"Give me five minutes to talk away my face, and I'll bed the Queen of France.” ... Voltaire “This is a recompilation of information, routines, patterns concerning NLP… The author doesn’t claim he wrote and/or made any of this. The author is only responsible of bring this material together, for educational purpose only. If you choose to continue reading you agree with this terms and conditions. If you disagree with NLP or you love it, share your comments.”… Xfman
Introduction: What is NLP ? Is a set of techniques, axioms and beliefs that adherents use primarily as an approach to personal development. It is based on the idea that mind, body and language interact to create an individual's perception of the world and that perceptions, and hence behaviors, can be changed by the application of a variety of techniques. The underlying source of these techniques, called "modeling", involves the careful reproduction of the behaviors and beliefs of those who have achieved "excellence". The early focus of NLP was the study of the underlying patterns in the language and techniques of noted and successful therapists in hypnotherapy, gestalt therapy and family therapy. The patterns discovered were adapted for general communication and effecting change. There are many concepts and methods: The Milton model is a form of hypnotherapy based on the language patterns for hypnotic communication of Milton Erickson , a noted hypnotherapist. It has been described as "a way of using language to induce and maintain trance in order to contact the hidden resources of our personality". The Milton model has three primary aspects: Firstly, to assist in building and maintaining rapport with the client. Secondly, to overload and distract the conscious mind so that unconscious communication can be cultivated. Thirdly, to allow for interpretation in the words offered to the client. 1. Rappo rt The first aspect, building rapport or empathy, is done to achieve better communication and responsiveness. NLP teaches 'mirroring' or matching body language, posture, breathing, predicates and voice tonality. Rapport is an aspect of 'pacing' or tuning into the client or learners world. Once pacing is established, the practitioner can 'lead' by changing their behavior or perception so the other follows. O'Connor & Seymour in "Introducing NLP" describe rapport as a 'harmonious dance', an extension of natural skills, but warn against mimicry. Singer gives examples of the pantomime effect of mere mimicry by some practitioners which does not create rapport. 2. Overloading conscious attention The second aspect of the milton model is that it uses ambiguity in language and non-verbal communication. This might also be combined with vagueness, which arises when the boundaries of meaning are indistinct. The use of ambiguity and vagueness distracts the conscious mind as it tries to work out what is meant which gives the unconscious mind the opportunity to prosper.
3. Indirect communication The third aspect of the Milton Model is that it is purposely vague and metaphoric for the purpose of accessing the unconscious mind. It is used to soften the meta model and make indirect suggestions. A direct suggestion merely states what is wanted, for example, "when you are in front of the audience you will not feel nervous". In contrast an indirect suggestion is less authoritative and leaves an opportunity for interpretation, for example, "When you are in front of the audience, you might find yourself feeling ever more confident". This example follows the indirect method leaving both the specific time and level of self-confidence unspecified. It might be made even more indirect by saying, "when you come to a decision to speak in public, you may find it appealing how your feelings have changed." The choice of speaking in front of the audience, the exact time and the likely responses to the whole process are framed but the imprecise language gives the client the opportunity to fill in the finer details.
History: Neuro-linguistic programming (NLP ) is an interpersonal communication model and an alternative approach to psychotherapy based on the subjective study of language, communication and personal change. It was co-founded by Richard Bandler and linguist John Grinder in the 1970s. The focus was pragmatic, modeling three successful psychotherapists, Virginia Satir, Milton H. Erickson and Fritz Perls, with the aim of discovering what made these individuals more successful than their peers. The theoretical foundations borrow from work related to the these models and disciplines related to language and the mind, including psychology, linguistics, cognitive science, and occupational therapy. Today, variants and applications of NLP are often found in seminars, workshops, books and audio programs in the form of exercises and principles intended to influence change in self and others. There is also a great deal of difference between the depth and breadth of training and standards. While the field of NLP is loosely spread and resistant to a single comprehensive definition, there are some common principles and presuppositions shared by its proponents. Perhaps most generally, NLP aims to increase choice in the underlying representations so that the individual has more choice and flexibility in the world. Some of the main ideas include: •
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The way an individual thinks about a problem or desired outcome has an effect on the way he or she will deal with problems and choose a certain course of action. More specifically, mental representations of problems, wishes and desired outcomes, what people see, hear, feel, taste and smell in their mind, their representational systems is crucial to determining state and, hence, action necessary to achieve outcomes. When communicating with someone, rather than just listening to and responding to what a person is saying, NLP aims to also respond to the structure of verbal communication and cues outwardly expressed in their nonverbal communication, such as voice tone, gesture, posture, facial expression and eye movements. It is claimed that these verbal patterns and non-verbal cues reveal information not typically available when distracted by preconceptions or expectations. On the one hand, meta model questioning is intended to clarify what has been left out or distorted in communication, such as sensory specific evidence for a goal. On the other hand, the Milton model uses non-specific and metaphoric language. The generality of the Milton model allows the listener to fill in the gaps, making their own meaning from what is being said, finding their own solutions and inner resources. These are used in combination with reframing, which aims to challenge faulty thinking and irrational beliefs, helping someone see a problem in a new light. The actual state someone is in when setting a goal or choosing a course of action is also considered important. A number of techniques in NLP aim to enhance states by anchoring resourceful states associated with personal experience or model states by imitating others. It is claimed that states can be enhanced through various
techniques including manipulation of submodalities, adjusting the size, brightness and location of visual imagery or equivalent properties of representations in the other sensory modalities. In the early 1980s, NLP was heralded as an important advance in psychotherapy and counseling, and it attracted significant interest from researchers and clinicians. But the relationship between NLP and science has been complex and controversial, partly explained by its world view that was born of pragmatism rather than theory. Research reviews (1984; 1987) in The Journal of Counseling Psychology and by the National Research Council (1988; NRC) committee found little empirical basis for these claims or for the assumptions of NLP. Some (evidence based) clinical psychologists and researchers have criticized NLP as a pseudoscience or New Age form of psychotherapy. Few practitioners have presented their clinical data for peerreview and most have had little interest in empirical validation marking a decrease in research interest. NLP as remained widely supported by its practitioners in the psychotherapy field and has influenced other forms of brief and eclectic interventions.
NLP on Seduction: NLP on Seduction was introduced by Ross Jeffires and the whole Speed Seduction material he created. The basis of the original Speed Seduction books and courses is that a person feels the emotions expressed in a story or a linguistically pattern. The goal is to arouse women with words, to put them in a connected or sexual state. Phonetic ambiguity (such as below me vs blow me) and anchoring are used. The concept is that by using "anchors" and "weasel phrases," these states can be anchored to oneself. From that point on, the seducer can remind a woman of these emotional states by his appearance or touch. There are many opinions about NLP in seduction, but I will let you decide for your own, if YOU WANT TO USE IT or not. (LOL!) I’m going to avoid the technical and scientific part of NLP where I explain how things work and all the techniques, but I will add routines and patterns that can help you more and can make you realize how things work. Embedded command An embedded command is a Neuro-Linguistic Programming (NLP) technique for "planting" a thought (state, process, or experience) within the mind of another person beneath the person’s conscious awareness. This is done through presuppositions, which are assumptions implied within verbal structures. In the English language, commands end with a down turn in tonality. Embedded commands mandate the use of a commanding tonality to be effective. The commands usually possess the word formation of a question, but the tonality of a command. For example, "What's it like when you feel irresistibly attracted to someone?" The purpose of using embedded commands is to move your listener’s mind in the direction you want it to go without seeming to be intruding or ordering in any way. Here are some useful embedded commands. We will use each one to embed the command "feel irresistibly attracted to someone." When you... "When you" presupposes that the person is going to do the thing or experience the state you describe, so it's no longer open to debate or doubt. "When you feel irresistibly attracted to someone, do you find yourself compelled to act on it?" What would it be like if... This weasel phrase is, in effect, a command for the person to imagine the condition or occurrence named or described after it. "What would it be like if you were to feel irresistibly attracted ... now?" A person can... By talking about a "person" it deflects any resistance on the part of the person, since you really aren't talking about him or her. "A
person can feel irresistibly attracted, talking with someone they really, really like!" If you were to... By saying "if," it deflects resistance while directing the person to imagine the experience, condition, feeling or situation you are describing. "If you were to feel irresistibly attracted, do you think you might feel compelled to act on it?" (There's a second command hidden in that last sentence.) As you... This phrase assumes the person will do the behavior or undergo the condition you describe. "As you feel irresistibly attracted, can you feel how (sexually) excited you're getting?" You don't have to... By saying "you don't have to", you eliminate resistance, since you're saying they don't really have to do it (even though they will!) "You don't have to feel irresistibly attracted, as you listen carefully to what I say!" You really shouldn't... Since you're saying they "shouldn't", it's not like you're trying to get them to do anything, aren't you? "You really shouldn't...feel irresistibly attracted to me now!". You might find... Useful as the start of an intensifying chain of phrases. It implies that they are going to experience what you describe as something that just happens, so it's not like you're commanding them to do it! "You might find that as you begin to feel irresistibly attracted to me, it could lead to your acting on it!" To the point where... This phrase connects one thing your listener is experiencing with the next thing you want her to experience, so it's useful both as a connector and an amplifier. "You might find those pictures start to get bigger and brighter to the point where you feel irresistibly a ttracted to me!" Invite you to notice... This has the same effect as "you might find" because it implies that what you describe is going to happen. Plus, "invite" has pleasant connotations of it being voluntary and polite! "And I invite you to notice how the warmth of my voice can allow you to feel irresistibly attracted to me... now!" How surprised would you be to… This implies that the event you describe is certainly going to happen, and the only question is how surprised they'll be by it! "How surprised will you be to find that you are becoming irresistibly attracted to me ... now?"
** Important points concerning NLP and Routines: Voice: Deep Tonality, Slow talk, Emphasis in Commands (CAPS in the routines)
Routines and Patterns: All this said I think we can start talking about some patterns wrote by some famous and not that famous writers. I’m going to share great routines and patterns that I have found and known through my life.
The Discovery Channel Pattern by Ross Jeffries You: "You know, I saw the most interesting show on the Discovery Channel last night. They were interviewing people who make their living designing attractions for amusement parks like Magic Mountain and Disneyland and Universal Studios. Wouldn't that be a cool way to make a living?" Her: "Yeah! That sounds so interesting."
You: "Well, anyway, they were talking about the elements that make up the ideal attraction (sp). They said there are 3 parts to the ideal attraction. First, when you EXPERIENCE the ideal attraction, you FEEL A STATE OF HIGH AROUSAL. The ideal attraction makes your heart beat faster, and your breathing gets faster and you just FEEL THAT AMAZING RUSH all over." Her: "Yeah!" You: "And then they said that another part to an ideal attraction is - it's fascinating. You just FEEL SO ENTHRALLED that you want to TAKE THIS RIDE (point to your pecker!) multiple times; as soon as you GET OFF you want to GET BACK ON again." Her: "Yeah!" You: "And they said, finally, the most important element, is a sense of overall safety. That even though the attraction make look a little dangerous, you're CERTAIN YOU'RE SAFE... you FEEL SAFE because you realise nothing bad can really happen, so that allows you to FEEL TOTALLY FREE to LET GO AND ENJOY THAT GREAT AROUSAL again and again and again. Can you (squeeze her hand) feel _that_... is pretty close to the way it is?" Her: "Oooh...yeah!!" Ok, this pattern has been reported to make women cum, out of the blue, just by reciting it to them. Usually though, after you're done with your description, the girl says with a sly smile "Sounded more like making love" Don't be shocked, don't stiffen up - for she loved it regardless. Or rather... exactly because of that. And if nothing else comes to mind, you can answer with a confused look at first and then a "Well... now that you mention it.". You: "When you imagine how much fun it is to ride a roller coaster or any
other kind of amusement park ride .. Its like as that ride is climbing up and up, you can feel your heart pounding with excitement, you feel you're breathing faster and faster, sometimes you're even g asping and panting you feel the blood rushing through every part of your body and as that excitement and tension is building and building, you reach the top of the ride and then as it crests, you just release it in a flood of excitement, and sometimes you're screaming you're so turned on. And you know, afterwards I thought to myself, isn't that the totally accurate description of your ideal attraction to another person. You know that kind of wonderful click right there (right in the center of who you are) that just makes you feel totally drawn to this person and on one hand you feel totally safe and totally comfortable like you were meant to know them and as if you've known them forever."
The Blammo by Ross Jeffries You: Think about someone you really like for a second? Ok? Got that? Now, point to where you seem to see that picture. (Let her point) You: Right there? Ok. Now think of someone who you really don't like at all. Ok? Point to where you see that. (Let her point ... and by the way if she's one of those people who doesn't dislike anyone, then have her think of someone she could take or leave ... who she's neutral about!) You: Now watch ... take that picture of the person you don't like ... and try as hard as you can to move it over into the place where you see the picture of the person you do like. (She'll discover that she can't do it) You: See that? It doesn't want to go does it? Because you need a way to sort out who you really like (point to yourself ... why miss an opportunity) from who you don't. Isn't that need? Her: Yeah! Cool! Wow! (Or any other similar stupid female expostulation!) You: Now see, there's another difference in the way you make pictures in your head. For example, you ever been on a roller coaster? Her: Yeah! You: Ok, watch. I want you to remember a time you were on a roller coaster, and I want you to see yourself sitting in the roller coaster car, riding up and down on the roller coaster. Just do that for a few seconds. (Let her do this for a bit) You: Ok ... now we're gonna do it again, but this time, instead of seeing yourself, see what you'd actually see through your own eyes if you were there, going on that roller coaster ride. (Let her do that)
You: Now, of those two, which one felt more real, actually gave you the feelings of being there? Her: The second one!! You: Of course ... because you can see yourself in a memory, or see what you actually saw. When you see what you actually saw it really helps you to get the feelings of how it actually felt! Her: Wow? This is fascinating!!! You: Isn't it? Now look ... here's the next piece of this and it's called anchoring. So, here, try this ... close your eyes ... now ... can you remember a time when you were feeling exquisite pleasure in your body??? Her: mmmm ... yes. You: Ok. I want you to see what you saw, hear what you heard, and feel how it felt. And when those feelings of exquisite pleasure really reach their peak, just wiggle your little finger for me. (Watch to see she's really in state ... her face will change, breathing quicken, etc. when she wiggles that finger, reach over, touch her wrist and say: You: Purrrfect. And just hang on for a minute to how good it feels to FEEL PERFECT. (Keep holding her wrist as she's experiencing this!) You: Ok. Open eyes. Close em again. And go through it again...see what you saw, hear what you heard, feel how it felt. And when those feelings reach their peak, wiggle that finger. (Repeat the anchor process) You: Ok, one more time (run her through it one more time) You: Ok. Open your eyes. Now, the theory behind anchoring is, that if someone is in a certain state, and you combine that state with a touch or sound, when you repeat that touch they'll go back into that state. So if I were to say to you, you know, I find that when I spend time with someone, and I really start to FEEL THAT SENSE OF INCREDIBLE CONNECTION, maybe then you can just FEEL PERFECT (fire off the anchor by touching her wrist). And that feels great, doesn't it? Her: Oh, yeah! You: Isn't this interesting? Isn't the mind really cool? Now notice something else: you ever just fall head over heels in love with some- one (point to yourself ... never miss that opportunity!) Her: Oh yeah! You: Well, as you're remembering that time, point to where you see that picture! (let her point it out)
You: Ok ... and you're really feeling perfect right now, aren't you? (fire off that anchor again!) Her: Oh yeah! You: So watch ... (point to where she falls in love) As you THINK ABOUT THAT SPACE AS I TALK TO YOU ... as you ALLOW MY VOICE TO COME FROM THAT SPACE ... you might find it's like you want to CREATE AN OPENING FOR MY VOICE ... and opening that allows the deep, rich warmth of my voice to just penetrate your thoughts, and SPREAD THAT WARMTH ALL THROUGH YOUR BODY ... and that really feels perfect (fire anchor) doesn't it? Her: God, yes!! You: In fact, as THE WARMTH OF THAT VOICE JUST TURNS TO A FIRE, SPREADING through your chest and down through your body ... as YOUR HEART BEATS FASTER and your BREATHING INCREASES, and you really FEEL THAT TOTAL PERFECTION (fire anchor again) ... I just want to tell you I'm having a great time with you tonight. It sure is better that being with all those jerks out there. Cause I know some guys can be so crude. It's like the other night, I was in a bar ... and this guy walks right up to a girl and he says: "Can you IMAGINE HOW GREAT IT WOULD FEEL if I were going down on you, exactly the way you like it, all night long, and you were SO HOT AND SO WET YOU WERE BEGGING TO HAVE ME INSIDE YOU?" I can't believe how crude some guys can be!!! Her: Oh, God, oh God, please fuck me!!!!!
Forbidden Patterns:
THE GEMINI / DARK SUN Once in rapport. Possible theme - 'Different places in the mind' "You know, we've been taking for a while now and I feel that you're somebody who understands herself and somebody I can get an honest answer from" - Set up and Challenge "Do you think that most men understand what women really want/need?" Likely answer - "No" "I agree, you see I've come to an understanding about women that a
lot of my friends/a lot of men will never get, It's an understanding I've come to be really opening my mind...." "...my understanding is, I actually think that inside every woman there are infact 2 women" "On one hand there is the culturally programmed woman, the one with all of the social rules and roles (give a couple of examples here make it sound really opressive and miserable - lol)." "but then on the other hand there's the natural woman...that's the place where you keep you most exciting memories, where you ponder fantasies, daydreams, amazing possibilities...the kind of things you do if no-one were watching and the things you wouldn't even want your best friends to know that you dream about and long for..." "...and oftentimes what happens is, because of the roles that society forces you to play, or maybe a relationship that you're already in that resticts you, a person has to lock those parts of them away and keep them safe...and yet they are still there...deep inside...just waiting to emerge" ***notice response here and anchor - if you wish***** "So...2 questions that I like to ask myself are... ...what is it about the way certain people affect us that causes us to think of this person in that special place...to hear this voice...to see this face...to feel this presence in that special place...in such a way that no matter how much we try to deny that desire to act...it just takes on a life of it's own...complelling...vivid....REAL!.... ...where that voice inside says YES, I want to step into this special place, with this special person and explore anything that we can make real together" "and the other question.... (as if that wasn't enough - lol) ...what would it be like for a person, to just right now, feel all of those hidden parts and desires wake up....ready....willing...alive...right now, realizing that this is the main chance , the moment, a chance to move in a nude erection, and the thing about nude erections is that it's not enough to just ponder it, you've got to reach out and grab it and act on it right now..........................
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The Door pattern originated by Alex Domnikov: -*** The Door is aimed at controlling her after you've started sleeping with her. Other patterns that you've used on her have anchored immense pleasure to you. The Door creates an anchor for the loss of that pleasure. -*** The ideal setting for the power of the door is right after you've had intercourse and you're in bed with the girl. -------------------------------------You're fooling around in bed, and you say, (you) "s w eetheart, w hat's that over there?" (point towards the door). (her answer) "w ell you know , that's a door, silly." (you) " yeah, you know ... I' m a real positive person , but.. I mea n, can you imagine.. I mean, you don't know w hat can happen from day to day, w hen you think about it in your mind. I mean, what w ould happen if I w alked out that door and the door closed and as the door closed, it slammed shut, and no m atter w hat you did, you could not open the door and you knew that you w ould never be able to look into my eyes again and you'd never be able to hear my voice again and you'd never be able to feel my touch again." (her answer) Ok, right here is where she starts going, "I don't like this door business at all." (you) And at this time you just reassure her.. "ok , alright sw eetheart, you're right. You really shouldn't think about the door and you really don't have to think about the door." So you go back to playing around with her some more. Have some more fun with her, bring her to another orgasm or whatever and s ay, (you) "you know , a terrible thing happened the other day. My friend w as hit by a truck. I mean, it w as aw ful, by the time they got him to hospital he w as dead. I can't believe it, you know ? I t's almost as if, it w ould be a horrible thing you know w hen you think about.." (point towards the door) "..that no matter even if you w ere to get that door opened and you w ere to search, that you could never find me again.."
Then she starts freaking out. You calibrate more on that part of, (you) "you w ill never be able to see me again, you'll never be able to hear my voice again ." (you) "Y ou'll never be able.. all that fun w e had together, all those great times w e had together, w alking along the beach, hand in hand in the moonlight, we w ould never be able to do those things again and even if you w ere to open that door, you w ould search and you could never find." (her answer) "no no I hate this door. Let's stop this door now , are you trying to upset me?" (you) "o h, I'm sorry sw eetheart, I'm just saying these are just things that are popping into m y mind, ok?" So play around some more. Get her good and nice and hot again, fool around, have a good time with her, joke, and then then get back into the door and (you) "you know , God, still you know , about life's tragedies.. I mean, I just keep on thinking how .." At this point you can already see that this is starting to make her feel uncomfortable. You want to create that sense in her that you can walk out and she'll feel terrible for the rest of here life. You want to anchor that response. Get up and she'll say, "well what are you doing?" (you) "I 'm going to the bathroom." I go up to the bedroom door and slam it. That right there will freak her out. Then I'll open the door and (you) "oh, I'm sorry. You know , I'm so rry, I'm just playing w ith this door again. You know , you really shouldn't think about this door now and you really don't w ant to think about this door now ." Having anchored that sense of loss and pain to the door, you can trigger it whenever needed. Alex says: If he's talking on the phone and getting any crap from her, and he knows the relation of where the door is to her desk, he says, "sw eetheart, could you please turn right and take a look at w hat's over there.." and that was the end of the bullshit."
-----------------------------------------------------------------------------The Shadow and The Rising Sun
One of the forbidden patterns.. Theme builds on the darker side of a person and a sneaky "swish" to get you in there(shadow) Essentially it seems this pattern is best suited to encouraging one to get in touch with their hidden desires (thus connecting emotionally with them) and then eliciting their appearance in an extroverted way. ------------------------------------------------------------------------------You know, I was thinking about something the other day...about polarities... about the whole concept of the Yin and Yang...about hot and cold...black and white...light and darkness. And how opposites are really the same thing...just varying degrees on the same spectrum...of possibilities...and how one is defined in relation to the other...and how there are no absolutes.
And then I remembered something that a Psychologist f riend of mine said once...She said, "I have to go feed my shadow"...and I wasn't quite sure what she meant at the time until I read something by Jung. We are born completely whole and it isn't until we learn what our current culture tells us what is good and what is bad that we start to both repress and express these parts of ourselves. He said that everyone has a Shadow...a hidden side...a place of forbidden desire. This is that part of you that you hide from the rest of the world... maybe even from yourself... where you can experience and imagine these thoughts... these thoughts that you don't tell anyone about ...where you really want to experience all the excitement of this moment... to let go of all the things that had been holding you back before... to just let go...experience all that life offers you now. The Shadow is a good thing he believed, because it brings a sense of balance. Now, this sense of balance is very important because the concept that whatever you repress grows and begins to spill over into other parts of your life. If your shadow is repressed it grows and grows...until it just takes you over completely. Jung said it was like the Rising Sun... because in the morning, as the Sun rises in the sky...... it gets higher and higher... closer and closer to the highest point in its path (midlife) ...until at mid-day it changes polarity completely... and everything that was once true has now changed...and now the opposite is true... and the sun goes down.
This was the concept behind mid-life crisis. So balance then is a good thing, and Jung believed that the first part of our lives is about separation from the shadow, while the latter part of our lives is about integration with the shadow and about being whole. Now what if you were to see your shadow right in front of you, and talk to it, what would it say? Now what if you were to step into your shadow right now, and see the world
through the eyes of your shadow.. What would that say about the person that you were before and what does this say about who you are now?
