumption assump tion being made which wh ich we might mig ht want to challenge. This Th is makes presuppositions presuppos itions a very powerful powerful way of of communicating influentially influentially – be b e that th at in education, therapy or business. business . Presuppositions are much weaker when they are stated deliberately than when they are implied. This is because stating the assumption out loud draws conscious attention attention – and thereby thereby critical critical analysis analysis – to it. Consider the following ollowing statements: •

•

Just sign on the dotted line and you yo u can take your new car car home today! I assume that you want to buy this car and that you want to take it home right now, so go ahead and sign on the dotted line and a binding contract will exist between between us so that you can do just jus t that. t hat.

Both statements say essentially the same thing. However by implying the desire to buy the car, an automatic auto matic process is engaged. It I t is i s harder for someone to break b reak through the implication, analyse the underlying assumption and the decide decide whether whether or not to reject it, then to just go along with things. You should remember that people can and do break b reak such presuppositions presuppos itions on a daily basis. basis . It I t does d oes happen, particularly particularly when people p eople grow wise wi se to such tactics (many people p eople will be more m ore wary wary when when interacti interacting ng with w ith a sales person than in other situations). All that presuppositions presuppositio ns do is stack the deck in your favour! favour!







































Linguistic Presuppositions Presuppositions can be classified in all manner of ways. The labels of the classi classifi fica cation tion are not important, it is the ideas that they represent represent that matter. By understanding different categories of presuppositions, you gain more choice both in the way you communicate communicate and in the way you respond to other people’s people’s communications! 1. Existence Presuppositions of Existenc Existencee suggest that something s omething exist and something else does not exist. exist . It creates creates a duality in reality. reality. If I say “ the chair chair is here” here” I am an d that there implying that a thing called called a chair chair exists and there are are such things in existence that are not-chairs. Similarly saying “ John “ John is here” here” implies that there is a (person) (person) thing called John and that othe o therr things are not-John.

So existenc ex istencee can can be implied im plied by names, pronouns pronoun s or descriptions descriptions (generic (generic or precise). precise). Likewise both bo th adjecti ad jectives ves and adverbs ad verbs imp ly the existenc exis tence. e. Saying that “ there is persuasive ve than simply “ there is is a blue dragon” dragon” is more persuasi is a dragon” dragon” as we assume that dragons exist, and the point of analysis analysis is whether or not it is of the blue variety variety (NB no tice that we are are implying that othe o therr colour dragons dragons also exist!) These are key presuppositions to master to present present elegant elegant and persuasive persuasive suggestions! 2. Awareness Presuppositions of awar awaren eness ess direct direct attention without w ithout requiring requiring a dire d irect ct request request or an order. order. If I were were to ask you “did you notice the pressure pressure of your shoes shoes against your feet?” feet?” you have to put your awareness on your feet in order to answer that question. Chances are you were not aware of your feet until I made that statement, just as you were not noticing not icing the t he sensation sen sation on o n the top of your scalp… but you do now.

So we can direct direct people’s experienc experiences es directly directly or through negation. negation. “ Don’t Don’ t think t hink of a red cat. Don’t notice that red cat slinking around a red tree… ” becomes a very very leading statement statement – you have to think about it because you cannot not think about about something something without thinking thinking about it i t first. first. This can be used used to your advantage in a very powerful way when we delve deeper into hypnotic language. The key words here here are are things like: notice, no tice, awar aware, e, sense, realise, realise, th ink, consider, feel, hear, see, observe… in fact any word that engages one of your five senses will







































3. Modal Operators Operators Modal operators operators imply either a need (modal (modal operat o perator or of nece necessity ssity)) or ability/desire (modal operat operator or of of possibility). possibility) . This Th is is implied by the language language people use: Necessity: I need… need… we should… you must… they have have to… she ought to… I am supposed to… (Im)Possibility: I can… we are able to… you will… you want to… I choose to… he decided decided to… she intends in tends to…

Necessity Necessity or possib po ssibili ility ty sends out strong messages on motiv mo tivation. ation. “ You can’t do that!” that!” is a controlling statement calculated (unconsciously) to imply impossibility and inhibit the likelihood of someone someone engaging engaging in the activity (and finding finding out for themselves whether that is true!) 4. Temporal Time Ti me is an interesti interesting ng phenomenon. phenomenon. It only exists in our minds. When you think about it, all that exists is the present moment. When you think of the past, you are are experie experienci ncing ng a memory construct construct in the present. present. When you plan the future future – it happens in the present moment. Temporal Presuppositions play with people’s understandi understanding ng of time to imply all a ll kinds k inds of things: Conditional Time If John becom b ecomes es a fireman, fireman , I’ll I’l l eat my m y hat . hat . John J ohn is not a fire fireman now.

Similar Simi lar phrases phrases are: are: if, if, when, as soon as, once. Tense When I was a young man… man… I am not a young man now. now.

This Th is is the normal declensi declension on inherent inherent in almost every every language: language: I I am, a m, I was, was , I had been, been, I w ill be, I will have been been.. Change of time I am already here. here.

Similar Simi lar words are: are: begin, yet, stop, stop , start, procee proceed, d, continue, still, still , anymore.

alrea already, dy,

Putting these together you can create a real time-warp in a mouthful: Once you begin to understand what you have not yet grasped you will stop worrying about what you cannot do and start to anticipate a time when you will have looked back at all this fondly and get get on wi th learning learning just one thing at a time.







































5. Ordinal Ordinal Ordinal Presuppositions imply a certain certain order or sequence sequence of event events. s. The second thing you should note is that you will only underst understand and that last point when you examine examine it with the very first thing you learne learned d about. Th irdly remembe rememberr that implying an order order also imp lies a flow flow of of time, so in some s ome ways these presuppositions presuppositio ns are linked li nked to Temporal Tempo ral ones.

Also look out for words like before, earlier than, ahead of, in advance, previous to, during, throughout, for the duration of, in the course of, after, following, subsequent to, later than, next, prior to. 6. Binds Binds and double binds are a very very peculiar peculiar type of of presupposition. presupposition. Whole textbooks have been written on double binds as they are very powerful ways of constraini constraining ng thoughts and underst und erstandings. andings. This Th is can be usefu usefull (as when applied therapeutically) or unhelpful (causing people to have problems or be inhibited in a negative way).

A bind in essence creates a dichotomy: it is this or that. This Th is can be an unfai unfairr division as in “ who do you love more, more, your son or your daughter? daughter?” or a helpful way of of making distinctions. dis tinctions. A double bind is a bind presented presented in such a way as to g ive the illusion illus ion of choic choice. e. The overused sales sales line “ would you lik l ikee to sign the contrac contractt out here or in my office?” office?” illustra illus trates tes this illusion illus ion clearly. clearly. The choice is not no t about whether whether or not you sign s ign the contract contract (that (that bit b it is presuppos p resupposed) ed) but where where that will take place. place. We will cover more convoluted convoluted examples examples of of double binds in action in the Milton Mi lton Model part of this this section. section. 7. Cause-Effect Cause-Effect presuppositions assume that one thing caused another. Some of the other categories categories of presuppositions presupposition s often have the eff effect of implying that one thing caused caused another: as soon as a s you close your eyes, eyes, you will wil l feel more relaxed relaxed . This implies a clear relationship between eye closure and relaxation. The interesting thing is that when the statement is accepted without too much critical thinking, it will become acce accepted pted and unconsciously unconsciously every time you close clos e your eyes, you will automatically begin to relax more fully!

Words to look ou t for for are: are: as… then, then , causes…, causes…, because because…, …, makes…, makes…, if… if… then, since…, since…, … so…, etc.







































8. Complex Complex Eq Equivalence uivalence This is another powerful presupposition implying synonymity. When two things are equated in the mental maps then they become the same experience for us. Take “ The ice cream cream is cold ” we have linked the ice cream cream and the state of of being cold. They are the same thing . Ice crea cream m = cold and cold = ice cre cream. am.

Complex equivalenc equivalencee is the glue that holds hold s our internal internal realiti realities es together. This Th is cate category gory will be examined examined more fully fully in the Meta and Milton Model sections. Words to look out ou t for for are are any any variation variation of the verb verb “ to be”. 9. Comparison “ If I f you loved me as much m uch as you love your pets, pets , we would wou ld be happy! hap py!”” A compari comparison son can imply things whilst wh ilst diverting attention away from from the suggestion. In this example, the implication is that the person loves her pets. That is not “at issue” here. here. If If something something is going to be analysed analysed (and argued argued)) it is more likely that it will be how much she “ loves me” me” or how happy the two would be together. 10. Repetition Any word the begins with the prefix prefix “re-“ has embedded embedded the suggestion that the action action has h as already occurre occurred d at least once. on ce. “ He returned to the lake l ake”” can can only on ly mean that he was at the lake at least once before and that he left the lake before coming to it second (or third etc) time.

This Th is repetition repetition can also be implied im plied by other words that have a similar s imilar ef effect: “ He walked to the lake la ke again”. Look ou t for for words such as again, once more, for for a second time, another time, also, too, as well etc. 11. Other Classes Presuppositions can arise arise in any context. The above are are just some common examples. examples. More sneaky ones ones exist: “ The teacher is pregnant ” clearly suggest that the teacher is a woman (unless you are reading a science fiction novel).

Likewise “ If he talked t alked to the police , we are a re done for!” for! ” shows how presuppositions presuppositio ns can be created created by something so mething as a s subtle s ubtle as a change of into intonation. nation. This last example, without any emphasis being placed, would imply that “ he” he” may or may not have talked talked to someone. Howeve Howeverr as soon as “ the police” police” is emphasised emphasised in a given tonality, there there is no doubt doub t that “ he” he ” did talk talk to someone, someone, it is just a question of who that someone might have been.









































Presuppositions Exercises Presuppositions Presuppositions Exercise 1: 1 : Implication What is the implicati im plication on of the following following s tatements: tatements: • • • • • • • • • • • • • • • • • • • • • • • • •

If he says that again, I will hit him. The next thing to do is whip up the egg. I had a crush crush on him. h im. He moved to the front of the room. He spoke slowly s lowly and deliberatel deliberately. y. She is more competitive competitive than her sister. He likes to remember the good old times. If only the firem firemen en had come sooner, the house would still stil l be standi s tanding. ng. As soon as you’ve you’ ve turned over over your papers papers the test begins. b egins. His smile smi le made her h er feel feel weak. Shyness is caused by fear. fear. He is frowni frowning, ng, which wh ich means he is unhappy with me. You need need to pay more attention attention to details. Have you seen that sunset! Did you know that your hat is on your head? Either he goes or I quit? Have Have you stopped s topped beating your wife wife yet – answer me Yes or No?! Sad films films make me cry. Dogs frighten me. Turning the alarm alarm on is the last last thing th ing you should do each each night. Talking to her is the last thing you you want to do! He has to find f ind a job befor beforee he can respect himself again. again. John broke the chair chair over his back. back. Notice the film beginning to grow over the liquid liq uid.. Can you hear that?









































Presuppositions Presuppositions Exercise 2: Presuppositions –v– Mind Reading R eading There is a difference from what a sentence implies must be true and what it implies could be true, though it need not be so. “ I “ I love big planes” planes ” presupposes that I have a strong positive feeling for planes. You might think that it also implies that I dislike small planes. This Th is may or may not no t be true. I t would require a mind-re m ind-read ader er (or (or another another question) to know for for sure. Notice how the boundary between between truth and ficti fiction on (presuppositions (presuppositions and mind reads) reads) is not always always clear clear cut: •

•

•

•

I don’t 1. 2. 3. 4.

know if if I should stop beating beating my son. son . He has a son. son . He is a bad fathe father, r, and should s hould be shot. sho t. He curr currentl ently y beats beats his h is son. He loves loves his son.

I don’t 1. 2. 3. 4.

see why why I can’t do it. i t. All my fri friends ends can can do it! He feels feels he’ s being treated treated unfairly. unfairly. He wants wants to be more m ore like his friends. friends. His friends do something he does not do. He is an incompetent incompetent fool, fool, and should shou ld be shot.

He thought it was better to try and fail than not to try at all. 1. He was afraid. fraid. 2. He failed. 3. He tried to do something. 4. He is a looser trying to make himself himself fe feel better, better, and should be shot. If the cat does not stop meowing, I will have to shoot it! 1. The cat is meowing. 2. The cat was meowing. 3. The cat will meow. 4. He wants to shoot s hoot the cat. cat. 5. He is a cruel cruel man (who should shou ld be shot) sho t)









































The Meta Model History The Meta Model Model was born in the mid 1970s when the co-devel co-developers opers of of NLP, John Grinder and Richard Bandler, undertook a very interesting project. They realised that there there were were two leading therapists, therapists, Fritz Perls and Virginia Satir, who were getting getting consistent consistent and exceptional exceptional therap therapeuti euticc results with w ith their clients, at a t a time when other o ther therapists had at best haphazard results. They decided to model these therapists using an intriguing approach: approach: language language.. First they became became good therapists therapists themselves, themselves, so that they could shar sh aree the same intuitions as their models. models . They both bo th ran group therapy therapy classes classes to practice practice their their skills. Once they could both get consistent changes with the people in their groups, they began to analyse the language language they were were using and compared compared it to transcri transcripts pts from Fritz and Virginia. Patterns began to emerge. It appears that the same type of questions were were being asked time and time again immediately before a client made an important shift. The rest of the time seemed to be spent on fluf fluff talk. talk. John and Richard Richard began began to experiment with their findings. T hey would restrict restrict themselves themselves to asking on ly one type of question question for for the course of a session. Everyone Everyone that came came to their group that week would be asked the same question over and over again, to test the results. Slowly but surely they teased out a set of patterns that allowed them to perform verbal miracles: they had discovered a language that had “ magical” ef effects on people with problems. The Meta Model was born. The Meta model is a way of anal analysing ysing the things that people say say in order to see what kind of mental mental maps they are making making – including the all powerful powerful assumptions that they have made about life, life, the universe and everything. everything. As you will recall recall from from the Universal Universal Modelling Process Process on page 5, our experienc experiencee gets deleted, deleted, distorted dis torted and generalised generalised befo before re we can can create create a more simplis sim plistic tic and workable w orkable map of the world. When people speak, they are are indirectly indirectly describing the building bu ilding blocks of their their mental mental maps. They are telling you what they are are paying paying attention to and what they are ignoring.









































The Meta Model – Short Form 28

The Meta Model Model is an application application of the work done by Noam Chomsky . Grinder and Bandler applied applied Chomsky’s Chomsky ’s ideas to therape therapeutic utic conversati conversations ons – later later extending extending 29 it to any kind k ind of communicati communication. on. It I t first first appeare appeared d in print prin t in the mid 1970s 197 0s and forms the backbone of NLP. In fact fact it was around aroun d several years years before before the Milton Mi lton Model and and the now infamous infamous “NLP techniques techniques”” were were develope developed. d. The following following is only a working introduc in troduction tion to the Meta model. For F or a deeper deeper understandi understanding, ng, I strongly recommend recommend that you read Grinder Grinder and Bandler’s original books on this 30 topic . 29

Acco According rding to Chomsky , language exists on two levels: the surface structure and the deep structure. Surface structure refers to the words and phrases people use to represent their experience (their mental maps) to others. Deep structure refers to the underlying mental map, the full linguistic representation of the experience inside a person. If the surfac surfacee and deep structures match, match , they are said to be “syno “s ynonymou nymous”. s”. If, howeve however, r, they do not match, they are said said to be “ambiguous”. “amb iguous”. The purpose of the the Meta model is to gently for and retrieve from the source so urce of of any ambiguity ambigu ity so gent ly probe for that the surface and deep structures match each other again – they become synonymous. Distorti Disto rtion onss Cause-Effect “ You make me feel inferior.” inferior. ” A cause-e cause-effect construction exists ex ists where a person incorrectl incorrectly y assumes ass umes that someone s omeone or or something outside ou tside of themselves themselves is to blame for for causing causing them to feel feel or behave a certain way. The fact is that the individual causes themselves to feel or behave in a particular particular way. At A t some s ome level they have h ave chosen to chosen to respond to that someone or something as they did.

The Meta Model challenge here is designed to recover that choice! Complex Complex Equ ivalence ivalence “ When he looks that way, he hates me.” me.” A complex equivalence is the interpretation of one experience meaning (i.e. being









































Mind Read “ She fears me!” me!” A mind read is a statement claiming to know what someone else is thinking or feeling, eling, without identifying identifying the basis for reac reaching hing that conclusion. Whilst Wh ilst reading reading people’s minimal min imal cues can give g ive you an accurate accurate understanding of what someone is is thinking or feeling (see Calibration), that requires a sensory based source of informati information on that has been checked checked for for accur accurac acy. y. Often Often people distort distor t their perception perception and forget how they how they know what they think they know!

The Meta Model challenge recovers this source of information. Lost Performative “ Too many cook cookss spoil the broth. broth.”” A lost perfo performa rmative tive is a value judgement about something so mething without withou t any further further inform information. ation. The person who made the original judgement judgement gets g ets deleted deleted and the client ends up acting acting as if the statement statement were were true. true. Old truisms truis ms like “a stitch sti tch in t ime saves nine” nine” and “many hands make light work” are are classi classicc lost lo st perform performative. ative. But Bu t so s o are more subtle statements statements like l ike “that’s “that ’s not possible”. These are are statements statements of belief belief that may or may not be true.

The Meta Model challenge recovers the source of the belief, so that the person can decide decide on a more rational basis whether whether or no t it is actually true t rue!! Generalisations Modal Operators Operators There are two kinds of modal operators: necessity and possibility . Necessity “ I have to win! win !” These verbs assume assume a need or requirement requirement to do (or not do) something. This Th is assumption deletes the ability to select select from from other choices choices that might be available. available. The choices choices that are left left might be unple unp leasa asant nt or limiting, limit ing, leaving leaving the client nowhere nowhere to go. go . Trigger words for this this patte pa ttern rn are: are: I must, must , shou ld, need need to, to , have to etc as well well as I must not, shouldn’t etc.

The Meta Modal challenge recovers consequences and possible outcomes.











































Universal Universal Quantif Qu antif ier ier “ I can nev n ever er get it right ri ght!!” These are the ultimate ult imate general generalisations. isations. They presume presume the extreme in a very black black or white kind of way. way. They assume that something s omething is always true or never never true, and thus cut out the possibil ity of having shades of of grey! grey! Trigger words include never, never, always, always, all, all , everyone, everyone, nobody etc.

The Meta Model challenge recov recovers ers alternati alternative ve possibilities. pos sibilities. Deletions Nominalisations “ My decision is final!” final! ” Any abstraction abstraction is a nominalisation. So if you cannot put it in a wheelbarro wheelbarrow w (albeit (albeit a very very large one) then it is a no minalisation, a figment figment of our our imagination. It is an attempt attempt to turn a proce process ss into a thing. A “decision” “d ecision” does not exist because because a constant constant choice choice has to be exer exercise cised d to maintain that “decision”. S imilarly, “ love” does not exist. exis t. It I t is a process – a way of feeli feeling ng about someone and interacti interacting ng with d o , like them. them. It I t is not somet so mething hing that you have, like a vase; vase; it is something you do breathing! breathing!

The Meta Model challenge transforms the concept back into something you do! Unspecified Verbs “ I can’t learn” learn ” An unspecified verb refers to any verb (i.e. action) that is not properly described. In a certain sense you might say that ALL verbs are unspecified, because you could always say more about how specifically specifically someone someone is doing something.

The Meta Model challenge recovers information about the action.











































The Meta Model Table Meta Pattern Pattern Distorti Disto rtion onss Cause-Effect

Examp xample le

Chall Chal l enge eng e

You make me feel inferior.

How does X [do I] cause I] cause you to choose to Y {feel inferior]? inferior] ? How does X [him looking that way] mean way] mean Y [he hates you]? you] ? How do you know? Says who?!?

Complex Complex Equ ivalence ivalence

When he looks that way, he hates me.

Mind Read Lost Performative

She fears me! Too many cooks spoil the broth.

Generalisations Modal Operator: Operator: Necessity Modal Operator: Operator: Possibility

Universal Universal Q uantifier ua ntifier

I have to win! win ! I can’t do it! it !

I can never get it i t r ight! igh t!

What would happen happen if you didn’t? 1. What would happen if you did? 2. What prevents you? 1. Never ever?!?











































Re-chunking Questions An important influence on the way people think, feel and behave is the level of abstraction that they like to think in. It seems obvious that giving lots of detail to a “ big picture” picture” thinker would be a lesson in creati creating ng frustr frustration, ation, but what can be done about it? The ability to recognise recognise the level of of abstracti abstraction on that a person is operating operating from from will allow you to match your communication communication style s tyle to that of your your audienc audience. e. These levels levels of abstraction also contain the key to creating agreement (as in conflict resolution and other negotiations) as well as creating a valuable tool for creativity. Re-chunki Re-chunking ng questions are a series series of questions questions that wil l allow you to climb up the ladder ladder of of abstrac abstraction tion into in to global g lobal concept concepts, s, or climb down in to detail, as well as allowing allowing you creative creative lateral lateral leaps. leaps. Re-chunki Re-chunking ng questions question s come in two forms, forms, intention and class . Befo Before re we we get into those concepts, concepts, let’s have a look at logical levels: Let us take a tree tree as an example. example. A tree tree is an example of of a plant. A plant is an example of a life form. But a tree can also be specified into type (oak, hazel, ash) or into parts parts (branch (branches, es, twigs, tw igs, leaves leaves). ). Each Each part can in turn be broken broken down further further into minute details, ultimatel ult imately y rea r eachi ching ng the subatomic level. level.











































Intention Human beings beings can not be random. Every Every act, thought or feel feeling ing is a consequence consequence of of some process and some form of evaluation occurring. When there is a conflict, either internall internally y in the person, or externall externally y with w ith others, there is a lack lack of agre agreeme ement nt or harmony in the detail. The traditional solution is to compromise. That way nobody gets what they want. But there is a better solution: chunking up on the intention. You see, every behaviour is motivated, ultimately, by a positive intention. Sometimes you have to look for a while to get to something positive. Persist, because because it is there! When you find f ind that intention , you y ou can chunk down from from that t hat intention to altern a lternative ative behaviours, behaviours, which which still satisfy satisfy the intenti in tention on.. If you have two people and chunk chun k up high enough on their intentions in tentions , you y ou must eventually eventually come to a point of conta contact. ct. That is your starting point for a solution (see the negotiation negotiation frame under Framing later). To chunk up on an intentio intention, n, ask questions questions like: l ike: • • • • •

What is the purpose purpose of doing X? When you get get X, what does that give you? What does that allow you to do/feel/have? do/feel/have? What is important important about that? What is your intention? intention?











































The Milton Model History After fter Grinder Grinder and Bandler had cracked cracked the Meta Model, they felt very very please p leased d with themselves. themselves. They thought they had found the “universal “ universal solution” to helping people make make positive changes in their lives. A ll they had to do was to get very speci specific fic with people and use carefull carefully y honed h oned questions q uestions to let people peop le rediscover rediscover that they had h ad a choice in life. They went to their mentor, Gregory Gregory Bateson, and revelled revelled in their cleve cleverness. rness. Bateson Bateson was suitably impressed. Then he turned the tables on them. He told them of a remarkable man, a Dr Milton Erickson, who achieved what appeared like miracles on a routine basis. He worked worked with psychiatric psychiatric patients patients no one else could get through to, as well as with ordinary people. But Erickson was not being very speci specific fic with his language. language. In fact fact he was quite the opposite. oppos ite. He had turned being vague into a true art form form – a therap th erapeutic eutic art form! form! John and Richard Richard were were intrigued. intrigued. They had to meet this man and unravel unravel the enigma. enigma. How could he systematicall systematically y break break all the rules they had so care careful fully ly laid bare, bare, and yet y et achieve even even better results than they did?! d id?! ? So they travelled to Phoenix, Arizona Arizona to discover discover things for themselves. themselves. What they learned learned completely completely altered altered the course of their researc research. h. NLP NL P was finally finally born. born . What John J ohn and Richard Richard discovere discovered d was that Milton was inducing trance trancess in people by using u sing a very respectful respectful and elegant form of language language that violated v iolated everything the Meta Model Model did. did . In fact fact Milton used language language construct construct that did not even exist in













































The Milton Model – Short Form Cause - Effe Effect ct Because Because you have ha ve taken time to read this section carefully, careful ly, you yo u will w ill find it easier and easier to understand these language patterns. As soon as you close your eyes and consider what you have learned, all will become very clear for you, which will cause you to feel a tremendous sense of satisfaction NOW! Complex Equivalence Reading this th is means m eans that tha t you a re absorbing ab sorbing all kinds of things thin gs unconsciously. u nconsciously. Any unconscious unconscious activity you you have h ave means your body can relax more fully. Now No w as a s you’re relaxing now, that means that you are a re going deeper and deeper deeper into trance… Mind Mi nd Reading Readi ng I know that tha t you’re wondering how to make sense of this thi s all. a ll. You will wil l be b e feeling a sense of curios cu riosity ity about abo ut the Milton Mil ton Model, Mod el, and that curiosit curio sityy is making you wonder about all kinds kinds of things…













































Comparative Deletions You simply learn more and become become better better at a t using u sing your in ternal processes processes to give you the quality qu ality of experiences experiences you really real ly want wan t more mo re of. of . Because it is good to strive st rive to have more good things in life, better relationships, happier times, greater resources… Tag Questions And you know what wha t it i t is like to have such resources, don’t you? y ou? You’ve You ’ve learned learned many things in the past, haven’t you? Which means you can continue to learn the kind of things you need to learn in order to achieve the things you want to achieve, don’t you? Pacing Cu Curren rrentt Experience Exper ience And as a s you sit si t there, read ing these words wo rds and allow all owing ing the sounds of your environment to continue without disturbing you, you can enter a deep state of reflection. This reflection can intensify as you breathe in and when you breathe out you can no tice your breathing breath ing as a s you continue continu e to ease ea se deeper deeper and an d deepe d eeperr into in to a very pleasant state sta te of o f comfort… comfor t…













































Additional Language Languag e Patterns Pattern s Truisms about Sensations " Most people experience experience one hand to be warmer w armer than the other. o ther."" " Most people enjoy the warmth of a summer’s day." day. " " Many people feel good, good , as a s they recognise certain facts about abo ut themselves. themselves."" Truisms utilising Time "Sooner "Sooner or later, your eyes will wi ll close." "As soon as you’re ready you can go into trance now...." Not Kn Know owing ing , Not Doing Doi ng "And there’s there’s no need need to talk or move or make any effort effort." ." "You don't even have to think about that now." Open-ended Suggestions "We all have potential potential we are unaware of, and we usually usually don't know know how ho w it will w ill













































Negative - Unti Un till "You don't have to sign the contract until you are ready." "You won't do it until you’ve seen how easy it is." Shock, Sh ock, S urpris urp risee "Your sex life… (Pause) (Pau se) just what wha t you you need need to know know and understand about it… (Pause) Secretly what you want… (Pause) is more important to you.” Implicat Imp lication ion and an d Impl Im plied ied Directive D irective “If you sit down then you you will learn learn this more easily.” easily.” "If... then" statements Binds Bi nds and an d Doub Do uble le Bin B inds ds Approach Approach – Avoidance “Would “Wou ld you like to sign the contract now or o r later?” later?” Conscious – unconscious “your unconscious is the storehouse of all your memories, skills and resources, so your unconscious mind knows more than your conscious mind does, and if your unconscious mind knows more than your conscious mind does, then you really know more than you think you do.”













































Congruence Language patterns are powerful, but only when they are supported by the right setting. As you recall recall the Birdwhistell study s tudy from from the beginning of this manual, you will remember remember that only 7% of the the meaning is conveyed conveyed by the words that you u se. The rest is transmitted by your tonality and you body language. Whilst much can be done to improve these (and I’ll make a few suggestions shortly), the most effective way to to communicat com municatee is to actually actually mean what you say. Your unconscious unconscious will wil l then be free free to transmit transm it the appropriate non-verbal signals to support sup port your you r message! Non-verbal cues

Non-verbal Non-verbal cues are are very important, impor tant, as a s carry approximately approximately 93% of the meaning in any communication communication you make. To T o be influenti influential, al, your y our voice will be the tool of choice choice so you must learn learn to play it like an instrument. ins trument. At advanced advanced levels levels of communication communication your voice and and tone will allow you to communic comm unicate ate with someone at several several levels levels at the same time. This Th is is one of the primary primary skills of influ influential ential and















































Inflection Inf lection In the English Eng lish language, we have three primary infle inflections ctions for conveying d iffere ferent nt messages. An upward inflection usually suggests a question, a flat/even inflection is used for statements and a downward inflection is reserved for commands/instructions. People tend to respond to these inflections instinctively without analysing them. By using them with precision, you can cast doubt on an idea, get people to ask questions of themselves themselves and have people follow follow instructi ins tructions ons without overtly having to do any of these these things. Inflect Inflections ions and tonality are also crucial crucial when it comes to Embedded Embedded Commands (see Hypnosis & Trance). Trance). Pauses















































Language Flow Cards (4 Words Of Power) The cards below contain pre-packaged language patterns that you can use to make fluid fluid links when you use the Milton Mi lton Model. S tart of off with with a simple word, like “ Relax” and pra p racti ctice ce flowing flowing with that: As that: As soon as you relax , you’ll you’ ll feel the comfort comfor t of relaxatio relaxation n growing. So will you relax deeply o r will wil l you s imply relax deeply , or comfortably now? The more you relax , the easier it is to relax deeply… etc.















































Exercises: Constructing Constructing Languag L anguage e Patterns Exercise 1: Creating Presuppositions In groups of 3 (a triad), triad), person A generate generatess 5 simple sim ple statements. statements. B and C tease tease out the presuppositions presuppositions that the stat s tatements ements contain. contain. Then rotate roles. roles.















































Exercise 4: Meta Model In a triad, person A checks the Meta Model Table T able and creat creates es a “problem” “p roblem” statement statement in each of of the categori categories. es. A presents presents these to the others in a random order. B identifie identifiess the pattern. pattern. Then B and C then take turns turns challenging challenging the “problem”. “prob lem”. A gives feedback on the impact that each challenge makes (harsh, respectful, insightful, funny etc). Rotate roles.

Exercise 5: Milton Model















































Exercise 6: Meta Model Challenge In a new triad, take each of the Milton Model patterns created in Exercise 5 and systematically challenge each statement using the Meta Model.

Exercise 7: Deconstructing and Induction Read Read the following following hypnotic induction. ind uction. In groups of 3-4 analyse analyse the patterns that you find find in it. i t. Then have h ave one person rea read d the whole thing out loud and simply s imply listen: I would wou ld like to invite you… to close your eyes and relax… re lax… because.. with wi th your eyes closed… closed… you can awaken awaken to… an internal in ternal awareness awareness that is of o f great importance… importance… right now… you are sitting down… hearing the sound of my voice… and feeling

















































Exercise 8: Polishing Presuppositions

















































Exercise 9: Meta Model Challenge of a Limiting Belief In a triad, triad, A states a simple lim iting belief belief like “I can not unde u nderstand rstand X”. X”.

















































Frames

















































Reframing

















































Useful Frames











































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































NLP Practitioner Techniques Guidelines for Changework Personal Personal change change is a complex field. field. The NLP techniques techniques do not s it in a vacuum. They have to be applied in a context. The techniques techniques require require someone’s cooperat operation: ion: clients have to be willing w illing to follow follow the steps s teps suggested. You also need to make make sure that you direct the client’ client’ss attention a ttention to those portions of her her experi experien ence ce that will allow her to change. Attention and energy are the basic currency of change (whether that change is to take place in the context of education & learning, therapy, coachi coaching, ng, sales, leade leadership, rship, business relationships relationships or parenting parenting). ). You will see later (when we cover the Meta Pattern of ALL change) that states are everything. If you create exquisite states for people and attach them to the right things (yoursel (yourself, f, your product p roducts, s, a task, a new way of being, being, a new behaviour) behaviour) change will happen automatically! But automatically! But remember remember that “states” “s tates” are are a nominalisation: they do not exist. They cannot be put pu t inside ins ide a wheelba wheelbarro rrow. w. States are not things, they are processes. States are are something that people do. The following following guideli gu idelines nes are designed designed to help you put a context around the NLP technique techniques. s. That way you can tailor your approach approaches es to each unique situation of every individual client. 1.

Clear Clear your min d: you will need to to calibrate calibrate the the client exquisitely. If your head head is full of other other things, that will be diffi difficult. cult. Remember the NLP presuppositions presuppositio ns – they are framew frameworks orks that influence influence what your yo ur mind m ind will w ill let you see. This Th is is invaluable invaluable when it comes to creati creating ng change! change!

2.

Maintain rapport: keep keep the client on your side. Use your language language care carefull fully y to be respectful respectful of of the client. cl ient. If you are pushing hard (like when you use the Meta Model), make sure that your tone is soft. Use softene softeners rs like “maybe… I wonder… etc” to take the edge of of suggestions and challeng challenges. es. Take your time, don’ t rush through the processe processes! s!

3.

Go First!: by now you should have learne learned d to enter your own alter altered ed state in which wh ich you are more alert alert to your client (calibrati (calibration), on), you have have acce access ss to all your NLP learnings and experiences and have learned to trust your unconscious mind’s ability to find solutions. Use it! Another essential part of going first first relates relates to states. States are ever everything ything when it comes to change. If you want someone to get excited, get excited first! If you want







































4.

Don’t Don’t change their mind , change ch ange thei t heirr mood: decisions, beliefs and behaviours occur within s tates. Change the state and the t he decision, decision , belie b elieff or behaviour no longer exists (for (for that period of time). That Tha t is i s one reason for for using trance: it’s an altered state in which wh ich the problem problem does not really really exist! Change their mood (state ( state)) and all else will follow!

5.

Know your outcome: outcome: always always communicate communicate with an outcome in mind. mind . If you don’t know where you are going, do not be surprised if you go nowhere very fast! fast! How will you be able to judge if you are “o n track track”” if if there is no track you want to be on. Your unconscious gives you what you want, but you have to want something befo before re it can give!

6.

Everything counts: everything everything you have ever ever learne learned d still s till counts. Use it it all to get to the outcome you have in mind. Just because you think you want to do a SWISH, does not mean that you can not use reframing, language language patterns, patterns, Meta Model questions, submodality s ubmodality adjustments and anchoring anchoring to make the effect ect more power p owerful. ful. Use everything you have to get the change change and and make it last! Change the technique technique if if you have to, just make it work!

7.

Utilise everything everything from the client: everything everything the client gives you is useful. If he “resists” there is something useful within that process that can be turned to help your cause. Resistance is a sign s ign of insuf insufficie ficient nt pacing. pacing . Sometimes resistance is the client’s unconscious telling you how he wants to change! Listen!! Listen!! Remember: Remember: what you resist will persist; what you accept accept you gain the power to utilise u tilise and transfo transform. rm.

8.

Move from the least intrusive to the most intrusive: if if doing something subtle and indirect indirect can creat createe the change, change, do it. One reason reason for for using the Meta Model first, is that the challenges challenges “ loosen the concret concrete” e” paving paving the way for other things to work better. better. The same is true of of the Milton Model, presuppositions presuppositio ns etc. e tc. Whenever I work with a client I will wi ll do my best to get the change through conversational hypnosis language patterns before it looks like we have begun. It makes life so much easier for everyone!

9.

Under pressure the mind min d rever reverts ts to base ex perience perience:: when when you (or a client) are under pressure, you revert to doing what you have practiced. That is one reason for having the client rehearse and condition a technique several times (including during the Future Pace). The good news is that intense visualisations are real experiences . The brain, under pressure, reverts back to what you rehearse rehearsed d in your mind too. So you can practic practicee many things through full-sensory full-sensory visualisations!







































Anchoring Collapse Anchors A collapse anchors is the basic therapeutic technique. In collapse anchors you take a problem trigger trigg er and transform transform it so that instead ins tead of of it triggering the t he problem pro blem reaction, reaction, it instead triggers the solution. It is a very elegant way to do Changework. When your nervous system tries to access two conflicting states, the strongest of the two will prevail. So if your your resources resources are are stronger than your problems, your problems simply disappear disappear – they cannot compete! compete! 1. 2.

3.

4.

5. 6.

7.

8.

9.

Anchor the problem state: state: the first step is to elicit and anchor the problem state. Lets call this Anchor A. You will be using this later. Break state: next you need to get the client out of the problem problem state. s tate. You need a neutral neutral state so that he can begin to access access solution states without getting that mixed up with the problem. Typ T ypica icall break break states states might migh t include distracting distracting attention, attention, thinking of a white canvass, canvass, getting the client client to stand and “shake it off” off” etc. etc . Identify Identif y resources: resources: now you can get the client to searc search h for solution states. How would he have to feel feel or be in order order for for the problem to simply not exist stronger than the problem state is. anymore? NB the solution states must be stronger Anchor resource state(s): state(s): next you elicit the resource(s) the client needs and you anchor them. them. Make them them really really juicy ju icy – they have to be stronger than the problem state s tate is. is . If you want to you can stack several resources resources together, pump pu mp them up with a sliding anchor and adjust the submodalities to really make it a humdinger of an experience! Lets call this Anchor B. Break state, Test and Break state: to make sure you have a good resource anchor, then clear the slate so you can do the real work. Collapse Anchors: tell the client client to go to the problem problem context context in his mind. As he does this, this , fire fire of off the problem problem anchor anchor A. Watch him closely. As A s soon s oon as he starts starts to go into the problem state s tate physiology, fire fire off off the resourc resourcee anchor anchor B. Hold both together. Integrate: watch the client as both states battle it out. This is the integration process. Eventually they will wil l come co me to rest. When the client’ client ’ s physi p hysiology ology settles down, you can rele release ase both anchors. Test: fire fire the problem anchor A and watch. watch. If he goes into the solution state physiology phys iology,, you are done. do ne. If he starts to go into the problem, pr oblem, fire Anchor B again again and allow the integration integration to occur occur again. again. You may need need to condition this process up to 5 times. times . Future Pace: Pace: send the client into the futur futuree to the same problem problem context and see







































Chaining Anchors Chaining Anchors is a way of installing installing a strategy strategy or a sequence sequence of of states in someone. This is particula particularly rly useful useful when the jump from the problem state to the solution state is too large to manage in in one fell fell swoop. Chaining Anchors has two distinct stages: chain design and chain installation . Chain Design Design 1.

Elicit Parameters: elicit the problem s tate (state 1) and an ideal solution state (state 5) as you would in a simple simp le collapse collapse anchors. anchors. Ther Th eree is no need to anchor these yet (though you can do if you wish).

2.

Bridge the gap: decide on the number of of steps it would take to get from from the problem state to the solution so lution state. s tate. Con sider the size of of the gap between between the start and finish points and how much movement is in each state, i.e. do you have to move from from a fast fast state (e.g. panic) to a slow one (e.g. calm) or from a very slow one (e.g. depression) depression) to a fast fast one (e.g. excitement excitement). ).

3.

Elicit intermediate states:

4.

a.

Lets assume you chose to have three intermediate states (five in total, including including the problem and solution states). Ask yourself: yourself: what state is halfway between the problem and the solution that would cause the client to move towards the outcome? outcome? This is state 3 .

b.

Repeat Repeat the question to bridge the gap betwee between n state 1 and state 3, 3 , to give you state 2 .

c.

Repeat Repeat again again to bridge the gap between between state 3 and state 5 to give g ive you state 4 .

Check States: now that you have all the states in the sequenc sequence, e, try them on for size on yourself and and ask yourself yo urself:: would it work for me? Would i t move me to move from problem (state 1) to solution (state 5)?

State 1

State 2

State 3

State

State 5







































Chain Installation

Now that you y ou have the sequence sequence of of states that your client will wil l need, n eed, it i t is time to install the whole chain. The sequence sequence in which you anchor the states states is important as you want to allow the client to unconsciously rehearse running the chain before officially doing so – you want them to succeed before they even know there might be a chance to fail! 1.

2. 3. 4. 5.

6.

7. 8.

9.

Anchor state 2: anchor anchor state 2 first first of all. all. This Th is is will be the first first step in the solution sequence. You do not want them to go into the problem until you are ready ready to obliter ob literate ate it! Test T est it and Break State. Anchor state 3: anchor, test it and Break State. Anchor state 4: anchor, test it and Break State. Anchor state 5: anchor, test it and Break State. Anchor state 1: anchor anchor the problem state last of all. You want the client to have had an experience of the chain working to some extent before you start them down the problem path. Break State. Install the Chain: Fire state sta te 1, 1 , as it starts starts to come up fire up fire state 2 and allow a moment for for integration. integration. Then fire Then fire state 3 , and wait for for the integrati integration. on. As the integration integration peaks, fire peaks, fire state sta te 4 and wait for the integrati integration. on. As the integration integration peaks, fire peaks, fire state sta te 5 and wait for the integrati integration on to complete. comp lete. Condition Condition the t he Chain: repeat repeat the process once once or twice to condition the chain chain into their neurology. neurology. Break State and Test: from from a neutral state, ask the client to associat associatee to the problem context, fire f ire the anchor for for state 1 and and tell him to “ run the rest of the chain chain on your own”. own”. Make sure it happens automatically. automatically. Future Pace: ask the client client to associate associate to some future future context context in which they would have had the problem in the past, and notice what what happens. To be really really rigorous r igorous ask them th em to t o try and get the problem back. T he harder harder they try, the more they fail. fail. The change will last! Installing a

State 1

State 2

State 3

State

State 5









































Change Personal History Change personal history is a way of using anchors to free people from being haunted by the past. past . 1.

Anchor problem state: find find the problem p roblematic atic feeli feeling ng and anchor anchor it. it . This Th is anchor will be P1 .

2.

Follow the feeling: let the problem feeling take the client back and remind her of other experiences in the past in which she felt the same way.

3.

Anchor the past: Calibrate their physiology, when exaggerations occur, she has hit on a significa significant nt event. Stop her and ask her what age she was was during that experienc experience. e. Anchor this th is event as P2 .

4.

Repeat: using P1, keep the client client going go ing backwa backwards rds in time (its OK if she regresses). Each time a significant event occurs, ask for the age and anchor each each event as P3 , P4 , P5 and P6 .

5.

Break State: clear the air, reorient her to the present and distract her.

6.

Access resources: back in the present present ask the client what resourc resources es she would have needed in that earliest event (P6) to feel good about herself. Elicit this and anchor it as R1 . Then Break State.

7.

Collapse the past: starting with event P6, do a collapse anchors with P6 and R1 until un til the client is totally resource resourceful ful and happy with that past event. Then move on to P5 and collapse collapse agai again n with R1. Repea Repeatt one by one with P4, P3, P3 , P2 and P1. If there there is a problem, find a more power powerful resource resource state and start again (from where you left off).

8.

Test: have client client remember remember the past events to see how she does naturally.









































Re-imprint Method This Th is is simi s imilar lar to change change personal personal history, but has a much wider scope scope for the the client’s personal development and learning. 1.

Identify problem: find a recent recent experience experience with negative feelings feelings that keep coming back in diff different contexts.

2.

Find imprint event: Follow this feeling feeling back to the earliest earliest memory, like in change personal personal history. his tory.

3.

Dissociate: ask the client to float float out of the the body of that that younger him so he can can view it all a ll like a fly on the wall or as if he were were in a cinema. cinema.

4.

Find Intention: Intention: for each of the players in that scene, get the client to chunk up on their intention for behaving behaving in the way that they did. Find the highest positive intention for eac each h person (including the young client). client).

5.

Identify Identif y Resources: Resources: from from the dissociat d issociated ed position, position , ask the client client what resources each person in that scene needed in order to properly satisfy the positive posi tive intention. intention .

6.

Anchor Anchor the child: ch ild: anchor anchor the resources resources the child nee n eeded. ded. Ru n through the scene first dissociated and then again associated. Notice any changes.

7.

Anchor other player p layers: s: take one of the other players in that scene and anchor anchor in the resources resources that that individual needed. needed. Then run through the scene again dissociated followed by associated. The client should experience this from the new player’s point po int of view! view!

8.

Repeat for the cast: repeat repeat step s tep seven for each each of of the other o ther people in that scene, scene, one by one.









































The Circle of Excellence This is a wonderful technique to practice feeling great at any time of day. It is particularly particularly use us eful for for energising energising yourself be before fore an important impor tant meeting, date, competition competition etc. In many ways this is a stacked stacked anchor anchor that you can take anywher anywheree you want to re-experience whenever you want or need to. 1.

Identify state of excellence: choose any state that that you find appea appealing ling and particularly particularly resourceful. resourceful. It could cou ld be a time of great great energy energy and enthusiasm enthu siasm,, or time when you had real insight and clarity of thought. It might be a time in your life when you felt completely happy, fulfilled, confident, loved, unstoppable…

2.

Create the circle: imagine a circle out in front of you.

3.

Dissociate: see yourself yourself standing standing in that circle circle buzzing buzzing with this state you have have chosen. See yourself yourself standing, moving, moving , breathing breathing and beh b ehaving aving the way you did back then. Notice the expression expression on your fa face which which tells you exactly how exactly how good it feels feels to be that you!

4.

Associate: as soon as you step into that circ circle, le, you will s tep tep into that happy, energised, energised, confide confident nt you. you . See through those eyes, hear through those ears, and feel the feeling that being this you brings.

5.

Anchor: at the t he peak of the experience, experience, anchor the feeling feeling to a gesture (closed fist) fist) or a word ( “YES!”). As the fee feeling ling starts to fade fade step back back out ou t of the leaving all those feelings feelings inside the circle circle. circle leaving

6.

Condition: repeat steps 3-5 three or four times to condition the experience.

7.

Future Pace: suggest that you that you can take this circle anywhere you go and place it in front fron t of o f you, you , so s o that anytime you wish or need to feel this th is good g ood again, all you have to do is step inside the circle and let the magic begin!









































Submodalities Swish Technique The swish technique technique is another one of those those NLP classics. c lassics. You can can use it anywhere anywhere where where you want to change habits, in stall a new strat s trategy egy or to make a map across across more fun. In essence essence this is a map across across using u sing Neuro-drive Neuro-drivers rs and some so me contextual contextual suggestion in order order to replace replace an unwanted unwanted inte in ternal rnal repres represent entation ation with something that is more desirable. 1.

2. 3.

4. 5.

6. 7.

8.

Identify Identif y trigger: trigger: find find whatever whatever trigger sets off off the unwanted un wanted behaviour. Often ften it will w ill be a mental picture picture of something. something. But it could also be something as simple sim ple as a smoker seeing/fe seeing/feeli eling ng a cigarett cigarettee in his hand. Make Make a still picture of the trigger. trigger. Break State Create Create an outcom out come: e: find out how the client wants to be different. If you really want to make things juicy, enhance the submodalities so that it is really really appealing. ap pealing. Begin Be gin Change: ask the client to temporarily shrink the picture so it is a tiny do t in one corner corner of the the old trigger trigger picture. SWISH!: ask the client to simultaneously shrink the trigger picture into nothingness and enlarge the outcome picture. Let the outcome ou tcome picture picture become bigger, big ger, bolder, bo lder, brighter b righter and better. Make the final picture really really attractive. attractive. As A s the pictures p ictures change, change, make swishing swi shing noises noi ses for for added ef effect (and to amuse yourself!) yourself!) Break State Condition: tell the client to go inside and repeat it five times to condition break state in between it. Each time will wil l be faste fasterr and remember remember to put a break each cycle! Test and Future pace: ask the client to try and get the old picture picture back. back.









































The Fast Phobia Cure This Th is anothe ano therr one of those classic classic NLP techniques techniques that have made NLP famous. famous. This Th is technique technique was was designed explicitly explicitly for dealing dealing phobias, i.e. there is is no huge underlying underlying trauma that needs to be dealt with . 1.

Security anchor: Security a nchor: the first first thing to do is create create a security security anchor to bail the client client out in case it all gets too much for her.

2.

Identify Identify phobia: calibrate to make sure that th at she sh e can reproduce the feelings! feelings! Trace the feeli feeling ng back back to an imprint event.

3.

Dissociate: get her to “step “s tep out ou t of the picture picture”” so she s he sees her younger younger self self black and an d white movie movie . The start of the movie is in the first frame frame of a black before the problem began, i.e. the client is still safe and all is well.

4.

Fast forward: now get the client to run the movie forwa forwards rds at super high speed, in black & white.

5.

White out: at the peak peak of the event, event, just at a t the critical critical scene, scene, have the client white or bright o ut the entire e ntire scene scene.

6.

End the film: film: afte afterr the “white ou t” allow the film to carry carry on to the end, still in black & white and at super high speed. The film does not stop until it is all a ll over and the client is safe safe and calm again again (in the film) film)

7.

Associate & rewind: at the end of the the film film have the client step into the film and assume the role associated associated again. again. Then run the film backwa backwards rds at triple speed. speed. If If you want to add some s ome humour, humour , add a humorous soundtrack soundtrack like circus circus music or the theme tune from from the “ Benny Hill Show”. P lay the film film and everything everything backwa backwards rds (with the client associated, associated, i.e. i .e. inside the film, film, where the action is).











































Visual–Kinaesthetic Visual–Kinaesthetic Dissociation This technique is one of the more heavyweight therapeutic procedures. Use it whenever a client experiences overpowering negative emotions, such as when dealing with a phobia phob ia or trauma. 1.

Security anchor: Security a nchor: the first first thing to do is create create a security security anchor to bail the client client out in case it all gets too much for her.

2.

Dissociate: have the client enter a cinema or theatre theatre with curtains curtains closed. Behind the curtain curtain will be the traumatic traumatic scene scene they want to work work through. The scene scene will begin before anything bad starts to happen, so the client is still safe safe.. Anchor this this state (this is the first first dissociation, D1).

3.

Double dissociation: have the client client float float out of his body and back back into the projectionist’s projectionist ’s booth, boo th, so he can see himself him self sitting down there in the th e theatre theatre,, the other him is watching watching the scree screen n where the the action action is about abou t to begin. Anchor this thi s second stage s tage dissociation (D2).

4.

Observe event: have the client watch his other self self (D1) (D1) watch watch his h is younger self self going through throug h the traumatic traumatic event on the screen. screen. The film finishes finishes only after the trauma has ended and the young version of the client is safe again. Freeze the film here.

5.

Release double dissociation: have the client float float back back into the body of the the











































Visual Squash The visual squash is known in other circles as a parts negotiation. It is used in circumst circumstance ancess when a person person seems to be b e split in two – part of him wants one thing, and another part desires another. This is known as a towards-towards conflict (the client client is torn between between two good things). I t is also very useful useful if if the client keeps sabotaging himself him self (a towards-away towards-away conflict). conflict). 1.

Identify parts: clients clients will often often do this th is spontaneously spontaneously when they say things like like “ on the one hand there there is X, but on the other other hand I want to do Y ”

2.

Anchor parts: have the client create a visual image to represent each of the parts. P lace lace one of the parts in each each hand. hand .

3.

Separate intention: remind the client that there is a diffe differe rence nce between between what each each part part is doing (behaviour) (behaviour) and what it i t wants to achieve achieve (intention). Even the most destructive of parts (e.g. responsible for anorexia, self harm etc) is trying to achieve something positive (create a place of safety or control etc).

4.

Chunk up on intention: take the “ negative” negative” part part first. Chunk Chu nk up on the intention until unti l you reach reach the highest level level of abstra abstraction ction you think you can get to (e.g. to be happy, to be loved etc). Now etc). Now chunk chun k up on the intention in tention of the other part, until you get to the exact same highest highest intention. intention. It I t is vital











































Hypnosis Six Step Reframe This is a powerful pattern for generative change. It was originally developed to teach therapi therapists sts resistant to the idea of using hypnosis a formi formidable dable hypnotic technique in disguise. This Th is process process can be used either either in conjunction with a formal formal trance trance induction induction or “conversationall “conversationally”. y”. 1.

Identify problem: identi iden tify fy an unwanted u nwanted behaviour or feeling. feeling.

2.

Communicate with the unconscious: check check inside to see if your unconscious mind is willing to communicate with your conscious. Whatever Whatever internal internal signal the th e client gets, ask the unconscious unconscious to intensify intensify it 46 for a “yes” response and and diminish dim inish it for for a “no” “n o” response response .

3.

Separate intention from behaviour: ask the unconscious to communicate communicate its highest intention behind the behaviour. If it won’t play ball, negotiate!

4.

Generate alte a lternatives: rnatives: remind remind the unconscious unconscious mind of its boundless creativity (dreams, problems solved in the past, general life learnings etc) and ask that the: unconscious unconscious mind searches searches through a ll your memories, experi experienc ences, es, learnings and creativity creativity to come up with at least least five











































The New Behaviour Generator This is a great process for accelerated learning, particularly for picking up new skills quickly quickly and easily! 1.

Identify model: the first first thing you must do is find find a model who is excepti exceptional onal at the behaviour behaviour you want to acquire. acquire. A real model mod el is ideal, though a fictional fictional one can can also have interesting interesting results.

2.

Dissociate: crea create te a mental movie and watch your model engaging engaging in the behaviour you want to have. The more precise and detailed you yo u can make that movie the better. Make sure this is still the right model. If you’re not happy, find a new one!

3.

Morph: now watch the film again, only this time putting your features on the models face face.. Gradually Gradually transfo transform rm the model to look like you and to sound like you, but bu t still s till perfo performing rming the behaviour excell excellently. ently.

4.

Ecology check: check you are happy with all the consequences of behaving in this th is way. Are there any situations where you do not want to have this behaviour? How will it affect the rest of your lif l ife? e?

5.

Associate: step inside in side your image and and associate associate fully fully . See through your eyes, eyes, hear hear through your ears, fe feel what it is like being you and engaging in this behaviour behaviour fully. fully. See the people around you, add a soundtrack soundtrack if











































Timelines – Change Personal History Timelines can be walked physically (in real space) or manoeuvred metaphorically in the imagination. imag ination. Both Bot h seem to work wo rk for for diffe differe rent nt people at a t di d iffe fferent rent times. t imes. 1. 2. 3. 4.

5. 6. 7. 8.

9.

Identify problem: identify a feeling the client wants to change ( P). Establish timeline: elicit elicit the client’s submodalities for time (see Timelines T imelines in the Submodalities section) and ask him to set it out on the floor in front of him. Navigate Timeline: ask the client to walk backwar backwards ds on the physic phys ical al timeline into the past. Root cause: at each each point the client feel feelss P, he should shou ld make a mental note of of the location location on o n the timeline (points 2-4 in the diagram) diagram) and continue to drift/w drift/walk alk back to the very first first experience. experience. You can mark these out ou t for for him with pieces of paper paper if you like. lik e. Dissociate: when the client reaches the first event, he steps off the timeline (to point A in the diagra d iagram) m) and looks loo ks at a t his h is younger y ounger self in the th e event (point (poin t 1). 1) . Learn: the client reviews the event and gathers every learning he can in order to enable enable him to let go of the the emotion attached attached to that event. Resource: from from that vantage point (still (s till point A), pump pu mp in all the resources resources the younger younger client client needs. needs. Fill him up with good things. Dissipate emotions: emotions: walk walk back to just be b efore fore the initial event event and look into the future – the actual present day – (from point B). Make sure the client notices that the emotion has vanished. Associate & Test: step into the actual actual event event (point 1) to make sure that the emotion has become “flat”.













































Timelines – Change Limiting Decision This Th is timelines pattern works particula particularly rly well in trance, trance, getting the client to imagine floating above her timeline. 1. 2. 3.

4.

5.

Rehearse: this is quite an intricate process, so talk the client through it first so she knows what is expected of her! Induce Trance: either formally or informally (see Hypnosis & Trance). Dissociate: ask client to float float up above her her timeline ti meline and backwa backwards rds in time to the initial point when the limiting decision was made (point 1). Along the way she might migh t note no te other events events in which she continued to accept accept that limiting decision (points 2-4). Associate & dissociate: when the client gets to point A, above the initial event, event, ask her to dip d ip into the event to get the feeli feelings ngs and then to float back back up to point A . Make sure sure she takes all the learnings learnings from that situation. Remove Remove emotion: next, have her float back to the moment just before the













































Timelines – Creating a Future Goal G oal T imelines can also be used u sed to project project a future future goal and creating creating an unconscious unconscious propulsion to achieve it. it . 1.

SMART: construct construct a well-form well-formed ed or SMAR T goal.

2.

Outcome picture: make an an image of the the outcome you want. How will you know that you have achie achieve ved d it? What will wil l you hear, feel feel and see?

3.

Associate: step into the IR, see what what you see, hear hear what you can hear hear and feel what you can feel. Make sure it is what you want!

4.

Emotion: adjust the submodalitie sub modalitiess to make the inte in ternal rnal repre represent sentation ation of your goal as appealing appealing and intense as as possible. po ssible.

5.

Dissociate: step back out of the the IR and float float above your time line with it.













































Strategies Strategies Defined Human beings beings cannot be random. Every Every behaviour behaviour that we hav h avee is the result of some internal internal programme programme:: we have to know when it is time to engage in that behaviour, how to adjust the behaviour behaviour mid-stream to achieve whateve whateverr purpose it is for and and final finally ly we have to know when it is time to end the behaviour. behaviour. The programmes programmes that do this are known as strat s trategies. egies. You have a strategy strategy for for everything everything you do: from scratchi scratching ng your y our head in the morning to making a fortune fortune in business. bus iness. Some S ome strat s trategies egies are are simple, involving on ly a few few steps. Others are vastly complex and may include a meta-str meta-strat ategy egy that that triggers off a whole plethora pletho ra of sub-strategies sub-strategies under un der di d ifferent condition s. Strategies run r un our lives and dominate do minate our ability to learn. learn. Yet there there are are very few few disciplines in which you will learn to do something better by redesigning the strategy that is running that













































The TOTE Model TOTE TO TE stands stands for for Test – Opera Operate te – Test – Exit. In a T .O.T .E. a person has has an an internalise internalised d goal she wants to achieve. achieve. This T his is tested tested against the results results that she is getting. If the the goal has no t been achieve achieved, d, the person will go into an operations operations phase in which wh ich she engages en gages in a behaviour designed to achieve that goal. g oal. The Th e new outcome is tested again to see if if it measures measures up against the goal. g oal. If If it does, the strategy strategy exits and the behaviour ends. If If it does not, n ot, the strategy strategy loops back back to the operat operations ions phase and a new series series of behavi behaviours ours is engaged engaged in. in . This loop or cycle cycle continues continues until u ntil the goal is either achiev achieved ed or abandoned. abandoned. The T.O.T.E. model is traditionally represented as follows:

Trigger

Test

Exit













































The operation phase is made up of a series of external behaviours ( EB) that are are triggered by internal representations representations (IR ). ). The EBs and IRs should should link togethe togetherr in a finite chain or sequence with the purpose of gathering, organising and modifying information in order to attain the desired goal. At the end of each specific chain lies a new Test phase. The Test phase simply compares the info information rmation (which (which was gather gathered ed and organised) organised) agai against nst that desired goal. goal. Then a decision is made to: • • • •

Exit, loop back into Operate, Operate, Exit into a new strategy, or change the paramete parameters rs of the desired des ired goal (and restart the t he test/oper test/o perate ate sequence.)

This Th is is a typical typical s tructure tructure for for an operation: operation:

IR To see what a

EB

IR

EB

IR

tion looks like in action, lets imagine a simple s imple strategy for















































Utilising Strategies All of our decisions, behaviours and plans are created using strategies. If these strategies are working for us, then all is well. If they are flawed or cumbersome, it can make life difficult. For example, many poor spellers are not poor at spelling 48 because because they lack intellect. What they lack lack is i s a good spelling spellin g strategy s trategy . This Th is kind of problem problem can can be resolved relati relatively vely quickly with a strategy strategy inte in terventi rvention. on. After fter eliciting eliciting someone’s strategy strategy and subjecting it to a logical anal analysis ysis,, you will















































Well Formed Strategies Strategies Just like outcomes, strategies strategies should shou ld confo conform rm to certai certain n rules in order order for for them to have have been well form formed. ed. If the well forme formedness dness conditions are not met, then you may well have a problem. A flawed strategy can be cumbersome or even destructive.

1.

Strategi Strategies es need a well def ined repr representa esentation tion o f the t he outcome. outcome.















































Strategy Elicitation You can can elicit people’s s trategies trategies through the questions that you ask. Remember Remember that only a part of the inform information ation you need need will be known by the client on a conscious conscious level. level. So when eliciting a strategy strategy you have to pay very care carefful attention to •

•

Eye movement patterns: the eye movement movement patterns tell you yo u what informati information on they are accessing accessing and in what sequenc sequence! e! Predicates: whilst observing observing eye movements, movements, listen to the predic predicate atess that















































Eliciting the Operation Once Once you have the trigger, use it to stimu s timulate late the Operat Operatee phase of the strategy. strategy. Then follow the sequence along until the strategy has completed itself. •

• •

As you see (or hear/feel) A (the trigger), what is the very next thing that happens? What steps steps do you go through? through? What is the first first thing you do ?















































Guidelines for Strategy Elicitations In order order to elicit strategies strategies elegantly, elegantly, you y ou have h ave to be alert so you can spot eye accessing cues and predicates in the language whilst engaging them in meaningful questions and paying attention to their verbal verbal answers. answers. It helps tremendously tremendously if you are are in rapport with the person. This makes it more m ore likely likely for them them to enter and do the strategy in front front of you. Next you should shou ld set a frame framework work around what you are doing. doing . Get the th e client

















































Strategy Installation

















































Submodality Shifts

















































Hypnosis & Trance

















































The Purpose of the Unconscious Unconscious

















































Trance Inductions Inductions











































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































Submodalities Checklist Visual Motion/Still Colour/B&W Location Associated/Dissociated Framed/Panoramic Large/Small Near/Far Near/Far away Focused/Blurred Bright/Dim 3D/Flat Audit Au ditory ory Locat Location ion of Sound Sou nd Tone Tempo Volume Duration Pitch Pace Rhythm Kinaest Ki naesthetic hetic Location Location (in body) Breathing Bre athing Rate Shape Size Temperature Movement Weight Pressure Texture Olfactory/Gustatory Sweet/Sour Salty Bitter Aroma Intensity







































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