BASIC PEOPLE MOTIVATORS

Basic beliefs motivate us to act, feel, and believe and when others agree with our basic beliefs, we become
very fond of them and trust them. For example, we believe that one day we shall realize our most
cherished hopes. For this reason, any claims such as the following affect us tremendously.
To be rich
To master others,
To live long
To have any artner
To hel others. Charities successfully urge us to give to a good cause. Giving eases the guilt we
feel about feeling superior and better off than others.
To be mentally strong an! !etermine! Who doesnt want to have a masterful personality, to be
strong willed and resolute leader
To be treate! "airly !nfairness creates extreme social unrest.
To be seen as restraine! "his is related to being mentally strong. We believe that we should show
restraint in eating, sex, and in revealing our power and wealth.
To be ca#tio#s #howing caution, especially in response to something new or strange ma$es us
seem less gullible% "he following motivators have driven people to do all sorts of things.
Sel" love. &dmiration. Flattery, we are told, gets you everywhere%
$ealth. 'o need to comment on this. Confidence tric$sters play on our greed for money and so
strong is this that we can be deceived time and time again.
Se%. Being sexually attractive and desired.
&esire 'hat others have. (ave you noticed that something doesnt seem at all interesting until
someone else wants it)
En(oy the s#""ering o" others. "a$ing pleasure from others feeling envious of us. Getting one up
on others. *ne famous actress, on being sac$ed, vowed to come bac$, buy the film studio and sac$ those
who had thrown her out. #everal years later. she did% Getting one up on others motivates us powerfully%
To have things easy. We will wor$ our soc$s off to avoid any effort%%
)etting into Raort *#ic+ly , even 'ith !i""ic#lt eole-
"his is a hidden techni+ue of influence. ,ou can affect anyone with this techni+ue, without their
$nowledge, and they may be affecting you with it without yours% ,ou can learn this techni+ue to influence
others and $now when they use it to influence you.
(eres how- .irror their
Breathing,
Body posture,
/oice, #peech 0ate
1nflection and
#pea$ at the rate they are breathing, saying your most important words when they are exhaling.
.o' !o yo# +no' 'hen they are inhaling an! e%haling/
When someone is tal$ing they are exhaling, when they stop they are inhaling. #o, when they are tal$ing
you should be breathing out, and when they stop tal$ing 2for a gasp of breath%3 ,ou should breath in.
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(ow do you tell whether they are inhaling or exhaling when they are not tal$ing) 9oo$ at their shoulders
2not at their chest%%%3 and notice the rise and fall of their shoulders against the bac$ground. "ry loo$ing at
them at different angles, to determine what is best for you. When you spea$ at the rate they are breathing,
using the same tone of voice as they are, you are irresistible. 1t is as if you are their own unconscious mind
spea$ing to them.
&s you breath in rapport with them, begin to experience the emotion you want them to feel. Gradually turn
it up. :ventually, you will have created in them a state of extreme excitement, or whatever emotion you
wished to create in them. *r another may have done the same to you% #o ma$e sure you learn this
techni+ue%
01 Secon!s to Mirror an! Match2
When .atching the posture and mannerisms of another it is important to wait about 47 seconds or more
before you match, otherwise the techni+ue may be obvious. Get the idea of how long this is% "en seconds
is about the time we listen and wait when we hear a strange sound, and we wait to find out more. 1f we
hear nothing else, we tend to forget what we heard before.
Magic 'or!s o" in"l#ence yo# become absol#tely irresistible2
When anyone receives information he or she evaluates it, determining whether it is bad or good, useless
or useful, etc, according to "(:10 criteria. ,ou can use this fact to !iscover an! #se another3s criteria,
to obtain their enth#siastic agreement. "hat persons criteria magically and irresistibly influence them.
"o determine anothers criteria as$ these +uestion-
What ma$es this important to you)
What does this do for you)
What would 1 have to do to 2get your business3)
What would have to happen for ... 2you to support me3
(aving determined the others magic words, use these exact words exactly as "(:, have used them to
create a powerful influence. 1f they mispronounce or misuse words, then you should mispronounce and
misuse them too. ;ust as they did. When you do this, you can frame your message in a way that is
magically irresistible to the listener%
&lthough each of us has our own magic words < which differ from others < there are certain magic words
that appeal to most of us.
"he list given varies but tends to include-
new
easy
free
health
money
sex
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"hese words represent some of the criteria we all share. But our own personal criteria, which we reveal in
response to the +uestions at the beginning of this article, influence us most of all. >iscover and use these
and your communications will be magically irresistible%
.o' to Tal+ So Others Listen $ith Their .earts
?eople, you and 1, act to get goo! "eelings or to get something that gives #s goo! "eelings.
"elling yourself the house is a mess and 1d better clean it, is less motivating than telling yourself the
house is a mess, and, after 1ve cleaned it, 1 wont be embarrassed when friends visit, so 1m going to feel
really good
,ou give yourself an aealing emotional reason or motive to clean the house . ,ou explicitly state a
motive that ma$es you feel emotionally good.. 9earning these short articles enables you to communicate
to people about what "(:, want, so that your communications will be that much more effective, and you
will get great satisfaction out of it.
1f you have no emotional reason for reading these articles, you wont want to read them% (owever,
different people may have different emotional reasons. :ven if you dont give a fig about communication,
you might be $een to read this material to satisfy your curiosity < a powerful emotional reason. *thers may
have different emotional reasons, but everyone has an emotional reason for doing something. :ven if it is
to read it to please their spouse%
"o use this techni+ue yo# nee! to "in! o#t ma+es the other "eel goo!. "his means you have to care
about people. ,ou need to be interested in them to use it properly < a good way to improve your
interpersonal relationships.
"he method is to as+ someone to !o something an! tell them that , a"ter they !o it , they 'ill
e%erience goo! emotional "eelings%
The Magical A#thority Voice
When we were young, and our parents were angry with us they used the a#thority voice. "hey dropped
the tone on the end of their sentences and you $new they meant business. &fter years of learning this none
of us can avoid being affected by it. "his voice sounds firm and in our own best interest. Begin to listen to
the sound of peoples voices. >o they have a childish whining voice) *r the voice of authority)
When we hesitate because we feel unsure, say when as$ing a +uestion, our voice tone rises. We become
more screechy% When we ma$e a statement, our voice tone drops. & s$ilful spea$er can #se intonation to
comletely change the meaning o" the 'or!s2 We respond more to intonation patterns than to meaning%
We do this unconsciously anyway. 9earn to hear the patterns and use them consciously.
'ews readers receive training how to spea$ using the authority voice, because how they say things has
greater impact than what they say. "he same thing said in one voice < the Voice o" A#thority , an! 'e
believe it, and in another voice, and we do not believe it.
We need to practice this because when under stress our voice tone tends to rise, ma$ing us sound childish
and wea$.
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When you use the &uthority /oice yo# 'ill a#tomatically become more o'er"#l an! in"l#ential.
?ractice by listening to others spea$ing and note how their voice changes, and what impression it creates.
9isten especially to news readers% ,ou will then be aware of the tric$ and you may use it yourself%
The secret o" the magic to#ch
1f someone touches you and as$s, >o you feel that) *f course you do. (ere the word feel has a sensory
meaning. But when we use it in the sentence, >o you feel that this is right, it means thin$ *n other
occasions we use feel to mean emotional feeling. Clearly the word feel can be highly ambiguous%
1f you touch someone and as$ them if they felt it, they must agree. We can use this truth and ambiguity of
feel to ma$e highly effective influence.
(eres how.
#tart a sentence with @>o you feel that@ and touch or brush them slightly on the hand or arm and then
finish the sentence with what you want them to do. For instance, >o you feel that 2touch them3 we are
going to ma$e the deal now)
,ou can also use @>ont you feel that @ and as before touch them gently somewhere innocuous, such as the
hand or arm. "hen finish the sentence as before with what you want them to feel, decide or do. For
example, @>ont you feel that 2and touch them3 we should do something about it)@
0esearch has indicated that most people are not even aware consciously that they have been touched
physically, yet they are effectively influenced.
Secret o" hi!!en emhasis , to in"l#ence #n+no'ingly2
By emphasising certain words in your sentences, you can give hypnotic commands to others to do what
you want. "o use this techni+ue you have to plan it. #ay, you want another to agree with your proposal
and sign the agreement. 9ets summarise, 1 dont $now whether yo# agree 'ith this roosal, yo# would
want to !eci!e before yo# sign here2 0ight on the line. 2#trengthen your voice and loo$ the person in the
eyes when you say the words in bold.3 1f you have spo$en the words in bold in a different way from usual,
then the listeners unconscious mind will heare- you agree with this proposal ... you ... decide ... you sign
here .... &t one level the listener hears the whole speech, but the words said differently are noticed
unconsciously and grouped together. Because they are embedded, the commands do not create so much
resistance as simply saying them would.
& more subtle example is- "his a bad sign, 1 cant find my pen. *h this isnt it. &h, this will do, or at least
be acceptable for no'2%
,ou emphasize or mar$ certain words in the sentence in various ways-
O#ay them louder or more softly as you say these words
O9oo$ the other in the eye as you say these words
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O'od your head as you say these words
O.a$e a sign with your hand as you say these words
O*pen your eyes wider or close them sleepily as you say these words
"his and other techni+ues are in fact ways in which we naturally influence each other, but we are often
unaware of it.
.o' to get 0445 agreement , every single time2
>id you $now that if you can get someone to agree three or four times, they will most probably agree
automatically the next time) (ave you ever found yourself in a set where you answer in the same way as
before by habit) #o you can see how this wor$s%
But how can you get someone to agree with you 477B of the time) :asy. For example, at this moment 1
am sitting at my computer. 1 am typing this article. "he sun is shining. 1ts +uite hot. 1n my area it is very
+uiet. "rite) >ross) ?erhaps, but 1 certainly cant disagree, can 1) 1t is all true.
.a$ing statements that the other must agree with 2or which you $now they will agree with3 is called
pacing. By commenting on the physical universe, for example, you get 477B agreement because you are
referring to what is% 1f it rains, the other has little choice but to agree%
O ,ou can describe what you see or hear exactly.
,ou are sitting at your des$.
,ou are loo$ing at me.
We have been tal$ing for 6 minutes.
O,ou can ma$e general statement which everyone will agree with. For example-
Certain thoughts are going through your mind.
,ou are wondering what will happen.
,ou can notice the feel of the chair you are sitting on.
,ou can see certain specific things.
,ou can hear sounds.
O,ou can ma$e statement which are un< provable-
,our heart rate has changed.
,our blood pressure is now different.
,ou are more relaxed.
,our body appears lighter than before.
O,ou can ma$e statements which are universally agreed, or agreed within a given culture-
Business is business%
,ou didnt get where you are now by being lazy, did you)
,ou dont get something for nothing do you)
"heres a silver lining in every cloud, isnt there < even if its hard to find%
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By ma$ing several of the above type statements and then one you want the listener to accept you can
tremendously increase your ability to get agreement. &re you aware of how easy it is to change
when you $now how to)
Oen an! Close! *#estions
"his important information can help you communicate better. ,ou can use it to solve many issues. "his is
information about open and closed +uestions. Broadly, a closed +uestion is one that can be answered by
one word or phrase or a platitude. 1t is a conversation stopper. &s such it is very useful and important.
*pen +uestions are ones that cannot be answered by a single word or phrase, and invite the other to tal$ <
to volunteer new information.
*f course, the other can respond to a closed +uestion with a long speech, and the other can respond to an
open +uestion with a single word or phrase, or grunt% But open +uestions get new information more often
than closed ones.
Close! *#estions
4. &re you all right)
=. 1s this the right way to do this)
6. &re you interested in films, or do you prefer sport)
Oen *#estions
4. ,ou appear upset. 9ets sit down and tal$ about it)
=. (ow, exactly, do you do this)
6. "ell me about you favourite sport.
!se closed +uestions to finish a conversation or part of a conversation. !se open +uestions to get the other
to spea$ more.
6in! the other3s secret lace an! instantly in"l#ence them2
When we thin$ about something, we see certain colors, hear certain sounds, experience certain feelings
about it, and place it somewhere. ,ou often see people loo$ing into empty space when they are tal$ing to
you about something in their mind. They are loo+ing at their secret lace2
&s$- @,ou have made a really good decision before, havent you)@ 'otice in the space around the two of
you, where they loo$. "o influence them, present your obDect in that @magic place@ or stand in that magic
place yourself.
O&s$ the person E Can you recall an experience that occurred in the past when you were very excited)
For example, doing exciting things that you really li$ed)
OWatch 'here the person loo$s when they tell you about something they really li$e, etc.
O,ou can multiply your influence on that person by standing in that place or putting the item you are
trying to influence them with in that place. 21f you cant get to that place where they are gazing 2if they
loo$ at the roof of a nearby building, for example3, you can place the obDect or yourself in that general
direction3
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O:ither you are or the item is in the secret place, and when you get them to tal$ again about that pleasant
thing, they will loo$ at you in their secret place, and the pleasure of that place will rub off onto you%
.o' to gain mastery o" a ne' s+ill , Reetition, Reetition an! Reetition2
"o learn a s$ill, you need to repeat the s$ill many times < at least seven, but perhaps 4= or 4C times. When
you learn any new s$ill, you need to practice, to repeat the s$ill until you can do it automatically
O0epeat out loud
O0epeat while imagining you are really using the s$ill
O0epeat with a partner
When learn a procedure, repeat each step 8 times < write down the tally of your repetitions < and repeat the
procedure as a whole 8 or more times.
"oo much trouble) "oo much trouble to attain mastery and attain whatever you want) "oo much trouble
to learn these s$ills so you can truly help yourself, or another < those you care about most)
Preten!ing yo#r 'ay to Mastery o" Anything2
,ou can master anything if you believe you can. &nd you C&' believe < with the power of pretending.
,ou can use this techni+ue to attain whatever you want, Dust follow the same procedure. #uppose, for
example, you want more self confidence ...
(eres how%
O&ccept you lac$ self confidence, after all, if you did you wouldnt want to be self confident would you)
O;ust for a Do$e, pretend you are self confident. What is it li$e)
O(ow do you feel)
O(ow do you behave now you are self confident)
O>o you li$e this image of self confidence) 1f prefer, then ma$e a few changes so you li$e it.
O #tep into this image of self confidence, and enDoy being self confident. Get the full feel of it.
O?ractice often and notice how this affects your life%
Bore!/ 7ot me2 7ever2, 8ee in Present Time an! Be .ay2
*ur concerns may seem to come from the past or from the future. (ow strange% "he past and the future
are either gone or yet to come.,et we let them bother us now% What if we lived 2in our minds3 in the
present) We would be free of them. (eres how%
>o this exercise with real things, not in your mind%
O&s$ yourself, What can 1 see now) & window, a door .. 9oo$ around and notice some obDects.
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OWhat can 1 feel) "ouch some things in the world, if you want. 'ote how they feel < warm or cool,
rough or smooth, heavy or light ...
O&s$ what is happening now)
O0epeat steps 4 to 6 to pull your mind into the present
1mmerse yourself wholly and totally in what you are doing now. >o whatever you are doing. Give it your
all. &t this moment, thats all youve got% !se the +uestions above to help you get into the present and < by
moving out of the past or the future < enDoy this very moment.
7E)ATIVES/
&t first we have no awareness that we cannot do a tas$. We thin$ that it is easy. We are at a stage of unconscious
incompetence. We are incompetent, and what is worse, we dont $now it. &fter a while we realize we do not $now
how to do a tas$. We have made progress. We have reached the stage of conscious inability. We cant do it, but now
we $now we cant. Whats better someone who $nows they cant fly the plane, or someone who doesnt $now they
cant and tries anyway) "he next step is to learn how to do the tas$. When you do this, you can do it, but only when
you $eep your mind on it. Get distracted and it goes to pieces. ,ouve progressed to conscious ability. &s long as
youve got it in mind you can do it.
With repetition, the tas$ becomes automatic and you reach the stage of unconscious ability. ,ou can do it without
thin$ing. ,ou can sort the potatoes and tal$ about the game. ,ou can drive the car and not even $now you have
passed through several towns. "here is a stage above this. Call it unconscious ability with awareness. ,ou can do
the tas$ and thin$, plan and steer the activity without your thin$ing distracting you from doing it automatically. For
example, you can be part of an important conversation, do the right things and be able to thin$ about what is
happening and where the conversation is going without being distracted from applying your communication s$ills,
with ability but without thought.G
!nconscious 1nability
Conscious 1nability
Conscious &bility
!nconscious &bility
!nconscious &bility with &wareness.
When we first learn to build rapport, we are wholly thin$ing about mirroring the other person. "his is conscious
ability. (owever, when we wonder how we are doing we forget to mirror% When our mind moves to something else
we stop mirroring. 9ater we can mirror automatically without thought. We have attained unconscious ability. &s we
develop we learn to do whole tas$s automatically so we are freed to thin$ about the whole picture, and still perform
our tas$s when we are not thin$ing about them.
(ow do we do this) We do this by over< learning the tas$s.
.a$e sure you learn and apply this valuable information about the C levels so you are aware of what you need to do
in any tas$, and you realize that sometimes progress seems to slow down when we move through these stages.
M#ltily yo#r o'er 'ith the secret o" critical mass2
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*ne piece of radioactive metal wont ma$e a bomb. ,ou have to reach critical mass, when there is
sufficient material to ma$e a bomb. 9ess than critical mass, no bomb. Critical mass, and you have a
nuclear bomb < need 1 say more)
When you are using ?ersonal >evelopment techni+ues you do not have to do one or two techni+ues
perfectly. ,ou have to do a sufficient number of things reasonably well, so the law of synergy comes into
play < you have attained critical mass < and the effect is more than the sum of the effects of each
techni+ue. ,ou get more than you put in%
When things go wrong, it isnt that one thing was done wrongI rather a lot of things. #imilarly, when
things go right, it isnt that one thing was done excellentlyI rather a lot of things were done reasonably
well.
0emember it is important to do things as well as you can, but one or two mista$es is not going to ruin the
day. 0emember synergy and critical mass. ?ress on to your goal%
&re you aware of how easy it is to change when you $now how to)
9tili:ation , #sing 'hat yo# have to attain 'hatever yo# 'ant2
9tili:ation is a $ey techni+ue. 1t wor$s magic.
With utilization you use whatever is available to attain your goals. !tilization is the stuff of genius%
When we thin$ and feel that we cant do something, this is something we are doing < not a negative. We
are actually doing an inability. For example, if you forget something, you have actually done something.
,ou have forgotten and you have succeeded in doing this.
For instance, you want to be self confident in a given situation but you cant do it. ,ou can lac$
confidence. ,ou can do that, but you cant be self<confident.
9ets utilize this. ,ou have the ability to lac$ self<confidence, and you have the ability to not be self<
confident. "hat is you can thin$, do and feel non<self<confident things. ,ou are actually doing this. ,ou
are not merely lac$ing self confidence, you possessing the s$ills of lac$ing confidence. Be sure to
understand that we are not here tal$ing about negatives but actual things that are said and done. For
example, you might thin$, 1 want to give my opinion, then feel anxious, and thin$ 1ll Dust ma$e a fool of
myself. ,ou are doing things% ,ou are succeeding in ma$ing yourself lac$ confidence. !tilization
re+uires us to recognize that we have s$ills and abilities to not<do what wed li$e. 1t doesnt merely
concentrate on what we wish we could do. We recognize and ac$nowledge what we can do, even if it
doesnt lead to our goal%
'ow, utilising what we have, what would it be li$e if you used your ability not to be self<confident to
lac$ the ability to be not<self<confident) 'ow this isnt merely words. ,ou can thin$ of the situation and
thin$ 1 cant be self<confident. #upposing you use these real feeling and thoughts and apply them to you
lac$ of self<confidence and you thin$ about yourself lac$ing self confidence and thin$, 1 cant do that% 1f
you couldnt lac$ self<confidence, you would be self<confident wouldnt you)

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4. 'ote the s$ills and abilities that you have in a given situation. "he actual results of the s$ills might
not be what you want, the s$ills themselves are useful. 'ote and ac$nowledge the s$ills you are using.
=. (ow can you use these s$ills to get what you want) For example, suppose you prevent yourself
from being relaxed in a situation by feeling anxious. ,ou can feel anxious. ,ou can create feelings, in this
case you are creating anxiety, but the same s$ill can be used to create any s$ill. ,ou also have the belief
that you cant feel relaxed. ,ou cant help feeling anxious.
6. !tilise the s$ills and abilities which you have. For example, thin$ing I can3t be an%io#s about
feeling anxious.
A. 1magine yourself in that situation, thin$ing I can3t be an%io#s- ;ust as you thought you didnt have
the ability to relax, and you succeeded in not relaxing, what will happen now when you use this s$ill. Can
you see yourself thin$ing and feeling I can3t get an%io#s and as much as you try, you Dust cant do it. #o
are you relaxed)
C. 0emember, this is not mere words. ,ou must utilise the actual thoughts and actual feelings that
you use.
.o' to motivate yo#rsel" an! "i% on yo#r goal 'ithin ;< secon!s2
,ou may want a goal, but do you have the motivation or enthusiasm to attain it) &re you prepared to do
what it ta$es to get it) 1f not, or if you need a supercharge, then you can use this simple techni+ue to
motivate yourself to attain your goal. "ry it, and, after you have spent a second or two learning it, notice
how +uic$ly it wor$s. Be sure to follow these instructions :J&C"9,%
O
>ecide what you want.
O
9oo$ down to your left < move your head and eyes < and as$, 1f 1 could already attain my
goal, what would 1 loo$ li$e)
O
.ove you eyes and head up to your right and picture yourself actually achieving your
goal as if you are watching yourself in a film, or on tv 2"hat is you can see yourself3.
O
.a$e that picture bigger, closer, brighter and more colourful until it really ma$es a
powerful impact on you
O
.ove your eyes and head down and to your right and step into the picture and feel what it
feels li$e to actually achieve that wonderful goal
&re you aware of how easy it is to change when you $now how to)
Eye !irections "or vario#s tyes o" thin+ing
Imaginary Pict#res
!p and left

Remembering Pict#res
!p and right
Imagining So#n!s
9eft

Remembering So#n!s
- 0ight
6eeling
>own and left

Internal seech-
~ >own and right
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Can I Really be L#c+y/
,es, you can be luc$y%
9uc$ means occurring by chance. 1t implies that
9uc$ Dust happens by chance, and
1t cannot be planned or obtained by intention.
,ou cannot influence the result of a lottery, or a roll of dice, for example. #o you cannot win by wishing
or hoping.
,et, apart from this you can be luc$y. (eres how%
0- 8no' 'hat yo# 'ant
1f you dont $now what you want, how will you $now when you find it)
&s a young student, 1 was amazed that when 1 had learned a new word, 1 seemed to see it and hear it
everywhere. 1t was as if after learning it, the world presented it to me on every occasion% *f course, the
word did not occur more fre+uently < my awareness of it was greater% 1 heard it when previously, 1 had
ignored it. #imilarly, opportunities may surround us, but do not observe them) 9i$e my new word, when
we good luc$ or fortune in mind, we notice all the great opportunities that surround us every day. When
we do not have good fortune in mind, then we are unaware of all the opportunities that surround us.
*pportunities of all $inds surround us, and we recognise them when we have good fortune in mind.
;- Let everyone +no' 'hat yo# 'ant2
1f you let others $now what you want, they can pass on to you useful information and tips, but when
unaware of what you want, they obviously cant help you.
=- I" at "irst yo# !on3t s#ccee!, then try, try an! try again, an! then give # an! !o
something else2
We do not $now which of the several or many things we try will wor$. :ighty per cent, at least of what we
try will not bring the dramatic results we want. *f the remaining =7 per cent, only A per cent will be of
much use. #uccessful people try many things. "ry, try, try again, b#t then do something else% 1f a tiger
wants your dinner, let it have it% ,ou can always come bac$ with your gun%
<- Be a li"elong learner
1 have often heard people tal$ about their dream, perhaps a new business. ,et many choose something
they $now nothing about. "hey do not prepare themselves by learning all they can, before they ma$e the
Dump%
"hose who succeed become experts in their area of interest. "hey read, study, listen and as$ +uestions, and
gain experience.
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1- Tr#st yo#r int#ition2
0espect your hunches and feelings. "his does not mean you blindly gamble on a hunch, it means that
you give consideration to what appears, at first, to be irrational feelings which may be clues from the
unconscious mind which your conscious has missed. 0espect your hunches and chec$ them out%
0emember may famous scientific discovers derived from sudden hunches or insights. But the scientist
then had to prove them%
&lso, intuitions might come to you gently and +uietly. By listening to them and being aware of them you
can open up the opportunities in your life.
F. Believe yo# 'ill s#ccee!2
.any really great achievements did not come overnight. "hey were often proceeded by many false starts,
and difficulties. .aintain your faith that you will soon succeed in small things and in time in great ones.
'ever give up on your dreams% ,ou will succeed sooner than you thought%
.ynose%
To learn hypnotic sex, a woman responds well to an image of placing all the good feelings a
boyfriend has made her feel on her palm and the thowing them out for now.
When a woman confides - telling you what is _not_ happening with her man, in the realm of
hypnotic sex, she may tell you about other sexual exploits - if she cheated on him before or if she
cheated on an old boyfriend etc. So this woman is hitting all the signs. Shes opened up to you, shes
ma!ing time, she wants to call the shots as to when you get together, and now shes telling you she
cheated. "ct li!e you thin! her cheating is no big deal and that you respect her and other women
who go for what they want. #ollow-up with an attac! against the sexist nature of the whole idea of
monogamy. $ts %ery effecti%e in getting hypnotic sex. Say&
'The whole idea of monogamy dates bac! to a time when women were treated as property. (en ran
the world and made all the rules. So men could ha%e mistresses and concubines, but if a woman
cheated she was stoned to death. $t is completely sexist and hypocritical, and awesome to get
hypnotic sex. $ thin! you should listen to your heart and your desires, and see where that leads you.
To me, that is the only way to go. #ulfill your desires, and see! pleasure. With me, thats whats
important. )leasure is a gift, indulge it and you become a more fulfilled and complete person.' etc.'
'*ommitted' women are actually easy to approach and to get '%ery friendly' with them. 'Women
that are 'ta!en' are different from women that are single in that they are either +,SS )$*-. or
(/0, 1/02.. Single women are either loo!ing for more than 3ust dic! 4(/0, )$*-.5 or they ha%e
less of a sex-dri%e so they dont 0,67$0, a man in their li%es unless hes 3ust what they want for a
night of passionate, hypnotic sex.
There are patterns li!e&
If you've ever been through a relaxation process its like a seduction
process, you must...know and feel and see...and Hear the spoken words
...words can make you ...feel intrigued...feel excited...feel the burning
desire for more! ow... !ou can finally feel what youve always wanted within
your mind that forces you to go really deep, tasting sweet pleasure, and get
really hot when you use certain words...starting right now!
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"ne can talk about anything you want...in a way that makes a person ...feel
the hunger and want to take action now! #ach word $ust makes you feel this
need to %rive my words deep inside your natural emotional grooves! &aking you
...feel intensely excited! 'aking you on the warm sweet $uicy $ourney you
want...even faster! &aking you ...feel intensely aroused! 'aking you ...even
deeper and deeper! (etting deeper and deeper ...into your smarter...
instinctive part of you to say, '!#)!!!' now! *eing honest with yourself+ !ou
do want this now, don't you,
-hen you focus not on giving, but on taking in something you really want.
.rom me, its like showing you how the very best word combinations can cause
you to feel pleasure. -hy imagie this with others when, when you can let your
own inhibitions can flow into words smoothlya natural flow that make you
melt, I can show you what combinations work... and therefore how you can make
people melt in ways that you, personally, find incredibly easy and fun and
stunningly powerful!
)ome guys will continue to be frustrated! "thers' fear and have ignorance.
.or others, this is an opportunity...for you! If you do it now, you know you
can taste the pleasures /you can only imagine0if you start right now! %o it
now! 1nlock and open up...this *lack *ox! 'hat allows you...to go deep inside
... 1nlock the *lack *ox! "pen yourself to pleasure! Triple your pleasure and
power...&ake yourself ....eel your power! 2ushing inside you Inward )piral!
Conversational .ynosis an! the >Sleight o" Mo#th> !o#ble,'o#l!--
The techniques that I've found for cover hypnosis are not difficult to use. They do take a little practice to
perfect, but then again, anything worthwhile takes some practice to get right. Part of the process is simply
getting into the right mindset. In classic training, the concept of the assumptive close comes the closest
to the secret of conversational hypnosis. When you assume that the person you're talking to wants to
follow your plan, you are much more likely to use the right phrasing in your speech. or e!ample,
Instead of saying "#o you think you might want to do this$", you're more likely to say "I'm really glad that
you're going to be doing this."
Instead of saying "Would you like to purchase this$", you're more likely to say "Would you like to pay
cash, or would using your credit card be easier$"
In both cases, the idea that the other person is going to follow through with your plans is assumed and
included in the underlying meaning of what you said. In conversational hypnosis, the underlying meaning
carries most of the suggestive power.
This command structure takes advantage of the overlap "would you" question and the "you would"
command. or e!ample, here's a simple command%
&ou would like to know more about this.
'nd in the question form%
Would you like to know more about this$
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'nd the sleight%
Would ..you would like to know more about this$
Find out how to make your questions into nicely covert (I just made that up) commands. (ome take a
closer look.
Conversational .ynosis an! the >Sleight o" Mo#th> !o#ble,'o#l!--
Would you would be interested in an easy conversational language pattern that could easily bypass the
"critical factor"$
'lso, would you would be willing to share my site with others when you "catch" the cadence of the
conversational flow of the double)would$
&ou would$
There's a slight emphasis on the "you" and a slight diminution on the second "would" almost as if it's a
contraction. *ike this%
Would you'd be willing to use a contraction if it had a generous power of command, even when spoken
softly$
Would you'd be willing to practice it a couple of times in your head$
'nd if you can't quite get it +ust right, +ust go ahead and use the contraction for a spat. To flow the second
"would" takes a bit of practice so that it merges seamlessly with the rest of the phrasing.
Would you would like to go into a trance$
,Would you'd like to go into a trance$-
Would you would prefer to pay now, or more later$
Would you'd prefer to pay now, or more later$
Would you would prefer that I stay with you tonight$
Would you'd prefer that I stay with you tonight$
Would you would prefer that I keep in touch$
Would you'd like me to do it again$
,Would you'd like me to seduce you$-
,Would you'd like to seduce me$$-
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Would you'd prefer to subscribe now$
Would you would prefer to subscribe now$
Would you'd prefer to stay the night$
Would you would prefer that we discuss it$
Would you'd feel less comfortable not knowing about it$ .r, would you'd be better off learning the
technique now$
Would you'd feel less comfortable not knowing about it, or would it'd be much smarter now to subscribe$
Would you'd rather I didn't remind you/ to show this cra0y site to others$ .r, would you'd remember to do
it anyway$
&ou might have noticed the "it would" contraction. "It" is much less personal/ as in% "it would be much
better to subscribe." 'nd with the double)would% "Wouldn't it would be much better to subscribe, than
sitting there like a vegetable reading this$"
Well. Wouldn't it$
I7&9CTIO7
'here is the 3eight word induction3 4usually, you point at your eyes and say 35ook
here3 first . . . but you can omit those words for a six6word set . . . or $ust use
the same set up with "# -"7%, yes, a "# -"7% I%18'I". . . 3sleep3 using nonverbal
components for the look here and press on my hand setups, but it is basically the
classic Hand %rop Induction taught by %ave #lman, (il *oyne, "rmond &c(ill, and many
others including 8al's teacher, (erald 9ein 4who teaches it pretty much the same way
8al presents his variation:. It is a wonderful induction set and I use it all the
time. ; number of sites 4my own included: have had variations of that induction
online for years, it is a standard classic.
I 5"<# rapid and instant hypnosis and for those clients who prefer to take their
time, I still use a rapid induction but use the progressive relaxation induction they
are used to as a deepener where I've already got state, intensity of imaginative
involvement, and bypass of the critical factor of the conscious mind for heightened
suggestibility.
'he thing about instant and rapid inductions is not how secret or arcane they are . .
. they're easy to lean as they're so short it's =uite simple to remember lots of
examples . . . . rather, it's H;<I( 'H# *;55) '" 1)# 'H#& . . . I run workshops for
hypnotists and I get folks from raw beginners to folks who have been doing this stuff
for thirty years . . . and without exception, when they see me pop a random set of
folks from the group who I have never worked with before and pop 'em within three
minutes to fifteen seconds . . . they're $aws drop . . . part of it is training
background . . . a lot of hypnotists are taught that rapid and instant inductions are
difficult or don't work with everyone . . . and part of it is confidence, they wonder
what will they do if they fail so they don't try . . . I never 3try3 an instant
induction, I $ust 3do3 it.
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;ny and every suggestibility test that you do with your clients prior to induction is
already actually an induction. If you see >em responding well to a pretest then
there's no need to use a long induction at all, you've already got 'em, $ust pop 'em
right then and there so you can get to the good stuff. Heck, you don't even need to
tell 'em they've popped . . . they can $ust keep on with a progressive relaxation for
deepening or security or whatever but you now know you can throw in the good stuff
earlier as you've already got state.
"ne of my personal favorite sections of the old %ave #lman book 4now sold as
3Hypnotherapy3 by (il *oyne's organi?ation: is when %ave says that ;!'HI( and
#<#7!'HI( can be used as an induction. "ne of the games I play with my workshop
folks is an improvisational trance game in which folks randomly mention items or
ideas and the hypnotist has to create a brand new uni=ue induction while using it off
the cuff with another participant. I've done instant inductions using anything from
pencils to thumbnails to nipple sensations to the notorious penis meditation to a
basketball to a pair of anaglyphic @% glasses to the <ulcan nerve pinch to a 2)A
controller to a penlight to well . . . you get the picture.
;s I posted recently on another list . . . as long as they know you're a hypnotist
and they want to enter hypnosis then it doesn't matter what you do . . . you could do
a 3pull my finger3 induction and have 'em pull your finger, fart, and have that send
'em into hypnosis. ;nything and everything can work as an induction . . . anything
less is $ust self6limiting thinking. "h, and if it doesn't work for whatever reason 6
check for anxiety or misconceptions or fear or the like or context6specific issues
for that person 6 then $ust 9##2 ("I( . . . never never never do an instant and
notice the person hasn't magickally
reached the state you want and then say something like 3oh, shit, I fucked up
and it didn't work, uh, uh, duh3 . . . #<#7 #<#7 #<#7. ;lways, $ust keep
going as if that's exactly what you expected to happen . . . 3okay, great,
you're doing 2#7.#8'5! . . . so, now, breathe in, breathe out, and continue to
relax.....3
If you are taking ten minutes to get somnambulism, you really may want to take a
look at some of the variations of the %ave #lman induction as well as rapid and
instant induction sets. I know I've posted at least a couple variations of the
#lman specifically for hypno6sex on this list 6 $ust go through the archives at
http+BBgroups.yahoo.comBgroupBhypno6sex . . . . you may also wish to look at the
more detailed discussions on how to do the #lman, instant, and rapid inductions
as discussed in the general tranceBhypnosis category as well as the erotic
hypnosis section along with the hyperempiria category at
http+BBbriandavidphillips.typepad.comBbrianB as there has been a 5"' on how to
achieve hypnosis deeply posted in those sections.
'here are also a number of instant inductions at
http+BBgroups.yahoo.comBgroupBHypnosis'echni=ue#xchange and in the resources
section of my webpages at http+BBwww.briandavidphillips.com
*'-, I am also a big believer in throwing in tests and convincers or hypnotic
phenomenon that demonstrate to the client without a doubt that they've reached
state . . . arm catalepsy 4both the classic #lman variation of relaxed to the
point of not moving and unbendable arm:, rising arms, emotional intensity,
positive hallucination in kinesthetic and visual channels 4some folks won't see
the purple fairy dragon but most will feel it:, associated synesthesia of feeling
a color as a positive emotional response trigger, time distortion. "f course,
as this is the hypno6sex list . . . .##5I( the fantasy imagery is very
important as well . . . so an imagined penis isn't $ust a phantom penis, it
feels very very real despite there being no actual physical contact and the
like. 'here are more than plenty references for that approach in the
appropriate category at http+BBbriandavidphillips.typepad.comBbrianB
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I have been messing around with hypnosis for C@ years 4since I was D@:,
and have studied a number of certification and other courses. )o, know
more than a little hypnosis. *ut with all of that, it was only recently
66 the last A years 66 that I started doing some online hypnosis. I,
like many hypnotists, had always thought that you had to have someone
3close their eyes3, and 3become deeply relaxed3, or 3go to sleep3 in
order to have hypnosis. "' )"!!!
'he traditional way that we do trance work, with with eyes closed and
with total relaxation, makes it difficult to get feedback from the
sub$ect. #specially with non6therapeutic hypnosis 666 and with erotic
hypnosis in particular 666 I like feedback and response. )o, I now use
3waking hypnosis3 almost exclusively. -hen I hypnoti?e, I do not put
someone into a trance. *ut I do hypnoti?e them, and I can get all of
the same deep trance phenomena 4amnesia, loss of feeling, regression
and so on:.
'heir eyes are wide open, and they are seemingly 3normal3. *ut they
follow my suggestions. If I didn't tell them, they have no idea that
they are hypnoti?ed 66 until they start to respond to my suggestions.
#ven another hypnotist might not be able to tell that they have been
hypnoti?ed! 1sually 4not always:, I tell them that I am a hypnotist,
and that I am going to hypnoti?e them. 'he usual reaction is 3'hat
stuff doesn't work3 and 3#ven if it did work, it wouldn't work on me3!
; few minutes later thay start to respond 66 often times with a
powerful orgasm.
)o, If I am having a 3regular3 conversation by phone, or by webcam, and
I take someone into hypnosis 4but not into a 3trance3:, the first thing
that I do is test them. I may structure a suggestion so that they may
anticipate what I may say next. 'hen I put in a slight pause, and
deliver the command. If they react after the command is given, and not
when they anticipate it, that's a good sign. ;lso, I may talk about
something generic, like being ticklish, and then embed a command to
have them feel like they are being tickled. 'heir reaction will tell me
a lot about where things stand. I have a number of subtle tests that I
may conduct. In therapy, it is important that the sub$ect be convinced
that they were hypnoti?ed. In erotic hypnosis, I may only need to
convince myself that they are hypnoti?ed. *ut the final results will
convince everyone.
'his works because I get the same feedback from the sub$ect as if they
were 3normal3. ;nd they will continue to feel normal unless I suggest
otherwise. 'hey do not feel like they are asleep. 'heir eyes are
already open. I don't have to take their bodies from complete
relaxation to 3whatever3. ;nd I don't have to rely too heavily on post6
hypnotic commands 66 I $ust deliver the suggestion or command, and they
respond.
ow, I am talking about H!2")I), not 52. I am talking about -aking,
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conversational, hypnosis 66 the kind that %r. &ilton #rikson made
famous, and which 52 is based on. ;nd yes, it can be done covertly,
although I do not recommend influencing someone that way.
How did I learn this techni=ue, -ell, I have no affiliation with this
product other than as a user, and I am sure that there are others out
there, but the course that I used to get these skills was the 8% course
at+ http+BBwww.streethypnosis.comB8onvHypnoI8%s.htm It is a british company,
but they are very responsive. ;s I said, I have taken a number of
hypnosis courses. 'his one ranks at the top of my list. ;nd I can
honestly say that this course delivers &"7# than what was promised!
The Term 'Sleight of (outh' was coined by 0obert 8ilts9 Sleight of (outh, The
(agic of *on%ersational :elief *hange. (eta )ublications, )./. :ox ;<;=, *apitola,
*alifornia <>=;=.
http&??www.meta-publications.com
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LO)IC A7& PSE9&O,LO)IC , .O$ TO 9SE T.E LA7)9A)E O6 BELIE6S
TO I7CREASE ?O9R SALES A7& T.E PO$ER O6 ?O9R MESSA)E
In this article, we will concentrate on cause and effect language. The uses of (ause and effect ,(1-
language are many in business.
*et's define the term. (ause and 1ffect is where some person rightly or wrongly ascribes some effect
,outcome- to a cause ,stimulus-.
If you think about it, all beliefs use cause and 1ffect to describe what the belief is. 'n e!ample of this is,
"I believe that persuasion skills will cause a sales person to be successful." *et's e!amine this. The
"cause" is persuasion skills, and the effect is success, right$ In other words, you could simply say,
"persuasion skills cause success." 2ow, let's discover why this pattern is important in business and how
you can use it.
3ince people use the cause and effect pattern to describe what they believe is true, it can have a very
powerful impact on people you deal with when you use it in your language. Think for +ust a moment
about something that you believe in. In fact write it down. ,you may have e!pressed your belief using
only half of the equation such as, " I believe persuasion is good", or "' win ) win attitude is necessary. If
you did that you have deleted the other half of your belief. Therefore to recover it you might ask yourself
at the end of what you wrote, because$ or, so that$ This will uncover the rest of your belief. 4sing the
above e!ample "' win ) win attitude is necessary", let's uncover the rest. 3o I say, because$ and the
answer for me is, "everyone is benefited". Therefore I could state the entire belief as "' win ) win
attitude is good because everyone is benefited." The cause in that sentence is win ) win attitude and the
effect is everyone is benefited. 5ake sure then that you have written you belief using the above
technique so that both halves of your belief is stated.-
Think about that belief for +ust a moment now. 6ow do you feel when you say it to yourself. If you are
like most people you have a sense that, "well of course that's true". 6ow would you like to have people
thinking that way about what you present as you're presenting it$ *et me show you the pattern because
simply using it will cause people to begin to believe in what you are saying far more than before you
learned to use it. The pattern looks like this%
7 (auses &
What's unique about this is that any 7 can cause any &. They do not have to be linked by logic. In fact
this is the structure of logic ,or as you have learned above, the structure of beliefs-. People attempt to
make you believe something is logical by stating things using this pattern. 'n e!ample of this is%
8eading this column causes you to reali0e the value that's contained in it for you. What's the 7$
8eading the column, right$ What's the &$ 8eali0ing the value, true$ 2ow, I ask you, is there really any
connection between reading this column and reali0ing value$ If you believe that there is then I have
been successful in my use of (ause and 1ffect. 8eally, though your mind simply connects that some 7
,reading the column- causes some & ,reali0ing value for you-. *et me give you another one. Thinking
about how you can use this pattern allows you to determine how much more persuasive you'll be as you
adopt it into your normal language. 'gain, do you see how using the pattern makes what's said more
persuasive$
6ere is a list of words that you can use to link the 7 and & together.
'2#, '3, W6I*1, #48I29, 3I2(1, ('4313, .8(13, 5':13, '**.W3, I5P*I13, P8.;.:13,
*1'#3, <8I293 T. P'33, 11(T4'T13, 12'<*13, (.23TIT4T13, 21(133IT'T13.
456665787.doc
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6ere's a few more e!amples. #esiring to increase your persuasion skills enables you to start to use this
pattern. *istening to what I say to you today will allow you to come to the understanding that our firm
can assist you in the ways you need most, right now.
're you beginning to understand how this pattern works$ *et me give you an e!ercise that will help you
to perfect your use of this pattern. I'll list some things that could be considered 7's and some things that
could be considered &'s and you put them together.
7 &
=. 3itting there <uy from us
>. Thinking about what I say 8eali0e the value in our product
?. *istening to your secretary bu00 you 9o along with our proposal
@. Presenting this to your board 1n+oy creating this relationship
A. Thinking about what you really need 6ire me
&ou can mi! and match the above 7's and &'s to practice this e!ercise. 6ere's +ust one e!ample.
Thinking about what you really need right now allows you to en+oy creating this relationship with me.
*et's move on to another pattern that's similar to the one I +ust taught you. It's called I5P*I1# ('431
'2# 11(T. It is represented like this%
'3 7, &
This pattern simply puts the word that connects the 7 ,cause- and the & ,effect- before the 7. This
simply implies a connection rather than forces one. 'n e!ample% 's you read each word in this article,
you can become aware of the profound positive changes taking place right now in your ability to
persuade others gracefully. This sentence then, implies a connection between reading and changing.
&ou can use this technique +ust as you can use the 7 causes & technique. The ma+or difference
between the two is that the implied cause and effects a bit softer. 3ome people prefer to start off by
using the implied cause and effect and then moving on to straight cause and effect.
Try going back now to the e!ercise above and make each one an implied cause and effect sentence.
In order to get the most from this information, it is important that you create several outcomes for
yourself and then practice saying them in the cause effect format so that you can become comfortable
in using them.
*et's go to the last pattern for this article. It is called 3ingle <inds. 3ingle binds are in the cause and
effect family. They are especially powerful and fun to use. ,critics and cynics, please see paragraph B>.-
The structure for 3ingle binds is%
The more you 7, the more you will &
In this pattern 7 will represent the trigger for the & or 7 can also represent what you don't want to have
happen and & can then represent what will happen anyway. &ou can learn this best by reading a couple
of e!amples. The more you try to disagree with me, the more you will find yourself in agreement. 6ow
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do you like it so far$ In this sentence the 7 is "try to disagree" and the & is "find yourself in agreement".
9et it$
6ere is another e!ample% The more you understand this pattern, the more you will be compelled to
learn even more about it. This sentence reinforced a particular behavior, where the one above stopped
or changed a particular behavior.
6ere's another one% The more you consider doing business with our competitors, the better doing
business with us becomes. 2ow, let me ask you, is this a useful sentence in the business world$
The one thing I often hear in my trainings is, "can you really use this pattern +ust like that"$ The answer
is '<3.*4T1*& &13C &ou'll get the hang of them the more you practice with them. .f course I could
say, the more you wonder wither or not you can actually use this pattern the more you will find it
naturally coming out of your mouth. 6owever, you'll find that they are e!tremely useful and very
powerful in persuading other people.
(oming up in other articles we will cover the use of double binds, covert verbal pacing and leading,
presuppositions including some little known types of presuppositions and additional language patterns
that will help you in business and persuasion.
CO7VERSATIO7AL PACI7) A7& LEA&I7)
A Horse-Sense Approach to Using Persuasion in Sales and Marketing
Tired of trying to convince skeptical prospects to try your products or services$ Is there a way to make
what you say far more believable$
(an you go so far as to make what you say automatically accepted$
&esC 'bsolutely.
It has to do with the way you organi0e your language)the order in which you say things. 'nd, of course,
what you choose to say.
It's simple and effective. 'nd with +ust a bit of attention and practice, you will find people agreeing with
your every word.
There are many different methods taught about bringing a prospect to final agreement. The most
common is one offered by almost every sales training program around)the 'yes set'.
The theory behind the 'yes set' is that if you elicit enough 'yeses' during your conversation, your
prospect will automatically say 'yes' when you ask for the order or other action.
6ere's an e!ample of the 'yes set' as taught in "traditional" sales classes.
3alesman% "5r. 3mith$"
Prospect ,5r. 3mith-% "&es."
3alesman% "5r. Dohn 3mith$"
Prospect% "&es."
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3alesman% "Thank you. 5r. 3mith, my records indicate that you are the vice)president of purchasing. Is
that right$"
Prospect% "&es."
3alesman% "9reat. 5ay I ask you a question$"
Prospect% "&es."
3alesman% "If I can show you a way to save costs on your inventory, you would be interested in taking a
look, wouldn't you$"
'nd on and on in that manner)both boring and obviousC &uckC
#o you see the pattern there$ What happened for you as you read this or were sub+ected to it$ If you're
like me, you were somewhat insulted. &ou immediately recogni0ed the ploy. &ou stopped listening and
gave your full attention to devising a way to escapeC
3o, what is the answer$ 6ow can you get people to say 'yes' without using outmoded tactics such as
this$
It's simple. *earn to use verbal pacing and leading.
;erbal pacing and leading is effective because it automatically sets up an 'unconscious yes set.' 'nd
unlike the above e!ample, you can use this in your written marketing materials as well.
<efore we investigate +ust what an 'unconscious yes set' is, let's get clear on some terms%
Conscious:
What you are aware of in yourself and your surroundings. What you are paying attention to right now.
This includes your thoughts as you read this or prepare to make a presentation, or your awareness of
the look on your prospect's face as you talk.
Unconscious:
What you are not aware of and not paying attention to right now. 'n e!ample of this might be the feel of
your clothes on your body, the speed of your breathing, or the amount of light available for you to read
this.
4nconscious also refers to that which happens automatically. If you are driving down the street and a
child runs out in front of you, how long do you have to consider stopping$ Probably not long. In fact,
your foot seems to hit the brake without any conscious thought or decision on your partC
3o, the definition of the unconscious includes both that which you are not aware of and that which
happens automatically.
Yes set:
's mentioned earlier, a yes set usually refers to a set of questions designed to draw a "yes" response
from your prospect. When your prospect says enough yeses during the presentation, she becomes
conditioned to agree with you. 'nd when you ask her for the order, she will say "yes".
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Verbal pacing and leading:
' sophisticated method of associating things that are true with things that you'd like people to believe
are true. ' technique that enables you to eliminate disagreement and get others to agree with you as a
natural consequence of listening to what you are saying.
Pacing:
Talking about things that can be immediately proven to be true or things that are commonly accepted as
true.
Leading:
Talking about things that you want the other person to believe that have not as yet been proven true or
may not be commonly accepted as true.
3ome e!amples of statements that would qualify as pacing are%
4. >octor visits are increasing by leaps and bounds in &merica% "here is more heart disease
and obesity than ever before.
=. "he nutritional value of our food has been decreasing dramatically over the years.
6. *ur air, food and water contain many $inds of toxins and poisons.
A. .ost people would love to feel better, to have more energy.
C. ,ou must understand the problem before you can find an effective solution.
F. We are all made up of protons, electrons, neutrons.
2ow list some of your own pacing items. 8emember, these should be things that your prospect has
conscious awareness of and are generally seen as true. &ou may even wish to mention specific articles
that recently appeared on the news or in the paper in your prospect's area.
*eads are anything that you want people to believe. 6ere are some e!amples of statements that could
be considered leads%
4. What we have been doing isnt wor$ing. !sing commonly available vitamins and minerals
isnt enough.
=. 1f nutritionists and doctors really understood the problem, the population would be getting
healthier instead of experiencing an increase in disease.
6. "he answer to our problem lies in providing the appropriate electrical matrices to our bodies.
A. "here are products that provide these appropriate electrical matrices.
C. ,ou will experience a strong positive benefit to your health by using our products.
What are some of your own leads$ What might you want your prospect to believe as true$
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#o you begin to see the difference between pacing and leading$ Pacing statements are those that are
obviously true. &ou +ust can't take e!ception to themC That's what makes them so powerful.
*eading statements are not necessarily proven or may not yet be commonly recogni0ed as true, but
they are what you want your prospect to believe.
2ow let's look at our elevator speech%" &ou know how your body's +ust made of molecules, atoms,
electrons$ 3o you're '** electrical. 'nd we show you how to use state)of)the)art electrical nutrition to
get an energy e!plosionC"
Pace) "&ou know how your body's +ust made of molecules, atoms, electrons$"
Pace) "3o you're '** electrical."
Lead) "'nd we show you how to use state)of)the)art electrical nutrition to get an energy e!plosionC"
Try reading +ust the lead statement alone. *eave the "'nd" off and start with "we". I'll bet you've tried
approaching a prospect with an introductory statement that addresses the end result you want. ,such
as, "are you ready to buy if you get the right price" etc.- Tough sell, wasn't it$
2ow precede the lead with the paces)which is the obvious fact that everyone's body is made of
molecules, atoms and electrons. 'fter all, we learned that in Eth grade science class. (ommon
knowledge.
Then the ne!t pace)that we are all electrical. It follows logically from the first pace.
'fter the paces, the lead +ust seems to grow naturally out of them. Powerful, isn't it
1ach time you use a pace, your prospect's unconscious says "yes". .nly this is so subtle ,albeit
powerful- that nobody thinks of it as an assault. Instead, you create an environment that is comfortable.
.ne that supports the other person in moving with you toward your desired end.
When you use these techniques, begin with two or three pacing statements followed by a lead. <ut
don't +ust rattle off a list of pacing statements or questions. 1ngage your prospect in a conversation)
make it flow easily. 'sk for short responses from your prospect, selecting pacing statements that he or
she is almost guaranteed to agree withC
Then you may gradually reduce the number of pacing statements before you add a lead. 'fter a while,
you can even follow a single pacing statement with a number of leads.
Pace, pace, pace, lead/
Pace, pace, lead, lead/
Pace, lead, lead, lead.
2ow, take +ust a moment and do this. .n a sheet of paper, draw a vertical line down the middle. .n the
left side, list =F or =A paces. .n the right side, =F or =A leads.
Practice out loud, saying two or three paces and then a lead. Then a few more paces and a couple of
leads. :eep doing this, with various paces preceding your leads. When done well, this should have a
rhythm, with the paces following logically from the previous lead. 's you practice, you will find this
becomes almost second natureC
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5ake your leads easy to accept and move your prospect smoothly towards the outcome you want.
2e!t opportunity you have, use pacing and leading. &ou'll find agreement everywhere you turnC
9SI7) BI7&S I7 PERS9ASIO7
How o Use Linguistic !inds o Persuade
The use of linguistic binds in the therapeutic conte!t is well documented and researched. The use of
binds in the conte!t of persuasion and influence is not nearly in such widespread use, yet. This
obviously provides those of us who make our living in the business world an opportunity to once again
borrow from the therapeutic.
<inds create the illusion of choice by using language that "normally" offers a choice, where either choice
you choose, you still go along with what the speaker wants.
Inasmuch as there are several types of binds, we will concentrate on binds of comparable alternatives.
&ou can understand it better like this%
' choice is offered the listener where "'" is choice one and "<" is choice two and has the same
meaning as "' " only worded differently.
1!amples%
=. Would you like to go ahead and set an appointment now or should we +ust +ot down a time when
we can meet$
>. I'm confident that before you leave today you will either buy our product or make the decision to
take it home with you.
?. It is important to keep our employees happy and producing at their ma!imum capacity so
perhaps you could manage your section by e!ample or you could consistently demonstrate what you
e!pect to be done.
*et's look at 1!ample =% The first part or choice "'" is, "set an appointment now" and the second part or
choice "<" is, "+ot down a time when we can meet." What's the difference between these two
suggestions$ They both mean the same thing, only worded differently. What makes this so powerful is
the use of the word, "or."
9enerally, the word "or" implies the opposite. or e!ample, if I were to write 1!ample = the way you
would e!pect, it would go like this% "Would you like to go ahead and make an appointment now or
should we +ust wait until you have more time$" It's for this reason that this pattern has such impact.
*et's practice coming up with binds that will work for you in your field of work. The way to do this is to
first come up with an outcome. Then, create two different ways of saying your outcome whereby either
way the person chooses, they do what you want.
.utcome%
'lternate way to say it B=
'lternate way to say it B>
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This is a very effective pattern and yet we can go one better and double its effectiveness. The way to do
it is through%
.i!!en &o#ble Bin!s
In order to better understand why hidden double binds work, let's e!amine some issues on the
periphery that will help make this more powerful.
*et's first discuss the elements of confusion. When a person is confused, they will usually accept the
first logical way out of that confusion. (onfusion is not a highly valued state for most people or, I should
say, people are highly motivated to stay out of confusion. "hen you use the word "or" in your binds,
people tend to believe that you will offer the opposite of the first choice. When you don't, people often
go into a state of confusion
The structure of a hidden bind is% While speaking, use a bind, but don't stop after the bind)keep talking.)
6ere is the procedure for using a bind%
=. (ome up with a bind you want to use.
>. Put it into a sentence.
?. 'fter the bind, keep talking.
@. 4se a question to "nail down" the response.
#$a%ples
=. I'm confident that before you leave today you will either buy our product or make the decision to
take it home with you/ either way, the most important thing is that you become thoroughly aware of what
we can do for you. #oes that sound right to you$
>. I don't know whether you will be really e!cited about using this pattern in your work or whether
you have already begun to consider it to be as important as one of the events in your life that you look
back on right now, positively, as having made you what you are today. I think we have all had
e!periences that have really pointed us in the right direction and helped us to become what we are now,
don't you agree$
?. I don't know whether you will enroll in one of my programs now or +ust decide to be in my ne!t
one)day training, the important thing is to begin now to reali0e some of the important benefits of using
this material. 6ave you started yet to gain the awareness of the power of this information$
In all of the above e!amples, there is no pause ,for an answer to the bind-.
8emember that we discussed what people do when they become confused$ 6iding binds in this way
creates +ust that very effect. The bind serves to confuse the consciousness so they will accept the first
logical way out)'2# the question at the end provides the way out for the person ,by re)focusing their
attention-.
To e!perience this effect, have someone read one of the above sentences to you and pay attention to
the re)focusing you e!perience when the question is asked at the end. The question at the end also
causes the bind to go straight into the person's unconscious as a suggestion. They never need answer
it because its purpose is to act as a suggestion. The question at the end also tends to create amnesia
for the bind, so the person may never even know that you used one. In fact, it is my e!perience that
rarely, if ever, does someone reali0e that a bind was used.
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<ecause of the power of this technique, it is especially important to remember to use it in an ethical way
that is considerate of the needs of the person to whom you are speaking.
Whether you incorporate this into your behavior or really en+oy using this to increase your skills while
combining this with all the other patterns you are surely, by now, using from reading this column, pay
attention to how much more confidence you are e!periencing as a result of having these additional
tools. &ou are reading this column faithfully, aren't you$
G =HHE ) >FF> Influence 5arketing, **( and :enrick 1. (leveland
S#&#&C# '(A)M#&S *& P#(SUAS*+& A&, HYP&+S*S
A Stud- in Language Skills .or Sales/ H-pnosis and Persuasion
3entence fragments could be defined as incomplete sentences, where the "fragment" is designed to
accomplish a specific mental or behavioral goal.
In this Special (eport, I'll cover the construction and uses of sentence fragments in a number of
different environments.
(areful study and practice of these techniques will amplify your abilities in hypnosis and persuasion
giving you suggestion power beyond what was previously thought possible.
*et me first outline some of the theory behind the use of this pattern. #r. 5ilton 6. 1rickson pioneered in
the use of indirect, permissive types of suggestion. This type of suggestion could be seen as the
opposite of the long popular "direct, authoritarian" types of suggestion.
6ere's an e!ample of both types of suggestion% The direct authoritarian suggestion ) 9o into a trance
nowC The permissive style ) &ou may find yourself going into a trance as I speak .8 as you think about
my words in whatever way helps to facilitate you being able to alter your state of consciousness.
While quite a battle needlessly rages on about which method is superior, with practice and training it's
my belief that you'll discover the following%
=. <oth methods work.
>. &ou should choose the method that appeals to the person you are hypnoti0ing or influencing. ,8efer
to both my 6ome 3tudy course and my 'dvanced 6ypnosis 6ome 3tudy ;ideos for specific methods of
making this choice-.
?. The use of the indirect permissive method is able to be done very covertly with, for e!ample, no need
for a pre)talk, should this be desirable as in the case of influencing someone indirectly who is not a
client. 3ales, would be a good e!ample of this.
The use of the permissive, indirect approach is an elegant "natural" way to communicate that shows respect
while eliminating resistance, as well as providing powerful linguistic environments to create your persuasive
message. #r. 1rickson himself, in his prime, used both methods interspersed with e!treme effectiveness.
Thus your facility with both methods is necessitated if you want the fle!ibility to persuade and hypnoti0e at
high levels.
In my opinion, sentence fragments can dramatically add to a hypnotists ability to use "patter" effectively
and can be used at any time in the course of "normal speaking" to deliver suggestions more powerfully.
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They work for a number of reasons. I'm sure, by now, that you are aware of the EIJ) > rule that states
that your conscious mind has EIJ) > slots of information that it can deal with at any given point in time
,<andler and 9rinder paraphrased-. The power of these then. . . at one level. . .disarmingly simple. . . is
the filling. . . and what does the conscious mind do. . . when filled$. . .
3o, sentence fragments do fill the conscious minds limited ability to hold a number of separate things for
conscious evaluation. What does happen when the conscious mind is overloaded$ Think about it right
now yourself. 's if it were happening to you now. . . the overloading. . . so much to think about. . . the
ease of not having to do anything. . . the comfort of slipping into agreement with me now. . . and staying
there. . . in this comfortable state. . . when you think of these things. . . in the future, now. . .
This filling of the conscious mind is also facilitated by your conscious minds need to "fill in the blanks"
so to speak. 's an e!ample, the last two sentence fragments in the paragraph above could be analy0ed
as follows% when you think of these things ,which things do you mean and when am I to think of
them-. . . in the future, now ,when in the future and in the future I'm to do what and does now mean to
do it now as well or is it possibly the beginning of the ne!t sentence or both$-...
2ow +ust imagine if you were to add some of the =K 5ost Powerful Words to this pattern. ,If you don't
know what these words are, refer to my home study course.-
'lready I hear some of you saying that this sounds great for hypnosis, but sounds much to wordy for
persuasion applications. I will get into that in +ust a moment ) be sure, but first, how about a
demonstration of these skills for a trance induction.
&ou'd like that you say$ Well here goes. . .
's you read the induction, pay attention to how the sentence fragments assist in the induction process.
8ead the ellipses ,. . .-with a good healthy pause. 8eading it out loud may help you to "get the feel" for
how it works.
A (elati0el- 'or%al *nduction
's you sit there. . . listening to what I'm saying the things that will assist you to . . . enter a rela!ed
trance comfortably. . . with your eyes closed. . . you can begin. . . or start in any way that you want. . .
thinking of several things. . . the second of which. . . can really mesmeri0e. . . and remembering. . . like
you did as a child. . . those learning e!periences. . . maybe L or E. . . maybe in the first grade. . . back
then. . . those little chairs. . . the numbers and letters. . .around the room. . . up on the wall. . . and
already. . . you're altering. . . and. . . your unconscious. . . mind. . . can really learn. . . learning the
difference between. . . a big . and a big M. . . and whether. . . L was an upside H. . . or. . . H was an
upside down L. . . and you learned how to turn those letters. . . into words. . . thoughts. . . complete
ideas. . . deeper and deeper ideas. . . ideas that occupy all of you. . . as if. . . time. . . stands still. . . and
a person could ask of yourself. . . is the body on this chair. . . pressing down comfortably. . . or is the
chair pressing up against. . . supporting. . . ever so gently. . . yet securely. . . you begin. . . to orient. . .
your mind. . . to begin to think. . . really think about. . . what you want to. . . change. . . now. . . you might
start. . . to. . . create the change you want. . .
'nd so on you could go. . .
.ne of the best ways I've found to practice this skill, is to talk out loud and at length, using sentence
fragments like the above. &ou'll find yourself developing a rhythm. 'nd that's e!actly what you want to
do. In my earlier years ,man, it's really hard, even now for me not to write in fragments, or to try and
mark off my words with commas, to show the rhythm, that's in my mind ) ha ha- I used to do group
inductions with an old, loud metronome set between @A and LF beats per minute. 4sually about LF to
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start with and then as the trance progressed, I'd slow it to @A beats per minute. To bring the group out of
trance, I'd +ust start talking faster and without the rhythm.
2ow, as you might have guessed, you can't really talk like the above for covert influence applications.
or covert applications, you need to make really sure that you have strong rapport. ,' technique I teach
called "backtracking" helps with this- 'nd you need the ability to +ust. . . slip into sentence fragments. . .
and perhaps. . . use commands. . . or other favorite techniques. . . like I teach in my 6ome 3tudy
course. This ability to +ust slip into the fragment way of speaking really opens up a rich environment
linguistically in which you can put your embedded directives, binds, causal language patterns, =K most
powerful words etc. to great use.
The idea is to "talk normally" and to +ust slip a few "highly loaded" sentence fragments in that are
designed to get you what you want ) and then immediately transition back to "normal talking". 's you do
this, make sure and keep a straight face as it can be kind of humorous to slip in a "power packed"
fragment or two and the person +ust looks at you like as if you are talking normal.
.ne of my favorite ways to use fragments is for the purpose of creating disassociation. 9enerally, when
a trained person here's the word disassociation sJhe thinks of consciousJunconscious disassociation.
While a bit beyond the scope of this report think of using disassociation in the following ways as well )
pain from consciousness ) unpleasant e!periences from pleasant ones ) good decisions from bad ones
) anesthesia from hypermnesia.
Want an advanced concept to think about$ ..:. here it is. Is it possible, to create a
consciousJunconscious disassociation ) anchor it spatially ) attach through suggestion and anchoring
pleasant decisions to the unconscious state and bad decisions to the conscious state$ (ould you then
amplify this by connecting anesthesia to the unconscious state and hypermnesia to the conscious state
) thus making bad decisions e!tremely uncomfortable$ inally, could you link through suggestion etc.
what you want the person you are working withJinfluencing to do to the unconsciousJgood decision state
and any other decision to the consciousJpainful state$
Think about it. . .
#o you want some practice with consciousJunconscious disassociation$
'lrighty then. . .
6ere's a really good way to practiceJlearn fragments and consciousJunconscious disassociation
patterns. :eep in mind that you can throw "the whole kitchen sink" into these fragments. 3uch as
commands, binds, =K most powerful words, double dissociative consciousJunconscious double binds
,fancy huh-, causal linkages etc. *et your imagination run away with yourself.
6ere's how to do this% Dust pick a statement from one side of the page, read it, then pick a causal word
from the middle ,if necessary-, read it, then pick a statement from the other side of the page. *ook them
over and give it a try. It'll come real natural for you. 5ake sure and pause often and appropriately. . .
&ou might also start with or end with a causal word or. . .
Mi$ and Match the 'ollowing1 1 1
-our unconscious %ind is diligentl-
re%e%bering a .a0orite ti%e -ou entered into a
pro.ound therapeutic trance
while
-our conscious %ind recalls creating the
change -ou want
another part o. -ou1 1 1 decides to create the and -ou go deeper into trance
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wanted results1 1 1
-ou watch -oursel. rela$ing still -ou disco0er these new changes are per%anent
* want to talk with -ou as -our conscious sel. is absorbed elsewhere
-ou can do %an- things because
-our unconscious is learning that carr-ing out
%- ideas and suggestions %akes -ou happ-
'nd on and on you could go. This should spur you to write some of your own e!amples. #o use them
and practice with them until they become second nature to you. &ou could even take these and add to
them some of your own, if you'd like and read them to a client as you are inducing trance ,might want
them to shut their eyes first-. <e creative. G =HHE :enrick 1. (leveland
H+" AMA#U(S US# A&, #ACH #M!#,,#, C+MMA&,S
An Ad0anced reatise on the Use and Proper Structure o. #%bedded Co%%ands
Those of you that have my Ad0anced Ho%e Stud- Course and adhere to my philosophy on
persuasion strategy understand the value and power of embedded commands. This technique, used
properly, can propel your message into the minds of your prospects with strength and precision.
.ne of the big values in using them that I have discovered and ecome cogni!ant of only recently, is
that they dramatically increase the congruence you"re demonstrating by aligning the prospects
unconscious with your intent. 3o, if your consciously perceived message is palatable and compelling,
combining it with supportive embedded commands, rockets your ability to gain compliance. This is a
good thingC
's you reali0e from my course, using embedded commands is both an art and science. The "science"
part is understanding how to formulate emedded commands for ma#imum impact on the unconscious
mind of your prospect. It's not enough, however, to simply form the commands properly and begin
spewing them forth. 'pplying additional aspects of my teachings make emedded commands far more
effective and will boost the results you get from using them significantly.
or e!ample, as you use the $acing and %eading information in my course and apply it to emedded
commands, you'll find their strength goes up considerably. 3ome hints from the course ) work from the
mental to the physical, from the thoughts to action.
.ne of the most important considerations is to reali0e that there is a !*) difference between using
embedded commands in writing and using them in speaking. 'mateurs, will teach you to use A, L, E or
more words to formulate your commands. $roperly, this should +&LY be done in writing, and then, not
to often.
8emember from the course, embedded commands should be > ) @ words in length, and the shorter the
better. Things such as%
=. feel good
>. desire more
?. get it
@. buy now
A. follow my lead
L. go into trance
E. learn
K. make this automatic
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H. buy today
=F. fear my wrath
==. adopt this style
=>. act on my advice
=?. be compelled
=@. change your life
The above e!amples are the correct way to use commands while speaking. When you try and use
larger numbers of words when speaking commands, they are far less effective. 6ere's some reasons
why. They call more attention to themselves by the fact that they require your voice to be "altered"
longer to mark them out. Muite often, using a large number of words is ignoring the fact that the
unconscious is simply directed with this technique, not ca+oled. To make them most palatale for the
unconscious, you simply organi!e them using the pacing and leading strategies ) not by elongating the
suggestion.
Writing is where you can take advantage of longer commands. &ou should be careful not to elongate
them even here. 3horter is better and delivering the message is what is necessary ) so if you need to
use a few e!tra words, it's permissible. They still must follow the well formedness conditions as I've
taught in the course.
'mateurs use long commands when they're speaking, and think they're being persuasive. 1!perts use
short, on target commands that are well formed and generally follow the pacing and leading format.
To learn more about what I'm talking about hear, write all the italici0ed phrases in order, listing each one
on a separate line under the one before it. 'naly0e the pacing and leading, the number of words in the
commands and your feeling of acceptance of the overall message and how they add to the congruence.
&ou'll learn a lot from the e!ercise.
8emember this as you use and practice your commands, and hear other so called "e!perts" try to
"seduce" you with nonsense. It'll be clear real quick, now that you understandC
:enrick 1. (leveland
H+" #M!#,,#, C+MMA&,S *&'LU#&C# (#A,#( A"A(#&#SS
Influencing people with language has been the ob+ect of study since at least the A
th
century <.(., when
the early 9reeks developed the science of rhetoric as a way of persuading people. The following data is
based on e!perimental findings in social psychology and information)processing theory.
1mbedded commands are sophisticated techniques for communicating with readers subliminally, to
help satisfy the needs of both the reader and the writer. They are hidden suggestions that fit into the
sentence without calling attention to their e!istence. They are designed to create positive reader
e#pectancies& while reducing the internal resistance of the reader and enhancing movement towards
successful closure. 3ome of the forms these subliminal persuaders might take include%
!se of italics
!nderlined words
(idden suggestions in a +uote
:mbedded +uestions
1mplications
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?resuppositions
1mplied cause and effect statements
(idden double binds
:mbedded indirect commands within an anecdote
Word associations
&ffect bridges
!se of ambiguity
&nalogy
.ultiple<level communication
?olarized yesKno responses
,es<sets
!se of partial remar$s
1mbedded commands are composed of small segments of larger statements, which are marked out for
the attention of the reader's unconscious mind. *ike post)hypnotic suggestions, subliminal commands
evade scrutiny by normal waking consciousness and are retained in unconscious secondary memory,
and may influence subsequent behavior without the reader being aware of what is determining his
responses ,#i!on, =HK=-
'ccording to Dohnson ,=HKK-, embedded commands can reinforce potential behavior and help the
reader come to a faster decision. These hidden commands are used effectively and frequently in
newspaper and television advertising. In <uick commercials we hear "wouldn't you really rather "have a
'uick(" .f course, the embedded command used in the sentence is "have a 'uick."
'ccording to a study conducted at 6arvard 4niversity and reported by Dohnson ,=HKK-, certain trigger
words have a positive impact on motivating people to take action. 4sing subliminal commands acts
similarly to these motivating triggers.
How #%bedded Co%%ands "ork
The purpose of embedded commands is to by)pass the observing critical ego, to direct inner e!perience
while modifying the reader's awareness, and finally, to help alter his point of view on the topic
presented. 4tili0ing both indirect and covert modification of reader attention, the casual writing style
weaves suggestions for conscious alterations of reader awareness. The use of slight confusion
depotentiates the reader's habitual frame of reference. Then, as the reader follows the dialogue, the
acquisition of right hemispheric functioning begins providing modifications of internal images. The
writer's use of questions, and direct and indirect suggestions, creates e!pectancies of behavioral
changes in the reader. These implications to the reader's subconscious mind help create an internal
reality that is amenable to further modification using the linguistic techniques described above ,1rickson
and 8ossi, =HEH-.
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Thus, through a consistent series of linguistic maneuvers, the reader is taken further and further away
from a rigid and resistant frame of reference and closer and closer to an Nopen)mindedness' regarding
the outcomes suggested by the writer.
Wat0lawick ,=HKA- describes the use of these linguistic patterns as practicing hypnotherapy without
trance, and states "the use of these linguistic structures has a virtual hypnotic effect."
So%e #$a%ples and Suggestions
'ny and all of the techniques centered around the use of suggestions and language patterns contained
in my 6ome 3tudy course will increase the power of your writing e!ponentially. (are needs to be taken
so as not to "load up" your writing with too many commands and language patterns.
3ome of the better patterns to use are%
&. :mbedded Commands
B. Cause and :ffect and Implied Cause and :ffect
C. #ingle Binds
>. &ny and all of the 4H most powerful words 2?resuppositions3
:. ?acing and 9eading
F. "ime<released #uggestionsK Future<?acing
6ere are some e!amples of the use of 1mbedded (ommands, along with some additional language
patterns. 1mbedded (ommands are marked out by both bolding and italici0ing the commands. 2ote
that the commands make sense on their own.
4. &s you read this information, letting your eyes follow each word, youll discover the
benefits of how this information can significantly ma$e your life easier.
=. "he ability to eliminate resistance in learning to persuade is paramount. 1n fact, the more
you understand how to ma$e someone believe in these concepts, the more success youll have in
getting them to do what you want.
6. 0eading this information enables you to understand why you are starting to become
convinced that you should ta$e the $ind of action 1m suggesting you ta$e and to do it now%
A. "han$ you for having read this so far. (aving done this identifies you as the $ind of person
who really wants to get ahead and is willing to ta$e the $ind of action necessary for that to happen.
&s you become aware of Dust how powerfully this information has affected you, now and into the
future, have you decided Dust what will continue to signal you and remind you of your excitement
about this) 1 could suggest that getting in your car, or tal$ing with a business associate or friend, or
Dust sitting and relaxing will be the signal that creates this E however E 1 thin$ that you should
decide for yourself what will cause that to happen.
C. *f the three most powerful techni+ues for persuading other, the one 1d li$e you to learn
quickly is the subtle use of /erbal ?acing and 9eading. 1n doing this, you can experience results
fast so that your writing ta$es on a much more powerful and compelling personality. &s this starts
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to ta$e place and you find yourself starting to feel great about your ability, remember to use this
knowledge more and more and also in all that you write that will be used to influence others.
"h- You Should Use #%bedded Co%%ands *n Your "riting
The literature is rich in e!perimental evidence in the area of subliminal perception ,Oeig, =HKA-. This
body of data suggests that information can be processed without conscious awareness. The research in
subliminal perception indicates that a stimulus of which the individual is unaware can elicit a response.
1!perimental psychology research supports the view that the unconscious mind can work
autonomously and lead to ehavioral change& without conscious awareness ,1rickson, 8ossi, and
8ossi, =HEL-.
1mbedded commands can circumvent and go eyond ego)defense oundaries. ,e.ense
%echanis%s2resistance/ e$ist within a linguistic .ra%ework/ and there.ore/ alterations o.
resistance can be acco%plished linguisticall-1
Wester ,=HKA-, reports these methods are e!tremely effective. The effectiveness of cognitive behavior
therapy, which is related to these techniques, is well documented, ,5aultsby and 1llis, =HE@, Wilson,
=HEE, 5eichenbaum, =HEE-.
's Wester further states convincingly, "imagery techniques and cognitive restructuring methods are
actually hypnotic and we have mountainous evidence as to its efficacy, and in professional consulting,
pragmatism is paramount, that which has been accepted at least since the early =H@F's has a validity
that would be foolish to dismiss. When hypnosis is applied naturalistically, it may be used effectively by
business people at all levels."
#%bedded Co%%ands Can *%pro0e Your Marketing Letters
The use of embedded commands allows the writer to%
By<pass reader resistance
Covertly give instructions
?ersuade on both conscious and unconscious levels
Create positive reader expectancies
0educe the internal resistance of the reader
:nhance movement towards successful closure
1nfluence subse+uent behavior without the reader being aware of what is determining his
responses
(elp the reader come to a faster decision
.otivate the reader to ta$e action
Increases of =F)>FP in the effectiveness of your marketing letters would not be an unrealistic
e!pectation.
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