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This is the Work Smart Hypnosis Podcast, session number 170 James Hazel R on Real results from Imaginary events. Welcome to the Work Smart Hypnosis Podcast with Jason Lynette, your professional resource for hypnosis training and outstanding business success. Here’s your host, Jason Lynette. Imagine yourself achieving outstanding results.
In the privacy of your own mind. Hey there, it’s Jason Ette and this is a conversation that kind of organically developed, um, by way of a series of communications and conversations having with now the third time guest on the Work Smart Hypnosis series here, James Hazel, r whose office is down in the Austin, Texas area and, uh, previously featured on this program twice before.
And it’s the concept of it kind of began with a dialogue of adapting the process to the client. How it is that we begin to make use of state elicitation strategies in terms of bringing in sensory awareness. And these are some of the points we’re gonna. Hit in this conversation here, methods to really round out the quality of the change methods to, I mean, even for those of you that are stage hypnotist, how to get even more verifiable results in the process.
And recognizing that point that for the most part, this theme of real results from imaginary events, that in most cases, I mean, as I work with fears, there are basically two categories of fears. To really oversimplify this category, number one would be that I was afraid this thing was gonna happen. But it really never has, which thankfully that is the minority in this category that I’m afraid of the plane crashing, but the plane never has crashed.
Category number two, thankfully, is a smaller category, which is that I was afraid this was gonna happen. Because it has before and it was really, really bad, which that’s of course going to call for a different set of strategies, though again, the majority is that here’s this imagined event, the old acronym that fear might be considered as, uh, false evidence appearing real.
So the idea that here’s this imaginary result that they’re stuck on and realize that here we are, chances are if your office is like mine, uh, they are sitting in a comfortable chair. And not in the fear provoking situation. So we’re working in an imaginary environment to address an imaginary event. Yet clearly, again, to use James’ phrasing, we are getting real results.
So in this dialogue, in this conversation that you get to join James and I, while we’re having. Is talking about the different nuances of customizing to the client. The different strategies in terms of the, the visual, the auditory, the kinesthetic, how we modify our process to better fit their own sensory representational systems.
How it is that the visual person might. Not be visual while they’re in the fearful problem state strategies to do the synesthesia, to bring them in into another sensory state, and why? All of it, of course, is state and strategy dependent, which makes it all just become even more fluid and even more adaptable.
Uh, also getting into the concepts of just how we, during our intake, elicit what is the dominant sensory representational system with your client. So you’re speaking not just their verbal language, but also their kinesthetics, their visuals, and really about helping them to get into their own model of the world and produce an even greater one.
As a result of this, uh, this dialogue was, uh, coming about because James and I are actually doing a live training together. Coming up in September, 2018, it’s titled Essentials of Modern Hypnosis, and it’s gonna be a really unique course, which, whether you’re brand new to hypnosis, whether you’re a seasoned professional, we’re gonna be getting into some organic mindsets in this training.
So something that I brand as organic trans utiliz. How is it we can make use of the hypnotic states the client is already producing that’s getting them into the problem to get them out of the problem? A big category that James and I both do is the whole concept of how we preframe the hypnotic experience.
So how do we take techniques that are already effective and make them even more effective by framing the process before and after the actual formal hypnosis in a much better way. On the theme of. Organic anchoring. Let’s connect the anchored result of what you want to create with the actual environment that you’re going to be in.
So now it’s a more cohesive process rather than blindly telling you, squeeze a finger and thumb together. Getting into state solicitation, uh, client adaptation for flexible results. Uh, James is a busy hypnotist. I’m a busy hypnotist, and the fact that each and every session is different because again, you’re customizing to the individual and let’s call it out.
It’s not a James Hazelrigg training unless we’re getting into storytelling, which some of his nuances, some of my nuances coming from my theatrical upbringing and some of his nuances, and how, as part of his story, he was the storyteller who then became the hypnotist. And yes, realized, Oh, I’m already doing this.
So this is a class that we are co-training together. Essentials of Modern Hypnosis. It’s gonna be happening Monday, September 17th to Saturday, September 22nd. It’s live Hands on event with a. Bunch of hands on practice know we’re not gonna be live streaming it. It’s a live event only, and you can check out all the details [email protected], which will link to that in the show notes over at Work Smart Hypnosis.
That’s gonna be happening in Springfield, Virginia, which means you’ve got several airports to choose to fly into. Uh, we’ve arranged a hotel discounted rate, which is extremely generous, especially in this Washington DC area, to join us for six days to live and sleep and just be there in the hypnotic experience.
And for those seeking certification. As a professional hypnotist, you can receive the I C B C H certification as a result of that. That’s the International Certification Board of Clinical Hypnotherapist. So again, whether you’re brand new, whether you’re looking to refine your strategy, Join James and I for essentials of modern hypnosis hypnotic essentials.com.
And with that, let’s jump directly into this real session, this real conversation. This is session number 170 James Hazel rig on real results from imaginary events.
So I’d asked you to jump on with me here today as we were trading a few emails back and forth, and the topic of, uh, as you first phrased it, sensory language for state elicitation, which is a wonderfully, uh, heady, uh, scientific way of talking about it. But then you said real results from imaginary events, and I just went, We gotta do a podcast on this.
So just kind of expand on that idea for a moment. Sure. So, you know, if you. Uh, hypnotist to define hypnosis. If, if you ask a dozen to define hypnosis, you’ll get 24 definitions and a fist fight, . But the, the definition that I like that works best for me in most situations is that hypnosis is the art of getting real results from imaginary events.
And so the way I often frame this for, you know, potential clients is I say, Have you ever cried in a. . You know, when you watch the movie, you know the movie’s not real. Uh, you know, those people aren’t married. You know that those aren’t their children. You know, that’s not their dog. You know, the dog didn’t really die.
Doesn’t matter. When the dog dies, everyone cries because when we step into an imaginary, Situation like that, uh, we no longer engage in our internal fact checking. So, you know, um, Elman would’ve said, You’ve bypassed the critical faculty and you get those real results from the things that you’re imagining
But what makes imagination vivid is sensory. content. So when you go to the movies, the sensory content is pretty much provided for you. They’ve got the visual images, they’ve got the sounds, they’ve got the music that’s playing on your emotions. As hypnotists, we’re basically creating mind movies, and the way that we make those mind movies effective is by judiciously using sensory language.
You know, the nice thing is that when all of us were in elementary school, a teacher said, Okay, let’s learn the five senses. And so we, we learned, um, about the five main senses. Now it turns out that, uh, different classifications say they’re up to 17 senses. The main five are the ones that we’re really concerned about, and of course, NL peers will mostly focus on the big three site sound and physical feeling.
Of course, aroma can be very evocative, Flavor can be very evocative, so, I use those, just to backtrack for a second. Mm-hmm. . Sure. Other senses, that’s where we’re bringing in things like sense of direction. Mm-hmm. , things of that nature. Not perhaps what many people would assume of. Oh, another sense, like extra sensory power.
Right. Yeah. Thanks. Thanks for bringing that up. Yeah. Yeah. We’re talking about sense of direction proprioception, uh, which is knowing where your body parts are. Um, and, and actually the sense of touch is multiple different senses. You have different. Um, nerve receptors that detect heat and cold versus detecting pressure versus detecting pain.
Um, which is one of the reasons why we can have people feel pressure without feeling pain. So, yeah, that’s what I’m talking about when I say that there’s more than five senses. I’m not getting into the six STS and all of that stuff. I already knew that cuz I had half a six sense . Yeah, you’re right.
Exactly. You read my, It’s because, nevermind. Nevermind. Yeah. No. Yeah. So getting into those, the sensory states, which I love the idea of, again, real results from imaginary, uh, results. Or Yeah, Vince . So, um, easy for me to say. So looking at it from that perspective, I mean, what, uh, are, are you putting that frame on the, I’m sure in some way putting that frame on the issue itself, right?
Yeah. In fact, um, I love getting people who have problems with intense worry, um, and, uh, anxiety and anxious thinking because I’m, I’m able to illustrate to them that they already know. Do this, that they already imagine scenarios that are not happening at this moment, and they already get physical reactions.
Their heart beats faster. They feel a tightness in the throat, and usually i’ll, I’ll elicit that information from them. I’ll say, How do you, how you feel when you worry? What happens to your body? And so I’m able to say to them, Look, you’ve got a superpower. You are already producing physical changes completely with your thoughts and imagination, but like most superheroes, you’re using it poorly when you start out.
And so this becomes your origin story in which, you know, a, a wise old man with a gray beard teaches you how to use your powers effectively. Uh, Yeah, so I, I just, uh, um, To get into how I use the senses themselves. Uh, to pause off of that for a second, I share that the longer you’re in hypnosis, uh, the more you find, and this is a phrasing that I think I’ve just kind of developed in the last couple of months, the more you find that there are other people who have hit similar.
Conclusions, similar things. I mean, there’s a whole thing in my trainings about getting in rapport, getting in sync with the client, though I frame it as compliance proceeds suggest ability. I need you following a series of instructions before I can produce the hypnotic result. And that’s part of the process.
And then again, right out of Anthony Jack, when reality is plastic, he talks about instructions versus suggestions, and it’s. Very similar idea. I’m there quoting stories of the French musician, Jean Eugene Huan, cuz that’s, that’s a name. And talking about , how a young boy by the name of Eric Weiss modeled him and changed his name to Harry Houdini.
Mm-hmm. And Huan was revolutionary because he walked out on stage wearing a tux. Wow. Which he was dressed like the audience, which you look at. David Blain, the Magician. Nowadays, he’s wearing jeans in a t-shirt. And what you’ve just mentioned, my whole thing is that I’m framing the hypnotic experience from a similar place that, you know, you’re already doing this.
I’m gonna show you how to do it better, that you know you’re behind the wheel of the car and you’re safe, and yet you’re feeling terrified there. You know that these cigarettes are kill you and yet you’re buying them by the carton, you know? And yet there you are doing this thing and that, and yet is that Dave Elman critical faculty bypass that even in hypnosis?
I think this is a phrase some of our community needs to understand that it’s not the deletion. Of that critical faculty. It’s the bypassing, it’s still there, which is how the person’s thinking, I don’t wanna smoke while they’re going and lighting up the next one. It’s where they’re thinking, this is stupid.
I don’t need to have this fear even while they’re gripping the seat of the, uh, the airline seat. So it’s highlighting that. I love the phrasing of you’re using these pa, the superhero powers that we’re gonna teach you how to use them for good rather than against your best wishes. Exactly. Exactly. So, Thing about sensory language itself is that, um, as, as just kind of a rubric for me when I am working with somebody to get them into a particular state.
I go through those five senses, not always in the same order, but you know, sometimes you need a pattern that you’ve done so many times so well that you can kind of fall back on it and use it while you’re thinking about other strategies and other approaches to use as you’re, you’re moving forward. It’s in music, it’s like when you va mm-hmm.
you know, you just bounce on one cord for a while, figuring out what comes next. So, um, With pretty much every situation I try to ask people, uh, to imagine to that they’re in. I say, think about the things you see in this scenario, the colors, the shapes, if they’re faces, the faces of the people around you, the science of nature or architecture.
Then I go into sound feelings, and usually I’ll kind of break that into physical feelings as well as emotional. Feelings, Um, and then of course aromas and even flavors that are associated with it. And you can do this very exactly and tell them, you know, picture yourself in this situation, seeing these specific things.
Or you can go really very content free doing it much the way I just did. You know? Okay, you’re in this place, you find comforting. What are the things you see? Mm-hmm. , Um, and usually it’s, or even soften it further with one of those things you’re becoming aware of. Exactly. Yeah. And I, I like to. All five senses cuz you don’t really know which senses people are tuned into best.
Um, if I find that I’ve got somebody who, who just insists that they can’t visualize at all, well then I’m definitely gonna avoid the word C. Mm-hmm. . Uh, and just a, a pro tip, I often say, by the way, visualization doesn’t have to be a Hollywood movie. Sometimes it’s a shaky slide show. . . There’s something inside of that too, that even if we do follow a model and say that, This person is a visual, This person is a kinesthetic.
That recognizing that everything is state and strategy dependent. Mm-hmm. . So when they’re in that mode that they may be reverting to something else and it’s from a different training that. . Um, there’s a nuance that came out of the, the from Stress to best program, which is David Schneider and Ruth, uh, David Perdome and Ruth Schneider.
Yeah. That, you know, they took the Myers Briggs and branching off of that. It wasn’t just the labeling of saying, Here’s what you are. It was pointing out that when someone. is in that problem state. Very often some of these criteria swap to the other thing. Mm-hmm. . So the introvert lashes out, the thinker starts to over judged.
Um, and I’m getting these nuances a little off here cause I don’t follow that whole model. So, but looking at when someone’s in that stressed mode, You know they’re going full laser focus on the one specific thing, as opposed to when they’re in the relaxed date, the peripheral vision is opening up. So even though they may be a visually oriented person, their problem may not be visually oriented, which is why exactly what you just said, of kind of hitting everything cuz it’s the entire system working together.
Yeah. And you know, oftentimes, uh, it’s actually very useful to get them out of one sense where the problem is occurring into another sense. Um, and we’ve pretty much all done this with a kind of pain as object type approach. Mm-hmm. , um, where, you know, the very simple, Oh, what color is your head? . Well, a headache isn’t a color, it’s a physical sensation, you know, coupled with a bunch of emotional baggage that goes with it.
Um, and so one, it’s a little bit of a shock induction. They’re like, Wait, what? color? But they give it a color and, and then you play with the color cuz they’re powerless to play with the feeling. But when you play with that color, okay, that they can kind of do, of course. Every person’s a little different, but, but I love playing that game.
What, what color is your headache? Have you found any nuances to how those questions are asked to, to get something rather than the blank? I don’t know. There’s no color. So oftentimes I’ll, I’ll even sometimes preface questions like that with, I’m gonna ask you some questions that really make no sense at all, and just go with the first answer that pops into your.
Right. And oftentimes that’ll get passed cuz Yeah. I, I have had those clients who are like, Oh, nope, don’t, don’t see a thing. Nope. Uh, you know, um, and, and this is why you need many tools in the box sometimes I’m thinking, Wow man, let’s do a parts approach with this person and. Okay. You’re picturing yourself there at that, at that, um, meeting room table, and you call in the part of you that smokes.
What’s that part look like? I don’t know. , I don’t really think they’re here. I’m like, Okay, we need to take a different approach. Yeah. , there’s a nuance of, I I only phrase it as sweeping the momentum. Which is that if we’re working with a feeling we can always get some kind of kinesthetic, unless we’re getting the pure auditory digital feedback of what does it feel like?
Well, it feels like I’m gonna get, uh, chased. That’s not a feeling. What does it feel like physically? And we can get something from there. And the more I can feed back, and as you’re aware of that grinding sensation, your chest, that’s kinda hot and it’s moving in this direction. Focusing on that feeling.
Now notice the colors. What color is that Sens? And I’m just looping and just feeding back in everything that we’ve already pasted into it. And that sometimes becomes a strategy to get that sensory feedback a little faster. And then even if it was a no before, I can loop back to it. And now, as you’re aware of these colors and these sensations and those, uh, thoughts in your mind, go back to the sound.
What’s the sound there? , which a little bit more leading language is either driving them to discover or uncover, which those both mean the same thing, , but to discover, uncover what is there or even create it because as soon as they’ve created back to the, the headline here of the real result from the imaginary event, once we’ve got something that’s, let’s call it tangibly intangible, uh, once we have something of that nature, then we’ve got something we can work with and play with.
I was curious to ask, is there. Uh, is there a story that comes to mind of working with somebody in this format that really helps to illustrate. Mm. Um, gosh, there’s, we have a, we have the paradox of choice right now. Mm-hmm. with so many, uh, of these things. Um, and, and there was an idea that has nothing to do with that question that popped into my head with what you were just saying.
So, um, I’m going to totally frustrate you and just go with a, a totally different answer and answer the question. I wish you had asked. That’s why we’re long form conversation rather than we. Thank you . There we go. So, so, you know, you were talking about that, that question of how, you know, how do you do it when they’re not coming up with a color or a sensory description and, and the fact is that, um, people are often not, Trained to think in these sensory terms.
Um, you know, they, they say, I’m feeling happy. They don’t say, Oh, my body feels lighter, my heart is beating a little faster. I find that I’m smiling. Um, and, and sometimes it can be frustrating because of course we, we train for this kind of thing. We’re, we’re educated , it’ll be Fred, why I say, And so I’ll often use the miracle question, um, If a miracle occurred tonight while you’re asleep, and, um, all of the reasons you’ve come here, were resolved, when you wake up in the morning, how would you know?
And people will often go into very kind of high level, Well, I’d feel happy, or, Well, I wouldn’t do this. And I’m like, Yeah, but what, what, what would you feel? Smell here? Taste and, and sometimes people have trouble with. . So there’s a whole series of other questions you can use to get into that, like, um, well, imagine there was a documentary film crew.
What would they notice about how you look? And so oftentimes bringing in kind of an imaginary third party and using their senses. Helps the person to get past that kind of high level vagueness that they’re dealing with. Yeah, I love that of just simply changing the perspective and you know, what is it someone else would notice about you that would tell you that this is done?
Yeah. And, and I mean, that is to, you know, get back into fancy terminology that’s going to a different perceptual position. Mm-hmm. . Um, but, but again, when you have people who aren’t, you know, trained in, in our techniques, you know, wouldn’t it be great if all of our clients came to us and already knew all of us needed?
And just allow yourself to close your eyes, run a parts intervention on yourself, and as this thing is complete and just no, your head, open your eyes and, um, That’s some new hypnotists are really, uh, intimidated when they have to hypnotize another hypnotist and I’m like, ah, that’s the easiest thing in the world.
It’s great. Yeah. I’m calling you actually during the, uh, the lunch break of a class that I’m training and that was the topic that just popped up of, you know, there’s two sides of it. And the first. Reference I’ll give is slightly cynical, but it has a happy ending. The other one is how it usually plays out that here’s someone who came into the office.
Now this was a, uh, this, let’s use the appropriate language. This was a muggle, uh, who had worked with someone else. And he’s looking at my bookshelf of all the books and going, Oh, um, I have some of those, but the last person I worked with said I shouldn’t read them while we’re working together. Is that how it’s supposed to be?
And I go, well, I’m usually not one to say something negative about someone else though. Um, the fact that you said that I now know immediately who you worked with, and I think their concern was that you would know more about the process than they do, cuz just respectfully, hypnosis is like one small fraction of what they do.
And they have, they have one go-to strategy and this is a person who now has done a lot of training and is really exceptional to what they do. I’ve had, I’ve had hypnotist as clients. That, uh, the favorite was a guy who goes, Uh, I am ready for this work. I am ready to be a willing client, though I can’t promise that I won’t smile when I call your shot.
In terms of where we go, , and he’s the one who giggled halfway through the session going, Oh, sweet. We’re doing parts . Right? Which we don’t have that. I mean though, if you have that as the scenario, well, the fact is, James, you already know what a lot of this work is. So you’re gonna realize that here comes the anchoring, here comes the compounding.
And because you already have knowledge of these techniques, that’s gonna help it lock in even faster. Sound good? And yes, that was conversational suggestion On top of I, I’ve coined the fir the term of going placebo on techniques that actually get results. Uh, so it’s not the techniques that were the placebo, the techniques have stood the test of time, but I’m putting a filter on top of the work to make it even more effective.
It’s, uh, the framing of, of what we do, which, I mean, this is right. Um, we’re doing a class together in September, and the whole category of preframing, the hypnosis, what happens around it, how do we use the sensory language, Some of the storytelling that you do, some of the storytelling that I do, this is one of.
Major elements of our course, which is essentials of modern hypnosis. We’re talking organic TransU utilization, preframing, the process, uh, anchoring. I, I deem it as organic anchoring on an organic kick as I’m enjoying my, uh, diet Coke, uh, state solicitation, um, storytelling, which is a huge thing that you do.
And then this whole adaptation to the individual. I, I see a lot of clients. You see a lot of clients and that’s how you keep the work fresh and also very effective. And, uh, for those, looking for that, you can check out hypnotic essentials.com. We’ll link to that in the show notes. And that’s a six day event that’s coming up at September and Springfield, Virginia.
And for those Seeking certification as a hypnotist, you can get that through the IC bch. As a part of that, I wanna mention, uh, there’s a story. that is so fresh as in, as in this happened like three days ago. Uh, and it kind of comes back to the sensory work in our sessions, and this may kind of fall into the categories of almost a frank, fairly provocative approach to things, but it’s this guy who’s in the office, and there’s a game that I’m playing in my mind because on my forms, there’s a.
What’s your goal of achieving this? How do you want it to be different a month from now, a year from now, five years from now? Mm-hmm. and all he’s done is, he’s called me around a fear of driving on highways and suddenly five years from now, he just puts the phrase, I want to have lost 20 pounds, which he has not mentioned anything.
Weight loss up until this point on the phone call in the conversation, there’s just one random reference on the forms, so in my mind, , which this is part of my thing anyway, but I’m going, I need to do it even better, which is that I want to get the change with the fear as fast as humanly possible, because as soon as I transition him working onto something else, , you know, here’s where we’re just locking in, that that’s already done.
Mm-hmm. . And just so I can see what we’re working with here, this isn’t not the hypnosis yet, but we’ll show you what a, what it kind of feels like. But just close your eyes for a moment and just imagine that you’re behind the wheel of the car. And uh, yeah, put your hands up if you want, as you did, and bring up some of that feeling so I can see what we’re working with here.
And I am going for a bit of a mild app reaction here of seeing him. Getting into that anxious state. He is shaking, he is getting into that, and I’m going for the moment to simply say, Okay, good. Open your eyes. Yeah. Mm-hmm. , you’re still here in my office. Uh, you’re in a very comfortable black lazyboy recliner and, um, there’s a lot of furniture from ikea.
You’re not there. And now that you know that, try to bring back that old feeling. Notice what’s different already before we get started. And he is just got, he’s got the perfect confused puppy dog look on his face that, you know, we can use that to, and there’s some things to pull out of that we can use that, which from that point forward, every bit of language was like, yeah, you’ve already brought that down to a zero and just kind of playfully going, Yeah, try to bring it up again.
I can’t. Mm-hmm. . Yeah. But now imagine you’re behind the wheel of the car. Really Put yourself in that situation. He goes, I’m just driving. It’s the same as driving through my neighborhood, . Oh yeah, this is, this is all the stuff that we’re gonna strengthen when we actually start the hypnosis. So part of the preframing, we’ve already done it.
So looking at, we can use that language that, you know, we get caught up in words. I think, and especially when we start to get into metaphor when we start to get into other categories, but hypnotic suggestions are not just the words, they’re the sensory experiences. I use a lot of sound effects, whether it’s like a floppy arm drop and a Dave Al induction.
I give the sound effect of the arm plopping down on the chair. And because I give the sound effect, they hear, that’s the pace I’m gonna let my arm plop down. You know, places where the sensations. So it’s not just the words, it’s also how we say it, what else we put into it. So as you’re working with clients, is there, let’s go back to my question that you wonderfully dodged earlier.
Now that you’ve had time to VA and think of something, James . Um, is there a story of working with somebody that some of this more sensory solicitation. Really comes into play as being a big part of what made that change for the. So, um, this really, uh, the, the story that that jumps to mind, and I have told this other times, but, um, it was actually not a client.
It was my wife. And, um, we were, we were sitting on the couch one evening watching tv and my, my finally honed hypnotic senses detected that she was, uh, in, in pain. And I could tell this because she was curled up in a fetal position and whim. and, uh, I knew that she had been to the doctor earlier that day cuz she had an ear infection.
So she’d gotten some antibiotics, but, but things had not really kicked in and she’d gotten some pain medication and that didn’t seem to be working. And I, I said, Wow, you know, I, I can tell that doesn’t. Doesn’t look fun at all. Um, and she said, Yeah, it’s like a, like a white hot ice pick, stabbing into my, uh, eardrum or through my eardrum into my brain.
And I, I said, Wow. Can you, can you picture that ice pick and. She, you know, closed your eyes. I could see her, her focusing and she said, Yeah, I can see it. And I said, And it’s, it’s, uh, it’s white hot. And she said, Yeah. And I said, Can you picture it changing to red hot? And just slowly went through from, you know, red.
To orange, to yellow, to brown, to green, to blue. And you know, of course you were talking about tonality and sound effects. Of course, I’m, you know, taking my voice from that. And so it’s white hot to, and now it’s kind of blue, isn’t that, you know? Mm-hmm. . And I could see her body relaxing. As we went through this and, and the whimpering and the quivering stopping and eventually got down to where it was actually somewhat chilly and blue and then made it just a regular ice pick gray that then got kind of rusty and then broke up.
From there went into a number of other suggestions and metaphors and uh, you know, kind of imagining a healer who comes in and cleans out all the stuff. And she loves mythology. So I, I, I talked a little bit about, um, some Greek gods of healing and stuff, cleaning it all out and. One, she, she clearly moved out of that state of pain.
Um, but also shortly thereafter, her ear started to drain and pulled up very quickly. And so what I like about that story, there’s two things. One is, is utilization. Um, . I didn’t say. Well, imagine that it’s a white hot ice pick, right? . Mm-hmm. . I mean, that would be a terrible technique, right? So imagine that your pain is this thing stabbing you.
But, but she provided that image and, um, now I suggested that, or while I asked if she could, could make that image more visual rather than, Physical. Uh, so we got her outta the kinesthetic into the visual, and then from there was able to use that sensory language to pull her into, um, states that would be more pleasant.
And she’d described it as heat. I wanted to go to colors that we tend to associate with. Cool. All, um, and it, you know, they say, Well, don’t assume that your client has these associations. There’s some associations that, that are fairly universal. So while you can’t assume there’s a pretty good shot, you can bet on it.
So I was able to bet on Blue being cooler for her. Mm-hmm. , Um, it also kind of illustrates that importance of taking baby steps, um, kind of the frog boiling approach. You, you move just a little bit, um, rather than, you know, just kind of shouting pain and be gone. Right? Yeah. It’s . That brings up a huge thing
I mean, in terms of, and we can get really fancy and say, Oh, we’re chaining different stays together. I mean, I think to, and I’ve had this as a client before in a different scenario that one of my students called up one time and it’s that, Oh, I’ve got a guy coming in who. Uh, really gets a bad reaction when people sing the Happy Birthday song.
I think. How, how deep do you think I have to get him to tell him he likes the. I’m like, well, that might be a bit of a leap. And I had a person before who is in a school production and is supposed to jump out of a a, a sort of a toy package that was built by a bunch of children, which is why they got stuck inside of it.
And she’s having to listen to the chorus sing jingle bells over and over and over. While she’s, uh, thinking she’s losing air and can’t get out of this box. So now there’s a lovely emotional reaction every time she hears jingle bells and to recognize there’s places we can go that are close to it. So, you know, I I, I do bring in the language sometimes with a person, with a fear of needles, of going, Well, we can work towards greater comfort, though I have to tell you in advance, they are going to be sticking needles into your.
Hm, , it may not. Yeah, so it may not be the most comfortable thing that you do yet. There are things you would do that are slightly uncomfortable only for a brief moment, and then you’re fine. So, you know, exercise or maybe here’s some vitamin pill that you like taking, but it’s like the size of a horse tranquilizer, which is a very specific reference that I don’t have
So looking at it, You know, what is this, Like what is similar and getting that baby step into, I mean, in the sensory language dialogue, that brings to mind something that I, I did ever since I started as a stage hypnotist of, rather than how most stage hypnosis is often done and why sometimes the suggestion might not be taken on stage.
1, 2, 3, you’re a platypus, which is a routine I’ve always dreamed of doing, but I’ve never done. Mm-hmm. instead. You know, the classic hot and cold and we’re setting the scene on a beach is one. Sitting up slowly feeling the temperature of the island air surrounding you. Two. Take a nice deep breath and feel that warm island air filling up your lungs that smells so fantastic as three leading on back.
Feel that sun pouring down, stretching your body out. Relax. So I’m hitting every sensory thing I possibly can to bring them into that. So whether it’s the direction, Eliciting problem state. If we’re exploring that or eliciting solution state exploring that, or we’re putting people on stage and having them believe they smell funny things.
You know, recognizing that we can hit all these senses. Uh, do, do you find at times, and I don’t have an answer to this, do you find times that you do run into that person who is so predominantly one that you’re able to stick within one sensory representation? Or do you find that it’s a little bit of a mixture of everything with people?
I find that most people are a mixture. And now I, I have my clients during the intake, uh, fill out a little 10 question, um, survey that is multiple choice and, and. Each of the three answers for every question corresponds to one of the main senses. Um, and this is something Richard, non guard design that I, that I use, and most of the people I find, um, run pretty much.
Near the middle. Um, and sometimes I’ll get somebody who’s like, you know, 70% visual and 20% auditory, 10% kinesthetic. Um, but then when I start working with them, I discover, okay, they’re well able to have kinesthetic experiences as, as well, so, The one that’s really a red flag for me is if they come out like five visual, five or auditory and zero kinesthetic, or zero visual.
That’s the one that really I’m, I’m kinda like, Oh, okay. This will be interesting. And there I want to really find out. Can they visualize or is this something I need to really focus on working without emphasizing the visual sense? Um, so it’s, it’s more about making sure that I’m not going to, um, sit there and, and riff on something that they’re just not relating to at all.
Rather than saying, Okay, well they’re a primarily visual person, so I don’t even have to worry about auditory or kinesthetic. Mm-hmm. . Um, and, and that client is relatively rare. . Um, and, and it’s always kind of fun. It’s a fun challenge cuz I’m a very visual person. So, um, getting to, to play more with the auditorium kinesthetic approaches, um, it, for me, it’s kind of like a chess master who right off the bat, makes sure that his queen gets captured so that he is forced to play the rest of the game and win without the queen.
Hmm. Um, so, so, yeah, I, I generally don’t say, Oh, well, I can only worry about one sense here, and this’ll be easy. I, I like hitting. All of them. Um, it’s also a good practice cuz I’ve done a lot of group hypnosis and when you’re, when you’re working with a group, you clearly want to hit all of them. Yes. And I think in general too, again, it’s not that they’re just one, it’s says maybe one is more dominant than the others.
And by inviting the others in, I find it helps to heighten that sensation. I mean, there’s one. Little nuance that, uh, there’s a category that I’ve worked with several times now, thanks to being a part of the community myself in some way, um, which is the power lifter, uh, which is fun because here’s the weight loss client focusing on eating less.
And with the lifter I’m working on helping them often to gain weight . Um, and I, I, I, I hesitate to make the bold statement, but the moment that I’m looking at some sort. Organic anchoring, attaching something that they’re gonna be doing or something that they’re gonna be, you know, if they’re not gonna be squeezing the finger and thumb together, don’t do that.
Right? If they’re not gonna be doing the series of actions, what is already there. So the posture of their body, the way that they’re bracing their body as they lift, the way that they’re, uh, getting into proper stance, whatever pregame ritual that they have in terms of dynamic stretching, whatever it is.
But I’ve pulled off this almost kind of Jedi mind trick at times of going and in this moment in the middle of the session and this moment, realize as you think about that competition site in that gym, there’s a very specific smell that you’re now becoming aware of. , which is the smell of that older kind of rusty metal that’s in a lot of these gems.
The smell of the shock that’s in the air. I could pull this off with gymnasts as well, that the sort of rubbery smell that’s in the air from all the mat. And connecting the process. Back to that again. What’s sensory, is that now a word? Mm-hmm. , uh, what’s, Yeah. Anyway, In a sensei occasion, uh, what is that sense that’s going to be there and we can attach part of the work too, which this is one of those sort of add on benefits of maybe we’ve done some sort of emotional release, some sort of NLP change process, and now I’m in.
Let’s call it out, Direct suggestion, compounding phase, and drawing in those senses, they can feel the uniform on their body. They can feel the temperature of the metal in their hands. And even right now, notice that very specific smell you can now recall. And as soon as you’re aware of that, now that confidence rises and linking it all to the work as well.
Yeah, and you know, is also a wonderful extra layer that goes in with mental rehearsal. Mm-hmm. , um, where you, you start rehearsing in your mind doing something particularly well at the same time. Imagining the place you’re going to be imagining the things you’re going to be wearing. And so those things through the mental rehearsal help become an anchor for it.
Um, and, and so it’s, it’s beautiful because you’re not simply relying on one technique. Or another, you’re combining that. And I’m reminded of a friend of mine who’s a, uh, belly dancer and, uh, for health reasons, she has to get an MRI once every six months. And so the common risk of belly dancer, but go on.
Well, yes, yes indeed. Um, and. And of course, you know, most people really dislike MRIs. Um, you know, they’re cramped, they’re hot, they’re noisy. So she goes in and the moment that that she lies down, she just closes her eyes and says, All right, what’s my next performance? and she picks out her wardrobe and imagines putting on each piece of her wardrobe, and she says, Where will I be and imagines herself there in the dressing room?
What music will I use and listens to the music in her head? What steps will I be doing? Who will be in the audience, which other dancers will be performing that night? And so she creates the entire scenario. Now, one lovely thing this does for her is that she doesn’t hate getting her mri. You know, it, it allows her to take a mental vacation, um, by engaging in this guided daydream, but it also lets her mentally rehearse and she says once every six months, she gives a far better performance than all the, all the rest of the time.
Nice. Clearly she needs more MRIs. I was about to say. Yeah, . Well, I gotta, I gotta wrap us up in a couple of moments cuz we’re about to jump back into class after the lunch break here. I know we’ve only talked here for about, um, 38 minutes, but who’s counting? Um, though, I think we could do this for like six days.
Sound good? Oh yeah, because again, coming up in September, 2018, uh, James and I are joining hypnotic forces when our hypnotic powers combined, uh, for essentials of modern hypnosis. It’s a six day in depth hands on course appropriate for all levels, cuz we’re gonna be going into. How to actually induce that hypnotic trance in a much more directed organic method in terms of utilizing what’s there and using their own, as you’ve been hearing, sensory states to create that more empowered state.
And then getting into the preframing of the process. The work and techniques we use to create changes, uh, anchoring elicitation, storytelling’s gonna be a big part of it in terms of the power of. and just really about adaptation that you, you’ve heard the both of us here bouncing off of each other, that you need to be learning hypnosis from people who are actually doing the work.
as I’ve called it, the hypnotic worker, the people that are actually doing the work and teaching it so, Essentials of moderate hypnosis. I’ll give the dates. Uh, all the details are gonna be on the show notes too, though. It’s Monday, September 17th to Saturday, September 22nd in the Springfield, Virginia.
We’ve got a great, um, venue and hotel block already reserved so it’s easy to travel to, affordable to stay at. And again, all the details are [email protected], which again linked over in the show notes. Go over to that webpage. And, uh, James, where can people find out more about you online? So I would suggest, um, the Hypnotic Storytelling podcast, which you can [email protected].
Excellent. Cool. This has been great. Thanks for jumping on here with me. Well, thank you so much. And did you remember that you were on here before this? Uh, once, no twice. wait three times. How? Yes. I think you’re the first person in the three timer club. No. For who? Don’t know the reference that when I had James on recently, he forgot he had already been on here.
Yeah. Well, but don’t worry, I didn’t take that personally. It was amnesia. If not a amnesia, you’re that good, You know? All right, we’ll have fun with us in, uh, Springfield, Virginia coming up in September. And James, I’ll see you. Take care.
Jason. Lynette here once again, and as always, thank you so much for interacting with this program, for sharing your feedback, especially sharing how you’ve taken these mindsets and strategies and put them to use in your own sessions. And again, it’s my phrasing of becoming that hypnotic. that you wanna be learning hypnosis from someone who’s actually walking the walk and talking the talk actually out there doing the work.
So that’s why we’ve put together this class coming up in September, 2018, Essentials of Modern Hypnosis, that it’s not just theory and strategy, it’s getting the real. Workable case study examples to really learn and model from, and at the same time a ton of hands on live practice because that’s where you will find your confidence soaring.
So utilizing trance in more organic ways, getting into a much more flexible system of working with your clients and empowering the use of story and metaphor to really lock in the change in a memorable. So it’s myself, Jason Lynette, and James Hazelrigg. Essentials of Modern Hypnosis for those Seeking certification.
You can get that with this course. Check it out, hypnotic essentials.com. See you in Springfield. Thanks for listening to the Work Smart Hypnosis Podcast and work smart hypnosis.com.