J ”C UWP l’uTELU JYEIHWIS )YJHHIHU, Vllllln'l-‘E I

STANDARD INDUCI‘IONS
Core exercises
I Reinforcing trance analogues: "That’s right" exercise
Pacing current experience
Revivifiratinn
Conscious! unconsaious dissociation
Eye fixation
Reinducfiun anchors

Additioml Exercises

Progressive mlaxalion

Hand levuation (standard)

Hand levitalion (questions)

Magnetic hands

Visual imagery

Sensory overlap

3. 2, l VAK technique

Multiple embedded metaphors

Stacking realities

Double mduch'ons

"Not yet ..." anticipation induction

“Act as if" technique [and the sixty-second hypnotist)

Elman induction (iotal-mlaxation technique)
Mind power for life

00.00.00.000:-

DEEPENING TECHNIQUES
Con- exercises
' Counting
I Direct suggestion
0 Fractionation
- Deepening anchora: Anchor NOWwww shoulder squeeze. hand
drop, head rotation, iuuchhig forehead
0 Utilising hypnotic phenomena

Addiiiami exemisrs

- Favourite place of relaxation

I Visual imagery (staircase/lifl technique)

0 Revivificmiun

I Early-leaming set

ENDING TRANCF

Parr Ih' — Exercises: Hypnotic Skin’s

Suggestflrility tests

When doing any kind of suggestibility test, you should remember to employ
an air of confidence and aulhorily. No matter how the person responds. it is
your task to mac: as though that were precisely the kind of response you
expededf wanted - then utilise the person’s response or move on In another
test, When a person ”passes' a test by giving you the response you suggested,
remember his praise her and tell her how talented her mind is to have
responded so quickly and so weIL

Suggestibility tests have a compounding sflct Thai is, the more lasts the per-
son "passes" in a row, the mom likeiy she is to pass the next one and the more
open to accepting your suggestions she becomes. Also, make sure you use
more than one test successively to build response potential.

Yum auccess rate will dramatically improve if you set up each tesl with a
good intmduction. Think of Chis a5 a mini indudiun to format the uncon-
scious mind to respond as you want it In. The tests in 'Com exercises' are
stacked in your favour, which is why they are almust "i‘aiI-sal'e” when used
as desuibed.

Remember that directing people with many little steps in a test will show
how compliant they are and train them no follow your directiona This is a yes
set: the more they follow your directions, the move suggestible they are
becoming.

Practise each test until you can do the routine smoothly. Make sure yau suc-
ceed wiih each lest hefnre. Suing on to the next. This is how you compound
the effect.

Core exercises Q‘aiI-safe tests)

Hand relaxation
Frame this tc-st along these lines:

People know that hypnosis sen emceIIent means of promoting health and relaxation. So
before we bggm. \ d just tke to run through an exercisa to test your abilin m oomenerate
and relax nowi Tmm oi it as a bit of raiaxation Ctaining

I. So. the first thing 1-: to sit up straight and lift both’ '
. .. . your hands Ilka mtg. (Dem nsb‘a .-
m yaw hands «7 any way you I'm] re

2. Now point straight up With your right index finger. [Camorlstraro]

3. Good. Now place your left hand unto r in I'ke "9 "
Hm {Ha} you ger I inn... [Bemmszrara as m

4. {Elf :mnuate an relaxing your left hand compteteI-z. So cometely relaxed. in rant
9 only thing hotmng it up is you: r ht m or. Danton ‘ ”-
twsmb‘ms; n1.) 9 [ strata and name!

5. When ymr hand :3 so completfily rclaxad ycu cannu' rem it '

. . 5 mm ,
head. [Wart for nonij ‘ W " JUS! mm mm

6. At the count u! throat. remove ynur right firger: me two thrae'

At this point the person's left hand should drop directly into his lap

(Figure 33111))- Praise him. If it does not have him I t ‘

5110662615. “913““ he test unhj he

The introduction and Steps 1—3 are a yes Set and build resPonse potential.
Step dlproduccs relaxation and concentration, which tends to create a
hypnotic trance. Be sure to suggest that your subject is an excellent candidate

H’hell you Spot uallfe UCCUIHllg. IIHS test llinllfi pCOPl t!) i ()W ‘0 u
E
0” ) L

Figur: 3.2a: Hmté raiaxntmt J Figum .3, ib- Hand minxatr‘an 2

an.

Circarettl’s penduiuml

Whenever your mind focuses exclusively on a single thought or idea, your

body responds. Dr Hyppolyte Bernheim called this an "ideomotor response".
The pendulum is a biofeedback device that augments such imtonscious
micromuscular responses to make them easily visible. Say to the subject:

I , Hold the penduium between your thumb and forefinger. [See FWE 3.2.]

2. K539 your hand slll. Feel it bemming still

Now concentrate. Thnk of the pendJiLm swngmg back and forth. ‘rom side to Ede or
in a circle. Keep your hand slit! and Inst Focus your mind.

IL [rat‘s rig“! YUL 999nm” W's..- wxx m wants: m rsanmm

The pendulum will soon begin swinging in the direction the subject is focus-
ing on. This is a very simple, yet powerful, test. W hile his attention is drawn
into focusing on the thoughts to move the pendulum, you can make sugges-
tions that he is responding to you more and more fully.

Remember to visualisefbelieve fully the outcome you are looking for to

911mm! you communicate with conviction. This is a natural phenomenon that
will occur exactly as described to the extent that someone focuses exclusively
on the thoughts, images and/nr sensations of the pendulum swinging in any
given direction.

£3
E": :1;

1
(”wt

Figure 3.2: CI‘Ifi-‘fflli's W’WWW

‘ Michr-l l-Iugcnr Uw-t'mul was lhb first modem mimh'tn tr) "tiiscmlcr’ :rI idcodjmumic response. 2'“ the
turn nf the Nth :mtttg' then: was much interest in dvnwsing pendulum: fur finding mm. This intrrtfit
was ukm In (W amahy meemr Gerhai'n of Slrssblrulg. whn attempted tn uma- them to analyse
dmmtcals. In 1312 Chevreul researched this phenammm and discovered; that suspmdmg .t Pendulum
ovum bowl of mercury would indeed cause the pendulum to tame "spontaneously”. This reaction was
absent when a plate 01' gins was phced between the bowl and the pendulum. To eliminate operator
error. he mucted n double blind trial, where an ass mam would mum‘e met replace the 51355 plate
without his knowledge When he did this. there war- no reaction at all in the pmdttlurn ThusChcvm'nl
oo‘nc'lutled that lhr: phenome‘rmn was canard by invnllmtary muscular nwvcmmts of the hand inducer]
by tho operator's own manta] pmm

~19
Postural sway

The postural-sway test works much like Cheweul’s pendulum. We take it a

stage further here by asking the subject to focus on your words instead of
his/her own droughts. This will train them to be more directly napcmsive to
you.

1 I what you to amndllke this with wr’w togamarand you back and haari q: gray“.
lDanonstmre. as in figura 3.35.]

2‘ Now n arrornam you are going balaifyombudylsfavingbaomarw. I'll be simci~

irg am you In catch you. You are sate, Lat worsen rat back treat» I wil calch your

3. Remember. do nm try :0 m and don't resist mtwg: just clam straight. allow youmalf
to rats: and t‘stm carom to me. Focus your thoughts on what I'm suggesting 31d
vthsn you We Ming ororawng sensation pining rm mmm. 19! ywrsel! 90 win
It. OK?

4 Flight. Dose you ewe. iTFH-h‘ mar rm'ri «mm by gantry luggmg twr- Dockwards to
make 51mm is mr racism lg. mm mes. M him to rate: mom. fl‘ n9 gm: ml}? ti. then
you mm {mu}: now fig his hear: or-mryoackwards' figure 3.3234

s.‘ Now. I wonder iryou'va noticed yo! theway your batmce l5 swarm lee a outing or
drawing 9:15am tummy you mm. Begm'nn 10 fee Ike you are gang to fall
035mm Let wuss" go. Wham you Paul W I will catch you. That's nghtl Let your»
self sway mom and more Lily until you find yoursdl falling. W3 backwards now...

The trick here is to make sum the subject has hit: feet tugclhcr, eyes closed and
head tipped bark slightly. This will naturally atfl'u‘l his bnlnnm, which will
augment your suggeslimm.

_, - 3;},

Fist": 33y: Postural suuy I Figuw 3 31:: Panama! my 2

50

Eyrlidflmn‘ou

This is another of the classic tests that many will recognise. Explain how the
unconscious will often take over our muscles to override our will in certain
situations, e.g.. the smoker who always reaches for a cigarette, the person
"paralysc " with fear or the person who acts ”instinctively” to avoid an acci-
dent. This test will show thorn how to use that mechanism:

1, Sit just so “:1 your chair. [Danmarmtel

2. Look drooliy at his Inger. Focus on 1. [Shaw index finger.)

3. Now. close your eyes. but continue to 'Iook‘ at my ’thI'. I'll place It on your fcrehead
3030b mnteel where His.

L, Gmau Nam relax your eyes, 'Louk" at my finger new as your erotics lock down lghtly:
as if they were superglued together, Keep ‘loomg" a! my firmer throng: your eyellfi
as they become more and more fim‘dy stuck together.

5. [Now move your Index from the person's Iarahead up :0 the lap al’ fire head
(Egme 3.4) and make sue you see his eyes fanattryaur fligarrma‘sr U15 wallow

6. Tnalh rigm.‘ Now try to cpan your eyes and you'll find you cannot: your eyes so gored
Shut. baked tight and term" n‘ghfly dam]? Well done! Now stop trying. Halax.

This is a great cnnvinoer for many people. Most will not be able to open their
eyes after just the suggestion. However, getting them to move their eyes up
to look at the top oi their own head stack. things in your favour. This makes
use of a physiological phenomenon, that prevents ll‘li' eyelids fmm opening
up propurly. Eithur way, the lwst "succeeds" and the person becomes more
suggestible.

I‘tgrur l4: Ewlidflutmrt

Smila/ymim

These two tests are fun to throw in almost as a teaser for your suhjmbi, or
even into casual cunversations. People will instinctivel}r copy certain behaw
iours. If you have ever been in a mom with a person who persistently yawns,
you'll have noticed the almost in‘csistiblr: urge to yawn also! Do not make
these into "official" tem/expefimmtsu Just use them as a teaser in an offhand
way or it) illustrate a point while setting up another lesl.

SMILE
Introduce this casually with something like:

There are some thh’éls 960016 ius: find irresistible when given ll'e ilghl reason. One 01 them
IS to ice! good. For um ii I say. 'Smia now!" ycu probably ouulch'l stop wml. Ewm
though you try hard not Io now. 1 can see mu comers at your mamh lurnhg '41.- and m
it BI You s'mply cannui 'esist!

It is almost impossible to resist this at length. In fact the more some I-rics
not to smile, the broader the eventual grin!

YAW N

This can be set up much like the smile test, but this lime make sure you also
yawn repeatedly us run make the suggosiiuns. Actually get yourselt m yawn
naturally nnd uniny it! [Remember slate cnnlml — you nerd to go there first!)
With a liltlc pcmislence yum subject will eventually give in and follow suit.

52

Dklibmryflmii‘aon

This is another classic best that is also suitable for Lise with groups. Explain
lhal, in the world of the mind, imagination reigns supreme. This is a quick
(es! to see how well people can focus on their imaginingS/rmpmd to
suggestion:

1. 0K - stand up Will fat?! shoultfier width snarl.

‘Nx
LDa'mnsusteJ {1"};
2. Now it com ynur arms in so m-j‘re lewd Mir \L f
your shoulders. pairs iamg mum imam J“
see Figure 3.53._ .—
3. UK. now run your rim hard OWE [Damnsnaie 5 fl
7 see i pm 3.50,]

4. Now c.4092 your awe and Men to me carefuiy: I

wan: mu to imagm that in ynu right hand ym
6V0 holding) {I Dig. m. fmvy. laulher-bminrl l
dicilomy It is 5x;- lmiv-r. it weighs down yum \
arm. Sn Army. incl it prhuig dawn .r

3. NW). whim mil rlo mm. I mm wu l0 imugnu

ihai wlr lair ham' l5 ilerl lo a bright hm hailoon,
Filled with hulluin. ll is so .lb'lf. 11 keeps 113mm
up firming m). Yomisfl rum reefs semi a'l wams
[om up ml: the balloon

6. [Now IEpBEf Suggesfiam #1 Sims 4 m 5 arm"

you go! a'l 30mg“ r&prxms in yaw sunset”:
arm mmris.)

7. Great. Now leave 3w hands whats lhay are and

open ‘jOJI 8785!

_ 5’;
%'RJ/

This is a great way ho spot who in a group

responds quickly to suggestion. Almost every-

one will have some difference in the levels of

lhcir hands, which will make them feel like
they have succeeded. Some will have made
more dramatic movements, which singles '
them nut as grind candidates lnr use in a demo. ff“

Fi‘grm' 3.sz Diriimamfhrllmn 2

Finn! 3.5:: DicHaimryMim-r 3

Finger '0ng

This: test works on similar prhtciples to those of the dictionarw’balluon test.

Again this ran he utied on both individuals and groups:

l.

Eifltuna stand up with fast slimlde: width apart idmmnstratci.

9‘ Good. Now Ilrl your ‘_
arms, 9435') your - .nwir'g 4x~—-._
hands and lmellDCk i. r E r" z
your fingers the 50. ‘ i: (I A ”I
[See Farms 3.68 k] '
and 3.5a] / h ’J‘
3. Now axlend just yutr / J/ P 9022:2273
ioufir'gurs, about an F: #r: J ——l__ /
lrch apart, and point ' J; RAW
them up like 520. [See *4) l
Fi-yu-ss 3. EC and l
33d] Fat 15:; L)”
4. Now Emcenlrate an I
your lingars. bemusu J i '
in a moment i'm
{902:}; ugglEh-g‘ftm Figurie 3.6m Filigrzrurce I Fig”? 31315. Fiiilgzirufre “J — 9131'
touch. It Will heal as J,“ ”LR
tmugh a tight {p.31 fit, "in
iuhbfir hand were 1".(1 ;_ a ll
mung the fingers » - ! .- 'T ‘
ighier anti ighter . ii- -’
together. Heaw u /1
5. Gm...aiwu<- M \

lb; mam pUlllflg

together. Tux)
CRANK — Cease" and
ClDfifil’ now. miss
lingers milling
NOWW‘H-wl

Make cranking motions

with your arm in Step S
for added effect.

{Elfin}? 16¢: ?itlg-Eml'fl‘? 2 Fzgnrfi “36"; Féugfimia‘ 2 _ gink-

This test B stacked in vour favour because the ‘ ' '

_ _ 4 , . pomhon of the [m urs

(Figures 3.0:: and 36d) puls- Hiem under muamlar tension and they will Ifiat-
urally want to come together, making fol10wiug yuur suggustions that much
more appealing.

Lt you late testing a gruup for the best dumonstmtiun subjects, look for the
same Signs 0 responsiveness us in the diction ijballoon test in 0rd ' i
the right su bjects. 31} er to Pm:

54

Additional exercises

Purituml suit}; (Innmrivtide to side)

These are variations of the original postural-sway test detailed earlier. To set
these tests up, get the subject it) stand with feet together, but do nut tip his
head in any particular direction. Use firm, confident iruitmctiuns to let him
know what to expect (e.g., "You will fall forwards"). Then begin making your
suggestinns by build ing up your language are before. To assist ynu further you
may want to make sweeping "hypnotic passes” in front of the person (01' on
either side) to suggest that you are drawing them forwards nunverbally.

Unbendaitlc rim:

Have: your subject stand with outstretched fist (thumb up) and stare intentlyr
at the back of his thumb. Tell him to lock his arm out stiffly bewauue in a
moment you will try to move his arm and you want him to resist you. Really
concentrate the subject’s attention on keepir'ig the arm stilt. 'l‘est him a bit to
make him know you‘re serious. Soon (a few minutes should do] he Should
begin to develop trance analogues.

At this point make increasingly intense. suggestions that the arm is "stifi'imri
rigid like rm imn bar, like :2 lump of raucmic... so sh]? mm' Forked mri straight that I
armor mum? it, you mimni matte it... it’s lockud ou.‘ straight!" Now you can chal-
lenge your subject to try to bend his arm "... um! mullet: withfiwdmifimi lruw you
fail because {lie mm is locked out straight!"

When big muscle gmups (such as the arm) art' tensed for a long period of
time, they tend to lock out. You can use that well!

'31

Hand clasp
This test is similar to the fmger vice above:

1. E‘Jfllymfl stand up with fuel shoulder wiflh Bpa’l. IDmxmi-ztrareJ

2. Good. Now tit your arms. emu your hands anti interlock your fingers nine 50. [See
Figures 3.5a and 365.]

3. MM I want you to ammonium on squeezing you hands together. EXNEGZir‘g tne fir-
gers ilgnly together. Lock those hands tight,- togemer. Fee them gettlrg superguozl
together. locking down :imity file 3 won. its a block at cement your hams are super-
glued tightly together.

4. [Repeat iiistrucu'ms like the ones in Step 3 several limos with m air of mihia'me and
09-18mm]

5. [Then wggcsfj in a rmmsnt mill count to three. At Iha court 07 three your hands will
he lacked tightly together lika a virus, supergluod together. that},i will be Ilka a block of
concrete so that I cannot pull them 3pm. wt.- omr‘zot pull them apart they are stink
tightly together.

8. [Come to three. than 34.99am ‘r‘Cur bonds are locket: together. atlpaiglled, try try

hard to pull them apart and notice how the harder you try lhe more limlty your ‘1ch
lock togerlner.

let them struggle. briefly and then allow them to stop, relax and go deeper (or
instead of a trance induction just go straight to another test, e.g., asking your
Subjects to stick their feet to the floor].

When people interlock their fingers and squeeze, the hands tend to freeze up.
an etFect you are using to your advantage here. An alternative phrasing of the
suggestions can stack the deck even further, “I want you to try to pull your
hands apart and the harder you try the more tightly I want you to lock
your hands together.” If your subjects follow your instructions literally, it will
be physically impossible to open the hands!

56

Harm‘ stuck to headlirg

Reserve this particular test for subjects who have passed the ol'hiar testfi and
are responding well. This test is a pun: form of waking suggestion. Merely
place the hand where you want it and tell your subjects with an air of finality
and certainty’ that the hands are stuck there, glued tightly. Then get them to
try to move their hands and notice how they are stuck firmly.

There on: thousands uf variations of this, for example. "Stuck to chairV’Feet

stuck to floor", "Stuck to another pcrson/object", ”Arms/legs are like Jelly”.

Locked jaw . .
This is an interesting phenomenon to suggest. You can lock the law into place
while it is open or closed. Again, this works best after several tests have been
passed with good responses. Suggest tightness until your subjects cannot
move their iaws (much like the hand-clasp tost above).

An alternative way to do this is to relax the jaw so completely that no matter

how hard your subjects try, they just can‘t seem to get the muscles to work.

Remember to allow them to struggle only for a little while and then "allow"
them to stop struggling - if someone struggles too much, she may pop out of
the state she is in [break the spell, so to speak) and counteract the suggestions.
This principle is true. for all challenges you provide at the start. At later stoges
in the proceedings the risk that someone will "break the spell" substantially
decreases.

N umber black

This can be an interesting suggestibfljty test to perform. Please note that for
people for whom numbers are of great importance (9.3., accountants), the loss
of a number may be a little tougher to suggest, since they have a deeper, more
significant attachment to them.

1. Suggest indirectly that people forget things all the time, such as peo-
ple's names at a party or a new telephone number.

2. Remind your subject how easy it is to forget a new telephone number,

you think you have it and then it just slips away,

3. Directly suggest that a number is disappearing. Good numbers for this

tend to be the numbers 3, 6, 7 and 8. You can get your subject to imag-
ine erasing the number from her mind, or moving it behind a veil or
into a mist. Use a rapid, confident pace when delivering these Buggies»
tions.

4. Ask the subject to c0unt out loud from one to ten. When she misses the
number. you can go on to puzzle her if you like. by counting the fin-
gers on both hands, for instance, now giving eleven.

3. Be sure to “return” the number to the subject at the end.

In some instances you may find it useful to suggest that your subject can see
the number in her mind, but just cannot say it out loud. If her unconscious
has a big problem with letting a number go, this can be a way around that.

Name block
This works much like the number block above. For some people, again, it
may not be an easy task to get them to forget their names. Often, these types
will search briefly for their names and can just about Struggle to find them. To
prevent this, use a distracting geshire (wave a hand across a person's eyes or
touch her temple briefly) coupled with suggestion to ”forget" just as they she
is about to find or say her name.

Hot obfecl '

This is another one of the dassrc tests:

1. Place a small object in the subject‘s hand.

2 Tell him that soon he will dismver that the obiect mysteriously begins
to grow warmer.

3. As it grows warmer, intensity your suggestions until it gets hot, so hot

that he cannot hold on to it. that he has to drop it.

4 Repeat Step 3 until he drops the object. Then suggest a cool soothing
breeze making the hand lee) good again.

Bitter lemon . .
Many hypnotists rely heavily on this fmal test.

‘ ‘ ‘ ' . the unconscious.'lhis is a

. lnmxluce the owe: of the imagination or. or . . ' |
1 nice way to frrme it: "Where the will and the imagination conflict, the

imagination always Wins!

ginc you're holding a nice, juicy, bright yel-

2- Te" YOU!“ subieCflS) 10 [ma hand as though you were holding a lemon.

low lemon. Hold out your

3. Describe the texhu'e and the zesty scent of the lemon.

' ' ‘ ‘ the lemon and vividly

. Ask the sub ectts) to Imagine you cutting open . ’ _ ' ‘

4 describe whlat they would see and smell (the glistening lemon large:
Collecting 0n the soft, flesh of the lemon, the white of the rtnd an e

zesty, tangy smell ...)

5. Finally, mime taking a big juicy bite out of the lemon.

' ' - ‘ ed at least some
' ' t most of our audience “'1“ haw experth . ‘ _ '-
évtatgu'nigginthe moutltly'Some will actually cringe as you bite int? tht. tmagl
nary lemon. This means they have all accepted your suggestions.

59

Rapid inductions

'lhere are few rapid inductions, which are an; instant as they seem. Most
require a careful setup and catching EiubieL'b; just at the rig!“ time to guide
them deeper into a natural trance response {this is the utilisatitm principle}.
M(mt rapid induclions will flow elegantly when they follow a successful yes.
set, c.g., a series of successful suggestibilily tests. Remember that everything
you have done up to this point (rapport, personal powen calibration], hyp-
notic principlea, langu'dgi' pallems and so on) still cmmts.

The two mm principles to bear in mind :15 you practise rapid inductions am:

0 USE surprisej'confusionfoverhmd lo Create a doorway inn: tram}:

0 Utilisc an}; trance respunses as lhey arise

in essence, confilhitm causes the mind tc- escape into a form M trance in under
to nesolve the confusion (this is true for most people, and exceptions do exist).
Al this point you make a clear and direct suggestion such :15, “Go into
trance!" nr ”Sleep!" 'l‘he mind then. while desperately searching for a wa 3; out
of the cunfusion, will jump at the first option of clarity. 'ihis tends in be your
xuggL-sllon.

When you combine this. principle with utilisation you create a powerful duel.
Eks- the person is already begimfing to go into trance (waith h): the trance ana—
logues}. you uuufuselsuxprise her and then firmly, bu! warmly, direct and
guide her into a sleeper lrance state. The sudden tcnsion,’release cycle pro-
rnnlesa deeper subjective lrnncp «experience.

Core exem‘ses

Srrggrrm'biliig fast utilisation :rrrikoa‘

As ynu become more experienced with suggcsmoility tests ("waking sugges

Hon”), you will notice that the best responses come from the people who
exhibit the clearest trance analugues -- that is they look as if they are going
into trance. This is because they are doing pnetisely that! When you see some-
um: going deeplyr enuugh intu a "waking trance” (experimentwith your parb
new), utilisp it! Practise the two examples below. Then use the same principle
and apply it to any suggestibifity test to create a rapid induction,

60

.—

Postural smry '

As you catch the person falling back into you, keep the: momentum 39mg and
gently lower him into a comfortable chair, while ccmslantly repealing sug-
gestions of "That's right! Let g0 all the way inside. new. Inst go deeper and
duper asleep. Feel those wonderful sensations washing all over ynu as you
sleep deep!)- .. "

BY l'hv time [he person is in the chair he will be in at least a light trannc‘
Continue with deepening instmrfions.

U leduble um: _
As your subject struggles m bend the arm, begin to move the arm m a small
circle (see Figure 3.7a)- Suddenly press the arm down and draw the person
backwards (Figure 3.?[3] and continue as in lhe puslmal-sway IHdUCELDn

nlu we.

; 21-43? ( H ,

L J‘ -: " 'l .

‘i 1i '. '[

ll“ 6’14 K t'

Viv”? w x
l >fi ‘

F i'gzmt 3.7:]:
[hrfi-mn‘abh' arm I

Figure! 3. ?h:
Lfiltx-Ircfnh'r «rm 2

Handshake tnditch‘wx 1

Miitnn Erickmn was notorious for hypnotising people when they least
expected it. This handshake induction utilises the confusion that follmvs
when an ordinary handshake is interrupted mids tmam First practise the physi-
cal gestures involved. then you can practise adding the language. The more
you malty practise making this fluid and natural, the more you will benefit.

PHYSICAL GESIURES

1. Go hi} shake someone‘s hand. In your mind you must jest as if you
really were going to shake that hand. Dc- nof pretend to shake it.
Unconscio usly your subiect will nutiuef

2. Stop just before your hands actually touch (see Figure 3.84:).

3. Gently hald the subject’s wrist with your left hand and point into his
palm with your right hidex linger (us though saying. "Look at that!”
with surprise). Use a mrpn'sed facial expression (see Figure 3.8b).

4. lntentlyfcuriously look at their hand until they aim look at it.

)"‘ ‘ 04.“.-

/ ’0‘
5g HET 1?: i R.) {1:ng - v’ith'l‘":
w c :4

. \L '\ /.r' \i.

. sit ill 'Qfiiwi i.
i' LT? .4" L.--

Fawn: JVEG: Mumb-iflic tmiwll‘on Ia Hiatus 3.85: Haun'stmke init‘actiim 1f:

Practise this until it is completely fluid and natural! Then add:

LANGUAGE
1. When you get to Step 3 above. intently say "Luuk."
2. When the wbiect looks into his hand (Step 4). continue with, "Can yea
see those lines and shadows am: there, in that hand, as your mind
relaxes now dosing your 93.993 only as quickly its you can alluw that com-
fort to spmad ..."
3. Continue with deepening EuggEGtiomt.

This pattern interrupt must be made 100 per cent congmentiy!

62

Additional exercises

Handshake Inductiau 2 tflmbiglltlus touch) ‘ . _ _

This is a variation of the handshake induction that bnckson also liked to um.
Note that it can be executed totally nnnverbally:

1. Make casual, friendly eye contact with the subiect and maintain it
ttuoughuut.

2. Shake hands as normal with usual eye contact. _

3. Go into trance and slowly, took meaxungfullx at the Subject and

ambiguously let the handshake drift to a stahdstit], . ~

4. Slowly and ambiguously begin to release tus grip. first press a little
more with one finger, then another, then less, then rnnrc. Kevan the
chmlgtm uncertain and irmguifir. .

5. At the same time as you perform Step 4r dumge the tufus 0i yout 9.3%
from looking at the subject t0 looking through the Sthect and or! into
the distance. ‘ _ ‘ .

6. As you randomly.r touch the shaking hand mrhvmsxeasihg lightness

and ambiguity, watch for trance analogues beguuung {m particular
look for Vu il dilation). _

7'. Slowly [:nfi‘we your hand horn the subject's handshahe_— hJS hanct
should he catalepfic by now. Keep on tnudting his hand in uttieasirigtt-
smaller amounts as you do this so that the person never quite knows
when the last touch iwcurned (Figure 3.9).

Proceed with deepening techniques.

Figure 3.9; Hmd-‘xhitlte’ Jwtmm'mt 2

63

findsimke induction 3 (Suddenajm‘k mt-de)

is is a mute traditional rapid-induution techni uc Ta]:

- . . . e care -h r
praise Itun- om;- that yau ave nut violent when exczlu ting the ”sudd:n::rf: .911
you 0 nntwant to bl.‘ puttin them out 1 " ' ' ' fi
whiplash injuries! 5 ( fa person 2» sockets or givmg tum

.—

Find: 1 ' ' ‘ ' ‘

Irdmggoctd hypnuhc subject who IS already showmg 9:33); at entering
2. Reach out to shake hands casually with the subject.
.1. As ynu shahe ha‘hds, suddenly jerk his hand downwards (tuwatds
4 your right [up — figure 3.103}. Be mrgfiti to mmm’ m.furirrg your sttbjfl'fl
. As yum Exec'ute step 3, simultaneously cradle your left hand behind
3 £01" sublect s neck [Figure 31(le and pull him tuwanls you
. s yuu arc executing Steps 3 and 4, rive. a d' '
mand to "Sleep NOI-h'mnuf" 1., mad, aulhontamui com.
6. Continue to apply gentle ‘ '
_ r _ _. presum- with 3mm: left hand on the ha k
the subject 5 hack {his head should be flopped forward by now 5 5::
:Igu‘re 3.10m anti gently, but rapidly, mntinuc with a flow of sugges—
tiunn alang the hnes of, "That's right, melt down, mutt all the wav
dowrt mm .1 deep comforting trance
now, Just let go all the way deep dawn

1"" ‘2
. k4. \ . .
',’-(t V} inside..."
This isa very dramatic and impressive
mduchun. As others see this, their own
1 expectations of success will incmease.

3 \\
Remember that it is the surprisel' mn—

. H fusion at the sudden jerk that npem-

l N ‘ ttw. window to trance, not surm- inher-

-.‘ mt vaer in you as the hypnolist.
Rummd people tlmt the real power
always comes from inside them!
ngurrslf-‘J: Hmmm indudwn 3.: g" M“:

4"?
P:

fikfif

ii
“i “r" '
1". \
x} 5
/‘
4’
I.-
L_
a":_
”/3”
/_/

Hgim' 3.1m- Handshm Jna‘ndian .ia J-‘J‘gu re .1. lflz': Hundstke Inductfim Jr

Lt‘pcrttmcy method
This method takes advantage of the fact that many people will antomaticnlly
50 into a trance when they witness others doing so (social proof) or are in a

situation where they expect it.

1. Begin with a gentn‘al inhuductinn tn hypnosis (be sure to embed mm-

mam'ls to go into trance) andx'or do a few rapid inductions on other
people present].

2. Watch for the subject lo begin Io exhibit trance analogues.

3. Cuntinue with Step 1 until you sue the tmnoc analogues compmmding
Staffit'ientl}r [practise and experiment to discover how much is “suffi-
cient"!). Thmughout this, openly ignore the subject.

4. When you see a sufficient compounding uf trance analugucs, Fixabe tht:

subject's attention suddenly, by turning to him and making (and main-
taining] strung eye cnntad, and give a firm cummand bu “Slu‘pi”

5. Continue with the deepener of your choice.

it is critical that you train your perceptions to mogniae natural trance 3tates
as they begin In occur. As they do you can ”cradle" thcm into a tuli-blown

hypnotic experience using the above paradigm. Give firm clear instructions
and the follow up with a staundy stream of continuous, gentle (but firm!) sug-

gestions for trance and deepening trance.

As you bewme proficient with this methnd, satin yuu'l] discover that ufiL-n
you need to do nothing else!

rm: nu}: tilllrt: umunu tn...mm. ...“-u... .

Tmmm-n-iense methuti'

TermitmfmleaSe cycles have been knciwn tn create hypnntic effects for mart}r
centuries. The principle is Eli“ being uned today in the mnditioning pro-
grammes oi the army (boot camps employ a Series 0f gruelling physical exer-
cises followed by more relaxed classruom teaming), traditional educaticm
{annual examinations) and even mind—control Cults {puniShmentfnm'nrd
cycles}. The unbendabte-arm suggestibitity test is a variation at this inductic‘m.

1. Sit opposite your subject and press your right palm against his right
palm (Figure 3.11:1).

2. Instruct the. subject t0 push hard against your palm as you resist him.

3. As he pushes, fixate his attention by locking his gaze on the back ot'his
own hand m‘ on your eyeh.

4. Instruct the subject to keep puaahing and ti) begin thinking exclusively

of steep and the comfort of drifting intn deep «twp. Increase the FIVE-

sure of you push.

Let the tension mount and watch for the trance analogues“. tn begin.

When the tensionftrance analogues come tn a peak, suddenly release

your right hand and let your subject fall forward.

7. (39ml),r nudge his head forward with your left hand as she t‘alls fur-
ward (as in the handshake

{:1
,3"

induction, bee Figure 3.|]b} _:,.-~.|

and finnly command them to f 1"...”
8. Continue preaning Litm'n gen- I" ?H_/,:’ "\N‘V/i; .f A...

II}; (as in Figure 3.1'lu) and give . .5 /

general suggestions: '“Tlmt’s i, LIZ: fa“?! L ’
right, melt down, melt all the J "

wav down into a deep cumt'urt- ! f." ‘. I __ ‘ j

. ‘ . , Vt __ l t' '
mg trance now, jltat let go all ‘ *

the way deep down inside ..."

rigm intx 'n't-Ht'rltJ-n'tnrttr wu‘l'iru-i 2 Figure 3.12:: Ti‘ttstovr-n'h'ase tm‘tfsad 3

Fittgt’r-wu rating mrthm! 1' cunfiwkiln techniquci‘

This induction require.» the right timing. Speak just faat enough for the sub-
ject tu begin tn requ‘md, but mo quickly fur him to respond fully. 50 for quick—
wittcd people, speak very fast,- for peuple whu prucms more slowly, slow the
pace.

1. Introduce a "game" by bnrmwing a hand and asking the subject h‘t

observe it you are naming the fingers correctly (aitematively, gn right
into this induction after a hmxdshnke induction or hand-lcvitation
induction).

2. Randomly and deliberately touch each of the lingers and name- it:
“That’s right, and just notice the Changes that may be occurring now in
your index finger Ituuch index finger] ur the middle finger [touch mid-
dle finger] or the thumb ltuurh thumb] or the little finger [touch the lit—
tle fingerl

3. After mrrectly naming each finger a tea: times. in a random order,

begin naming the wrong finger occasionally: "50 you can feel me
touching the middle finger [touch middle finger] and the thumb
[touch little finger] and the ring finger [touch ring finger] Or the little
Finger [touch ring finger] ..."

4. Begin to speak more quickly and start to name more and more wrong
Fingers and add suggestions: "Because when you feel me muching the
little finger Itouch thumb] or the thumb lttsuch index finger] and the.
middle finger right here [touch indexl, 5-0 then gu into trance cornt'urt-
ably as I lunch the thumb again [touch indexl ur the little Changes
you're making inside nuw frum the middle finger Ituuch thumb] in the
little [nuw begin to tourh the fingers in quick succession in any order]
the bigger, smaller. index more comfort as your eyes blink touching
the thumb, ring, middle of good feelings dropping right down
NOWumW . . .!"

Sensory owrlmd _ '

This i-s a traiditinnal induction that overloads the mnscrous mind by Preoccu—
pving it with tasks in the three main sensory channelii (V, A, K]. Give these
insmtctions:
1. ”\low stand up straight, because in at moment I'd like yuu to begin
slowly counting bat-kwatds- in threes. Count backwards out loud in
, s startin with five hundred.” .

$3.: say, ”A: you do that I'm going to hnld your shoulders like this.
and begin to turn you in a circle, Now, it' ill any point you dmawer that
it's easier m drop into a comfortable deep trance, go ahead and do that
in the full knowledge that ynu're in grind hands now!”
. Then, ”50 begin counting now!“ A
When the}r begin counting sluwly (500, 49?, 494, 491 ...l, begin to turn
them gently mum! and round in circlesi Gentlyr add suggestions stich
as, ”And as you cuntinue counting. so difficult to keep your attentiun

oin . vour head turning, spin- _Au ..vfi

gins? téhem are those numbers Erl‘fii“ ; ‘i-f\|
going? 50011 you can just let go tram 1"}. «L

zI

Ed

{—93

into trauma and will your eyes feel

heavier and heavier now or Wt"

they close fully as you let the mm—

t'ortable satanlions of trance- cnn- ’

\

tinue to develop

feel how his body is changing and relax-

ing into trance. When the subject steps J

mtuttlng nut loud, it means either that ‘l
he has, either gone into trance (proceed

to deepening} or he is mnsciously listen-

ing to your suggestions — in which case
ynu stop him and start the whole

1
As the suhiect counts, use your hands to l

Ft‘gwc' 3.12:9: Sriww :ltle'n‘mrl l

thing again. "‘. _,+--~t_

admonishing f: ‘3 3f»-\ 2‘
him to twp ' 1‘ i; 7}.)
counting e " 1
until he j}:\
drops intu a ',v lb, w
trance or the J l ., 3/ ‘
numbers just - ll .
disappctu f, ’ _.-’ F I
from his .' J‘t ‘
mind (in L“-
which case ‘l- , ' *
he is in at
tranceti.

Figure 5.12:: 5:7!st mmt'Jnm-f 3

Figure 3121-; SF'TRII'? . nwlmm' 2

63

Standard inductions

There are infinite ways tu inducr trance. The faitowing exercises have been
chosen so you can practise and experience ditterent styles of induction. This.
is the key to flexibility. Frickfirm, the master of indirect hypnosis, would hap~
pily use direct and authoritarian inductions when he needed tot Learn the
prinmpla‘t, then discard the method!

Inducing hypnosis is a simple thing. Set the conditions for a natural trance to
arise, and then uttl'me these responses. Some of these wndttions ate:

' Build rapport: When Rust and safety are established people Will "let

go” mun: easily, This Lt.- om: of the prhnary vulueg vi a pre-induch'on
talk‘

Capture the attention: Engage their mind: at all levels. Give their eun-
m‘iuub minds something tn do (contemplate an idea, go on "holiday".
observe with intrigue) as well as. their unconsciOus. Absorb their atten-
tion fully ("by the way this is trance”.

Direct their attention with purpose: Once you see the trance am-
lngues emerging, reinfurce them and lead the subiects to deeper expe-
riences. Succeed 'th in trance is very hypnotic.

- Always get agreement before moving on: Make sure your subjects
have responded tw‘acccpted the previous set of suggestions belong
moving on. Remember the yes set.

The skills that follow an: layered. They became more powerful when used
together. Also, remember tn awaken subiects prnperly after each induction
(sue ‘Ending trance“ for details).

Tike- Drep '1'th Training Manual, Wilma“

Core exercises

Rri'piforcz'vrg trance analogues: "That’s right" exercise

I recommend that you treat this exercise as just that: an exercise. The skill you

gavelop here will soon become the cone of any lwpnotic interaction you then
ave: ‘

1. Set the some with your partner by putting on some soothing music.
2‘ Ask your partner to take his time and go intn a trance.

3. Focus all your attentim't on '

‘ your partner .. use your rt h - " ‘
hypnotic state. ' P? P (ml ”510”

4. Every time you see your partner exhibiting any kind of bchavio ur that
Junks like mince (trance analogues), slowly nod your head and in a
?low hypnotic: voice say "That’s right!" Say this in a deep and mean-
ingful way, as though it were very importa'ntr

5. After five to ten nunuhes, bring your partner out of trance with .1 sim-
ple awakenmg.

This exercise is dmignEd to get you spotting and ratifying trance respomes. l
havo purposely left out what trance analogues to look for ~ it is up to you to
de'flldft ivlut looks like trance. Only after you have had your own experiences
WI 1 us exercise, turn to the appendix and cum ' m d‘- ' '

the list under Trance analogups‘. Pam ‘W l' MOVEI‘IGS With

This is a skill thatI mmmmend you use in any hypnotic encounter. So, when

doing a suggestibility test; an induction or a deepmer and vou sec trance ana-
logues developing, look at the person maauirtgfully and say, "That's right!“

70

run in - I—llthlaw. ..=rfi..w.‘.

Pacing current uprrr'eucz

Pacing current experienuc is: not only a simple and effective method of inducA
ing a trance, it also makes tor very effective hypnotic patter to fill any gaps in
any trance experience while you consider your options. in essence you will
direct people's awareness thmugh a series. of thing; they can verify (Le. pac-
ing things they can see, hear and feel) and attach [i.e. lead] your trance sug~
gestions to them. As a rule, you can lead more and more as the trance
develops. Direct thevir awareness increa'a‘ingiy to internal artiuitim to induce
trance and mrerse the procass on the way out:

1. State three or four things your subject can sense externally, "As you sit
there [1] listening to the sound of my voice, [2] feeling the scrmtions
of your legs touching the ground, [3! and the warmth of the jumper
you are wearing, [4] " and. so on.

2. Then add one internal leading statement, ”So you can reiax deeply
noun. .” (lead).

3' State two or three externally verifiable events, "And as you hear the
sirens in the background [‘1] and the sound of tha: trees rustling in the
breeze outside [21,y0ru're feeling the support that chair is giving you
W m”

4. Add two internal leading statements, “And lee] the comfort inside
[lead 1] as you begin to go into a trance [lead 2] m"

5. Continue this process gradually until you make only internal leading
staternenti Gradually slaw your vnice arid inwer the pitch to your
“hypnotic" voice as you do this.

6. Continue to deepen and add other suggestions. Then reorient out of

trance (awaken) by reversing the process: Le. start talking more and
more in your "natural" voice abmat external events.
Rwivéfimfian

Revix-ifiwlion ulilibes a permn’s memoryr to retive an experience intensely.

The classic experiences you can choose to elicit are those that are predisposed
to have frnnre present, 21g, trances your subject has been in before, times uf
great fuwinatitmx’ ubfiurpficm, limes of intense learning and so on. Remember
Lhal everything you have done until nuw bti" cuunts [_e.g., rapport, hypnutic
principles, "That’a right“. pacing and leading}:

!, Casually ask about an even! you want In L-licit. For instance, "What’s it
Iikv when yml I‘m-l fulfill); ahsm‘lnxi? What do you like to do to rlrlax?"

ya

Ask detailed quesfiuns. [metavvmoclcn abuut it when, where, with

whom.

3. Connect your slmjecl's answers to the next thing that happened, ”As
ynu went intu the. room what happened next?" (50, ”with", "as".

u pr

"while ', since" ...).

4. Gradually change the tenfie from past to pIE-Sé‘m, and shifl 1hr.- focus:
[mm external evcnls l0 hltenml ones. "So as you're sitting; in the. boat,
Casting your line, are you feeling deeply mlaxcd or is it more that tran-
quillity you Im-nlicmcd?”

r1. ldvntllv your Huh‘m'i'a lmnn- words (kpy mmissi'phram-H llmt um Hu-
c-w-nn- nl llw H‘lflll']. Rvpvul lhv rrmu'e 'N'IIIVJS urainp, her lonalily and
guslun-H. Ru'mr'mf'vr Hum- .‘nml‘l‘ imr‘xfsf

6. Give general learning suggestions and mawaken, "So go ahead and

n :n ynur eyes only as quick!)r as your mlcunsduus L5 learning to
access and induce h‘unce easily!”

Ynu can use this protocol [:0 revi'wif}r any experience.

72

. ._._é—_——

Conscim‘smrtrmcim u‘iqsacmzénu

This was one 01 Erickmn’a favourite induction methods. He would use this
principie in most induction; The structure is similar lo pacing curmnt expe-
rience (sue above):

1. Begin talking about flu;- {uuctioma of the conscious mind, in your nm-
mal ”awake“ tune, “Your conscious mind is logical, linear and likes to
think in sequences ..."

2, Then ialL- abnut a few tumonsciuus-mind f'unctitm5,1lsing§'0l.lr slower.

deeper hypnotic voice, "While your unconscious thinkS intuitively.
making associations in a holistic way

3. Then say a few more- things about the consciou'; mind, using your
“awake" Ionality, follms-ed again by more uncomcious-mind mntrasts
using gmur hypnotic Iomlil'}r and pace.

4. Repeat Step 3 while talking increasingly about the uncomcitms in your

hypnntic voice. To add lo lhu cunfusiim ynu can later begin lalking
about l'llL- Lunaciuus rnmd in your hypnotic voice to lake the tungciuug
mind further off line.

As an nddilional exercise, add a different vuicc locus fm- ei-Ie ronscious and
1hr mImn-k‘ious minds. l-‘ur inslunnj, mile your “awake" voice while your
head is lvvel with your subject’s, and your hypnnl‘ic voice with your head
bowed {ix}. talk m her knt-vs); or throw you voice in fmnt uf har Fm- conscious
mind, and behind her for unumficious mind.

To awaken just revenue the. Sequence or use your standard waking instruc-
tions. {See ‘Conscioushmcansacinus functions’ in the Appendix fur a lint nf
Iunctiuzm.)

II": m'p IWI‘IH‘! I’lllfl'fllé.‘ Nlllfllflflg VlNlI’la‘! I

Eyefr'zahhn

James Braid discovered in 18413 that fixation of attention on a single thought

caused trance. He also learned that eye fixation caused eyelid exhamtion, so
that subjects could not open their eye}. This method uses both principles at»
an induction:

1. Have your subject sit comfortably in a chair, with ummssed limbs.

2. Direct her attention to look at mmcthing above the horizontal plane,

using only her eyes: (lifting the eyes above the horizontal plane stimu-
lates alpha wavms).

3. Ask her to concentrate exclusively on that object as her eyes become

tired!

4. Start your suggallows of sleep and eyelid fatigue, "And as you hit
them looking up at that spot, concentrating all your attention, your
eyes are beginning to get tired more and man: heavy and tired as
you continue to concentrate tucus now because soon you can
close your (yes and go to steep so keep concentrating

'01

Continue to suggest eyelid fatigue, blinking, eye closure and so forth

until your subject‘s eyes close. You can do the eyelid-fixation sug-
gestihility test at this point.

6. Now proceed In deepen the trance.

AS an alternative, praclisc [his method and get your subject :0 comenlrate on

your eye; to fixate her attention.

This is; a very simple and direct approach to hypnosis. Remember to make
things eabier by incorporating all the skills you have learned so far: rapport,
personal power, hypnotic principles, pacing and leading, revivil'icalion (if
you already have your Subiact's trance words), conscious/uncunscious
dissociation,
74

m" “1 - LJ'I'IUIL-fi.‘ nyprnmt DUILE

Reinduciiun anchors

This induction can save much time in later trancework. A reinduction anchor
is mly a cue (visual, kinaesthetic or auditory) that allows your client
quickly to reaccess a trance experience. In a stage show, the stage hypnotist
will use a snap at his fingers and the command "Slurp!" to reinducc trance
quickly {although the participants are never really fully out of a trance dur-
ing Such a show). This gives the false imprefision that the hypnotist i5 al.1-
powerful. A reinduch'on anchor is a form of posti‘lypnotic suggeextion (dealt
with in more detail in Volume: II].

This is a very simple format for creating such an anchor:

1. Induce a trance using any method you prefer.
2. Deepen the frame as much as possible.

3. Tell the client, "You're a fantastic hypnotic subject: you can enter trance
any time you like and enjoy this wonderful serm- of peace and mm-
£011. To make things easier, every time [insert reinduction cue — e.g.,
'I touch your shoulder like this at this point touch her shouldcr etc]
you will drop back into a trance as daep as or even deeper than this."

4. Repeat the above instructions a few times.

5. Awaken the subject, let her reorient and then test the cue.

It is that simple. Bear in mind when using anchors in this way that the person
may need some lime to adjust to a trance state. It is a pmcess of conditioning
that occurs. 50, when testing the anchor, touch the shoulder (if that was the
anchor) and notice a slight glazing of the eyes, then say, "That’s right, go all
the way back 'msicle now and continue to deepen."

Additional exercises

ngmivr relaxation

This is the clasaic inductitm that ii: lmnwn and used by almost every school of
hypnosis, The principle is easy: get the subject to focus on relaxing every part
of his: burly entirely and finally relax his mental primesmrs in the same way.
The resultant state is trance:

I. Cut wb'jert to sir comfortably and close his eyes.

2. Ask him to squeeze one fist intensely iota Few seconds, [hen relax it.
Bring his awareness to the growing sense of cumfurt and relaxation
that spreads in his arm and hand as a result of relaxing in this way.

3. Gradually auggest that this relaxation is spreading in other parts ofhjs

body in a progressive sequence, Le. from the hand In the forearm,
upper arm. shoulders. neck, scalp, top uf head, temples, forehead, jaw.
face, eye‘s, neck, other arm, hum of chest, upper back, belly, lmver
back. hips, thighs. knees. calves», ankles, feet and toes.

4. As yet: do Step 3, remember to use ”ppesupposilions of awanmess” to

focus on [he burly parts that are beginning in relax, e.g., notice, become
aware, feel. we etc. Link the leelings oi relaxation with going into
trance.
5. Dime you have totally relaxed your subject’s body, as]; him to relax his
mind in the same way! Tell him to put aside all his Utuughts and
queries for the moment and just experience the wonderhzl feelings of
mental relaxation as he goes deeper into a trance. You may wen want
to suggest that he relax away all thoughts! Take [en to thirty minutes
for the whole induction.

76

Hand ieziimtz‘mt (standard) _ .

The induction using arm lm-‘italion is a great one to follow the dicuuuaq'flmlh
loan test we discussed earlier. Observe how the subject responds. harm Will
pmduce catalcpsy but take too long to lift their hand. In that cage, pick up the
subject's hand and gently jiggle it up and down (delicately!) until you feel the
arm holding itself up:

1. Gel subject to sit wilh feet Flat on the ground and hands resting lightly
on his lap. Get him bu lift his hands off his lap First. then 01113.' banal};
rest his palms and fingertips on his thighs (see Figure 3.13).

2. Focus his attention :m the back of une hand and begin talking about
uncunsciom mntion, 8.3., trying to break when one 18 a backfieat
driver" in a car.

3 Tell the subject, "In a mnmmt your unconscious mind will be using
I I , ' In
similar, miconscious, natural movements to mow- (me 0! your han .

4. Go into trance and demonstrate arm levitation as ycm describe the

process you are going through, 3.3.. "comfortable hand", ' short perky
mntimm’", "light feelings".

'5. Begin speaking only on the subject's inhalation, melhiilg sugguhtluns ell
lightness in the arm (when he irdmles, his n'bcage will naturally lift his
hands slightly}. Speak of tiny, rni-tmmuscuia: movements In the hands,
such as short jerks.

6. When vnu see either hand twitch slightly, or see mirmmuscular mm' 4 -
merit: in the back. at a hand or in an arm, reinforce 1t With That 5
right!" and further suggem-ions fur aim Imitation.

7. As either hand begins actually to lift, congratulate the subjrtcl and

make suggestions of the hand touching the- lace, the eyes closmg and
entering a deep trance.

Figure 3J3.- Hnud invitation (stmm‘wfl)

77

Hand ievilal'r'on (:mcstions)

Erickson and Rossi (1979) first came up with this format:

1.

10.
1

Cally‘ourwtyourhamsso ighttyonyourlapthatmhambardytoudiwur
miyis? [Danmsrmle - see Flame 3. 13.]

Good. Now haua you noticed he» masehmas lean tolill up a llttb all wthmms?
[fimeall questmnstomwwect‘s inhalaflon—h‘shandsmmflt’fratnleashe
ma]

"‘al‘SfighN And wll they become availglilar and tilt iwther as your bocy relaxes mom
and more deeply ww?

And as you notice all that. which hand Ili'ls even turlhBr rrst’? Or are they fitting bolh at
mm?

Wry 9600! And will that land continue Ilftng hm: ma tugner all by Hsell. In its 0-1.1:
mm?

than. in ma clues the other hand want to in and catch up. or wtl it simply relax all the
way down into your lap?

That: ngm! And wit the ham minus in the same iedw fashion as it reaches up
towmts mime. or wit it do that more smoothly now?

Now. at mating more stowtrormmwlcklyas rl ammamesymrlace wilhadeep-

anlrg sensed comfort?

Ana will it pause a bit below touching your lane to let you know you're in a dasp anc'
phasam trance? Because it won't touch your lace until you're reaey to go deeper still
into that curdonable deep trance now. will it?

And can your body take that automatic deep breath as your hand touches your lace
so you close you: atlas and go deeper and deeper still?

. That‘s right! And will you swan notce m hand retum‘ng to your lap as you comm

deecws?01wllwufotgetflasyournmdbagirslo dmam beloreitiwyoomssto

rest?

Magnetic meis
This is a lovely, simple inducticll'lr particularly suited for kinaesthc-tic subjects:

1. Ask client to sit or stand comfortably, facing you.

2. Get him to rub their hands together vigorously (see Figure 3.1%].

3. After 10—20 seconds. ask him to hold the hands about 1.5 centimetres
(1 inch) apart, palm to palm (demonstrate a sec Figum 3.14b).

4. Get your subject to focus on the space in-between his hands. Get him
to focus an that space intently and imagine that his hands are twu
magnets pmjecting like magnetic fields that push against each other.

5. Get your subject to move his hands slowly closer and further apaxt (see
Figure 3.14c), until he can begin to feel a tingling, a buying, some
warmth or a sensation of energy in his palms, pushing the hands apart.

6. Continue to focus your subject on the space between his hands. Make

suggestions for the energy to begin to grow stronger and stronger,

until it begins to push the hands apart.
7. Continue with Step 6 untii his hands are several centimetres apart. At
this point you should note that he has developed various trance ana-
logues. If so, proceed with deepening histructions.

This induction also makes for a great format for self-hypnosis or “advanced
meditation" (depending on how you want to frame itl). Please note, subjects
will react differently to this induction. Some believe that genuine "energy" is
involved, others that it is merely suggestion Regardless of- your own opinion,
respect your subject’s model of the world!

.A
(W

,a"

Figuri- 3.14m Mflmlc’h'c hanrfi 1 Flg'w? 3141f: ngncfic hamffi 2 Tigwt 3314c Magnflic hands 3

79

'J' 12's um; ?‘nirlt'e Thrilling ittelmtii, 'l’m’llmt l

Visual imagery

Another name for this induction is "guided visualisation", which is. a tech-
nique mifiunderstond by many. W'hen 15a}: “imagery” or "vifiliaiisaitun", 1 do
not mean an exclusively visual prtleess, Eur yuu can draw (in NH the wages to
timate at rich experience for the subject. The uthbL-r of guided VibLidiibdtiUl'tS
is potentially limitless. each tollewing teughty the same timeless:

1. Create a relaxi 11g atmosphere (lighting. music, am’lchair').

2. Create an opening re the imagination. by rL-eellccting daydreams nr

imagining a dmrwfl}: lending inside the mind or to another place.
3. Begin in narrate .1 story of :l jnumey, tht1 events that orrur and the

scenery (what the subject can heitr, feel, see, and even smell and taste).

4. The ieumey leads to a climax, which is the ptulpose of the trance, be it

therapeutic, t0 elicit a DTP or merely the induction of trance itself. The
conscious mind is now otherwitie engaged-

5. Finally lead the subject back out e-t the trance by retracing the steps hi
the journey in reverse until she is "back in the room".

the journey imiF ifi the creative element. it could he a fantasy holiday, an epic
adventure, a fairy tale (tr snlnethil‘lg highiy eyntbtllic fur the purstm m" the
purpuaienf tilt: trance - Lug. d hem: may bc- ted l'hmugh d bomig hail of fall“:
and through the lines 01' his role model:- [as the mie model!) to acquire a skill
or to be inspired.

Hm: m - Eml'lsee Hyglrmtx't' Skill'i

Se'tJSl‘f'y tsenth ‘ ., .
This is a useful technique to develop trance arid to teach a Sub]!:‘i;l te acmhs
experiences which she nunmflty rnnnet contacnously access {e.g. the permit
who cannot ”591:” pictures: when visitnlising‘l.lt’ee]zie Prefer to use one nt their
representational systems (V, A or K: pretiummahny ut the wakmgftate. (lget
tmur subjert to switch system, and she wull tend to go into trance. 5:1”, getting
i1 person who prefers to see things in feel instant wfll tend te caufie tretitte. IE
is net enuugh that you switch systems when tttllung. the subwct must tollcwh
1. Find out the stibieel’s pretermd system {from innguuge and eye pal-
lElTlt-i — read am,- h-astc NLP hook fer further infom-mtmn on her: to spot
lhese cuest.

!~.2

Begin in talk ahnut an experience in the etlhietzt's Preferred system, eg

[01' a subject whe prefers the visual system. begin a gtlided Visuehs-a-
tion of being en a beach, describing only tvhat she cant see. Be mm“):-
vague to make sure that what she imagines matches what you say.
"And, mt you walk dewn that beach, Jeet- at ttur water nut in frnnt of
you. the. subtle cntmlrs shitting in the tight

3. After a Little time, overlap into you: subiect's eaerundaq' Hyman, eg_,
autlitorv: “And as yuu stand there quietly leekinp; at the waves. ems”:
int; tn, Iimring the hissing the surf make; on the beach and the strum? oi
the breeze ..

4 Finally move en lo descriptions in the ieest preferred system, in the:

case k’maesthetit. “And as Win hear the munch. at u“. mum.) _ mé 1t

gentle timelll'iiq vour skin and lllc-ul‘ng yuur hair, you can 511 cwry‘nrtnhl'y
,JLf

on the ground ...”

‘i’riu can dn overlaps conversatiomlly, but practise thiga way firat to learn to
calibrate tu people tullowing your mvitches!

Thr pr Trance Mzim'ug Miaruah Voiumrt

3, 2, 1 DHK technique

This techrtique is a v_aria [ion of pacing current expet'imce. Elizabem Erickson,

Milton hnc'kson 5 Wife, often used it for setf-hypnosis. Do the bullet-pointed
shops onty it you are. practising this as selt-hwnosisz

Find a quiet spate lo git down. Decide (ill the length, (ii) the purpose at"
trance and (iii) the state you want to be in on awakening. Then tell
ynurself (for example), "I will gn into trance for (i) fifteen minute; in
0-5th [or my unconscinus to make the adjustnjtents I need to
(u) mipmve my memory am! mnember peoples names easily Sn that ivhen
tam finiahed (iii) 11: cnmkm feeling rnjfizshed mid uteri." '

Ask the subject to keep her body still and paint out three things they
can .see «(three Vs). Do this slowly and pause at each object. Fucus on
details, such as m ornate door handle 7

Now move her awareness to the auditory channel. Draw her attention
to three things that she can hear (three As). You can incOrpotatc "dis-
turbamms" as part of the trance induction. Again. take your time and
pause to allow her to appreciate fully each item you want her ti: serum.

Next bring. in your Subjects kinuesthetic system. Point uut time exterv
nut sensahnns the subject can feel (three K5], c.g., her glasses on her
1105+: or the feet of her shirt or bioube on her bac . ‘

Repeat Steps 1—3 first with two VAKs, then again with one VAR

Now. task the subject to close her eyes and become aware of, first one
set of mternal VAKs (e.g., flash of colour behind closed evetidst then
two sets, and finally three sets. The subject should now Jbe in ; nice
trance. Continue with deepeners.

During welf-lwpnosis vou wilt ”~ ”

' ‘ i ‘ . . probably space out befOre the third

bet of internal VAKs. Tha t’s UK. Just let your unconscious gcntlv wake
you after the time you specified. v

Part HI— Exgrcisas: Hypuatir Skiff:

Multiple mtbedded metaphors

By now. you should have pmpared at least three to five metaphors mund the

theme of trance and learning. Whenever you tell a metaphor, remember to

apply the interspersal technique and mark nut key commands. Use your

metaptmrs as follows:

'1.

5“

‘v'l

Induction (absorb attention): Bugin by belting your first metaphor or

anecdote. [t can be any story that absorbs the subject's attention.
Embed instructions fur relaxation etc. Do not finish it! Tell about $10 per
cent of the story and then move on Suhtly link in the next metaphor.

Induction (begin trance}: Move into telling your second metaphor.

Good themes are trance—retated experiences, e.g., telling a story about
someone who went into a trance Tell only 90 per cent of this metaphor,

then link in the next.

Deepen (orient internally): Move on to your third and fourth

metaphors now. Again do not complete them.

. Trancework: By the time ynu complete your third or Fourth metaphm'

your subject should be exhibiting trance analogue; in show you she is

in trance. At: this paint you can do whatever hypnotic work you want.
Either use further metaphors or use direct suggestion.

. Close loops: When you finish the trance, bring the client back by clos-

ing your loops in reverse order, i.e., you finish your fifth/fuurth
metaphor first, then you finish your third, second and finally yuur

fi rst.

[t is worth studying metaphors further. Use more sets of stories (sue Stacking
rcalities‘ below] to overload the minds of overly analytical subjects. Even so,
there is no point in using more than twelve separate metaphors in one set.
Stacking rmfitr'cs
[3:331:13 Eriatrtefhniquv to um? with high!)- amlvfical people Uue extended
q s 5 ‘sce. the language of deep trance) to overload their ability tn

keep track of what You are r' . .

following lines: . saws. Use the micrspema! technique along the

You knew wt‘a‘ ha! vem'nas

. me of? II mums ma 0! - -
um ”I 1' . . _ . ' . bmielhngmyh'ommtd me
cur; 3:21: (1:32:13:ng :rere SEW u: a Dar with his Mam! NPEK‘I, when the :3;
. -t ngOLs. [dheto'dmaboutat tense ‘

d . . . draw a ' -'

Egnnot :331 lay ago mute on a fashing lib .r_- Canana You 329 ‘hemws n4 "‘1 had
‘é‘ra..,n'='..

m w: migrwm rm mt usuaty open to ma malt: Ara he raid us than he'd Nggufr

M:&$I;‘; Dan'ca m go‘on a I'lsthg up 10 the mcurlainst ‘Ncm I mn'1 know It mu Kane:
tam '. he ldfim: £39."va you cmartenoe when you are seacwnw #39th in The ma:
v . N" H“; mnmcan mm thwmasr arymgut-mceflaxmérms'umr '-
WWW; vfimgsxwi Nuwt n'raa .tsrauhg mm!» as me"; smke to his waiter alecause #1:?
Ida 1;!“ mg $3?! wrgmrn'awbe kx mo ta unua'mnd E: that curt And he sat] ‘A‘st:
.. ,. m... L .. u), nvmstuy tlamnhg r: the uound u! the - ‘ ‘ ' I

l" ,. . _ . - mnd ac: -' . r

nomads “Rag? hegtwmg to cum.) me: rnfi M "15 BkB‘ I "93”»

lfitfiitv; the tugs! Fart thtmducex the story in an ambigtmus way — you am
3km ’m the “1:1; u o u. Ihikmg at which point. That ambiguity cree-Jtes’cunfu;
qemnd Pa" mils)? whnqh keeps the consciuus mind from interfering. In the
.r ' ' ,’ Lsrnphon of a natural trance is offered with embedd ’d

beatum. This makes for a very elegant indirect indurtion L 5113-

DoutItr inductions
Double inductions are yet another tom: of overload induction. When several

hypnntisls are speaking at once, the subject i5 unable to track what each per-
sun is saying dild 5mm giws up by retreating mm a trance state. If you do not
have another hgrpnutist handy, you can pmremnd an induction and use that:

L Have each hypnoti-st sin“ stand on either side of flu: subject.

2. Explain to the subject that soon she witl experience a sense nf confu-
aiun ur a feeling, of being overwhelmed by what ynu say, ”It's OK to
teal that way, just go into a trance tu fuel the SEC urity of 'going with the

,,,

flow .

3. The hypnol-isl on the subject's right begins speaking with a logical, lin-
ear, sequential induction. This is because you are talking to the sub-
ject's; left brain hemisphere. An inductiun such as prngrebbive
rulaxalian 0r pacing current experience would be appropriate.

4. The hypnotist on the left [taiking more- to the right hemisphere) talks
incumplemvnlary rhythms tn the first 11y pnntisl. Usu- wnsory-basmi uz-
metaphorical language patterns as well .15 pivot grammar (see the
’Principte of delivery").

5. To start off, the first and second hypnutists speak in turns, comple-
menting and spinning, off each other‘s words.

6. Gradually merge and blend lht' voices 30 that you both begin [0 speak
at the same time. For added confusion. the hypnotisls can swap roles

or change positions midway.

'-'. Once the sauhiect is in trance, go back to speaking in turns. Slow the
pace and, as in a good song duet, complement each other '5 rhythms
and suggestions smnnthly.

85

The Deep fiance ??iiirriug Mamet. Il'nt'umc I

”Not yet " anticipatimz induction

This is a good technique to build respome potential. You ran vary it to ma ke

a double induction with one hypnotist playing the "not yet" rule. This induc-
tion has been adapted from a worknhop by Overdurf and Silverthotn:

1. Tell the subject that in a moment he will have the opportunity of going
into a deeper trance than he has yet to experience — but rm: yet!

2. Tell the subject that you want him to stay awake for as long as possi-
ble, until you tell him it’s OK to go into a trance.

3. Begin a standard talking induction such as consciouS/unoorlscious

dissuciatimi, or a simple metaphor as described in the interspersal
hechnique. Interweave embedded commands or direct suggestions of
going into trance. This should last five to eight minutes.

4. Slow your voice gradually t'n uste your hypnotic tone.

5. As you speak, when you spot that the subject's trance analogues are
becoming stronger, mmincl him to stay awake by saying. "That’s
right — but not yet!"

6. Ynu will notice that- he is drifting closer and closer into an internal
fiance. Keep teasing him by keeping him just outside of- dropping com-
fortably inside. After about five to eight minutes of doing this, sud-
denty switch it amund in say, “That’s right, but not H. NOh’www 3],]
the way deep down inside!"

7. Continue with a deepener of choice. H you are doing a double induc-

tion, the "not yet” hypnotifit can now launch into a full blown partici-
pation now.

Part m Exrm'a‘s: ttyprwtic Shit;

”Act 115 i!” technique (amt the sixty—sermtd kypnott'st}

This technique is deceptively simple. It: bypasses rasistance. There is a fine

line between pretending something and. becoming it. The subject soon forgets
to pretend and gonfi into trance!

1. Ask the subject, "Have you ever been in trance before now?”
2. Regardless of what he says, ask, "Can you pretend to be in a trance
right now?"

3. Ask, "How would you be sitting when you're totally relaxed in trance?"
Let him adopt a posture that looks like trance.

4. "What would your face look like?" Wail for him to change his facial
expression, then continue.

5. "And can you Slow your breathing, making it sort of deep and even?”
Calibrate to changes.

6. “Now, tho real];r gnnd actors use a technique C&"t‘d 'mothnd acting’,
which mearw that they pretend to become a character from the inside
out. So why don't you try a little method acting now? Can you slow
your thoughts right down, unLil they just drift by calmly and
serenely." Calibrate as the Subject develops further indications of
trance.

?. "Now, feel the comfort that that brings. Allow that: just to sink in, so
nobody can tell that you're pretendmg. Enjoy that experience of trance
from all the way inside yourself."

8. "V ' good! Now imagine you're even deeper in trance . .."

9. The Subject should now be in a trance! Proceed with tho dccpcncr of

your choice.

THE SIXTY-SECOND HYPNOTLST

As a variation, practise doing this entire induction in sixty seconds. Use a fatat
pace and direct commands ("Cinse your eyes”; "Go into trance nmut"; "(in
deeper and open your mindl"). It is a fun way to learn very quickly!

Deepening techniques

Deepening techniques allow ymi to deepen the trance experience you are elic-
iting or have. elicited in someone. Although it is true to say that: you can
obtain the effect of must deep—trance phenomena in a light trance or even the
"waking” state (e.g., negatively hallucinafing away your car keyts when they
were on the kitchen table all along), research has shown that you can affect
people's primary experience uni}r after training them to mach deep levels of
trance and giving them the time they need to allow their bodies bu adiust.

Deepening techniques arc merely extensions at your tndurtinn. The empha—

h’lt-i is to me some form of Suggeflion tor the person to ”go deeper" into trance.
You can do this by direct suggestion ("Go deeper imwt”), visual imagery
[going down Stairways), metaphor and 50 on.

A useful idea when deeperu'ng trance is to begin speaking only on the sub'
ject‘s out breath. mu has a more intense effect on the rate at which he goes
into trance. You may like to experiment with using this todmiquc during
your inductions also.

Remember: To induce trance you need to be in name. So to deepen trance

you need to atluw ytmmelf to go deeper into an outside (or uptime) trance.

90
Core exmises

‘ tin‘ . .7 .3“.
éffixthfg is the classic method [or deepening trance. the method in. i J

straightforward. lust say something Like:

- ' .. w‘d. with each

' ' fmrr one to team tar an) ohm fiumtet] .
In a moment I m gong to count ( .- 5,5 g” are
numb? that l nuurt. between One anti ',an. lwant you to tulax mice as dmr’u :1 0‘ tan
onuhiinq the mace and comfort with anon numrfi to that by . f . a“
r"mltlutie M dunct-j peasantry tamed you can't react to tmnk of amatung a.
you . ..-.. o . A . .

[NB um Is 1m hypmto triplet

Then start to count from one ho ten. After every tew counts layer :ln Sufi:-
.‘.' I j >

1‘ n5 for " Ding deeper” and “letting your mlnd go or any other 23“ c0“g

m nastier: Ffom time to time ekip a number or reveree your. cgrllllthc “.1 .

mun: sublecl. At the final count (ten in this case}com‘1rm he 19 . . j,

deep-down relaxed".

' , 25mm ' . ‘

Eggltlrllggis inst one form of direct suggestton. You ugly mefilet: 3:512:51:
with the numbers and directly suggest that the subject refit: ‘0 deepen the.
advisable that you give him some land of procegs nl (Ln) mm m he gains
trance, e.g., describe to him what it reels (or sour. 5 or o

‘ ' - flea?
even deeper, revivit'v a deepening experience, get him to member a i,
am memory that wt

ll deepen the trance Use your :‘mugimttton!

'3'!

”Hm Diem ??mtfl' ’Il'm'ning Manual, Volume]

chtiomtfion

Fractionation rests on the principle that trance in a teamed response. Every

t'um- sumcom: goes into a trance, it is easier and he goes deeper than betore.
In fractionation you are creating a series of mini trance» all in the same sitting.
Each trance will take the subject a little bit deeper than the last. The cumula-
five effect is a much deeper frame than would outcrwise he obtained in one
sitting.

Proceed as follows:
'I. Induce trance by any means.

2. When the subject is in trance sugge-tl, “tn a moment I’m going to count
from one to three and awaken you. At the cnuntnf three you will open
your eyes and be wide awake but i don't want you to awaken any
more quickly than you can go into a trance as deep as this or even
deeper whenever I [use a winduction anchor, 2.3., ”much you (In the
shouldcr'] so when I touch you on the shoulder you will close your
eyes, and dmp into a trance as deep as this or even deeper.

3. Repeat the suggestiomi in Step 2 a few times for chxit'y.

4. Count slowly £10m one to three, wait for the subject to open his eyes
and to reorient a little but not fully!

5. When he hast reoriented a little, but not fully, touch his shoulder (i9.
use your minduction anchor) and suggest that he‘s "going all the way,
deep down inside ..."

6. Repeat Steps 2—5 until the desired level of trance is reached.

Note the use of hypnotic triples in Step 3. A1910, the subject must 1m: awaken
fully after the count. On each "awakening" he will find it hauler to reorient
and open his eyes and will sink even deeper inm tranre when you use the
wind uction nmhor!

Dawning anchors

You can .ust: anchcirs in any modality in help deepen a trance. All you need to
suggatts that a gwen stimulus (a word Or a physical sensation is must com-
inon] _wm deepen the experience of trance or relaxation that the subiect is hav-
ing. Use the cues repeatedly and mmbine them to deepen the trance. Please

ienmmber to ask permission if you intend tn touch surname whu is in trance.

The most cummnn deepening anchors are:

ANCHOR — NDWWWW

in a moment Im‘: 90h; toasty the mm ‘NO'JWNM ...“ arid cmry time you hea- m 553'
mu m 'Wmvww twant you to retax twice as deep» as you are now. so each time
you hear me say WOWWM ...‘ ynu wit relax doubt; [stun]

SHOU LDER SQUEEZE

1h a_nu't-zant I am gong to toum van on ycur stander ItI-oe- th's [gantry 5mm ans a’the
ancients snuuimm] aid wary time you feel this {sum germ” ya: wit go (teapot
[squeeze 9mm ard deaner [squeeze gantry] and (Jeepe' ISM

HAND DROP C71? ,5

In a moment Im going to m up yuu' left hm: a A7; Fist
ttcpitinzoyculap.Eumyumc-,Iauteetitdrooyuu f." 7‘45... :11/
Mi 90 new [ant (.p the wrist mama (mm a H I yfit¥f ’ ‘
wrerarl m: anew lam; [em] . I. ,—( l l

4 I , - ‘—
Fx'gurrjj'E. 1“:er l \i'l/ ‘ r:?u
Ham: amp ' u, 5
HEAD ROTATION

Ina mutant i am going totouch your head sea thatycu cantataxand a deeper [gem
gar! Infamy Mei- man]. drama and deans! 9 ' Iy
/. ...._
b! {9-3:
,“~"\ 95;.” mi
r ~ r— ,_- ~
\4 x 1+“ l" 1L
." f . -' /. "A
' 1 ’ ,u’ -- :3 .'
7F t~-T>’(—"=~.-M
g I ‘l T_._I
FigurrSIb’

TOUCHING PUREHFAD

h a moment I am going :otcum your neat! Ittoa so WI};

twandbtrn'u'mdstgmfi mdyou can mlaptdaeper
[tap] tam]

Figme 3,! 7: Tawn'u'rtgfmvfimd

93

Utilising hypnotic phenoma‘tm

Whenever a subject experience; hypnotic phmamona, whether sponta-

neousdyr nr thmugh elicitation, you can leverage that into deeper levels of
trance. You can use any deep trance phenomenon fullnwing this process:

1. Induce trance,

2. Elicil hypnotic phennrmamm, 2.3., hand catnlepsy [see 'Hcmt‘t levitatinn

(fitandatdl’ induc tion above].

3. Make suggestions appmpriatu fur the phenomenon. ""lhat’s right

and that hand can continue to float there .15 yuu vxpuriuncu “IL'
delightful sensations of trance nuw [don’t want that hnml tn
lnwer any mun: quickly than you gu douper and deeper intu-
tmncr: so that when that hand rt‘nrlu's ynur lap yuu am in a
trance t‘lmtpvr and mum umntortablc ll‘tt’m you’ve yet to
experiunu' ..."

4. Continue with Himilnr hypnntic patter as the subject responds to your

suggtrstitm (in [his case lowers his hand into his lap).

The mom phenomena yuu htterweave, Lhe mane profound the deepening
experience tends to be. So. for instance, “That hand can float down only as
quickly,- as your unmnsrinus rm-nimis mu cut a pleasant memory or a fond
dream from anuther time, something with a lesson of importance for you to
be aware til now so that as you go deeper you can enjoy that memory and
when that hand l‘mlchet-L your tap that dream will end with your trance expe-
rience being ten times deeper NOWumm.‘ ...”

a_‘-__'--“

Additional exercises

Favuurite plans of retaxnt'mn

I‘his usns a form at \v'isualisarionfiumgery to deepen the trance. This deep-
ener can be used in conjunction with others (c.g., aflx=r sttmcaseflift technique
or fractionation}. Tho. ”favourite plan!” is one yuu can elicit twin the aubiect
before yuu htart the lt‘anwwut'k, or you can use universal experiences such 21*:
bvmg on a beach, in .1 forest Or by a punt. If you mlnpl the latter approath, be
rfunt tn calibrate tu your Lilll'llit‘fl's lL':ip(t]1‘it'5, He may be phobic of water and
lind thu- HL‘ilhll’ll' distrt-nuing. or he may hurt- ntlwr negative association: ti:
thtwls, mountains or any nthur ,m‘m- you Ilth nrhilanitv clumse! If 50
change lln- Ht‘L‘Ill' .st unwf ' J t

1. When the subjwt is in trance use a constnict Htlrl't as going on a jour-

ney, to “imagine being in a place", to lead the subjtx‘t'n imagination to
the chosen idyllic Scene, "Imagine 30mg thmugh a tlttur'wa'tf, iww, to a
beautiful. mountain pool like the ones you have seen in Canada

2. Now dmcribe the scene. As in the "3, 2, '1 \-'AK technique" above, min-
glt‘: representational swlems s0 ynur aubjnct hm; a full experimre of
what- “0 can see, hear, furl, smell and even taste in that place.

m ynu pull‘ll nut things I‘m him in .wm', hear and fuel, continue tn inter-
lm'n- numzu-fitiun tur “relaxing dwpcr” and "going deeper into trance”.
this Wt” link hia cum'nt exptlriunru 10 the princess of going deeper.

Imagine the scene yourself and describe what wuuld have to be there. See
hear and tee! it yuuraelf to bring it most- tu life!

Vi5urtt hrmgertg

ETAERCASEJ'LLFT‘ 'l‘liCHNlQU'E

IhL's' i5 1 ciabic 3nd \ 5‘ p B :3 [1: m4] h

c . . “en" KIT“ . ' ' f ' ’ ‘ i
k I h : J . f .- 7 [HI [0 t 6' Lnuntmg H‘elhud Uf

I. ifligufuimr to imagine standing at the [up 01' a artairmse m- in a lift

cmaeasmanvste snrtt' .,.. ‘ ‘ i
m 1mm?“ _ p nuts as, you like. Most people use ten

2. Tell the whjm-t ”Etch %

- » r k JCP l’Du take down im' flnnr ‘ou '* ' "
take yuu one level deeper into trimce.‘ )- €303“ 11d] “’1“
3. Nu“; tell the subjed to start gi'iing, dnwn, or to press thE' elevator hut

Em and watch the numhem go dnwn slowly. As in the cnunting induo

on, haunt the numbers out loud th him and interweave su't reqt‘o
fur gmng dwpcr. I H, -~ I M

Remember On th - - '
. ' e ""33" uut [-‘J trance rm'erw. lh: - ~~ - ' . .
film” or lake the lift up! 4. pxoums, Le. walk up the

HL‘E‘ivijil'ritfi'th
:3}: [Is similar to the ret‘i\=il’icatictt induction jam: practised earlier. The n'nin
EILI'IL'X I: that 3.1 ru Wt" use this once the subjwt is already in traum-

ll'lle Process Is simple. Instruct the subject to n-n1mnher everything about l'i'lL'
flit time he was deeply ll't trance. What did he tool; like uihnt did he hear

r f I' I l - ' I I r . ’I
It: E? u as pmvmtg uhat “ab he thinking, what (lid it iL't-‘i like7 Continuuuntil
e! a lows signs 0 deepening tr-mr-‘e tn a‘lt' ' i' v
. t . . l L mun vim can 'et in t“ " ‘ '
Your both: an it was then" to 13 " ' J ‘ h m ‘— hm? ""0
. , . t HJClflk! turthet into th- .4 > ' ‘ ‘
know abmit a , L [xp-Lrlentc. It Von
hm mu; dew: trance he l‘iiL ' ~ ‘ 5' ' ' '

Clemenm [0 him- p r. expenenwd, ducrlbe the (-rucmt

't

Eitrty-iem'rting set
This was (me of Ertcksnn's pri-Fermd methods of deepening trance. [t is in
easence a form of age regression and deepener combined. It works on the

seam? prinriple as rc-‘viviticafinn:

1. Begin talking zibnut universal childhood CXPCI'RL‘HL'H. Erickson usualty

used the experience 01' first going ti) school, "When you first went to
school, you may have started in prep school 01' in primary school or
later still ...”

2. Talk about learning activities that the person must have gone thmugh.

Thin easiest of these is to 1151! the alphahvt. Atmmt everyont‘ in the

Wentum world has had the cxpt-riunce 0f Iuarning ti.) mad and write.
"And at some point you had in team the alphabet you had to learn
that those funny tines and squiggles had meaning you had to learn
hnw Eu I‘ecugnisk' a big 'A' from a lzttle ‘a' the differencezi between an
”A“ and n ‘B‘ a “W" and an ‘M’ ...“

3. GD thin as much detail Ufa child’s ordinary learning process at that age
(alphabet, numbers, reading. writing, painting) a‘d ynu want tn in order
to Llcupen the trance.

-'i. Make the transition between the early-Iearning set and the trancework.
You can dn this by folinwing a theme that thpy haw. in rummnn, such
as learning, “And you learned to mad and write by dning so many (lib
{Cl‘cfll things and those lemmings have stayed With you all of your
life and you can team in so many different ways for instance

This is, d very versatile and [Juwcrtui hypnotic process. Yuu can use it :15 an
htduction. (lccpuner or [or age regression equally well. lt is well worth mas-
tering & standard version for yourtwlf that you can adapt to the subject in
front nt yum.

Ending trance

When you awaken someunu ynu must xeversu all the attach of ','our su ’ n: ‘-
liuns (nther than any therapeutic changes that have been maitlc). in parfigtflar
t‘emt-c-grate parts, n-mrn noruiat semtioms tn the limbs and chsune the sub:
led: us back in the presmt (if she has hem mgrwmed] with her tL-Ssunsf'
NSDUR‘QT‘. Add. in egu-bousting suggestions as you awaken her “Open your
eyes feeling great and feeling inside how much vou can look Fiirward to all
the wonderful thing, happening in the coming ditys. weeks and months.”

Awakening protncots can be as simple a5, "Open feur eyes nnlv as quickly as
your unconscious awa Ices you tully trurn trance. so vou wake u}: feeling great
and back to normal in every way." You can atsn chhnse to use a more elabo-
rate meth nrl 0|" comiting the uubiect up in stages and suggesting gencrut
mtpruvcmenfis, wellbeing and skitt in armssing and using trance.

When awakening a person remember to change wmr voice analogues frurn

the slower, deeper, more rhythmic hypnotic toné-s uScd as an uncunsciuus
michot, to your regular wakhg tone to indicate clearly that the subject is tci
wake hilly. Distrnct her attention as soon as she “'23sz up <0 that 5hr dues- n t
nvora natyse her trance experience. _ V I 0

Airways mvurse uny suggestions you make, even it' (or, ratt-mr, especiallv
w en) you an: duuig imty waking hypnosis (e.g., suggestibilitv tests) or it' this

subuactseems not. to respond tn your suggestions! Sometimes the unuunscinus

hm. a time delay In reacting to suggestions, so take em!

93

Appendix

Lungimge-puttcm cards

Wl'lat would it be like if

Whiz! rwutd if he like {f you

found yourself absorbing
these patterns naturally? l'h'l
not suggesting that you can
m: ljuut wonder what it
would be like.

‘t‘bu don I have 10

You don‘t have to be able to

mum mummumlt; I
right awuy: it‘s only natural
that ynu pmggrgs as flflsil" as
seems right to you.

_____.__—__—_I

It you were to

if you sum? to NM
how easy Walmam
how much mum- would you
be enjoying these exercises?

You really shout dn t

' Ynu realty siioutdn't make

‘ mMOfimanyparmf
your behaviour. You’ll have
all the limp you want to
introduce the changes you
wa nt in your own way.

l mint where ypu'ge imprtwing

to the point where

It's only natural to practise

ouch step Lane at a time 10 [hr

malanguaxmilhm'flmut

thought _

Wtatmutditfeetl
be like if '?

What would i! be Iikr if you

imam and tea mud how
to Maw. Ynu

don’t have to do it: just cun-

s-idcr what it would b: til?

99

'fl
Notice

Nafi'ce how a single word

will define your focus. You
could try to mist it, but to
liaban even hatfway you have
tn notice final. Nt‘riin’ huw yuur
thoughb; can be led in any

dinedion quite imiocently. I

Its as if

”'5 ms {5‘ your attention is

being mm
mm: which makes it all the
easiertn 112W.

Whats it like when

What's it like saliva: vggl’n:
I .am' a ' .i ‘ r
thing}? As you consider that,
doesn’t that make it easier

for you to do that again

now?
—______|

You might realise

You might rcuiiue that you

begin to intak—Lfltlflfimli
aftPr other people. respond to
you more fully.

The more the more

The more you absorb yourself

in the experience and tire
willing to get it wrong a few
times. the more quickly and
easily you'll leaning.

Most people an, {name}

Most pawl: mu, Jane. a_njgy

WWIIW ' -
log with more subtlety and
clarity.

L_~_

7+”—
Aslmyh'iendiltkorMsW

means

Thu fact that you're even

here, to dismver now things,
mmus that you will mg;
Wick!»

You should remember

You should mnember that

learning is a natural thing to
do. Just allow it to happen
and enjoy the process.

person 5 name] said

.45 Milmly Csikszmtmihalyi, the

nmomurd researcher into flaw
status {or mk-petjnnmmw states}
ma! said, “Few of us can under-
stand any longer the enthusi-
asm of Caliph Ali Bun Ali, who
wrote "Muhtle {Wu

l " .a -

Assoon as ,youli

AS sum; sis you discover the

east.- with which you can use
this model, you’ll kngmm
about the fact you put in so
much effort to learn it now.

FblNdoyouloD-vwhen
you re ?

How do you know wlzm you’re

so MW in a task
that everything else just
seems unimportant ... now?

Biery time you , you

Because nm‘ry tima- yam prac-
tise a new skill like this, your
skill lew’ls increase and you
enjoy doing it even more.

When you find yourself

When you find yourself using

this powerful new model of
communication naturally,
will you really be surprised
or just delighted?

r___________.

I know you re wonderi ng

limow you're wndm-irrg what
all this has to do with how
quickly your learning can
impmve. And it's a grand
thing to wondc:

[01

Will you or ?

l-Vz‘ll you practise them daily

and enjoy the learning
process you go through, or
will you just be implement-
ing these patterns com-
pletely unconsriously so that
you skill improves beiore
you realise. it?

Will you now or later?

Will you find yourself spook:
' ' now, or will

you not notice that until

later?

Imagine

Imagine, just inmgim', what it

will be like when you can
communicate with influence
a precisitm. How much bet-
ter are people responding to
you now?

Juat pretend for smut

that

Just pre'tendfiar a moment that

you're the kind of purmn
who can master these skills.
How will you start bu really
get to grips with what you're
doing?
-~_?————.

When you

When you madjh'ggard, will

you realise how natural
that: language patterns are,
or will it only be when you
mggtiggispoaklng them out
loud? When you're absorbing
things naturally, how do you
know it’s occurring?

As you , you

As you get used to directing

your language with intent.
you may notice yourself
- r I 1 In
all sorts of situations.

You may find yourself

You may find yourself begin—

ning to Why. just

how east] y you can W
languagumttcms.

Nation what ltsltka

when!!!

Norm! wluri it‘s Mo when you

begin to Wt
hurt notice how your Ipmh
is so natural.
1m

A person can, [name]

A person can learn to use their

language in precise ways.
And when you use their
name they seem to, [name].

Its not necessary that

It's not necessary that you

begin to W:
just notice l'tmv you speak
naturally and refine it.

and

and you can lm-ak normal

rules of grauunar more cusp
ily when you speak. People
will listen to you and con-
tinue to think on what you
say moi eventually you will
persuade them just so!

You may be wondering

You may be! umdt’rr'rzg how

easy you will find these exer-
cises, and it you were not
doing so before you are
probably doing so now!
Have you ever

Hrme you ever started to learn

something new and discov-
ered how much fun you can
have with it?

It s a good thing tolyou re

it's a gun! thing to ppm your
' and r' ' new_filgfllfi,
since that is how you keep
learning and progressing.

L_________I

009 can, you hm.

[name]

Dm' «rm yon, knmv. Sumh, [c].

umflum [or tlw nah.- ol‘

lemming.

Iwuflurlfyoumlm yIt

Irmutcrfpu mrluuthnw
mummm lubtlo your utm-
versntions are becoming,
r1030!

.4

1&3

r______fl

Because . you can

errrse yen have had fun

teaming so many things in
the past. you know you mm

so you can look fon-rard to

how much you will enjoy
this exercise.
r__ ‘__

Ybu may notice

You rri'rry mum“ that you begin

to slagal; d” 'grgntly. and legal
Malawi: tho fact you}:

You could . oouldn I you?

You currlrl juut prt-luml In I‘m

good ul this. lur u whllu,
txml‘du'l you?

flour or tutor

mmmm Wilma:
thi Ilu wtth-whtnh yuwum
communion! like this for
yourself.

"themesnoneedto.
until

M's no need in mm
dead; how all the patterns
work together, until you
have made a thorough and
comishent effort to practise
them.

It 5 [fast]. [fact]. [tact]

and

It’s not night time yet, you‘re

still mush, you're thinking
alarm! these lmrgtazgc drills and
you can look forward to how
much you’ll enjoy practising
them again and again.
Suppose

Supposr you went learning all

these things at a de . level
than you now realise

Remember

Rtme-mlw the Last time you

were faced with a challeng-
ing situation and you man-
aged to rise to the occasion.

104

And howwill you

Am! how will you learn all

these patterns for y'ourselt?

If you , then

if you continue to use these

patterns in everyday nonver-
sation, Illeu you’ll soon dis.
cover that they are even
more useful than you first
thought.

When you realise

What you mrhse' that you

already know how to do this,
you‘ll dLmVer how every-
one can commimjcate with
ease in this way.

Al I ow
Natio- tvlu: it’s lit? when you
begin *0 mama:
lust notice how your speech
is so natural

Thain: analogues

{Do not read until the end!)

'I he following is a sample list of the kind of trance analogues in look {or when
you are hypnolising people. Please note that some of these response are
mutually exclusive, but all are still signs of tranre! You am looking for
changes from the “ordinary" waking state.

Also, this is us! an exhaustive list. You need to look for and find many other
trance analogues in your own experience of hypnosis:

Pupil dila lion

Slowed pulse (watch for pulse in side at the neck]

Changing breathing patterns (these may be faster or slower)
Smoothingfrelaxation of facial toaturL-s

Absorption of attention (fixed gm, glawd eyes etc.)

Change in blink reflex (faster, slower and no blinking (eyelid

catale'psyn

Change in swallowing mechan'fim

Eye fatigue/clooune

lmmobillty

Involuntary muscle twitches

Change in skin colourg‘tone (in particular face and hands)

Limb calalepsy (took for signs. of "waxy Flexibility" in arms)
Changes in voice (slower speech, different tone Etc)

Increased passive responses [less argumentative etc)

105

Consciousn'unconsciaus functions

‘lhe table below shows some of the functions awihed tn the conscious and
the unconscious minds. The list is not exhaustive, so use it only to stimulate
your own thinking and reqearch.

Conscious Unconscious
Can handle 7 plu5 or minus Can handle 2.3 million pieces:
2 plL'CL'T: uf im'urmatiun nt‘ inFm'malion

Thinks sequentially
thinks simultaneously
ls logical Is intuitive and associational
ls linear Is cybernetic
Thinking (secondary experienrej Feeling (mostly primary
experience}
Waking Sleeping, dreaming etc.

Voluntary movements tm'oltmtazy movemmts

Aware only of present Storehouse 0i memm'xea

Tries to understand problcm Knows the solutions

Chooses! directs outcome Makes outcome happen

Beliberat: Automatic

Verbal Nonverbal _
Analytical Spmthetic

Limited focus Unlimited and expansive

Cognitive lemmings Experiential luaminga

t’msses approximately Pfl'lfe‘éfit-Z‘i real-time before

0.5 smands after the event conscious aworeneu-s

106

Doing hypnotic demons trations

Deep-trénoe phenomena (DTP) can be used as tollows:
0 Clinical hypnosis: using DTP to alleviate symptoms.

- Personal development: teaching yourself and others how to use your

minds mute fully.

' Hypnotic demonstrations: to lay people and members of the medical

profession.

Clinical hypnosis is a topic for professional training courses, so 1 will not

cover that here.

it is an unfortunate fact that both lay people and the medical pmt'ession gem
orally misunderstand the nature of hypnosis. Most people come across hyp—
nosis in the form of the entermimnenl ottered by stage shows. Though stage
hypnwis has done much to incnease the awareness of the existence of the phe-
nm'ne‘rntm, it has also created a fundamental mismtdersmnding of the nature
of trance and suggestion. This nusunderslanding now needs. to be addresses}.
People should get the opportunity of developing an appledation for this
wonderful field. This is the domain of hypnotic demonstrations.

The power of hypnotic demonstration: is hvofold: they allow lay people to

develop a greater appreciation fur thl.’ power of their own mindS; and lhey
allow you to develop your own skill and understanding in this field further,
i.e. your penmnul development. The logical next step, a_fter acquiring some of
tha'bnsic‘skillo in this manual, is therelore to go out and ufie these skills in the
"real" world with as mam; real people as possible That way everyone
benefits. -

ll]?

Hypnotic demonstra fians will: groups

Below 1 detail a general soucturo for locturcsfpublic demos of hypnosis and

DTP. Feel tree to use them. Remember to make it clear that it is not the power
of tho hypnotist but that of the individual‘s own mind that creates such pow—
erful effects. This way you tackle the primary Fear asstx'iated with hypnosis:
that ur' hypnotic mind control.

Remember, once you stator "I am a hypnotist", every word that follows will
have the impact of hypnotic suggestim.

1. General intruduct'mn to the field of hypnosis and the power of pumlu‘s

minds (use to build rapport iuul ELE- a town of indirect induction).

’4

When you clearly have fixation of attention, offer a demonstration of

the puwar ut your audienre“; mind5. Then use two or tlmx: successive
simple tests such as eyelid fixation. dictionaryfballoon. linger vice ur
hand clasp. Praise people on how well their minds are,- doing things.

3. Wulch fur the most- ruupunsive people. Invite those to take part in tht-
demonstration. Otter an incentive for them to take part, e.g., state that
a few minutes of hypnotic sleep is like hours of natural sleep, that they
solve prublerns more effectiwly, that they can feel great any time they
want to.

4. Build up UT'P slowly, e.g., catalepsy. arm levitation, anaesthesia, dis-

sociation, autorrmtic writing, posthypnolic suggestions Remember to
meat each subject rospecttully.

5. Finish the demo h};- anchoring in amazing feelings and tuture-pacing

them tn A delightful tulum exploring/discovering the power of their

own minds.
1 [18

Street hypnosis

"Street hypnosis" is the title I afiuctiomtely give to hypnotic demonstrations

in impromptu situations such as dinner parties. on public transport - or any-
where elue, for that umtter(l:t;t1‘, restaurant, museum. wherever). People nftt'n
Inquest demonstrations. You can also utter to do one. Thezie kinds of demon-
stration are vital if you want to nutke hypnosis a cmdible uxpurieuce 'Ln peo-
ple’s lives and show that it is not an at‘canefncmlt practice.

This is tltt: standard slnlcmrei like to use:

1. General introduction to hypnosis- and the power 01 the mind (i like In

use. conscious; unconascious difisucialion to build rapport and a5 a form
of in direct incl ucl'lon).

2. When you dearly have fixation of attention, utter a demonstration of

the powur 01' your audience’s minds. Then use two or those successive
simple tests such as eyelid fixation, dictionaryjballmm, t’utger vice or
hand clasp. Praise people on how well their minds are doing things.

3‘ Adapt to the way they respond. Build response potential by uttering

appropriate incentives. c.g., state that a few minutes of hypnotic sleep
is like hours of natural sleep, tell them they can solve problems more
effectively, feel great any time thuy wont to.

4. Build up DTP bluwly, tuniting yourself to the lower levels, e.g., cata-
lepsy, arm tevitalion, metathesia, pnsthypnotic suggestions. Uiually I
stick to waking suggestion unly. Remember to treat earh person
respectfully.

5. Finish the demo by anchoring in amazing luelutgs and futuIe-pacing

them to a delightful future cxploring/discovering the puwer of their

own minds.

109

The secret of successful demonstrations

You will see that both structures above follow the fnur-stuge hypnotic proto-
ml We looked at in Part I, and include man)l hypnotic principles. Once you
master a “routine" for street hypnosis, you tan, with gnawing confidence.
explore new patterns and make you: own excnting discoveries.

Step '1 sen'es to build rapport and induce trance. You am also building
response potential by giving people reason; to want to do as you say [pleas-
ure principle]. Use your hypmtfic voice, delivery and state control From the
outset to intersperse and embed commands. Fixate attention and begin
repeating suggestions.

Steps 2-4 are yes sets, ratify trance, have a compounding effect and alter
social pruut of hypnosis. You can weave in amodations and call on people's
imagination here. Use your personal power and congruence to augment your
authority. Kuzp it simple (parsimony), reinforce positive responses and utilise
everything. Reward them (Shep 5) — link (armor) amazing feelings to their
hypnotic experience as a timnk-you.
I once attended a course that set a very simple assigiunent: "Hypnotist! one
thousand people in one year." This is a great exercise — tn hum: your skills
fully you must practise with many pimple in many places. it will give you
vast experience. enhance your flexibility and help a thousand people rethink
what they are :apable ot. Gmat hypnotists like Milton Erickson did similar
things. So why not touch a thousand times with strut! hypnosis NOI'Vamn-rl?

For more infiirmation on the application of hypnosis or any of the exercises

presented here, come to mvwatreethypmmisxom, where you can join a free
online discmsion forum to post questions or share good results with a like-
mtnded curmtunity. 1 abo regularly post fm- articles; on hypnosis there. in
shalt. you will find a wealth of rewumes {some commercial. some totally
free) for developing yhur skills in this fascinating field! Have fun!I

110

Bibliography and recommended reading

Battinu, Ruben, and Snuth, Thunus. 1999, Ericksouiwn Apprmcttes: A Cmprehensiw
Manual, Crown House Publishmg. Carmarthen. Wales.

Braid, James, 1843, reprinted 1976, Neurmmatagy: or, the. mtémmle uf ni-n-‘L-m: slew,
nmsidered in rzlsm'un mitt: animal magmtism, Arno Press, New York.

Coue, Emile, 1923, reprinted 1988. Hum i0 Pmrtis: Suggestion mid Azttaiuggesfion.
Kessinger Publishing Co.

Cuuc. Emile, 1923, reprinted 1998, My Meitmd: including American lmprrssmrrs,

Kcssinger Publishing Co.

Elmam, Dave. 19M, Hypnotimapy, Westwood Publishing, Glendale, CA.

Erickson; Milton, and Cooper, Linn E, 20M, Time Distruhbn 5n Hypmszs: Ah
Expcfiwmtla.’ and Clinical Inwstfgatwn, 2nd ed, Crown House Publishing,

Carmarthen, “'3'95.

Erickson, Milton, and Heruhmm amt Semen 196]. The Practical Applications of
Mulrm! and Dvntat Hypnosis. Julian Press. New York.

Erickson, Milton, 1932, My Voice Witt Go With You, Sidney Rowen (ed),
W W Norton. New York.

Erickson. Milton, and Rosai, Emmi, "1992, Cream: Choices m Hypnosis, Irvington
Publishers, New York.

Erickson, Milton. and Rossi, Ernest. 1992. F'tmh'ng in Hypnosis, lrvington

Publishers, New York

Erickson, Milton, and Russl, Ernest, 1985, LI]: szr'mmt'rtg £9: Hygmosts, Irvington
Publishers, New York.

Erickson, Milton, and Rossi. Ernest. 1936, Mind My Cinnmtmimtthn Eu Hypnusfs.

ln'ington Publishers, New York.

Erickson. Milton, and Rossi. Ernest, 1W9. Hyprmthzmpy, Imngton Publishers,

New York.

Erickson, Milton, and Rmsi, Ernest, 1976. Hypnotic Rutities, lrvingbon Publishers.
New York.

Esdaille. 1., 1998, .‘utasmeri-sm in 11mm, and its practical npptr'mh'uus in smgmju and meat-
iciua', 2nd ed, South Asia Bucks.
Estabraoks, George, 1943, Hymmtism, E. P Duttun, New Ym-k.

l'tl

'l‘t‘x‘ Umr- fmun- ‘I‘Mfuirrg l'rliuuuat, 'Jnhurrr l‘

Estahrooks. Cunrge. 197], Hypnosis Comes of Age, Sciatic? Dignit, Aptil,

pp. 4-1—53.

Gendlin, Eugene. 1981, Fm‘usfuv, Bantam Books.

Gilligan, Stephen. 193?. Thampmfir 'l'i'zmma Brummr Ma re], New York

Gordon David. 1973, Therapeutk‘. :‘vletapfl'ors: Helm»;- otlic'r-s through the lum‘cing glass,
Meta Publications. Cupertino, CA,

Grinder. Iahn, and Handler. Richard. I‘J’ffi, Patterns Qt" tile f’fwmtflt? itnv’mttytrs q!
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