igor cd9

welcome to cd9 of the conversational

hypnosis home study program on this CD entitled how to destroy resistance with stories part 2 we're going to continue from the skills that you learn on c7 and show you how to take the stories you've been creating and use them in hypnotic

way first of all we look at how stories can become vehicles for all kinds of hypnotic processes and have used stories as a hypnotic interaction next we'll look at the power of nested

loops a way of telling stories that when put people into deep transfers create amnesia automatically allow you to put all the hypnotic processors that you've learned on this home study program and then to put those things inside of

stories which seem like normal but interesting and fascinating stories those people listen and enjoy the stories that you tell the same time your influence and persuasion is taking more and more hold interaction then we'll

look at the creative process so that you know how to put everything together and create your own nested loops because the creative process is actually a little different than just working this thing Adam pen-and-paper you learn how to use

your unconscious mind as part of the process to create very powerful hypnotic induction for the stories that you tell finally we'll talk a little about some bonus material that we've created especially for you but I won't spoil the

surprise just yet allow you to get to the end of the CD and find out for yourself or bonus surprises we have in store for you so as soon as you're ready to do this to sit back relax and enjoy learning

conversational hypnosis so assuming you've done all the exercises all cd7 thoroughly you should be able to come up with stories pretty much on the fly now what's more important than that is

that you can make those stories through different things you can make stories on a certain team you can make stories have certain ideas or objects within them you can change locations you can change the story is basically to make them do

whatever you want them to do so what do you do with these stories now in order to make them more hypnotic and create these trance processes you come here to learn more stories can be used in many different ways one of the simplest and

in my opinion one of the most powerful ways to stories if they use them as vehicles for embedded suggestions just think back to Milton Erickson who discovered the idea of embedded suggestions

remember how you would make tations of complete nonsense words but in bed within it all kinds of suggestions for her secretary to lose the headache well you can embed it within complete nonsense words why not put it inside of

a story so that it's not making sense on a conscious level as well as having better suggestion on the unconscious level because now people can be delighted with the story while the unconscious mind can be influenced by

the suggestion this is in fact the military action did for most of his life is a very famous example of this called the tomato plant induction which Milton Erickson had to work with the patient who was riddled with cancer and this

poor man was in a huge amount of pain with a lot of drugs and there's really not much that can be done for him so ericsson went in as a favor to the family and started talking to the man now this man called Joe was a florist's

I loved his plants and exercise sitting down saying you know I hear that your florist and hear that you like plants and I don't know much about flowers but i do know about plants that grew up on a farm and then at that point you launched

into this long monologue about tomorrow's and how they grow and how they feed off the rain etc now within that he would embed suggestions about hope about comfort about growth about being at ease so there was Milton

Erickson talking about smartos for what seemed like hours and end the family was sitting just outside thinking what is the doctor going to actually do something so at some point this artificially try and pass note i'm

saying you know what either begin with hypnosis now dr. Erickson was just ignoring them and carrying on with more log until eventually it just came in and put the paper right in front of his face and

then realized for dro the florist was in a deep trance didn't even see these family members even see the piece of paper the option of the whole thing is that Joe's condition improved remarkably so one thing that you can do with your

stories to tell a story about almost anything whatsoever but then when bed within it certain words which will be the suggestions that you want other people to respond to now the interesting thing is that theme

of the story has got to have zero relationship to the themes of your meditations in fact it's usually better if the two are totally unrelated because it doesn't alert the conscious mind as to what you're doing

the second way that you can use stories in order to create a hypnotic process is to use them to install an emotional rollercoaster remember people respond to their emotions in a very powerful way in fact emotions are part of the

unconscious in other words they're unconscious response so when you are taking people through an emotional rollercoaster you're actually activating unconscious responses now when you think back to the four-stage protocol that you

discovered on cd1 you really realize that you're back to stage 3 as soon as you have an unconscious response and then we have to do is be able to lead it so we're installing an emotional rollercoaster can be very important in

the important in order to suck a client or friend or family member out of a dark situation a bad situation to help them make better decisions because the emotional state that you're in will actually have a huge influence on the

quality and the kind of decisions that you make so emotional rollercoasters can also be used to influence behavior will look at this more fully on CD 11 which is entitled conversational transform EULA's getting what you want in order to

install an emotional rollercoaster all you have to do is choose the appropriate emotion and it seemed to go with it so if you want to laugh you make a huge our story if you want someone to feel relaxed you can talk about relaxing

themes like walking through the forest or maybe sitting by a quiet lake somewhere in fact in any story that you tell these emotional undercurrents are going to be a very powerful and important part of the anodic process the

third way to use stories is to use what I call metaphorical resolutions some people call these isomorphic stories because isomorphic means the same structure I so being same morphic meaning

structural shape the way this works is you tell a story which essentially mirrors the situation other persons in although in a very indirect way classically people think of you know things like Goldilocks their fairytale

the fairytale mirrors situation someone might be and where something is not good enough something's just write etc isomorphic stories can be very powerful but you have to make sure that people don't tweak them consciously otherwise i

start to consciously analyze your stories and that takes away from the impact so as an example the therapist wants to influence his patients have a better sex life you might have been some stories about different cultures and how

they all d different meals in a different way so how some people have large appetites and others are some might start with dessert even though it seems to be the reverse order and all these different stories are actually

becoming metaphors are different people can enjoy their sex life in different ways of course the important part is that it goes outside of conscious analysis and that way you bypass any possible resistance because the critical

factor just don't even know it's happening having said this is in any other thing there are times when you can I should tell stories which go right to the heart of the matter where people will Twitter

it both consciously and unconsciously simultaneously and that's usually the case when you're actually touching on something that other people kind of want people to know about but are too afraid or polite to say it outright is an

example hey hailey is a very gifted therapist who learned a lot of things from milton erickson the great hypnotist now where Milton actually saw him for the first time so it was a skinny as a rake and

could tell that he had all kinds of eating problems or disorders is a very fussy eater so the first thing that Milton did well he took me to his office set him down and for an hour just lectured him or rather just told the

story after story after story after story and all of them had something to do with food and some of them would be people going to a restaurant someone will be by some food another one and someone else would be a dispute over

who gets did what played it doesn't matter what it was but each story somehow was revolving around food anyway the end of this process j hailey goes away and somehow miraculously his attitude towards food changes and was

until months later he suddenly realized why Milton SAT him down and told all these stories about food so stories are tremendous vehicles for being able to give other people advice or help them through tough times what your advice

would normally be rejected it also allows freedom for the unconscious mind to make its own associations to make you attached to their own life experiences so that whatever comes out of the end of it is something which actually fits that

other person which means that you can help influence someone in a certain direction but you'll also know because unconscious processes are involved that whatever comes out of it will be something which is useful for that

particular person and in their particular life situation the fourth way that you can use stories is to format the unconscious mind in essence what you're doing your pre teaching the unconscious mind to do certain things so

by the time you actually get into the situation where they need to do it they have a predisposition have been primed to do this this is a little bit like cutting storm creams into the side of a mountain so that when it starts raining

you'll know exactly where the rain will collect and which will flow down in order to pre teach the unconscious mind you can use stories to basic install kinds of ideas expectations or desires about the future and this is something

that the advertising industry for example really understands well for example when you tell a story about a previous customer how the light they were or how they at first didn't want to do this and buy this product has

something more about it they realize all these reasons to buy it and when they're headed there were delighted that they did get it think we've just done there in essence this is a isomorphic story

which matches the experience this person's about to have your also be teaching them you're telling them he's your situation is how you resolve the problem and here you'll feel at the end of it because you created that

unconscious expectation provider you follow the same steps as you go along and the other person is very likely to do this as well you do this in any situation managers will have stories or miss about the workplace of their

working in the other people live up to a great example of this is a mythology created by Johnson & Johnson mr. Johnson was a very ethical person and a long time after he passed away the company became a morsel of corporate face became

a problem where I think was in the eighties someone started to poison some of the Johnson baby foods in a particular store in a particular area i think in Philadelphia now the whole panic ensued and the company decided to

pull every single baby food off the shelf in the entire United States of America even though the problem was only localized in one particular area with some crazy person was going around sabotaging these things everyone told

the company don't do this will be the market share you lose profit you'll never recover from this etc but of the right said no we're pulling everything so the huge risk and a huge cost that pulled every ten off baby food off the

shelves in the entire country as it turns out this simple act inspired so much confidence in the American people and when johnson Johnson broader baby food back this time with new tamper-proof seals on top

not only did they recover the original marketer but they actually improved now when the consultants asked the board of directors of conscience Johnson's how did you know theres going to happen how did you know to make this decision so

this is a beautiful example of how metaphors and stories to work is a story of someone who has long passed away inspired a board of directors to make a decision which was called acton terms of ethics but possibly

incorrect in terms of finances but as a result of the way they did it ended up being a better financial decision even though that wasn't the reason that they took it and that shows the beautiful complexity of the unconscious mind you

can account for so many different variables that the decisions that are being made at the end of it and not being better than they would have been had you followed some logical piece of advice straightaway the storytelling can

format the unconscious not only create better decisions at the end but also give them a structural way of deciding and even pointing out certain things that the unconscious mind will have to take into account as a part of that

process so the four uses of a story that we've just discussed a very powerful and you can use them in the form of simple story in other words one story does this whole thing together even more powerful way of doing it though is to use nested

stories or nested loops these are stories which are designed to acquire even more interest in the unconscious mind and get it to work even harder was the same time being more hypnotic and less easy to trace consciously in other

words it bypasses the critical factor even more fully just because there's a lot more going on so what I mean by nested loop and nested loop is basically a way of combining three four five different stories that

will become more impactful unconsciously so instead of doing the normal thing we should be tough story one finished everyone start story to finish story to story three finish 33 etc will be doing in essence it will be starting story one

telling it all the way to a climax before you finish it you break and move onto story to you take that one almost the climax that you break that story off and going to store III don't think that one through to almost a climax and then

you break that off as well what's happening here is because each story is incomplete the unconscious mind is going into overdrive trying to complete their the details to finish the story off is something called as a garnish effect

in Psychological terms this is a chronic effect is something that when you leave a task incomplete or an instruction in complete that task construction you could develop some much higher level of importance inside the mind people i

remember it more fully or do it better another thing that happens with the garlic effect is people don't close your mind off to learning what happens when something is completed the mind this terms often says now I know everything

there is to know about this subject and it moves on to something else the problem of course with a complete a topic is that when new information comes or you discover that there's an improvement to be made is more difficult

get through to the other person because in their minds sheets relabeled complete with the garlic effect is always leaving a sense of what may be a bit more to find maybe there's a bit more to find in fact whenever you are someone a question

and leave the question open ended the unconscious mind will spend weeks months even years afterward continuing to try to answer that particular question until you can find a satisfactory resolution less stories also employ the principle

of multiple realities because each story can be nude type of reality a new set of information and facts this will also confuse the conscious mind because so much to keep track off that it can't do any more and at the

same time all kinds of other things can slip by the wayside slipping your suggestions the install the emotional rollercoaster you can create metaphorical resolutions and even format the unconscious mind outside of the

normal conscious awareness because there's so much going on and so many things that the concert money to pay attention to but it simply cannot reject everything that you're doing you can make nested loops very sophisticated in

the way you use them so I've divided into four different categories a basic nested loop and intermediate use advanced those two loops and our master-level nested loops each of these four different categories will take a

skill to another level and make a little bit more sophisticated and complex now to make things easier for you have a look at the information sheet has been included with this home study program when you look at the information

sheet headed how to destroy resistance with stories will find a visual representation of each of these four levels are going to discuss each one and turn so that you can understand it fully so I would recommend you take out the

information sheet how to destroy resistance with stories and look at it as we discuss each of the four levels of nested loops because will help you understand a little bit more about the things and the structures that i'm

talking about so let's look at the structure of a basic necessity loop a nested loop can be used with as many stories as you want but for the moment let's look at three stories being used because a simple structure only I'd

recommend use between five and 12 after twelve thirteen stories it starts getting too cumbersome so anywhere between three and twelve stories will be a perfect number for nesting depending on what you're trying to achieve with it

so let's assume you're create a basic nested loop with three stories if you look at the diagram on your information sheet how to destroy resistance with stories you've got clear representation there

what you do is you tell each other three stories and turn but not completely what's the story one and we get about eight percent of the way through story one will break off the way break off is either through hard loop or soft loop

which will come back to the moment then you'll tell story to again your break off around eighty or ninety percent of the way through and again you'll use a hard or soft loop you're going to story three do the same thing only this time

when you break off at the eighty ninety percent mark you now have a perfect situation a perfect open space in which represent your suggestions now these three stories will tend to create trance all by themselves because

the way you stacking realities next to each other and one of things that happens is when you get the bit in the middle you can offer direct suggestions like you can learn this thing you can enjoy the issue make better decisions

very direct suggestions and then you can close your stories off then you can simply close each of the loops off starting in reverse order in other words the last week you told the story three you're finished 33 first then you finish

story to off and then you fresh story one off and then you carry on with whatever whatever theme or topic you're talking about beforehand and what this does is it is intended to create a form of amnesia because the first story which

was beginning and end tend to collapse because when the two ends join together to create a smooth bridge you remember the whole story from start to finish of course it's almost like bubbles being trapped underneath the second story and

inside another bubbles trapped with a third-story inside that is trapped the bubble with your direct suggestions because each of these layers is a different kind of reality you tend to create amnesia increasing amount of your

neva each one of these stories so there's a tendency to consciously forget the content afterwards which is perfect because that way it doesn't have a chance to analyze and criticize and reject the information we talked about

soft and hard loops and let's have a little chat about what those things mean a software hardly basically talks about how you transition from one store to the next you can create a soft loop by creating a very smooth transition is an

example of what I mean by that I was walking through the forest with a friend of mine on the way to picnic and the interesting thing is we walk into this forest we notice that on the ground ladies old spinning top

you know the kind of things where you just pick them up and you spin them and they keep turning around around around around the table or something Charles toy i remember when i was a child i still love spinning tops and I

got one for christmas once we're still living in Spain let me just stop you there for a moment and that's what just happened i just created a soft loop i started with one story about going through the forest maybe for a picnic

and I found something and that create a smooth segue into my next story the next story is about receiving a spinning top and some christmas party when I was younger and that's a very smooth transition as i run into the next story

about the spinning top though I got as a christmas present that suddenly becomes my new story and by the time you realize that I've left off my original story you're too sucked into the news story to really raise an objection

that's the beauty of a soft story is a very smooth process a hard loop on the other hand is something that happens without any explanation so for example as walking through the forest my friend and we're going to have this picnic

I haven't seen this guy for ages and finally we get this picnic area we lay out the blanket and brought the cheese and the wine and the bread and the food and have a great time suddenly noticed a whole bunch of crows circling around

around around just over the hill where we actually sitting down having our picnic set my friend we need to find out what it is something weirds going on right now two weeks ago I went to the dentist actually

wasn't me you want to see the dentist i went to the dentist office with a client of mine who used to be afraid of dentists until I did a fast phobia cool we had to go to the dentist office to test to make sure that everything was ok

now again let's stop there and that's what happened this time notice how i had a hard loop in other words just at the point when the action starts getting more interesting to see the birds flying we're going to find out

what the mystery is I cut and move to a different story without any excuse whatsoever it's very obvious of change stories and at first it seems a little bit confusing it's a bit harsh because the cutting point is such a cold cuts

such a direct card and what I can then to do because it creates a hard loop you can create a much clearer line of division which again tends to create a greater amount of amnesia later on because the stories when they complete

have a much smoother joint and therefore the information is trapped underneath it will be a little bit more unconscious so soft loops are less noticeable but have a milder effect hard loops are more noticeable at that time but could also

have a greater impact in particular will tend to create a greater amount from nijiya later on so that's a structure of a basic nested loop you tell a few stories three four five stories as you get through to about the eighty

percent mark just the high point of each story you break it either with a hard or soft loop you move on to the next story again near the end you break it third story for stories etc when you break the final story you have a period

for direct suggestion that you can be very direct at this point because they'll be in a trance by now anyway and then when you finish off you finish off in reverse order it's very important you don't get the wrong order on closing off

because if you finish off the first story first secretary second 33rd it doesn't match the order in which the stories were broken off anymore so we start closing the loops in the wrong order

the structure is no longer ideal become the time when you can actually put Luther loop-the-loops that's getting more sophisticated we need to do at this point the moment just very simple loops three or four stories

cut each one off near the eighty-nine percent mark move on to the next story then in the middle of all the stories you tell your suggestions very direct suggestions and you close off the stories story three storey 231 and you

carry on like nothing ever happened at that point you have the structure were very powerful very simple basic nested loop next we have an intermediate-level nested loop now the intermediate nested

loop is ash the same as a basic necessity look the same basic structure and layout us or refine it and add a few pieces to make it more impactful so what will you be adding the first you're going to add is emotional content and by

this means that each of the stories you tell will have an emotional theme to go with it so that each story will elicit in someone else a state some kind of emotional experience when you go back to the emotional trigger CDC five will find

all kinds of different ways that you had to evoke an emotional state and someone else they use those skills but this time going to bury them within storytelling remember one way to evoke an emotional condition is to actually just drift

around a particular theme in particular set of languages for example going holiday or whatever happens to be another way to do it is to use dramatic devices if you need any help with this just go to any Hollywood film and you'll

notice how they manipulate your emotions through the dramatic devices of the characters the situation the characters get put into and also the music and visuals are created so remember part of the experience you're creating some

people is the experience the pictures you're painting inside their mind you paint this picture is in different ways you make different sounds appear inside their mind by the descriptions you offer and i'll have different emotional

reactions now two people can tell a story one person can tell you how they brought their children to school one day and everyone could be sitting there laughing and crying just about the antics are going on another person can

tell you about the most heart-wrenching condition say that his parents passed away over the weekend and you can tell in such a flat way that no one has any remotion reaction at all in fact of anything people get bored so the

difference between the two is the way the story is told now everything you've learned so far it's going to be very important for you to use this stage so you use your emotional tone in your voice

train your voice to be able to express emotion it's very important and one way to get good at these dramatic devices is through this story a day exercise that you learned on cd7 just tell lots and lots and lots of stories the stories can

be about anything stories can be how you laze about in your couch all day it doesn't matter provided you communicate some kind of an emotional event and emotional experience and

there's a time goes by you'll be able to polish these things now remember these stories are things that you must practice in the presence of other people if you just do it by yourself you might get a little bit useful to the flow and

and that sort of stuff which is ok but until you make a story that you present to other people but still you make it up live in the moment you won't know where the timing cause you won't know where the dramatic

pauses go you won't know because you have no one to react you to respond the whole point of a story that you get people responding to you the same is true of these nested loops these nested loops only ever as good as each

individual loop that you put together so before you can start putting story together in a sequence you need to be able to have a decent stories that have to be the world's best stories but they have to be decent stories that stand on

their own and captures people's attentions capture their imagination so you're telling your stories three four five different loops to breaking off of the right point you're transitioning at each point you're creating a little

chain of emotional experiences you're creating an emotional rollercoaster people can go through now this can be very useful way by the way of activating someone's negative emotions and then slowly changing them into a positive

emotion as well through the power of storytelling so already you're beginning to work on many different levels in terms of stories there's the emotional rollercoaster level which could have a particular experience that it's

following you could have actual stories themselves in the stories they tell and information that provides as well as the transfer processes that you have in the middle now if you compare this to the way

stories were originally told originally used by the old storytellers in europe in africa in North America pretty much anywhere with human beings had settled down they use a stock of stories a small stock maybe 10 20 30 stories we tell

them over and over again and they could take 10 minutes they could take five hours in the telling of the story you'd never know which one it would be until you got there because the stories will be used to resolve the kind of issues

the tribe I having at that time the stories will be used as a way of communicating a pattern of change to people and storyteller would know which stories to tell and how to tell them mace entirely on his audiences reactions

and when you have a stock of stories that you can tell some which have certain emotional state embedded in other things you'll know how far to take them based on the reaction your audience is giving you so there's always that

feedback loop going on now the second thing you'll be doing at the intermediate level of nested loops is instead of giving just pure or straight suggestions in the middle between the stories or being broken off and then

closing up again at the end you use a transpose instead we will look at these trans processes in more detail on CD 11 on conversational transformers getting what you want once you've learned those you can come

back and insert them here at the point of suggestion between the point we break off your final story and begin to close all the loops again these trans processes will do the same thing essentially as a dar a set of

suggestions to it's just a bit more sophisticated because they take the mind through a particular journey now anything can be a trance process you can give the mindset instructions of things it needs to do in order to get a cut

particular outcome you can follow the actual trance processes that we've laid out for you in CD 11 you can also stick with our suggestions if you prefer doing that the point is you have more options all

what kind of things you can do when you get people into those deep levels of trance ok so we're now on to advanced level lesson loops and as you may have guessed already advanced this loop looks pretty

much the same as an intermediate nested loop it's just that you again adding refinements to the whole thing the first refinement is to do with the transfer processes that you're using

although in the previous one in the intermediate nested loop you already started using trance processors as part of the suggestions of the bottom of the change permanent like a bottom of the nested loops you can now add transfer

processes into the actual stories and cells so that each story runs through a particular trance process all by itself they don't have to have all stories do this but you can make sure that some of the stories actually

become bitter change work while at the same time leading to the next story and setting up another bit of change again so this is how you have stories or backing each other up and creating a very powerful impact of course is still

using an emotional theme you have emotional rollercoaster writing as well now these trance processes in effect format the unconscious mind they create a kind of skeleton inside the mind that all other experiences will be hung on so

you'll know what shape it'll be the time to come to the end so you can use these transfer processes to fight the unconscious mind as a way of seeding suggestions or as a way of actually resolving whatever problems were there

in the first place you can do this in many different ways you can use any other vehicles that we talked about before for example you could use in a metaphorical resolution the story has

the same kind of shape as this the problem all the situation the person happens to find themselves then and when we come onto the demonstration of nested loops in action i will actually demonstrate all those things to you

you can also use it to pre teach certain things to get people set up to succeed in certain ways by explain them in a very indirect sort of way the procedure they have to go through the mental and physical steps they need to take in

order to come to a successful conclusion and whatever things you're doing so a sales person may want to run something through the whole sales process the forms I have to fill in the stamps are going to take the the payments have got

to make and all those different things which normally might overload a new client and bit by bit train them to understand all the sales process will involve by the stories they tell a teacher on the other hand or a new

manager may want to educate his new team or his students into being better at the actual task to do and what they learn the information they have to be able to use before they know they're learning it again stories

can do this for you by providing a learning experience of something that they've had no experience of before then when they actually get to cover the topic it seems familiar and they go oh I know

and suddenly their intuitions already set because the unconscious mind is thinking a particular direction which you set up with your stories and advance the learning curve becomes much sharper because it's a lot easier for them to

pick information up because it's already been pretty toward these are some of the ways that you can use the trance processes within a story now when you get to the central part the place where you would do your hypnotic suggestions

the change work if you like the other things going to add in this point as well as using the normal trans processes that the intermediate loops were using you're going to add also the post not a suggestion protocol now the posthypnotic

suggestion protocol again you'll discover on CD 11 on conversational transformerless this is a very powerful way of getting people to do certain behaviors add certain automatic use that even when you're not there they're sure

to execute the same behaviour regardless of whether you're there to remind them or not the final thing they're going to add is something you can add to the way that you closed your loops when you're closing your loops of course it will

close the stories and you're not going to seal the amnesia you're going to begin to allow them needed to takes part by making each story complete and finishing each level one of the time now a very nice thing to weave into this

stage is a future memory process again this will be covered more than more detail on CD 11 on conversational transformerless but in essence to give you a preview in essence the future memory of process takes someone by the

hand and guide them through an imaginary future where all the skills all the changes all the things that entire nautic process that you've been focusing on is about has been actualized so the person gets a

genuine experience of what it will be like to live in a world where all these things have happened so salesperson made your future memory process of a client happily going through the sales person having happily negotiated the sales

process now being back at home with Carl the TV or whatever it is that happened to board and being happy with it so that they don't have any buyers remorse teacher may well take a student by the hand and take them through a future

memory of what happens after the exam has been successfully past so future memory processes very powerful way of creating a presupposition of success and this way if you assume success the unconscious mind will assume that it has

to all the things in order to make it happen it's a very powerful process to experiment with it and use it properly the master level of nested loops you can look at the whole thing in a number of

different ways one way to look at it is to follow the natural linear progression that we've been following so far through the basic intermediate and advanced nested loops and that is just add a few extra pieces to refine and polish the

impact even further the way you do this would be to add the conversation induction protocol into each of the stories so if you go back to cd8 called conversational inductions dealing directly with the unconscious mind you

remember that we covered a whole bunch of indirect hypnosis conversational inductions that you can use inside of normal conversations and you can use each one of those within a story as well so you can make the story structure

follow the same procedures that would otherwise have been using a normal conversation now if you want two loops you look really elaborate you can make each story follow a different conversationally

induction protocol and thereby having continuous loops of deepness built into your story-telling itself you don't have to do that it's a great way to virtually guarantee that someone's going to go into very

profound altered state of consciousness a very profound state of hypnosis and the second thing you can do to add power to your master level of nested loops is to use in better situations you can use in better suggestions pretty much

anywhere you want because they just slip naturally the language remember you can use suggestions as an ambiguity so you have a double meanings and one of the meanings suggestions you can use them very directly important to

quote stacked realities the whole works now one powerful way to use in better suggestions is in combination with the state's the emotional rollercoaster that you've been creating throughout so what you do is using better suggestions as

emotional triggers a hypnotic trigger words to trigger off the very states the emotional responses that you've been creating with each of the stories in this way you get to build up a whole bunch of resources for people which we

then get to fire off later on as when you need them for example you may want to as a salesperson you may want to create a whole set of stories that have things like desire and go friend motivation and all the kind of emotional

experiences people need to be ending to have before they can buy something then when it comes to actually sign the contract you can fire off each of the emotional triggers one after the other after the other so you put the person

into the ideal buying state just before you present the contract and that way they know that making the right decision as the pen goes to the paper lot of other ways that you can use these as well I'm sure your creativity will help

you find all of them now the important thing is not whether you have this rigid structure in your nested loops and the way tell your stories we talk about mastering something you really ought to have much more choice a creative choice

in the way these structure things we only created this storytelling pyramid the nested losing a very rigid structure of open one loop open the next loop open the next loop etc then closed in sequence as a

training aid because that's a very neat and very simple way of conceptualizing the nested loops but what you end up doing the master level is you can actually have loops built inside loops built inside loops so that once you

follow the general pyramid that we've talked about you can also tell stories within stories so maybe the story three you look through another kind of one or two stories within that come back to story three and then you have story

seven that you start off on that the closing structure will then be sorry 732 and one because stories four five and six where loop inside of story three opened and closed within that you notice how you have a very elegant design of

loops following inside of each other and it can be very powerful especially when working with other hypnotists already familiar with the idea of structured storytelling like this because it's very difficult for them to keep track of all

the story that you're telling this is another way to overload the conscious mind that critical factor so that you can get straight into the unconscious mind with a message of your stories so i have given you a very formal patent very

formal design for creating nested loops all away from the basic to the master level please bear in mind that you should be breaking those patterns as and when the situation demands it because something is more appropriate to run

different kinds of loops now I'd like to talk to you a little bit about how do you actually design a nested loop a nice hypnotic storytelling intervention you see is one thing with the structure looks like and having a sequence of

things you want to build into stories is another thing entirely actually creating those stories and actually make them do what you want now you'd be forgiven to think that creating a nested loop is a very linear process of a logical process

you start with the first story tell the second-story you create the third story and each time you try and weave in all the various things embedded commands their the emotional content etc that you and the thing is though the unconscious

mind doesn't work that way the unconscious mind works in a much more holistic way which means you have to start the story wherever your mind wants to begin so when I started new set of nested

loops the first thing that I do is I think about was the big outcome what is he trying to achieve with this but once you know what the outcome is you give your unconscious mind based instruction of where to get to the

second thing i ask myself is who is intended for because once I know who is intended for i know it where they are beginning from I know where they are starting from I know things that they know the things that they don't know the

problem they typically face these are all built into your understanding of who your audience is so remember nested loops are actually created for certain audiences at the same time is trying to achieve certain things so now that I

have my audience in mind i have a starting point now that I have my purpose in mind i have a finishing point and end point and the space in between is bridged with your stories that are designed to do once you know what those

parameters are you have a sense of what are the hurdles that you have had to overcome so when you know what your audiences and you know what problems are typically face maybe the excuses they make maybe the emotional problems that

they have on the way through lack of motivation fear anxiety doubt whatever happens to be now you can start specifically looking at those things those problems and using your stories to resolve them what leads using the

stories to create the resources when you come to the actual point where you transform the actual suggestion bit in the beginning or the middle bit of the loops that you can actually use that as a point of transformation by the time

you finish all the stories off you actually using that the train that goes straight to the outcome you had in mind when it comes to the actual story design itself you don't necessarily start with the

first story go away through the last you made it that way but it's been very rare that I've done that myself first thing i do is i scanned my mind and allow thoughts and ideas to come into mind very much like the creativity

exercise that you practice on CD seven when creating stories out of nothing and I'll allow it will snatch to come through the word you might have a story that you heard from someone else you might have a bit of your own experience

you might think of something that would be interesting to say in a sense of fucker have a choice words you might want to write all these things down is your brainstorming phase going to have your ideas on paper or at least inside

your mind for you to be able to use not all these ideas will actually make it into your final stories in fact typically i'll write down a whole bunch of thing first and then actually get to writing that the stories at least

creating stories inside my mind at least half if not all the things i wrote down have disappeared because i have better ways of doing things is just a starting point now when it comes to the actual stories you have to do something with

them as well you have to be able to allow them to grow and evolve and ideally be able to test them as individual stories and different people if you have a time to do that of course now the stories themselves i will

typically when I start take whichever story i am most inspired by I can't emphasize enough inspiration is the key to powerful storytelling if you start a story because you know you should tell it then it'll be half-hearted you need

to begin with Evers with whichever story captured your imagination the most your inspiration the most and I use that as a starting point now that means that doesn't mean that you have to use that as the beginning of your nested loops it

might be the very last story you might be the store in the middle but you begin with that because it gets your unconscious mind the whole creative process flowing so let's say for example you start with the third stories out of

a five-story sequence start that story and you run with it until you have a sense of where it's going what you're doing with it you're putting in all the things you want to put in then you might think

about hanging out second there's a story that needs to go before this how can I lead into this story suddenly have your second story in the sequence because the second story was inspired by that third story that

you began with the same is true the beginning the question you asked yourself in is is how do I lead from nothing to leading this audience into want to listen to the second story again that inspires your first or your opening

gambit the same thing happens with your fourth and fifth story because you may be thinking of certain resources let's say with story one you get them the audience warmed up and hooked their attention

that's a story to you begin the process of putting a few resources embedding some suggestions maybe even planting some seeds will take fruit later on the same happens with the story three you create a certain state and emotional

trigger some more seeds will use later on 34 might be a question of adding either more resources more of these seeds or you might sound combining them to start using them already story five again may want to be using those things

already so by the time you get to the trance process bit in the middle there already ready for the changes that you're trying to create for them the upshot of this whole thing is that designing story is nested loops is a

creative process which means you have to follow that creative loop the best thing to do if you have the time is to create a bunch of stories go to sleep review them add some more change some more go back to sleep again never sleep cycle

that you go through you will actually allow your unconscious mind to work through those things more and more we don't have time to go to sleep you may want to use self hypnosis in order to be able to allow that point of

creativity that just station to take place and allow your unconscious mind time to play those ideas through more and more if you want to learn more about self hypnosis a simple way to do it is make yourself a tape or a conversation

hypnotist now she may as well make yourself a tape which talks you through the process of relaxing and feeling good inside and having more creative ideas another thing you might do is you might want to come to one of my I method

seminars go to I method seminars dot-com or one word and you'll find out a lot more about how to use the power of you in mind but for yourself and on yourself the main thing is you give time and space to allow the creative process to

take effect now with experience one of the things that will happen is for the first thing that will happen is you'll have a stock of stories that you like telling you'll know them you can rely on them you can make them do different

things and you're pulling out over and over again because they're very useful the second thing you'll realize is that many of the stories many of your best stories will come to you in a flash of inspiration just completely out of the

blue you'll be talking to someone and suddenly you're in the middle of a story you don't know how you got there but you know it's a good one because you recognize all the pieces and as you

recognize that you begin to layer more of things you know how to do the language the tonalities and all these other things and then of course you want to remember that story to be able to use it again in the future so these are the

natural spontaneous stories i'll come through from time to time then what happens with more experience you might even start coming up with nested loops on the fly right there in the moment and this is something that takes practice

because your mind has to be able to learn to think in certain ways you've got to create those tracks those channels inside the mind that you can filter the information straight into stories and this is why cd7 was so

important cd7 gave you all the exercises you needed to in order condition those channels inside your mind to create stories and to make them something which is natural for you to do natural way of

thinking and natural way of communicating for you i will recommend that you go back and do this exercise again and again and again even when you're good at them or especially when you're good at them because those

exercises are the heart and soul of your ability to tell stories they create the muscles so it's like going to the gym if you go to gym even though you're strong you still have to work those muscles out to maintain the strength i'm going to

leave you with those thoughts or storytelling and the creative process just remember it is a creative process you'll discover your own ways of proceeding your own methodologies it's important that you do that hopefully

we'll have enough pieces here for bill to work out a way for you to do your own thing that works for you as an individual before we come onto the exercises for this CD i want to have a little word about the demonstration of

nested loops in action I think it's very important that I give you a demonstration of these so you can see the ways that you can be used and the wonderful complexities and sophistication that can be built into

them unfortunately I got a bit carried away with a constant on this CD and also with creating this a loop which means is way too much to be included in this CD what I've done is I've created a special

bonus CD entitled conversational-hypnosis in action the super hypnotic storyteller induction now this is a piece of work i'm very proud of it is a one-hour long nested loop which has all these things have been

talking about built-in it has five levels of stories and each one has different layers of sophistication different trans processes and things built inside of it for you to experience at many different levels so as well as

being a demonstration of nested loops and actions of the mastery level it also installed inside your real confidence in your ability to tell stories if you like it formats your unconscious mind to become a hypnotic storyteller or by

yourself you can listen to the CD over and over again you do that right now if you like we can wait until you finish this program in order to listen to it because we are actually include information from series ten eleven

twelve inside of the nested loops that you'll be hearing there as well it's highly your choice so the first exercise for nested loops that i have for you is actually very straightforward go back to cd7 and the

whole bunch of stories that you created there and just choose three or four of them at random they don't even have to have anything to do with each other and I want you just get used to the structure of nesting them together in

other words tell the first story until you get the high point of the point of almost completion break it to the second story break that to a third-story break that you have a fourth 124 story then finished off the fourth story

third-story second-story first story then I want you actually do it with people in a normal conversation almost like you're telling them about the time when skiing and the rollerblading about the trouble at work and about the the

trap that you met on the way back from work the other day and it sounds like a normal conversation that point and that's exactly what you're gonna do is maybe story sound like part of a natural conversation

don't concern yourself about putting anything if not into just yet just make it a natural flowing story the key thing is that you break each story before you complete it before you deliver the real punch line and then you

close them off again in reverse order story 433 sorry to their story one you have a complete piece if you want to hear a master of this in action go and get some video tapes or DVDs from stand-up comedians most stand-up

comedians are storytellers rather and gag tellers don't tell jokes that tell stories that happened to be amusing so listen to the way they tell those stories because very often they follow a nested loop kind of structure which is

part of what makes him so enchanting the next exercise will take what you did in the previous exercise and polish it so now that you have your three or four stories i want you to start tweaking them to make them increasingly more

hypnotic how do you do that really just put in the language and then you put in the hypnotic elements in the tonality and things like that you have to do anything more than play with a language the tonality to make them more hypnotic

again because this is a performance art once you've done that is get used to help people these stories like you're telling them an enchanting tale or adventure of something that's happened to get used to

performing stories to other people because that's the only place where they really come alive the next exercise is really just a series of exercises now that you can tell basic nested loops you can create

them you can tell them and you can make them not take now you have all the building blocks that you need to follow the loop structure we've talked about from a basic loop an intermediate loop in advance loop to master level loop

just go through those four processes as we've discussed adding layer after layer after layer refining the stories remember the story that you tell become better the more you tell them not because you memorize a specific sequence

please get away from that all you're going to do is you remember the high points that the point of trying to reach you can retell it each time each time it will be new different nuances sometimes shorter sometimes longer so you get to

use the feel of the story and make a natural part of who you are because now you have the power of nested loops within your conversational range tell lots of these things once you get good one set of loops create a new set of

loops in a new set of loops a new set of loops so you have a whole range of loops ready for you to draw on when ever you should need it the more loops you have the more you have available to you when it comes to creating spontaneous loop

spontaneous conversational-hypnosis material and above all else enjoy what you're doing this is a performance side which means the more you enjoyed the more confused as it comes through the more that other people will enjoy what

you're doing as well so we've come to the end of this CD on the next CD CD 10 advance the frame control how to lead any interaction you'll discover the power frames and how they shape the meaning of any interaction you'll find

four powerful tactics in order to control the framed and thereby be able to lead any interaction whatever they're actually want finally you'll also learn how to deal with challenges

how to maintain your frame despite the one trying to take it away from you or challenging the reality that you're creating it's a very powerful way of maintaining the direction of any conversation and the meaning that people

take from it before you go onto CD ten remember you have a special bonus CD entitled conversational-hypnosis in action the super hypnotic storyteller induction this is a very powerful one hour long conversation induction using

nothing but stories so you can see everything that we've just done in action you can experience it for yourself you can listen to that straight away if you like or you can wait until the end of the program seeing as it will

include some of the material you'll learn will see these 10 11 12 of course you can do both listen to it now and then I am coming back to see 10 and 11 and 12 then go back and listen to the CD again and see what other things

you can pick up from it we've also included an additional bonus for you called top-secret breaking the neurotic storytellers code in that we've broken down all the stories inside they have not exploited induction so that you

can really see how their work and get put together pull that the language the stories all the different things that we've talked about now before you listen to breaking the hypnotic storytellers code please make sure you finish the

home study program first because we will be addressing all kinds of other information that you'll be learning on cds 10 11 and 12 as part of the breakdown so once you've listened to the entire series then go back to the

additional bonus called top-secret breaking the hypnotic storytellers code which will allow you to break down and analyze all the nuances within the hypnotic storyteller induction that i presented for you i hope you enjoy this

as well as all the other cds remaining in this home study program until we speak again just enjoy learning conversational hypnosis

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