Develop a Trance Voice: A Unique Look at How Your Tonality Will Help You Learn Hypnosis

Develop a Trance Voice: A Unique Look at How Your Tonality Will Help You Learn Hypnosis

The performance art of hypnosis is a constant skill you must practice to perfect. The skills of what to do and how to do it will need to be perfected if you are to become a great hypnotist. The different performance principals of hypnosis you should be practicing to sharpen your skills.

The first four performance principals we have talked about are worth perfecting. Principals of going first, meaning you first immerse your self into the idea that you wish your subject to become a part of through your language.

Squeezing the meaning from your words, in which you make the words you use sound and feel like the true nature of their meanings.

Emphasis, which is learning when and what words to lean on in order to accentuate your point.

And finally, the principal of rhythm and tone, in which you add a unique style to your conversation that will help your listener to get lost in your voice and language. These are all ways to enhance your performance as a hypnotist so you are a part of what you are doing with a subject.

These principals not only help lead your subject through a trance they will help you become the authority figure within their trance. By becoming the authority figure you will be able to control your subjects trance and produce the outcome that is favorable for you and the subject.

Now that you are acquainted with the four principals of performance you will need to learn how to use tonality to enhance your hypnosis abilities even further. One of the tonality concepts that will help here is to develop a trance voice.

Developing a trance voice is not a tool that will immediately switch your subject's brain off and put them under a sort of instant spell. What it will do is help you to develop a tonality to your voice that will educate the unconscious mind as to when to go into trance.

Music is a prime example of this. When you hear certain songs or types of music it brings in a flood of memories, thoughts and ideas. This happens because the music has set off a certain trigger in the head that recalls related experiences. As your subjects work with you they will begin to unconsciously recognize your trance voice and eventually learn to enter an altered state of mind on its cue.

You will be learning to develop different types of trance voices that will signal to your subjects when they should or should not be in trance. This dropping into trance when they hear a certain tonality in your voice will happen because their unconscious mind will suggest that it is time to come in to play.

Your hypnotic voice or trance voice should be of a tone that people will enjoy listening to. It should be easy to portray your words smoothly and elegantly when you use this voice. It is also important to remember to only use your trance voice when you want people to go into trance. You should never use this voice if you are speaking with someone who needs to be concentrating on a specific task such as driving or operating heavy equipment.

As you develop your trance voice you will notice that emotional triggers will assist you in setting the stage for your hypnotic voice to the full extent.

Tonality is a large part of trance voice. Your tone of voice can range between three types; upward inflection, straight and level and downward intonation. When you are using any one of these three different types of tone your meanings will change and your message will change.

If you are using upward inflection your statements will take on the sound of a question. Using a straight and level tone will make a simple statement. And if you incorporate downward intonation, usually at the end of a sentence, you words will take on that of a command.

The questioning tonality will help you in developing what we call a nonverbal ‘Yes Set'. This is pretty straight forward; you are using tonality to ask a question that the person will inherently answer yes to, or nod in agreement.

The yes set is a great way to check in on your subject to make sure they are following along with you. You can also use it to list a series of items, ideas or thoughts. The yes set will more likely than not force you're subject to keep up with you as you speak.

Another way to use the questioning tonality is to use it as a tool to ‘Create Doubt' in your subjects mind. You can cast a shadow of doubt on many things and ideas simply by breaking one simple question down into several well emphasized questions.

You can also create doubt by repeating the statements of the people around you and adding emphasis to different areas of the repeated statement. When you repeat with emphasis what someone has just said to you, you are accessing a powerful way in which you can cast doubt or suspicion without actually having to say that is what you are doing.

The hypnotic principal of ‘Imply Don't Assert' is another way to use the questioning tonality. This is a powerful way of getting your point across again without actually having to state the exact words. Implication is always more pointed than actually saying what you would imply.

‘Keep Em Talking' is a questioning tonality that uses nonverbal communication along with a question or statement to extract more information from a person. If you make a statement or question and add raised eyebrows to your facial features you are nonverbally asking for them to add new information to what they have just said. Because you are adding no new information in this, just repeating what they have said along with a nonverbal cue, they will automatically be inclined to add more information for you.

The next type of tonality that is useful is the command tonality. The command tonality is used to cement everything into place; it gives you an instruction to make the thought or idea a permanent one. It activates the side of the brain that wants to respond to you by fulfilling a request.

This tonality will not make everyone you command do everything you command them to. It will however entice people to do things when you do the right steps. In command tonality you will be most successful if you use downward intonation and use them with a question. This will get the most bang for your buck. Experiment with a question, any question, as you do so change the upward and downward intonations in your voice as you state the command.

You will see that ‘command tone down' has a powerful implication where action is being asserted. This is a great tool for conversational hypnosis and one you should practice. When you start to master how to ‘command tone down' you will see a reaction in people that many want to do what you are telling them to.

Questioning and command inflections will greatly improve the level of response you get from people. They will tend to respond more powerfully to what you are asking if you learn how to use tonality and inflection to phrase your statements.




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A Basic Structure for Hypnotherapy

A Basic Structure for Hypnotherapy

Hypnosis, Conversational Hypnosis and Hypnotherapy are all inclusive of trance sessions that should and will take on whatever form is necessary for producing the results you and your clients are trying to reach. There is not a certain way everything in hypnosis needs to happen. It is true that there are principals and concepts to follow as you have been learning but once trance is achieved the natural progression of that trance should be allowed and commended.

The best guide you can have is that of a basic structure for hypnotherapy, this is not a thing that is set in stone it is simply a guideline. If things vary a bit and are still producing the trance and results you have set out to obtain then you should let things happen naturally as they are.

This basic structure for hypnotherapy is all based on eight concepts which you will read about as we continue. The eight concepts are therapeutic preparation, interviews, identify work, induce trance, change work patterns, test and future pacing, ending trance and setting tasks and dismissal.

The first concept of therapeutic preparation is a variety of things you as a hypnotist need to practice, keep fresh and prepare for in, before and after each of your therapeutic sessions. The first thing you need to do in this step is to prepare yourself for the sessions and work to be done. Make sure that you are up for the task that the problems the client wishes to solve are within your realm and reach to solve.

You also need to keep yourself clean and sharp for all your processes. In this I mean that you should be practicing your skills to keep them in the best shape they can be in as well as breaking your trances each time sessions end. If you don't you will be taking that trance and all it entails into others and your own life after the session is over.

You are trying to rid your clients of problems not create new ones for yourself! In great seriousness if you do not clear your mind and keep your skills honed you can start to lead yourself into an unhealthy way of living.

Yet another aspect of this step is to be able to leave your work behind, store away the problems of your clients when the session is over and you are not working on that case. If you are over analyzing your practice you will soon tire of it. It is good to keep in mind the mistakes you make and the things you learn from them but dwelling is not healthy. The bottom line is to live outside your therapy practice.

The second step in this basic structure is to interview your clients. The first part of this is a meet and greet in which you will build rapport, comfort with one another and trust. This basic meeting will give you a chance to converse out of trance and will initiate a general relationship built on warmth and comfort, inspiring confidence your ability to help one another. In this way you are also making an impact on the person with your credentials and experience as well as your general demeanor.

The next phase of this step is to conduct a formal type of interview with the client. In this interview your objectives will be to gather information, identify the problem, investigate the resources you have to help and challenge the patterns and presuppositions that are causing limits in the resolution of the problem. You will do all this through six different specific steps of interviewing.

The first is to calibrate, which is to open yourself and be aware of the person's responses you are getting. In this you will have to be aware to also test both the conscious and unconscious minds.

The second step is that of rapport, which will build naturally as the interview takes place, be aware of it and help it to form.

The next step in this process is that of investigation, this is to investigate the problem, all aspect of it. This includes when, where, why, how and all the surrounding circumstances the person can give you.

After that you will move on to step four which is to challenge the problem. This is simply raising questions and doubts about the problem the client is encountering. In doing this you will challenge the beliefs and realities that the client has that surround the problem as well as seed some doubt about how concrete the problem truly is.

The fifth step in this process is to formulate an outcome. This will entail getting to the heart of what the client really wants to get from your sessions as well as setting goals. You can use any goals setting procedure you like a great one to use is the SMART goal to set an outline of what is to be resolved.

Finally the last step in this interview process will be to investigate the resources available for solving the problem. This can include experiences of the client that will be helpful, as well as a complete picture of the life of the client including beliefs, values, commitments and support systems.

These topics will provide clues in how to solve the problem your client is faced with. Clues that you can use in hypnosis that they have not been able to connect with the dilemma they are facing.

Now you are ready to move on to step three of the basic structure in hypnotherapy. In this step you will be identifying the areas in which you will be doing your work. You will use the information that you were given in the interview process to identify the areas in which you can provide assistance with given the amount of time you have to work within. Part of this will be to make a judgment on what you believe your client can accomplish and work though in the given period of time you have.

In step four you will start with trance inductions. This is where your hypnotherapy or hypnosis will take place; you can do this either informally or formally.

Step five is to involve change work patterns; these are methods such as changing frames, stories and other interventions. These are only a few options you have. You should constantly keep your mind open to new developments in this area as well as find the change work patterns that will work for you; these may be from other people or invented yourself.

Step six in basic structure is to test and future pace. First testing is always going to be an important part of your hypnosis structure. It is important to test the progress you are making so you know what is working and what has potential of failure or falling apart. If your therapy is going to fall apart you will be better off discover this while in session than to realize it happened when you were not around to patch things up. Test thoroughly and often so you are aware of where you stand with your clients.

Future pacing is a rehearsal of future situations that the client's problem would have appeared in, in the past. In this you will want the situation to naturally trigger the solutions you are helping your client to find. The language you use here will also help your client to move toward change.

Now that you have worked your way through the first six steps in the basic structure of hypnotherapy you are ready to move on to step seven which is to end the trance. As you start to end your trance keep in mind that this is the most suggestible part of trance and you should use it to that advantage. Make positive suggestions and self esteem building tools here as you bring your client out of trance.

After you end the trance you will also want to avoid suggesting any problems occurred as well as distract their attention with a random set of comments. This will likely cause some amnesia to set in to they will only remember the end conversation of your session.

The final step in this structure is to task and dismiss the client. The objective here is to assign tasks to the client that will aid in the processes you have used in the hypnosis. After that your session is ended and the person is dismissed, only do this once you are sure the trance has been broken for reasons of safety and proper function in the world outside of your office. And that is your simple basic structure for hypnotherapy.

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The Secret Art of Deframing in Hypnosis

The Secret Art of Deframing in Hypnosis

The art of framing is very useful in Conversational Hypnosis. Frames are simply a set of standards that all people use to reference things by. They use their frames as a measure to accept or deny a statement, idea or belief. Nothing you say will mean anything unless it is put into some sort of context and this is what frames do for you. Each different frame will mean something different depending on the type of context in which it is displayed.

A speeding car that cuts you off alone may infuriate you. If you attain more information and find out that there is a dying woman in the back seat and they are rushing to the hospital your frame will most likely change.

Frames and controlling them is important in hypnosis because if you have the power of frames in your control you have the power to change the meanings behind any interaction. This means you have the power to change opinions, beliefs and ideas simply by taking control of the frame it is presented in.

Deframing is one of the ways in which you can manipulate the ways in which people view their world or their reality of the world. In deframing you will not take a challenge or objection to an idea or statement head on but you will offer a counter challenge that is more important or substantial than the objection itself.

Deframing also allows you to ignore the frame in which the person is challenging you and you challenge them in a completely different frame that they were not expecting. In doing this you are still offering a challenge that is more important than the original one, this causes the original objection or challenge to simply disappear. These can happen in various situations including business meetings or simply casual conversations.

One example of a type of deframe you have probably either encountered yourself or seen is something along the lines of this, a friend makes a statement about the jeans you are wearing and maybe you accidentally bought the wrong size due to wishful thinking. Now this is made in a humorous and joking fashion but clearly your friend is criticizing the size of your pants, or what you have put in them.

A classic deframe for this would be to respond by saying, "Maybe I did, but they certainly did not come from your closet." You both chuckle and the moment is over.

But what did just happened is you took the original idea, brought up by your friend, of your pants being the wrong size and turned it around to suggest that maybe your friend should take a look at his or her own pant size before critiquing yours.

This is a playful type of exchange that takes place everyday and the criticisms are not usually taken too seriously but the sub-communications were still strong enough to tell your friend to back off and stop discussing the size of your bottom. You see how you did not take the challenge head on, you came in from the side and startled your friend with a quick witted come back that took the emphasis off your bottom and put it on theirs.

Now this can be done in a more serious manner as well. If you were looking to hire a person for your company and you ask them, "What makes you think I should hire you for this position?"

A way of deframing this would be instead of vigilantly answering the question to say something to the effect of, "I know my business well and it is not in the area of proving my potential upon first meeting, maybe my services will be better served with another company," and then getting up to make your exit.

This does two things to the person you are interacting with if they buy into the frame. The first is to give them the assumption that you are extremely talented at what you do and the second is to take the upper hand away and make them want you even more.

The deframing you did here turns the situation around from you wanting the job to the employer wanting you. You have just changed the challenge from one frame to a completely different one; you have made a successful deframe if they buy into and come chasing after you.

Deframing a situation can also be done in a very direct way, such as the sample you just read, or it can be done more indirectly. An indirect way of deframing is to imply a new challenge. Instances where you imply that someone is not man enough to do one thing or woman enough to do another are implications that will change the context of the original challenge presented.

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Redirecting Resistance and Refocusing Attention Will Boost Your Influence in Hypnosis

Redirecting Resistance and Refocusing Attention Will Boost Your Influence in Hypnosis



Conversational Hypnosis is an art largely made up of the language you use. As a hypnotist you must learn to bypass the critical factor using a set of Stealth Tactics in order to enter people's minds. Stealth Tactics are very helpful in the field of conversational hypnosis in this manner. Once you learn how to use them you will be able to deal with your subjects in a way that you have never experienced before.

Stealth Tactics are simply a way to do one of two things; get into the mind unnoticed by your listener or complicate them to the point of allowed entry. You really want to learn how to mask what you are doing in order to enter the mind and leave your suggestions. This takes a fine skill as it means you must bypass the critical factor and defeat resistance.

While it is important to know how to sneak in bypassing all resistance. Now you need to learn how to go beyond that. You must learn how to use resistance in a way that is helpful to you as the hypnotist. Believe it or not, resistance can actually help you to get where you need to be inside the mind to carry out your purpose.

The Law of Reversed Effect is very useful tool however it can also create problems in your hypnotic relationship. It can really bring out the worst relationship in a hypnotist and subject when used too often or in the wrong way. The problem with this tool is it puts your listener in a combative frame of mind. It becomes a question of you versus them and can be damaging to the self esteem.

Let's face it no one likes to be controlled by someone else, it makes them feel weak and can ultimately give a person a poor psychological frame to continue to grow from. As people we feel we need to have control of our lives, if we don't we start to overcompensate with feelings of low self esteem and destructive behaviors in our relationships and with ourselves.

The bottom line is the more a person feels out of control the more they will fight to take that control back. When they put this instinct into motion the Law of Reversed Effect happens and they will fail causing more damage and hardship to the self esteem

There is a solution to this and it is not to abandon all you just learned about the Law of Reversed Effect! The best way to combat this problem is to use the resistance you are stealing from them to uplift the persons self esteem. The idea is to build on your rapport at the same time you are sneaking your suggestions in. Use your tools and skills to get the person to like you more, give them a feeling of control back in their life.

The best way to do this is by redirecting resistance. Redirecting resistance is very simple in the idea of it. It is to purposely give a person something to resist that will fail. This will give them the feeling of power back, they were not at the mercy of all outside influence and they defeated some external suggestion making them in control of something.

A good example of this would be if you were a real estate agent and you have a client that wants to buy a house. He has found the house he wants but is still having some second thoughts, he hasn't quite signed on the dotted line just yet. As a fantastic real estate agent you give him many options to consider when purchasing a house, one of which being a variety of upgrades. After hearing about the upgrades, new kitchen tile, fireplace so on and so forth. Next thing you know he decides on no upgrades but he buys the house.

Now here you have redirected the resistance. You have given your client something to resist other than the suggestion you initially wanted to take place. Your desired outcome was for the man to buy the house. As he was having resistance to that you gave him the upgrades to resist. It really doesn't matter to you if he upgrades his fireplace just that he buys the house.

The beautiful thing here is you both win. The person resisting feels as if they have regained control of their life again and you get to slip in the suggestion with little to no resistance.

Redirecting resistance is solely about finding the things people will be able to resist instead of your original purpose. As the conscious mind focuses on the idea of resisting your new idea the old one goes in unnoticed and usually becomes valid. "When you do this, you can do this as well." By accepting the invitation to resist the second part of the statement you are automatically making the first part true.

There are thousands of ways to use this principal, and it will be combined with all the other principals you are learning in order to create a whole. As a Stealth Tactic redirecting resistance is very powerful and will be an awesome skill to store in your toolbox, especially when it is combined with other stealth tactics.

The next Stealth Tactic that we will cover here is that of refocusing attention. The concept here is to make a suggestion and implant it and then refocus their attention elsewhere. This principal is similar to seeding ideas but creates a more powerful effect.

In refocusing attention you will plant the seed in their mind then before it is noticed you will focus attention on something other than resisting the original idea. The power in this tactic is that the original idea will go unnoticed and start to grow as you focus the person elsewhere. The key is to refocus the attention before the critical factor gets a hold of it and starts to criticize it.

When you put this skill into action you will drop in the suggestion and refocus the attention repeatedly. Suggest, refocus, suggest original idea, refocus and so on and so forth. If there is no conscious information coming from them then the suggestion will have the time it needs to grow within without time for resistance. Eventually it will appear to them as their own idea and people tend to agree with ideas they think are their own.

An example of how this works is if you were having a conversation with a friend and they suggest an idea or make a statement in passing. The statement is only a small part of a much larger conversation but it is still there. Then maybe 5 months down the road you are having a similar conversation and you state the idea as your own. You may not even know the idea came from your friend because you were not focused on the statement itself you were focused on the entire conversation that was taking place.

You see here how this one layer effect of refocusing attention can be powerful and has probably happened to you at one time or another. Now think about the same idea but in layers of five, six or seven layers of different topics, much, much more powerful. This idea of layering creates an overload of information to the point of lack in ability to keep and focus on the original idea.

There are ways of distracting attention that will make this tactic even easier. The first way to do this is to simply change the topic, a new set of information to focus on. You can also confuse them. This will focus them on trying to decipher what you have said and again focus will be distracted.

Another way to distract attention is to overload the person with details and facts. An overload of information will cause their conscious to focus on finding a place for all the details you are giving them, when really these details are probably unimportant.

Now it is very important to remember to use repetition in this process. On the other hand, it is also equally important not to come back to the idea so often that they figure out on a conscious level what you are up to.

There are degrees with which you must alter your repetitions. If you are working with a very sharp minded individual you will need to repeat less and mask your suggestion more. The opposite happens for the simpler minded; you will need more repetitions and can make your suggestion in more blatant statements.

You will be able to determine how often repetition is necessary from experience with each person you work with.






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Agreement Tactics in Hypnosis: How to Use Plausibility & the Agreement Habit to Boost the Impact of You Hypnotic Suggestions

Agreement Tactics in Hypnosis: How to Use Plausibility & the Agreement Habit to Boost the Impact of You Hypnotic Suggestions

Agreement tactics in conversational hypnosis are very functional. You will learn to use these for two different reasons. The first reason to use agreement tactics is to put the critical factor in your subjects mind to sleep.

The critical factor which tells people whether or not something is believable needs to be turned off in order to induce a good trance and to make suggestions that will hold true when the person is not under hypnosis.

This is the second reason you will use agreement tactics. Once the critical factor is turned off you will want your suggestions to seem realistic, agreement tactics do just that. They get the listener in the habit of agreeing with you and lend you the authority in their altered state of mind.

The agreement tactics, and there are four of them, build an agreement factor in the listener's mind. They will help you to open up the side of the mind that likes to agree and make them want to agree with what you are saying.

The four agreement tactics include plausibility, the agreement habit, ‘yes sets' and piggy backing suggestions. In this article we will look at the plausibility tactic and the agreement habit tactic. We will begin to explore how and why these will add impact to your suggestions when a person is under hypnosis.

The first agreement tactic of Plausibility is the idea of getting a person to agree with what you are saying repeatedly so eventually you can introduce an idea that may not be considered a truth. As long as it is a plausible statement they will agree with it because they are already in the habit of agreeing with you.

Agreement at this point is easier because you have put critical factor to sleep and there is no analysis of the idea you are presenting. This in turn allows the listener to keep with the general flow of the conversation without interrupting it to disagree.

The goal here is to have the critical factor turned off as much as possible. The more the critical factor is on the more plausible your statements must be. The more it is off the more implausible your statements can be. When a person is in a full state of trance the plausibility of a statement is no longer required, plausibility can be nonexistent and the subject will still take your statement for truth.

You can utilize your signal recognition skills here to see how much of your listeners critical factor is in place. Always keep in mind that your listener may seem to be totally awake, but this does not mean their critical factor is awake.

The second agreement tactic that we will be looking at is the Agreement Habit. Agreement habit is essentially based on the concept of ‘going first'. If you remember ‘going first' is when you create a reality that you immerse yourself in first and then lead your listener through it.

In the Agreement Habit tactic you want to be able to set up a pace and have your listener follow along, agreeing all the way. This sets a pattern inside the head to agree, causing your listener to agree even when they may not agree with the entire statement.

Part of the Agreement Habit is the Agreement Habit Principal which has everything to do with positive reinforcement. What you put into something will help it to flourish and grow. Now this works the same for both positive effects and negative effects. When you reinforce a positive behavior or thought it will grow just as much as if you give attention to a negative behavior or thought which can be counterproductive for your purposes as a hypnotist.

In the agreement habit you will want to provide a response to the positive things and avoid responding to the negative. When you agree with ideas or statements respond with a verbal ‘yes', nodding your head or even a smile. When you disagree with an idea or statement do absolutely nothing, give it no response at all.

The act of response to the positive things will foster positive reinforcement and cause your subject to make more positive statements than negative ones. People like to get responses, whether they are positive or negative, so by only reacting to the positive thoughts you are greatly improving your agreement with the other person.



Another reason to respond to positive aspects of thoughts and ideas is the Access State Principal. In this principal the idea is that changing moods changes what information within the mind you have access to, as well as influencing the behaviors you exhibit.

When you change your mood to a positive mood you will access more positive thoughts and behaviors. Again everyone craves reactions and by altering you mood to receive the reaction that is favorable you will be advancing in the art of hypnosis.

Agreement habit and positive reinforcement when used correctly will casually leave behind the negative behaviors or things you do not respond to. These are all extremely powerful ways to induce agreement and keep it going. In this they are consciously registering the agreement and not the disagreement.

There is so much that the agreement habit can do that it is hard to keep it all in your head as you read this. So to review agreement habit unconsciously presents the information you agree with, puts the critical factor out of commission, and sets a pattern of agreement that your listener can easily follow.

Plausibility and agreement habit are powerful tactics that you should perfect in order to become a great hypnotist. You should examine how, when and know why to use them. They assist in the beginnings of bringing out the objectives you have as a hypnotist.








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How to Use Frame Control in Hypnosis

How to Use Frame Control in Hypnosis

In Conversational Hypnosis you must know that language and circumstance are both very important and powerful ways of influencing the unconscious. Learning to control frames is a process that you should refine simply because it is so powerful.

Frame control in hypnosis is one of the most important things you can do with a subject. In one way to control the frames of various interactions is to take control of the interactions themselves. This is because frames are the ways in which you view things, they are the contexts that give meaning to all the interactions you have. If you stop to thing about how you consider things you will realize that without a frame, without a context to put a statement, idea or interaction into, the thing would be meaningless to you.

A great example of this is the same one we have used before. If you are driving along and a car speeds by you and cuts you off you would more than likely be irritated or upset about the matter of inconsideration from the other driver.

If you are given more information, one of the things that can help to change a frame and you now know the car has a child in it that was just hit by a drunk driver. You have been told they are speeding to the hospital in order to save the child's life; your frames will more than likely change. Because you have retained a new set of facts about the reason for the inconsideration you may be more forgiving and sympathetic to the situation. This is an example of the power in changing a frame.

There are different ways in which you can control and manipulate frames. There are essentially four options you have, to maintain your frame, preframe, reframe and deframe. Of the four framing options maintaining your frame and preframing are the most important and powerful in Conversational Hypnosis.

Maintaining your frame is the first option you would usually want to exercise. In order to maintain your frame you will always arm yourself with non-reaction. To act as if the frame that someone else is suggesting simply doesn't exist will cause them to raise question in their frame and put more value in yours. Ignoring the fact that their frame is even a consideration will only reinforce your stance and cause insecurity in their own frame to rise.

Maintaining your frame is a skill you have practiced both in the frames section of these articles and in the hypnotic gaze. In the hypnotic gaze induction you learned to hold a steady stare even though it is at times uncomfortable and seems to defy social boundaries, this is maintaining your frame in a different way. When it comes to thoughts and interactions you will simply not back down. You will be so convinced of your frame being the only true frame that there is no other possibility in truth in the other person's frame.

This is an interesting stance to take and will be one you use in hypnotism to benefit you both. The funny thing about frames though is that when it comes to right or wrong the truth usually lies somewhere in the middle. Because frames are based on the contexts we put them into that means there is no clear cut right and wrong to them. Take the idea of organized religion.

Many people believe in it very deeply and others contradict it as a way of control. Now neither is right or wrong, the answer is probably somewhere in the middle. Some religious facilities may exercise an excess of control through their power as an establishment others however are truly in belief that there is only one way to be and that is of whatever religious nature they are, they do good things and that is their context.

So on to the second most valuable way to use frames in Conversational Hypnosis and that is to preframe. Preframing takes a bit more calculation and thought than maintaining your frame. If preframing you will need to know the outcome of the situation you are looking for before you start working. To know the outcome or purpose you are trying to achieve will affect the way that you preframe a thing.

Once you know the outcome you will next ask yourself that if that were the only possible truth in the world what would have to happen to make it so. Once you have answered the numerous questions that come from that one thought you will set your preframe up to convince a person to see things your way before actually diving into the frame itself.

Create a yes set on or tell a story about the things that would have to be true in order for your frame to stand true. This is a way of controlling the frame before you get to the objection of why it is not so.

A good way to maintain and preframe is to become good with implications and assumptions. If you can imply and assume then many times your frame will be taken at your word as the unconscious usually registers assumptions and implications as truth. This is a way of stating the natural order of things and getting little resistance because the frame slips in on the coattails of the assumption or implication.

The next technique in framing is the reframe. This is the ability to look at things in a new way. Shed a positive light on a frame that was being viewed negatively by a person. The saying that every cloud has a silver lining is a simple way of saying to reframe your judgment.

There are two ways to reframe a context reframe is when you change the context that the frame is placed in. And a meaning reframe which is where you change the meaning of the frame itself. These are similar but useful in different ways as you will learn through out the course of your profession as a hypnotist.

Deframing is the last way in which you will control and manipulate frames. Deframing is to turn the table on the person who is raising an objection to your frame. You simply switch the role, reverse the challenge. As a challenge is raised to your frame instead of explaining it away you will challenge the frame they are set in.

This is unexpected most of the time and will set the person into a defensive mode. When in defense mode they will be unconsciously taking in more of your frame than they will be defending their frame. Causing it to eventually become true for them as well. Presto you have deframed a situation.

Now the only thing to be aware of in deframing is to maintain a positive or light attitude in that you can easily come off as aggressive or negative in other ways, this will only cause your subject to distrust and feel uncomfortable with you. Since that is not the relationship you wish to have in hypnosis you should take caution to the ways in which you react when deframing.

For more information please visit http://www.conversational-hypnosis.com

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How to Create Emotional Triggers in Hypnosis

How to Create Emotional Triggers in Hypnosis

Emotional Triggers are a key element in Conversational Hypnosis. These skills will help you to embed your suggestions is a pure clear state of mind. They will make change for the people around you easier and more efficient.

In order to create a new Emotional Trigger in a person there are skills and concepts you must learn to do first to be successful in implanting an Emotional Trigger. Before you start to practice the concepts in this article be sure to have the principal of 4 Stage Protocol mastered. The 4 Stage Protocol will help you to set the right environment to set a successful Emotional Trigger.

Aside from the 4 Stage Protocol you must also be able to understand and utilize the technique of ‘going first'. Both these concepts will help your subject to enter the clearest state of mind to whatever emotion you are trying to provoke. Once you have mastered these two skills and are well practiced at the other beginning skills you will have the ability to smoothly set successful Emotional Triggers.

When you have a listener and you are ready to set an Emotional Trigger in them you must first utilize the 4 Stage Protocol. If you will remember this is used to bypass the critical filter and keep the listener from analyzing your trigger. If you cannot use the 4 Stage Protocol then your attempts at setting triggers may likely go unsuccessfully for the simple fact that the conscious mind will be too involved to let the trigger in.

Your trigger may not even make it past the critical thinking of the person and be rejected before it is even set. Setting Emotional Triggers is an act that needs to happen when the conscious mind is not aware of what you are doing. This way it will take less time and effort to set a successful Emotional Trigger.

On the other hand it is possible to set a trigger when someone is consciously aware. The danger here is that it will activate the Law of Reversed Effect. The Law of Reversed Effect if you remember is the harder you try at a thing the more likely it is you will fail. The harder they are trying to consciously activate the state you are trying to trigger the more likely it is they will fail.

Another pitfall of setting triggers while the conscious awareness is checked in is that it will take more and more repetitions to set the trigger. The reason for this is you will have to work harder to bypass the critical filters as they will still be in place if the person is consciously aware.

So the first step in setting Emotional Triggers is to use the 4 Stage Protocol, the second step is to induce a State. This is done by actually giving direction to the person's inner experiences; this will assist you in accessing hypnotic experiences.

Inducing a State is easiest done by asking questions that will be vivid enough to bring the experience back to life. There are other tools in your language that will help you with this. The main language skills you will want to use are detailed descriptions that bring a set of vivid pictures and feelings to the forefront of the listener's mind.

By doing these detailed descriptions in vivid detail you will be triggering an already existing emotional trigger. This is a trigger that was previously developed through environmental experiences or because you created it purposefully in a previous session to trigger the state you are looking for.

Pre-existing triggers, whether created environmentally or by you, will be helpful in your job as a hypnotist especially when working with the same subject consistently. This happens because once a person is used to or recognizes your hypnotic tone or auditory shift to a hypnotic voice it will tend to trigger responses much quicker.

This shift to your hypnotic voice when working with your regular clients will help them in accessing hypnotic experiences.

This is why you must develop several different voices. Your speaking voice must have a different tonality than your normal speaking voice otherwise you could send people into trance at inappropriate times.

Think about if you were to always use your hypnotic tone with people who are conditioned to go into trance when they hear it. It can produce dangerous situations for you and your subjects. Hypnotic states should only be accessed when the person is in a situation where they are not consciously concentrating on any other thing.

At this point we should add that it is important to really polish your skills so that you are aware that you are only setting triggers and inducing hypnotic states when the outcome will have a positive effect. These should be used to bring to light positive changes in a person and because these triggers are set accidentally around you and possibly by you everyday it is important to become aware to only do it when the time is right.

The third step in creating Emotional Triggers is to intensify the State. This is pivotal; you must produce the cleanest, clearest and most pure state of mind possible in order to get the best result in setting your trigger. The stronger your subject's state the easier it will be to not only set the trigger but also to activate that trigger to access the state again later.

Finally the fourth step in creating an Emotional Trigger is to associate the State to the Emotional Trigger. This is just as it states, you will be attaching the clean state of mind to the emotional trigger you want it associated with. After you accomplish this you will use the ABSAIL formula to link it all to an action that is carried out by the person you are working with.

After you have accessed a clear state of mind you will set your trigger, this is done simply by firing the trigger. Do whatever it is you want the trigger to be, if it is your voice use that voice. If you want the trigger to be a gesture or mannerism use that specific gesture or mannerism.

Remember that your tone of voice is important and will often work alone with those you have been in hypnosis with before. It is also important to remember that the trigger you set should be something you can use within the context of a normal conversation. This way it is easy for you to fire the trigger later with little to no extra effort.

It is important to also remember that setting and creating Emotional Triggers in people is a powerful action and will be one of the key elements in the basis of your hypnosis.

A quick review of the vast amount of information here is that you will set Emotional Triggers by accessing a pure state of mind. At the height of their emotional experience you will set off the trigger you have chosen, this attaches that state to that trigger meaning whenever you want to access that set of emotions in a person you will use that trigger to do so.

It may be possible that with some subjects you will need to repeat or condition the trigger, this is simply done through repetition. Always keep in mind that the more powerful the state is the easier the trigger will set.

After you have set your trigger you will want to test it to be sure it was set correctly and accessing the correct emotional state. This is done by breaking the state the person is currently in and re-firing the trigger, then observe. If the person re-enters the same state, meaning you see the signals that show you they have re-entered that state, your trigger was successfully set.

You will remember these signs from the Signal Recognitions System we reviewed earlier in these articles.

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How to Use Sensory Descriptions to Access States in Hypnosis

How to Use Sensory Descriptions to Access States in Hypnosis

Sensory descriptions are the next skill for you to build in accessing state in hypnosis. Before we jump into the ways in which you do this we should talk a little about the Access State Principal.

In Access State Principal you are learning to change your mood which will in turn change the information you have access to. In this concept it is important to know how to change your own mood as well as the moods of the people you are working with.

It is important to understand how the mind works when accessing emotions set off from different moods. Every time you change your mood the path of the mind follows. When you change your mind you have the keys to different rooms in your mind with different feelings, experiences and emotions; without changing the mind you cannot access those different feelings, experiences and emotions.

As you develop your skill in unlocking the different states of mind you will see a positive change in the abilities of your subjects to perform, focus, solve problems and be generally inspired by things. All these improvements will help in changing the way a person feels which will impact changes in their behaviors as well.

Sensory rich descriptions will help you in accessing the states you are seeking. The general idea behind sensory rich descriptions is that you are going to be kicking the imagination into high gear.

Sensory rich descriptions are a way of using your language to appeal to all the senses of another person. The effects of your words will describe a vivid picture that will recreate within their mind exactly what you are talking about.

This should bring the word picture to life and really activate the person's imagination. You want them to use all their senses in this state inducing method, to really get involved within the mind. As you do this you will also want to be sure to create smooth transitions between the words and ideas you're using for the listener to focusing on.

There are several secrets in doing this and the first is to be sure to include descriptions of all the sense they would be experiencing within the context. Really paint the picture as if they were actually going through the motions of it.

Describe the things they will see, including descriptions of colors, scenes, objects and distances.

Describe all the things they would be hearing. For example you will want to include the sound of water, animals, conversations of others, pitches and rhythms.

Also be sure to include kinesthetic sensations. These are the feelings and emotions all the other subjects would cause or stir up inside of them. These would include not only feelings and emotions but also the physical feel of touch. How does the sand feel on your feet? Did someone brush against your arm as they passed? These are just as important in bringing a story to life as the other senses.

The second secret in using sensory descriptions is to really get the person to imagine the scene. The best way to start is for you to do so in ‘going first'. When you take the time to imagine what you want the listener to see it will make it much easier for you to describe in a way they can visually imagine it.

The final secret to this method of accessing states is to keep an even and flowing language from one idea to the next. Remember to utilize your language in a way that creates very smooth transitions so as not to disturb the flowing pictures in the person's mind.

This will be easier to do the more a person is in trance. The less of a trance state you have the easier it is to get distracted by uneven language or lack of smoothness in flow. The more entranced the person is the better they will follow your story line no matter what the story or idea is. The better the trance the more abstract you can make your ideas.

So in review of accessing states through sensory rich descriptions you will want to always remember to ‘go first'. As you do this you will want to create distinct definitions of what you are seeing with specific details. These details should involve all the senses and use the best possible descriptions you can. This is what will truly bring a picture in the mind to life for your listener.




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The PCAT Formula for Helping People Make Changes with Hypnosis

The PCAT Formula for Helping People Make Changes with Hypnosis

Conversational Hypnosis is an art for helping others to live happier, healthier and overall better lives. One of the tools that you can use to help people to do this is called the PCAT Formula. The PCAT Formula is a simple formula that you can use in any conversation to assist in making a change in the person you are talking to. It is used for many different reasons but the base of those reasons is to overcome a hard time, or get past a hurdle in their lives.

One of the most convenient aspects of the PCAT Formula is that it can be used in almost any conversation. It is very simple to transition from a normal everyday conversation into the PCAT Formula. This is helpful in that many times in normal everyday conversations you will be talking to a friend, client or family member and they will automatically tell you about what it is that is limiting them in their lives and then you can go to work undetected.

You have probably figured out by now that PCAT stands for four different steps in this formula. Those include problem, conflict, active solution and transform. These are all things you will need to involve to help the person you are talking to resolve whatever it is that is holding them back.

The ‘P' in PCAT signifies problem. This is here simply to remind you that in order to use this formula, in order to you to solve a persons problem they must have a problem. Your job is to get that problem activated, the more the problem is avoided the less likely they are to really confront it and find a solution.

You can give out all the solutions you want but it the person you are talking to has not recognized or brought up the problem itself there will be nothing to put that solution with, making it a meaningless interaction as far a solving the problem goes. If your listener has brought their problem to light then there is something to trigger that the solution you are offering is connected to the problem at hand.

In activating the problem you not only provide a place to attach the solution you also set some triggers naturally. When the problem your subject is having starts to begin being a problem, if the solution is already sitting around waiting for it there will be an attachment of the problem and solution before the problem becomes so big that it is overwhelming.

You have heard about neurology and how it fires up when we experience an emotion or have an experience, well problems are closely related to both of those items. When you activate the problem inside the head then the neurology starts to light up this makes it possible for the solution and problem to find one another and get together inside the mind.

A simple word of caution before we move on to the letter ‘C'. When you are working on activating the problem with someone it is important to remember that this is not a way of re-traumatizing them, you only need to bring the problem to mind so they know what you are talking about, so their unconscious door is cracked open a bit to let the solution in to attach to the problem.

Usually bringing a problem to light is not a problem as most problems will naturally come up in conversation. This means the person you are talking to will do all the work for this step you just need to be able to recognize that the problem is there and take that cue to move into the PCAT Formula.

The next step in the PCAT Formula is the ‘C' and it initializes Confusion. Confusion in this instance is to help the person you are dealing with to get out of the problem pattern. You see when you have a problem there is a pattern created and you simply move in that pattern over and over again not knowing how to break it because you don't know how to solve the problem.

In confusion you are going to get in and start to break up the problem, make it into little pieces this will break down the pattern and leave you with something to rebuild with later. There are three reasons for confusion, the first one is what you just read, break up the problem to cause confusion in the pattern.

The second reason for confusion is that it will often induce a trance all by itself. Confusion is an alarming state for people and they will unknowingly look to escape it, they will move their mind in a different direction to avoid further confusion. This is good because it offers you the chance to pave the escape route with the solution you are offering, and we will go into that in a moment.

The third reason for confusion is that it bypasses your foe the critical factor. This is always good as you will experience less resistance from the person you are working with and you solutions will be able to make it in and stick to the problem.

All these parts of confusion are very important because in essence when you put it all together confusion breaks the cycle of the pattern, builds the potential for response, offers them an escape route of clarity that they will be anxious to hold on to and bypasses the critical factor so you have a stronger impact with the suggestions you leave them with.

The next step in the PCAT Formula is the ‘A' and it signifies to activate a solution. You will most often find that the solution is a type of state, either an emotion or feeling, but it can really be anything. Now there are different strategies for activating the solution that your conscious mind will be already searching for, you can bring that solution to light with these different strategies.

The first activation strategy is that of reframe. This is simple; you have learned all about how to reframe a person so here is your chance to put that into action. You can use a reframe to activate a solution.

The second activation strategy is to use your stories. You can use all your different story telling skills to activate the solution. Tell a story about what someone else did, or what you may have done, this will bring that experience and state up in the person you are talking to.

The third activation strategy is emotional triggers. The emotional triggers can be used to take your listener back in time to a place where they felt powerful or they were experiencing an emotion that will be helpful in activating the solution now.

The next activation strategy is to find past experience. This is where you can guide the unconscious mind on a mission to go through the mind and look for similar past experiences; this will mean they are searching for the answer to their problem themselves. This is done in a dreamlike unconscious state that you are guiding them through. This will not only bring to mind different solutions used in the past but also behaviors that may be helpful that they haven't actually attached to their problem.

The final activation strategy is that of visualization. This is a simple way of making the person imagine what it is they need to do. Imagination and visualization are powerful tools that will help to show your subject the way to resolution.

Finally the ‘T' in the PCAT Formula stands for transform. This is the tool that will assist you in actually attaching the problem to the solution. This is a basic combination step, you will take the problem that you have identified and match it up with the solutions you have been implying through out the entire process.

Put the solutions in with their problem and get them combined this will offer the answer to their problem and they will attach together. When you use all these steps together correctly they will help your subject to find and apply the solutions that are needed to create a positive change in their lives.

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Sensory Descriptions & Stories - The Key to Improving Your Hypnosis

Sensory Descriptions & Stories - The Key to Improving Your Hypnosis

Improving your hypnosis will hopefully always be a goal of yours as you by nature should always want to be better at what you do. As you use your various inductions in Conversational Hypnosis you will get better and better at them, but there are other ways to make your inductions more hypnotically compelling as well as more interesting.

One of these techniques is to include sensory rich descriptions and stories to your inductions. Now you have already been introduced to this in the art of asking deep meaningful questions that compel you're subject to dive further and further into the experience you are asking about.

This is similar in the way that you are asking a question to get the person thinking about a certain thing, when you do this you are actually getting them to recreate that experience within them. The same happens when you use sensory rich descriptions and stories. At some level you are requesting that they access a similar state and really get into it to access those experiences.

For instance if you ask someone about a movie they watched, at some level in the mind they re-access the altered state of mind they were in while they were watching the movie. This is an unconscious process that happens every time you are presented with a sensory rich description, asked to recall and event or told a story; it is simply just the manner in which the mind works.

Because the mind works this way you as a hypnotist can use it to your advantage in your inductions. The easiest way to do this is to simply describe some kind of scene to your subject. This can be a sensory description of anything from a vacation on the beach, meditation, a walk they took in nature or something as simple as driving their car. Any experience that for them produced a hypnotic effect and these are many.

Stories are going to be the way you carry these sensory descriptions to your listeners. By using a story you are sending them the experience with sensory descriptions, those that apply to the senses, in a form that they cannot disagree with.

If you tell a story of your relaxing vacation at the beach they cannot argue that it is not true because it is your own experience. However that description will get the unconscious mind to recall times when they felt the same way and allow access to those experiences sub-consciously.

As you tell your story you will use many sensory rich descriptions that will evoke in them the same feelings that would go along with their experiences. Those descriptions will also come into the person as suggestions as to how they should feel. Remember your goal is to create an experience through the descriptions you are giving, go give good descriptions.

As you do this you will want to continually compare what you are doing to the 4 Stage Protocol to ensure you are matching up to the protocol to induce a trance. As long as you are keeping within the context of the 4 Stage Protocol and describing a scene that your subject can relate to on a trance level, a time they experienced some sort of trance, you will have the start to altering their state of mind.

The descriptions and stories you tell need to be responsible for getting past the critical factor by putting critical thinking, conscious thinking, out of commission. If you stick to the natural unconscious process you will get their unconscious involved automatically becoming more attractive to the unconscious and less to the conscious.

Two sensory description techniques that will help you in this area are the ability to directly describe and experience and sharing your own experiences. To directly describe an experience is to simply use your sensory rich words to describe the process and feelings of going into a trance.

You can use any trance experience whether it be the way it feels in a formal induction or the way you feel when reading a good book. It doesn't matter as long as you include feeling, seeing and hearing to bring the experience to life.

The second way to improve your inductions is to share your experiences. You can tell any story you like, and as you use your words to describe it entailing all the senses it will become a real experience for your listener.

You can also do this by using likes and dislikes, these will usually be universal likes and dislikes that you listener will be able to relate to. If you describe a scene of serenity and calm and tell how much you liked it and enjoyed it, this is something your listener will be able to envision themselves enjoying as well.

These two tips will help you to really envelope your listeners into the experience you want them to have. In doing that you are absorbing their attention and bypassing the critical factor because you have gotten their attention with a story and you have made it unarguably true because it is your story.

The unconscious response comes in that you are successfully inducing a trance and eventually you will be able to lead that trance to an action. This is a successful induction by way of learning and practicing two simple steps that you probably already use in your day to day life.

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