LOCKING IN CHANGES

You can only create a permanent change by using a method to “lock in” the submodality. This means going through a process that will over-ride the previous response to the Cube scene and creating a powerful resourceful state to associate with those changes.

One method for locking in the change of the submodalities is the Movie Method. The Movie Method is a very fine technique that helps create a powerful resource state for the volunteer or yourself.

THE MOVIE METHOD

First, bring up the image of the Cube scene. Then imagine the scene on a movie screen. Now imagine yourself in a movie theater watching the Cube scene. Next, imagine yourself floating out of your body in the movie theater and floating up to the film projector. You can now see yourself watching the movie as the Cube scene unfolds. Now, imagine yourself floating down back into your body in the movie theater. Look up

at the screen and change one thing at a time until you have the most powerful, most resourceful states associated with your Cube imagery and scene. Start by making a change in the Cube. After you make that change, imagine yourself floating out of your body back up to the film projector. Now run the movie of the Cube scene in fast forward. Now, run the movie backwards as fast as possible until you get to the first part of your Cube scene. Fast forward it again. Keep fast forwarding until you feel a change click in. You can test to make sure the change is the most positive choice for you by using the pendulum technique described earlier.

THE SLIDE SHOW METHOD24

Here’s another neat way to lock in the changes. Some people respond better to this method than they do the previous method. Others respond better with The Movie Method. I say if one method doesn’t work, then don’t keep trying that method, instead, try something different (anything different) in order to get a positive result.

We will deal with changing your personal Cube, but again any of the representations in the Cube game may be altered using this method.

First imagine a photo of your Cube, as if it were on a slide from a slide projector. Now we will act as if you wanted to change your personal Cube to give you a more vibrant and larger self-image.

Next, imagine your personal Cube changing. Perhaps it was originally a black and white image. In the next slide, then, you would have the Cube in color. For the third slide, imagine the Cube in color and larger. In the fourth slide, you may want to incorporate changes in the other submodalities.

You will, of course, have to personalize this to yourself, and when you perform, to your volunteer.

The final steps in this Slide Show Method really help to lock in the changes. Imagine the slide show film images as being on one continuous strip. Now bend that strip into a circle and imagine it circling clockwise over your head and then entering into your body. Now, when you want to activate this new resourceful state, you merely imagine the last image of the slide show in front of yourself. Experiment and you may find that having the image to your right or left is better for you, personally. Again, do what works and leave what doesn’t.

Some people will react better to this method, and others will react better to other methods. It is up to you to figure out what the most effective method is for you or the person in front of you. I have one more method of locking in change that I shall discuss.

24 _{See the audio tape series “How to Have Unstoppable Confidence with Women” by Ross Jeffries for more}

A SWISH PATTERN25

This is a very interesting way to change behavior and to create a resourceful state.

You can change the entire Cube experience at the same time, using any of these methods, but my personal favorite method is this Swish Pattern. You can focus on one part of the Cube (such as the cube, or the ladder, or the horse, etc.) or on the entire scene as a whole. I would advise that when first starting out you run each image through that the volunteer wants enhanced as separate swish patterns. Over time, you will learn to enhance the representations all at once using the swish pattern.

The Swish pattern that I use is as follows (we will deal only with the Cube that you have created, but any of the images [submodalities] can be altered using this method).

First imagine the Cube in a square picture. Get into the feeling or state that this Cube causes for you. Now, imagine a blank screen. On this blank screen, put up a new Cube. Perhaps you want to have more self-esteem as your goal. Imagine the Cube getting more vibrant and turning larger. If it starts to feel like you have more self-esteem when you look at this image then go on to the next step. However, if it doesn’t feel right, then change the Cube in another, different way. Change the Cube until you get the state and/or feeling you are after. You may want to use the pendulum work described earlier to calibrate with your unconscious on whether or not this new Cube is a resourceful state for yourself.

Next, imagine the old Cube. In the lower right hand corner of the old cube, imagine the new Cube in a square. Imagine the old Cube turning black and white and diminishing while the new Cube grows more and more bright, more colorful, and eventually the square the new Cube is in grows and takes up the space the old Cube resides in, while the old Cube fades away. Calibrate with the pendulum to make sure that this change is a resourceful one for yourself or your volunteer.

I have referenced the pendulum throughout this book, but you can also set up signals with the fingers of a participant. Another way to calibrate yourself is to get a friend and have them set up finger signals with you. To set up finger signals, is a rather simple

procedure. Hold out the hand and ask the unconscious to give a signal using one of the fingers. After a few seconds (or sometimes, minutes) you will get a response. You can now use one lift of the finger as yes and two lifts of the finger as no by calibrating the signals in that manner.

Next, we will explore how to set these locked-in submodalities so that they can be accessed at any time. In order to do this, we will have to explore what are known as “anchors”.

ANCHORS

ANOTHER QUICK DEFINITION OF ANCHORS

An anchor is anything that triggers a pre-set or determined response. For example, perhaps you had a favorite song with a lover in the past. Now, whenever that song comes on the radio, you feel a certain way. You always feel that certain way. The anchor in this case is the audio cue of the song and how it makes you feel is the determined or pre-set response.

We are going to explore some ways to anchor the resource states that we used

submodalities to lock in previously in this book. Now, if the person starts to get out of a resourceful state, they can bring themselves back to the resourceful state with an

appropriate anchor or trigger. See the chapters in this book that are relevant to Anchors and Anchoring.

SETTING ANCHORS

You can set anchors with a touch, a look, or a sound. Even more advanced (in my

opinion) you can set an anchor with an emotional state or any other highly charged state. First, I will talk about the touch, look, and sound anchors.

In the Swish Pattern you just learned, one way to anchor this is to have the person either say out loud or say to themselves “swish” in a positive tone as the Cube picture changes. You can also anchor the volunteer’s response to your own voice. This will take a little bit of practice, but soon you will be able to have the sensory acuity (or awareness) to be able to tell when the volunteer in front of you is in a more positive state. At that time, as you see the change happening, you can simply say “swiiisshhhh”.

Another effective way to install an anchor is through the use of touch. As you are changing the images in the Swish Pattern, you can touch your elbow to anchor the positive resource state you have created. Now, in the future, instead of running through the Swish Pattern each time, you can just touch your elbow and trigger the same

response. When anchoring with touch, be careful as some people do not want to be touched in any way whatsoever. It is best to first ask permission and to explain what you are doing. You can also anchor spatially (or in visual space) the response to anything in the environment. For example, you might anchor the response to yourself touching a straw in a glass of soda. Now, when you touch the straw, you will set off the anchor, and get the resource state.

Yet another way to anchor is through visual means. The previously mentioned example of touching the straw lies somewhere between touch and vision. Besides things in the environment, you can anchor to an imaginary picture that the person makes for

themselves, or an imaginary image that you provide them with, in order to allow them to re-access the state you have both created together at a later time.

A really interesting, and more advanced, technique for anchoring involves anchoring them to a state that you have helped them to create in themselves. To best understand

this, like always, you should go first and try it out on yourself. You can imagine a time when you were feeling very happy and then run through the Cube submodality change processes in this state of feeling very happy. Now, when you access this “happy state”, you will also access the resource state you created.

Of course, the best method is to combine all of these four techniques at once. You will then be assured of at least one of them working properly, and can tweak the others until they are in line with the stated objectives of the volunteer.

FIRING ANCHORS

In order to fire an anchor (meaning to set the anchor off again), you simply repeat the action that you used to set the anchor. If you touched the elbow to set the anchor, then you touch the elbow again in order to fire the anchor. One often overlooked thing in firing anchors is state dependency. It is best to be in the same state as you were when you set the anchor when you fire the anchor.

SLIDING ANCHORS

I will first concern myself with Sliding Kinesthetic Anchors in this manuscript. This means I will only deal with touch for right now. The astute reader will easily see how to apply the Sliding Anchor technique to sound, emotion, and vision, but I will also explain these three things, as well, in order to make this a truly complete book.

Sliding Kinesthetic Anchors

Again, you will go first in order to experience what your volunteer would experience. As you perform the Swish Pattern and touch your elbow, tell yourself “As I slide my fingers up my arm, the feelings caused by this visualization will increase,” and then slide your fingers up your arm. Calibrate with the pendulum, in the way previously mentioned in this manuscript. If you notice no increase, or a decrease, then do the opposite action and you will notice an increase. Again, tell people when you are going to touch them and why before you actually touch them, so that no boundaries are crossed. Saying something as simple as “I am going to slide my finger up your arm and the feelings caused by your visualization will start to increase,” before you touch them; and then get them to consent to this, with something as simple as: “Is that okay?”

You can also have people visualize levers or other controls in their mind and push and pull or otherwise operate those controls until they are in a maximum state of

resourcefulness.

Sliding Sound Anchors

A Sliding Sound Anchor is when you create a sliding anchor using the voice, music, or some other sound. You can make shifts in tone or pitch to anchor the experience with when using this system. The important component is that the sound differs in a manner

that recalls either something going down or something going up. So, raising your voice ever so slightly throughout the demonstration during the setting up of an Audio Sliding Anchor would prove effective.

Some of you have experience in embedded commands. An embedded command is a command within a sentence that persuades a person to do something on a more

unconscious level. For those of you with experience in embedded commands, you might want to try slowly going from your normal tone of voice into your embedded command voice and then amplifying the embedded command voice tone; in order to create a Sliding Sound Anchor.

Sliding Vision Anchors

My favorite Sliding Vision Anchor is a slow look with my eyes in one direction while telling the participant that “As I look to the right you will slowly feel the visualizations inside your mind begin to amplify” and I then slowly look to the right.

You can, of course, look in any direction, and it makes the process more expedient to tell the participant what they will experience when you look in that direction. Since you’ve gained rapport with the participant they will be more likely to follow your instructions. As you’ve seen, the Sliding Audio Anchors and Sliding Visual Anchors do not rely on touching the participant and so can be performed in a “stealth” manner more easily and also are viable options for when the participant does not want to be touched for whatever reason.

Sliding Emotion Anchors

Almost all anchoring is State-Dependent. This means that the anchor will only work when the participant is in the emotional/physical state that they were in when the anchor was set. An analog of this is that your own emotional/mental/physical state when you set the anchor on someone else will often be enough to trigger the response when you recall your previous state.

This calls for being very aware of yourself and your own state. This means a lot of what is called “state-control” must be practiced and rehearsed. This means knowing at all times, during the process of this system, what type of mental/physical/emotional state or states you are in and then using those states to anchor. For example, your state is one of happiness at the time you anchor the desired response in your participant. Now all you need to do is amplify that happiness that you are feeling as you trigger the anchor, and the anchor will be that much more powerful.

Amazingly, you can also just increase your own state of happiness and often the

participant’s anchor will fire off without any words or contact from you. The emotional state itself acts as a sliding anchor. Be responsible with this because it is very powerful stuff.