Mitesh Khatri NLP Workshop

Mitesh Khatri
Turning Visions into Reality Globally

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3B NLP Practitioner Manual

Definitions of NLP

NLP stands for "Neuro-Linguistic Programming" An often-used explanation is

"The study of the structure of subjective experience",
which some people complete by adding: "and anything that can be derived from it"
Others have called it “An attitude and methodology,” to which some people add, “… that
leaves behind a trail of techniques.”

Definition of NLP (2)

Neuro The nervous system and neurological responses.

Everything we think or experience causes neurological
responses, states and chemistry in the body

Linguistic Language. We describe our world and ourselves to

ourselves and others using language and language both
describe and creates experience and meaning

Programming Our automatic programmes, patterns and spontaneous

unconscious responses which we learn how to change
and install.
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NLP Communication Model

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NLP Communication Model (drawing two)

Internal World External World

Meaning Created Raw Data

Words, events
or stimuli
recieved by the
Internal senses:
Representaion Filters
(VAKOG) V, A, K, O, G
Values
Beliefs
Attitudes
Language
Deletion Memories
Distortion Decisions
Generalization Meta-programs

State
External Behavior

Words, actions,
state, physiology
Physiology

The NLP communications modal is one of the most important parts of NLP and gaining a
thorough understanding of it will stand you in good stead for the rest of your NLP career We
have reproduced above two variations of the modal for you to examine.

It is important to remember that NLP is an art and a science a point that will be reminded to
you on several occasions. These two drawings are a graphic illustration of the art and
science of NLP. Both the drawings contain all the science but are graphically illustrated
differently.

There are many other ways you will see this illustrated depending on the artistic
interpretation of the trainer

The Communications modal starts with explanation of the external data being received all
the time and continues to explain how this external raw data is treated and how this
treatment affects the way we think feel and act. So onto the details......................

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Generalization, Distortion and Deletion

How do these sentences fall victim to deletion, distortion and generalization?

1. “I can tell by the look on your face that you don’t like me”

2. “Everyone says he doesn’t listen properly”

Who is ‘everyone’?
Does absolutely everyone on earth say that? And do they also say exactly the same thing in
exactly the same words …. ‘He doesn’t listen properly’?

What do they mean by ‘properly’? What kind of listening would ‘properly’ be?

What do they mean by ‘listen’? How is it possible to know what is happening in another
person’s eardrums? Do they actually mean listen as in ‘ears picking up sound data and
hearing’ or do they mean something else by the word ‘listen’?

One person may have interpreted the sentence to mean that he does not pay attention.
That is a totally different meaning from ‘he doesn’t listen properly’.
Someone else might have said ‘He’s in his own world’.
Other things various other people might have said include -
‘He looks down when you talk to him’.
‘He doesn’t concentrate’.
‘I can’t get through to him’.
‘He doesn’t do what I tell him.’
‘He doesn’t seem to understand me’.
The list is endless, and each person might have meant something slightly different from
another person saying the same words.

Anyone of us hearing that sentence would assume we know exactly what was said, and
we’d assume we understood the sentence perfectly. On closer inspection however, we
realize that we hallucinate our own meaning. Meaning happens inside our own minds.

What is this? Generalizations

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The F-Card Exercise Deletions

Read the following sentence out allowed one time through counting out the number of the
letter “F”

Finished files are the result of

years of scientific study
combined with the experience
of many years of experts

Distortions

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NLP Modalities & Representational systems VAK – Visual Auditory &

Kinaesthetic

As human beings we experience the world through our physical senses: Vision,
Hearing, Touch, Taste and Smell. In NLP the senses are split into three groups and
referred to as Representational Systems (rep systems); this term relates to the fact
the brain uses the senses to build our internal representation, or model of the world
around us.

The rep-system groups are:

Visual - the things we see

Auditory - the things we hear

Kinaesthetic - the things we feel

(touch/emotion), taste or smell

You can start finding out about the way that you are using your senses by taking a trip down
memory lane...

Simply remember something pleasant; perhaps you are on

holiday, taking a trip to the countryside or enjoying a romantic
evening. What's your first thought or sensation in the instant
that the memory comes to mind? Whatever your first thought
is, it will fit in to one of the VAK categories (above). For
example, when remembering a beach holiday, some people's
first recollection will be seeing the blue sky and bright sunlight
(V - visual); others might remember hearing the sound of the
sea or noise of children playing (A - auditory); some will
remember the feel of the warm sunshine, the smell of hot-
dogs or the taste of ice-cream (K - kinaesthetic).

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Whatever you’re first thought is, it will offer a clue to your preferred (or leading) rep
system.

By exploring your memory further, you will discover that your inner experiences are made
up of Images, sounds and feelings. To prove this to yourself simply take your pleasant
memory and try the following experiment.

Bring the memory back to mind now, in as much detail as you can, and then:

1. Take away any pictures that are associated with it so

that all you are left with are sounds and feelings (as if
The light has been switched off).
2. Next, turn the sound down until your memory is silent.
3. Finally, let the feelings melt away.

After doing the things outlined in the box above, you should be left with a blank memory! If
there is anything left it will identifiable as a sight, sound or feeling that you have not
'switched off'.

It's perhaps now becoming obvious that we construct our internal 'model of the world' using
our senses; what might not be so obvious is that each individual uses the senses differently,
and so has a different internal model.

Generally, 'visual' people prefer thought pictures, 'auditory' people tend to listen to inner
voices and those with a 'kinaesthetic' model mainly construct their inner world with touch
and feelings.

There is a more formal test of preferred Representational system on page 53 in this manual
so take that test now if you are still unsure of your preferred representational system

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Representational System Characteristics

Each representational system can best represent the aspect of the world that it responds to
directly. Many people get into trouble by representing experience with the wrong
representational system.

Digital descriptions are always secondary experience so they contain less information than
the primary experience that they describe.

Auditory digital is valuable as a filing system.

Ø To keep track of experience.

Ø To categorise experience.
Ø To set direction.
Ø To plan.
Ø To summarise.
Ø To make a running commentary on raw data.
Ø To draw conclusions.
Ø To make sense of things.

Auditory tonal can add emphasis and help flesh out raw data.

Visual can represent an enormous amount of data simultaneously and instantaneously.

Auditory processing is sequential and takes longer than visual processing which is
simultaneous.

The kinaesthetic system has more inertia and duration than the other two systems.

When making decisions it is difficult to fully represent possibilities using only sound, words
or feelings. The visual system is helpful, because it enables one to simultaneously picture
different options and make comparisons between them.

Kinaesthetic tactile and proprioceptive help provide raw data.

Kinaesthetic meta is the primary way people evaluate experience.

Congruent feelings are perceptual feelings of events in response to criteria and usually have
a positive or negative value. They are what we usually call emotions or feeling states. Meta-
feelings may be created through past anchoring or experiences and/or beliefs.

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Representational System Preferences

Visual

'If I could show you a really brilliant way of communicating, that could make you appear
more attractive to visionary people, you would at least want to look at it, wouldn't you?'

The benefits of building rapport with people who have a preference for the visual
representational system is that it would become so much clearer to see the way people
view the world. It is when you see how things look from other points of view that you catch
sight of the bigger picture. From this perspective it is easier to see the way forward to a
really bright future for everyone.

Auditory

‘If I were to tell you about a way of communicating with people that would really want to
make them prick up their ears and listen, you would at least want to hear about it, wouldn't
you?'

Striking a harmonious chord with someone with an auditory preference might sound easy to
you. Being in tune with someone means that you are talking their language and
orchestrating a whole group with the language that you speak can create sweet music.

Kinaesthetic

'If I were to give you a really concrete way to get in touch with people, so that you can build
rapport at a really deep level and get to grips with the way they hold reality, you would at
least want to get a feel for it, wouldn't you?'

When you find common ground with people you may feel things moving along more
smoothly, find new connections are made and that the path ahead becomes a stroll in the
park.

Unspecified (Auditory Digital)

'If I were to invite you to consider the idea that some people process their understandings of
the world in a very distinct and precise manner is this concept that might intrigue you?'

Knowing how people think can help you expand your perception and it is a very effective
way to learn the answers to some of those questions which cross your mind from time to
time. It might even change the way you communicate with people depending on what sense
you can make of them.

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VAK METAPHORS

Visual Metaphors

I see what you mean. I'm trying to picture it.

I want a different perspective. Try to see things my way.
Let's look at this closely. Show me what you mean.
I have a vision of how things could be. Things are looking up.
You have to recognise his point of view. It appears that…..
I can see right through him. Seeing eye to eye.
He's making a spectacle of himself. She's the image of her mother.
He has a blind spot. Turn a blind eye.

Auditory Metaphors

We're on the same wavelength. Living in harmony.

Speaking the same language. Talking in gobbledegook.
Tune in to this. Noise in the system.
I hear what you are saying. Quiet as a mouse.
Music to my ears. Sounds good.
I like your story. Turn a deaf ear.
With a song in my heart. Tone it down.
A ding dong row. Rings a bell.
He drummed it into her. Strikes a chord.
Lost for words. Calling the tune.
Minding your P's and Q's. Struck dumb.
The accent on success. Shouting the odds.

Kinaesthetic Metaphors

I'm reading to tackle this head on Get a grip on yourself.

I've got a feel for the place. Things just flowed.
Maintaining a sense of balance. He rubs me up the wrong way.
Pull yourself together. He wants something concrete
He's solid as a rock. Hold on a minute.
A sticky situation. Scratch that idea.
His feelings were hurt. I feel it in my bones.
He's a wet blanket. One step at a time.
A cool customer. Hot-headed.
I need a hand. A pat on the back.
Can you grasp the idea? Let's walk through this step by step.

These are a few metaphors that are associated with representational systems. This will
assist you when doing your metaphor construction later in the programme

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Representational Systems and Physiology

As well as noticing the language predicates and the eye accessing cues you can also acquire
information from a person's physiology and voice which may assist you in establishing their
preferred representational system.

The clues set out below are just that — clues — and it is useful to test any assumptions you
make (this is also true for the rest of NLP!).

Visual Posture: straight back, head looking up, gestures high up.

Breathing: shallow and high in the chest — no pause for breath.

Skin colour: pale.

Voice: fast tempo, high pitch, nasal tonality.

***********

Auditory Posture: head on one side, may point to ears.

Breathing: even, in the middle of the body.

Skin colour: normal.

Voice: even, melodic, rhythmical, clear diction.

***********

Kinaesthetic Posture: may slouch or bend over and look down.

Breathing: slow and deep low in the chest.

Skin colour: more colourful, redder.

Voice: slop tempo, low and deep, long pauses.

**********

Internal Posture: straight, may touch chin or cheek with one hand.
Dialogue
Breathing: even.
(Auditory Digital)
Skin colour: normal or pale.

Voice: monotone, same pitch, robotic.

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Predicates
Some examples are given below of linguistic predicates that may indicate the types Of
thinking processes that the speaker is using. By matching these predicates you Can build
rapport and gather more information from the speaker.

Visual
• 'I see what you mean...'
• 'I get the picture...'
• 'Things are looking good...'
• 'Can you show me what you mean...'
• 'We need to focus on this aspect...'
• 'He has a bright future here...'
• 'You have added some sparkle to your presentation...'
• 'I had an insight into how things look from his perspective...'

Auditory
• 'I like the sound of that...'
• 'We have a very harmonious working relationship...'
• 'Your idea really struck a chord with the boss...'
• 'I like to listen to my team's ideas...'
• 'I hear what you say...'
• 'I'm getting into my rhythm with the job now...'
• 'He told me the relevant details...'
• 'I'd like to discuss how things are going...'

Kinaesthetic
• 'I like the feel of that ...'
• 'I have a sense of what you mean...'
• 'He's got his finger on the pulse...'
• 'I'm trying to give some shape to these ideas...'
• 'Things are really moving now...'
• 'I'm under a lot of pressure at times...'
• 'I like concrete ideas I can really get to grips with...'
• 'He's very hot on quality control...'

Other Predicates
Occasionally you may also hear words or phrases that indicate some gustatory or olfactory
processing, such as: ' I could taste success' or 'It smelt like a fishy deal'. You can match these
also when they occur.

There may also be people who use very few predicates of any modality. These people might
use a log of abstract words such as understand, process, think and concept. These people
can also be matched by speaking in this sort of abstract language.

Some people may also use all of the modalities; they are often the ones who are thought of
as 'naturally good communicators'.

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Visual

People that have a predisposition to use or prefer visual language tend to speak quickly;
tend to be fairly high energy. The following is an example of the words and phrases that a
visual person will use;

Analyse An eyeful Angle

Appears to me Appear Aspect
Beyond a shadow of a Bird’s eye view Blackness
doubt
Bright Catch a glimpse of Clarity
Clear Clear as day Clear-cut
Cognisant Colourful Conspicuous
Demonstrate Dim view Dream
Enlighten Examine Eyeful
Flashed on Focus Foresee
Fuzzy Get a perspective on Get a scope on
Glance Glimpse Grey
Hazy Hazy idea Hindsight
Horse of a different Horizon Idea
colour
Illusion Image Imagine
In light of In person Inspect
In view of Look Looks like
Make a scene Mental image Mental picture
Mind’s eye Naked eye Notice
Obscure Observe Ogle
Outlook Paint a picture Peek
Perception Perspective Picture
Photographic memory Pinpoint Plainly see
Pretty Pretty as a picture Preview
Scene Scope Scrutinise
See See to it Seem
Short-sighted Show Showing off
Sight Sight for sore eyes Sketch
Sketchy Staring off into space Survey
Take a peek Tunnel vision Under your nose
Up front Vague View
Vision Vivid Watch
Well defined Witness

Now things are probably clearer than ever, and you can start to respond to visual people in
their preferred mode or “language” in order to establish rapport and let them know they
are really being listened to and understood.

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So here are just a few examples’ of predicates in action giving you some idea as to how you
can use the other people’s representational system to enable you to gain or maintain
rapport during a conversation. These are visual replies to a visual person’s lead
representational system:

SPOKEN A RAPPORT REPLY

That proposal seems vague to me. Perhaps I can shed some more light
on it.

Do you get the picture? Yes, I see just what you mean.

The longer I look at this, the more We need to put the problem in better
puzzled I get. focus.

It appears that we are headed for a That’s my perception exactly

bright future.
.
She was such a colourful character. Hearing you describe her, I can get a
clear mental picture.

I foresee a good future with our new It certainly seems like we see eye to
partner eye on that subject.

You can use the space below to note down any other quotes and Rapport replies you
might think of

SPOKEN A RAPPORT REPLY

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Auditory

They have rhythmic, resonant voices, which seem to emanate from deeper in their chest,
they speak clearly and have a “good tone” of voice. They are generally articulate, taking
great pains to express themselves well. Richard Burton, John Kennedy are good examples of
an auditory person.

The following is a partial list of phrases and words auditory individuals use and with which
their sentences will be peppered. Notice they all, in one way or another, have to do with
sound:

After thought Announce Articulate

Audible Blabber-mouth Boisterous
Call Call on Clash
Clear as a bell Clearly expressed Click
Communicate Converse Crashing
Describe in detail Discuss Dissonant
Divulge Earful Earshot
Enunciate Express yourself Give an account of
Give me your ear Gossip Grant an audience
Harmony Hear Heard voices
Hidden message Hold your tongue Hum
Hush Idle talk Inquire
Inquire into Interview Keynote speaker
Listen Loud Loud and clear
Manner of speaking Mellifluous Mention
Noise Noisy Oral
Outspoken Pay attention to Power of speech
Proclaim Pronounce Purrs like a kitten
Quiet Rap session Remark
Report Ring Rings a bell
Roar Rumour Say
Scream Screech Shout
Shrill Silence Sing
Sound Speak Speechless
Squeal State State your purpose
Talk Tattle-tale Tell
Tinkling Thunderous Told
Tone Tongue-tied To tell the truth
Tune, tune up Unheard of Utter
Vocal Voice Voiced an opinion
Well informed Within hearing range Word for word

Now that you can recognise a auditory person when you hear one, look over the following
samples of what they might say and how to reply to them to achieve maximum
effectiveness in your communication and listening skills:

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So here are just a few examples’ of predicates in action giving you some idea as to how you
can use the other people’s representational system to enable you to gain or maintain
rapport during a conversation. These are auditory replies to a auditory person’s lead
representational system:

SPOKEN A RAPPORT REPLY

It doesn’t sound like such a In a manner of speaking you’re

reasonable request to me correct
.
There was such harmony at the I’ll say!
office.

As soon as she walked into the room I hear you

I was tongue-tied.
.
Did you detect a hidden message? I did hear something in the tone of his voice.

The noise level in that classroom I’ll tell you! It’s enough to make
makes it difficult to pay attention to you scream
the teacher.

You can use the space below to note down any other quotes and Rapport replies you
might think of

SPOKEN A RAPPORT REPLY

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Kinaesthetic

Their speech patterns exhibit a very slow tempo with very long pauses. The words often
seem to be bubbling up slowly from the region of their abdomen. The kind of phrase and
words they use are unmistakable. Here is a sample list:

Active Affected All washed up

Bearable Bind Boils down to
Break Callous Charge
Cold Come to grips with Concrete
Control yourself Cool Cool/calm/collected
Dig Emotional Feel
Firm Firm foundation Float
Floating on thin air Flow Foundation
Freeze Get a handle on Get a load of this
Get in touch with Get a drift of Get your goat
Grasp Grip Hand in Hand
Handle Hang in there! Hanging
Hassle Heated Heated arguments
Hold Hold it! Hold on!
Hot head Hunch Hurt
Hustle Intuition Know-how
Lay cards on table Light-headed Luke-warm
Moment of panic Motion Muddled
Nail Not following you Painful
Pain in the neck Panicky Pounding
Pressure Pull some strings Push
Rough Rush Scratch
Sensitive Set Shallow
Sharp as a tack Shift Slipped my mind
Smooth operator Softy Solid
So-so Sore Squeeze
Stiff upper lip Stir Stress
Stretch Structured Stuffed shirt
Support Tension Tied up
Too much a hassle Touch Topsy-turvy
Unbearable Underhanded Unravel
Unsettled Warm Wring

How would you respond to kinaesthetic person for maximum results?

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Get in touch with these sample dialogues. These are kinaesthetic replies to a kinaesthetic
person’s lead representational system:

SPOKEN A RAPPORT REPLY

I feel comfortable around my new I had a hunch that you felt that way.
boss

She just wasn’t able to get a grip on Sometimes it can be very difficult for
herself. a sensitive person under that kind of
pressure.

Being caught in traffic really shook It’s important to keep your shirt on in
me up. those situation

I envy her. She’s always so cool, Yes, but maybe she’s not in touch
calm, and collected. With her feelings.

It’s just too heavy for me to deal with. Perhaps we can walk through the
problem over the phone.

It is important to remember that people do use all three systems. If in any doubt
use all three, in fact this is a part of the model of charisma

You can use the space below to note down any other quotes and Rapport replies you
might think of

SPOKEN A RAPPORT REPLY

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Matching Predicates

So in this section a few ideas for matching across unspecified phrases to the other lead
systems

This would be useful if you know the other persons primary system but for whatever reason
they are using unspecified words. The use of the other person’s primary system can make
the change you require or secure the depth of rapport you are looking for.

UNSPECIFIED VISUAL AUDITORY KINAESTHETIC

‘I understand you.’ ‘I see what you are ‘I hear you loud ‘What you’re
Saying.’ And clear.’ saying
‘I know ‘It does look that ‘So I’ve heard ‘My feelings
Way.’ Exactly.’
‘That’s obvious.’ ‘That’s clear.’ ‘That clicks.’ ‘That fits.’

‘That makes sense.’ ‘That’s how I see ‘That rings a bell.’ ‘That strikes me as
it.’ Correct.’
‘That’s given me ‘That sounds right.’ ‘I catch your drift.’
insight.’
‘That’s confusing.’ ‘That’s unclear.’ ‘I can’t make ‘I’m trying to take it
rhyme all in.’
‘I don’t ‘It’s obscure (dim, ‘It doesn’t click.’ ‘It doesn’t feel right
Understand. dark, hazy.’ To me.’
‘Looks fuzzy to ‘It sounds gargled.’ ‘It doesn’t fit.’

‘Lines don’t ‘That’s gibberish to ‘It’s impenetrable.’

Connect.’ Me.’
‘I want to ‘I want to show you ‘I want you to listen ‘I want to put you in
communicate Something.’ Carefully (I shall Touch with
something to you.’ say this only Something.’
once).’
‘Do you ‘Do you see what ‘Does what I’m ‘Does what I’m
understand I’m showing you?’ saying sound right putting to you feel
me?’ to you?’ right to you?

Unspecified is also refer to as Auditory Digital or Internal Dialogue. This is basically talking to
yourself, inside your head, to ‘work out’ the answer to the particular situation. This is not to
be confused with ‘thinking’ which is something completely different.

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Representational System Preference Test

For each of the following statements, please place a number next to every phrase. Use
the following system to indicate your preferences:
4 = Closest to describing you
3 = Next best description
2 = Next best
1 = Least descriptive of you

1. I make important decisions based on:

____the right gut level feelings.
____which way sounds the best and resonates for you
____what looks best to me after clearly seeing the issues
____precise review and study of the issues

2. During an argument, I am most likely to be influenced by:

____the loudness or softness of the other person's tone of voice
____whether or not I can see the other person's point of view
____the logic of the other person's argument
____whether or not I am in touch with the other person's feelings

3. I mostly like to be aware of the following in conversation:

____the way people hold themselves and interesting facial expressions
____the beautiful feelings they and I share
____the words I and they choose and whether it all makes good sense
____the sounds and intonations that come from the lovely tone of voice

4. If I had the choice of these in order, first I would like to:

____find the ideal volume and tuning on a stereo system
____select the most intellectually relevant point in an interesting subject
____select the most comfortable furniture
____look around and take in the décor, pictures and how the room looks before
doing anything else.
5. Which describes your room that you live in:
____The hi-fi is very prominent and you have an excellent collection
____It’s a practical layout and things are situated in an excellent location
____The feel of the place is the most important to you
____The colours you choose and the way a room looks are most important

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Rep System Test Page 2

Step One: Copy your answers from the previous page to here:
1. ____K 2. ____A 3. ____V
____A ____V ____K
____V ____Ad ____Ad
____Ad ____K ____A

4. ____A 5. ____A
____Ad ____Ad
____K ____K
____V ____V

Step two: Add the numbers associated with each letter. There are 5 entries for each letter:

V A K Ad

Totals:

Step three: The comparison of the total scores in each column will give the relative
preference for each of the 4 major Representational Systems.

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Eye Accessing Cues

We experience the world outside our bodies through our senses (VAKOG): vision, sound
(auditory), touch (kinaesthetic), taste (gustatory) and smell (olfactory). We also have the
capacity to recreate 'models' of our sensory information, that is, we can think in pictures
and words and mentally recreate our experience of, or get a sense of an imagined, physical
sensation. In addition to this, we feel emotions.

Now take a moment to consider the following:

What was the colour of a favourite toy, or item of clothing, from your
childhood.
Remembering a distinctive sound from your past, perhaps a whistle or
a school bell. How clear is it?
What do you think of first when you remember a particularly happy
event or emotion that you have experienced?
How does feel to relax in a warm bath or shower?
What would your name look like in coloured neon lights above your
front door?
How would your telephone sound if it were ringing underwater?

Each of the questions above causes you to access a memory or to mentally construct an
experience. As you relax and run through the questions again. What do you notice, if
anything, about the movement of your eyes?

Ask a friend the same questions, making sure that you are looking at his/her eyes as you are
asking. What do you notice specifically about your friend’s eye movements?

The effect that you might be noticing is referred to in neurological literature as 'lateral eye-
movement'. NLP uses the phenomenon to help recognise patterns of thinking and primary
processing systems (whether people use vision, sound or kinaesthetic to trigger their
thinking - Rep systems).

This information can be useful in gaining rapport and achieving more effective
communication The diagram overleaf shows the usual meanings attached to lateral eye
movements.

What you can notice

These are the usual meanings of lateral eye movement - the illustrations assume that you
are facing the other person (so that their left is your right).

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Eye Accessing Cues

The NLP eye accessing cues are one of the more well know NLP ‘secrets’ All the following
eye accessing cues are as you see the person and are common in most people or as we say
in NLP terms a normally organized person.

Visual Eye Accessing Cues

Up and to the right usually means that a person is imagining (constructing) something
visually. Can you just imagine that!.

Up and to the left usually means that a person is remembering something visually - get the
picture?

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Auditory Eye Accessing Cues

Right side (horizontal) usually means an imagined (constructed) sound (I imagine that
message should start become loud and clear to you now)..

Left side (horizontal) usually means a remembered sound - does that ring a bell?.

Sometimes people are organised the other way round, it is not common and is about 10-
15% of the population. There is no significance at all, regarding which way round the person
has his eyes organised but we, as practitioners need to know. Therefore following these
drawings are some question that if asked (with rapport and sensory acuity) will discover if
the person is normally organised or not.

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Kinesthetic and Auditory Digital Eye Accessing Cues

Down right (which is down right obvious!) usually means that a person is accessing a bodily
feeling or emotion - are you getting to grips with this idea now?

Down left usually means that a person is accessing internal dialogue. This is often a
repeated phrase such as “I should know better!” , “Yes! Done it again”, “Told you so”, etc.,
that comes up time-and-time again in; typically at times of stress or elation.

REMEMBER THIS IS AS YOU LOOK AT THE OTHER PERSON AND YOU CAN’T
DO YOUR OWN EYES SO DON’T TRY AS IT WILL ONLY CONFUSE YOU

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Although the patterns above are those most commonly found, there are exceptions. Some
people have the patterns reversed (typical in, but not exclusive to, many left-handed
people), others have a 'mixture'. There are also some cultures where this pattern is not the
norm. Bearing in mind the NLP presupposition that 'Everyone lives in their own unique
model of the world', you might encounter different patterns.

Learning to read eye-accessing cues will not make you a mind reader but will give you a clue
to the way the other person is thinking. A skilled NLP practitioner will notice the sequencing
of eye patterns.

For example, before answering a question someone might always follow the pattern 'up left,
across right, down right'. This suggests that they are remembering a picture, putting
together some sound or words, and checking that the idea feels OK. By communicating
ideas in the same sequence you will probably gain strong rapport with this person.

We have produced for you on the next page a schematic diagram showing the eye accessing
positions. Use this to assist you check the positions when you are asking the questions on
the following page. These questions are simply designed for you to discover the way your
client or person you are working with has there eyes organised.

The questions are not carved in stone and the art of NLP will come in to play as you ask
these questions. In normal practice you would ask these questions (or similar) in an
innocent clandestine way so as to decide if they are normally organised.

The power of this knowledge when working with somebody will be shown later particularly
when working with strategies.

So be inventive and play with these questions, so that you can quickly and easily discover
the way a persons eyes are organised.

The aim is to be able to eventually do it without the other person be aware of the nature of
your questions.

REMEMBER……

Now you will start using Rapport Skills and Sensory Acuity every time you do any exercise.
These are two of the most important cornerstones of NLP. I can not emphasis this enough.

THAT SAID HAVE FUN AS WELL……

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Eye Pattern Chart

Constructed Recalled

VC VR

AC AR

K AD

FOR A NORMALLY ORGANISED

RIGHT HANDED PERSON

Vc = Visual Constructed

Vr = Visual Remembered

Ac = Auditory Constructed

Ar = Auditory Remembered

K = Kinaesthetic (Feelings)

Ad = Auditory Digital (Self-talk)

REMEMBER THIS IS AS YOU LOOK AT THE OTHER PERSON AND YOU CAN’T
DO YOUR OWN EYES SO DON’T TRY AS IT WILL ONLY CONFUSE YOU

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Eye Pattern Questions

(Remember, some people access Vr, Ar, Ad, K by defocusing.)

r
V: Visual Remembered: Seeing images from memory, recalling things they have seen
before.

QUESTION: “What was the colour of the room you grew up in?
“What colour was the first car you ever owned?

Vc : Visual Constructed: Images of things that people have never seen before. When
people are making it up in their head, they are using visual constructed.

QUESTION: “What would your room (car) look like if it were blue?”

Ar: Auditory Remembered: When you remember sounds or voices that you’ve heard
before, or things that you’ve said to yourself before.

QUESTION: “Growing up, did you have a favourite pet? What was the sound
of your pet’s voice?” “What was the very last thing I said?” “Can
you remember the sound of your mother’s voice?”

Ac: Auditory Constructed: Making up sounds that you have not heard before.

QUESTION: “What would I sound like if I had Donald Duck’s voice?”

Ad: Auditory Digital: This is where your eyes go when you are talking to yourself

QUESTION: “Is there a poem from school hat you remember?” “Can you say the
7 Times Table to yourself?”

K: Kinaesthetic: (Feelings, sense of touch.) Generally you look in this direction when ou
are accessing you feelings.

QUESTION: “Do you have a favourite beach or place in the outdoors to walk?
What does it feel like to walk there without shoes?” “What does
it feel like to touch a wet rug?”

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Sub-Modalities
Desired Outcome:

To be able to consciously make changes in a client's internal representations

through modifying their Sub-Modalities.

Definition:

Pronunciation: (sub-mõ-dal-itēz) : noun

The specific descriptive elements within each of the five modes of input, or
senses. .i.e. Associated, dissociated is to sight. Loud or soft is to sound. Hot or
cold is to touch

Theory:

Sub-Modalities are how we encode and give meaning to our Internal

Representations. Changing the Sub-Modalities can change the meaning of an
Internal Representation.

Techniques Include:

1. Contrastive Analysis: Involves finding the Drivers (or critical Sub-Modalities) by

comparing two Internal Representations for the Sub-Modality differences. E.G.:
Comparing Ice Cream and Yoghurt.

2. Mapping Across: Involves discovering the Drivers (through Contrastive Analysis) and
then changing the Sub-Modalities of one of the Internal Representations to the
other. E.G.: Changing the Sub-Modalities of Ice Cream (liked), and Yoghurt (disliked)
should cause the client to dislike Ice Cream.

3. Swish Patterns: These involve replacing one Internal Representation or picture with
another. This directionalises the series of Internal Representations so that the
Desired State is more common.

4. Dissociative Techniques: Involves shifting viewpoint and viewing a

specific Internal Representation from a dissociated position. This is
frequently used to "take the charge off a negative emotion, as in the
Phobia Model. (See FAST PHOBIA MODEL, Page 82.)

5. Perceptual Positions: Involves shifting viewpoint and viewing a specific internal

representation from one of three different positions. First position is looking through
your own eyes. Second position is looking through another person’s eyes (usually a
significant person in the event). Third position is observing the entire scene from a
dissociated position (say, above the entire event) This is useful as a dissociative
technique and for incorporating learnings.

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Sub-modalities checklist

Do you have a picture?

Visual 1 2 3 4
Black/ White or Colour
Near or Far
Bright or Dim
Location
Size of Picture
Associated or Dissociated
Focused or Defocused?
Focused –steady or not
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Amount of Contrast
3D or Flat
Angle Viewed From
No of Pictures

Auditory Are there any sounds that are important?

Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound

Kinaesthetic Are there any feelings that are important?

Location
Size
Shape
Intensity
Steady or changing
Temperature hot/cold
Vibration
Pressure/Heat?
Weight

Are there any Speed Look

Smells or is very for the
Tastes that are important. trigger.
important?
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Do you have a picture?

Visual 1 2 3 4
Black/ White or Colour
Near or Far
Bright or Dim
Location
Size of Picture
Associated or Dissociated
Focused or Defocused?
Focused –steady or not
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Amount of Contrast
3D or Flat
Angle Viewed From
No of Pictures

Auditory Are there any sounds that are important?

Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound

Kinaesthetic Are there any feelings that are important?

Location
Size
Shape
Intensity
Steady or changing
Temperature hot/cold
Vibration
Pressure/Heat?
Weight

Are there any Speed Look

Smells or is very for the
Tastes that are important. trigger.
important?

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Do you have a picture?

Visual 1 2 3 4
Black/ White or Colour
Near or Far
Bright or Dim
Location
Size of Picture
Associated or Dissociated
Focused or Defocused?
Focused –steady or not
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Amount of Contrast
3D or Flat
Angle Viewed From
No of Pictures

Auditory Are there any sounds that are important?

Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound

Kinaesthetic Are there any feelings that are important?

Location
Size
Shape
Intensity
Steady or changing
Temperature hot/cold
Vibration
Pressure/Heat?
Weight

Are there any Speed Look

Smells or is very for the
Tastes that are important. trigger.
important?

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Do you have a picture?

Visual 1 2 3 4
Black/ White or Colour
Near or Far
Bright or Dim
Location
Size of Picture
Associated or Dissociated
Focused or Defocused?
Focused –steady or not
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Amount of Contrast
3D or Flat
Angle Viewed From
No of Pictures

Auditory Are there any sounds that are important?

Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound

Kinaesthetic Are there any feelings that are important?

Location
Size
Shape
Intensity
Steady or changing
Temperature hot/cold
Vibration
Pressure/Heat?
Weight

Are there any Speed Look

Smells or is very for the
Tastes that are important. trigger.
important?

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Contrastive Analysis

Sub-modality State No State No 2 State No 3 State No 4

1
VISUAL Do you have a picture?
Black & White or Colour B&W Colour
Near or far Near Far
Bright or dim Bright Bright
Location Up Left Dn Rt
Size of Picture Big Big
Associated or Dissociated Assoc Assoc
Focused or Defocused Focus Focus
Focus - Steady or Changing Steady Change
Framed or Panoramic Pan Frame
Movie or Still Movie Movie

Mapping Across

Sub-modality State No State No 2 State No 3 State No 4

1
VISUAL Do you have a picture?
Black & White or Colour B&W B&W
Near or far Near Near
Bright or dim Bright Bright
Location Up Left Up Left
Size of Picture Big Big
Associated or Dissociated Assoc Assoc
Focused or Defocused Focus Focus
Focus - Steady or Changing Steady Steady
Framed or Panoramic Pan Pan
Movie or Still Movie Movie

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Examples Of Triggers in NLP Contexts

Like to Dislike: "When you think of that, what are you aware of?" (How are you
representing that to yourself)

1 2

Swish: "How do you know it's time to...."

Anchor: "Remember a time when you were totally ______?

Can you remember a specific time?"

Strategy: "Remember a time when you were totally _____________?

Remember a specific time? As you remember that time,
what was the very first thing that happened...?"

D
Values: "In the context of ________,
what is important to you? When you think of that value?

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Like to Dislike Script

For Sub-Modalities

Whenever you do any sub-modalities work you should use the sub-modalities checklist
starting on page ninety. This is for precision and accuracy.

1. Can you think of something that you like but wish you did not? Good what is it? As
you think about that do you have a picture?

2. Elicit the Sub-modalities fast and write them down on the check sheet. Look out for
the driver

3. Break State

4. Can you think of something which is similar but which you absolutely dislike? (for
example ice cream and yogurt are similar but different)

5. Elicit the Sub-modalities. The driver (probably – Location) must be different

6. Break State

7. Do contrastive analysis on the two sets of sub-modalities. Then change the sub-
modalities of the food they into the sub-modalities of the food they dislike. Note the
driver.

8. Now as you think about (food they used to like) how is it different now?

Note: Make sure you test and future pace when finished.

Test: “Now how do you feel about (food they used to like).”

Future Pace: “I want you to go out to a time in the future. A time where you could imagine
being near or seeing (the food they used to like) and notice how you feel now instead.”

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Belief Change Script

Whenever you do any sub-modalities work you should use the sub-modalities checklist
starting on page ninety. This is for precision and accuracy.

1. “Can you think of a limiting belief about yourself that you wish you did not have?
Good, what is it? As you think about that belief do you have a picture?”

2. Elicit the Sub-Modalities.

3. “Can you think of a belief which is no longer true? For example perhaps you used to
be a smoker. Someone who was a smoker used to believe they were a smoker but
now they no longer believe that. So the belief ‘I am a smoker’ is no longer true. Or
someone who used to own a certain car but no longer does, they would have the
belief of ‘I own a (make of car)’ as being no longer true. Do you have something like
that which used to be true for you but no longer is? Good what is it? As you think
about that old belief do you have a picture – where is that old belief now?”
Wish Not True Absolutely Not Absolutely Not
Belief True True
I Like Beer? - YES! I Like Drugs? - NO! I Like Beer? - NO!

Wish Not True Belief Absolutely Not True Absolutely Not True
I am a Bad I am a Bad Father? - I am a Bad
Salesman? - Yes! NO! Salesperson? - NO!

Wish Not True Belief Absolutely Not True Absolutely Not True
I cannot wake up I Cannot wear my I Cannot Wake up
early? Yes! Clothes? - NO! Early? - NO!

Wish Not True Belief Absolutely Not True Absolutely Not True
I cannot Exercise I Cannot Walk on my I Cannot Wake up
Regularly? Yes! Own? - NO! Early? - NO!

4. Elicit the Sub-modalities. For best results the drivers should be different than first
belief.

5. Change the sub-modalities of no one into the sub-modalities of no two

6. Test – “Now what do you think about that old belief?

7. “Can you think of a belief which is absolutely true? Like for example the belief that

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the sun is going to come up tomorrow. Do you believe that? As you think of that
belief do you have a picture?”

8. Elicit the sub-modalities

9. What would you like to believe instead of that old believe you used to have? Good
what is it? As you think of that belief do you have a picture?

10. Elicit the sub-modalities

11. Change the sub-modalities of the new belief into the sub-modalities of the belief
that is absolutely true

100% True 100% True

Wish to Be True
I am a Good Trainer? I Quit Drinking? - Yes
I Quit Drinking!
- Yes That's True! That's True

100% True
100% True
Wish to Be True I am Excellent at
I am Excellent at Sales?
I am Excellent at Sales Training? - Yes That's
- Yes That's True!
True!

100% True 100% True

Wish to Be True
I can Shower Myself? - I Can Wake up Easily? -
I can Wake Up Easily
Yes That's True! Yes That's True!

100% True 100% True

Wish to Be True
I Love my Children? I Love Exercising? -
I Love Exercising
- Yes That's True! Yes That's True!

12. Test – Now what do you believe? Why do you believe you have this new belief?

Remember to Future pace.

“I want you to go into the future to a time when you would have used that old belief and
notice how you feel now.”

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Swish Pattern Big Picture

Keys to Successful Swish Patterns:

Ø Swish patterns are for the purpose of creating momentum toward a compelling
future,
Ø The Swish Pattern installs choices for a new way of life rather than to change or
remove unwanted habits or behaviours.

The Process
1. Get the picture that represents the habit or situation you would like to change.
(When you think of________, do you have a picture?")
2. Get a picture of the type of person you would like to be. ("How would you like to be
instead? When you think of that do you have a picture?")
3. Change the visual intensity of the desired state (brightness, size, distance,
etc.) for the most "real" or most positive Kinesthetic.
4. Bring back the old picture (#1), NOW STEP INTO THE PICTURE, fully associated.
5. Now insert in the lower left hand corner, a small, bright picture of the desired
state.
6. Simultaneously, have picture of current state rapidly shrink and recede to a distant
point while dark picture explodes into full view. Sound and speed are important.
7. Repeat #6 a minimum of five times. Enjoy the results!

NOTES TO KEEP IN MIND

a. Be fully associated in old pattern.
b. Have detailed sensory-specific representations in the desired state.
c. If client is associated in final picture = OUTCOME
d. If client is disassociated in the final picture = DIRECTION (This is usually preferred to
create a compelling future.)
e. Break state between each Swish Pattern so as not to loop them.

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Sub-Modalities Swish Pattern Script

1. Elicit Present State or Behaviour: “How do you know it’s time to __________? (e.g.
Feel bad.) Make a representation of that in your mind now.” (Break State)

2. Elicit Desired State: “How would you like to (feel/act) instead? When you think of
that ______________ (State or Behaviour) Make a representation of that in your
mind now.”

3. If desired, assist client in adjusting the visual intensity of the Desired State for the
most positive kinaesthetic.

4. Good, now step out of the picture, so you see your body in the picture. (Break State)

P.S.
.
D.S.

5. “Take the old picture and bring it up on the screen? Make sure that you are looking
through your own eyes.”

6. “Have the old picture on the screen, see the new picture in the lower left hand
corner, small and bright? Make sure you see your body in the picture.”

7. “Have the picture explode big and bright, and have it explode up so that it covers
and damages the old picture, and do that as quickly as sssswishhhhh.”

8. “Good, sssswishhhhh.”

9. “Now, clear the screen.”

10. Repeat steps 5, 6, 8, and 9 until the unwanted state or behaviour is not accessible.

11. Test and future pace.

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Fast Phobia Cure

1 Establish a resource anchor.

2 Acknowledge the client’s ability to learn quickly

and never forget.

3 Have the client imagine they are sitting in a cinema looking at a blank screen. Have
them imagine floating out of their body into the projection booth so that they can
see themselves sitting in the cinema looking at the screen.

4 Have them watch themselves watching themselves on the screen experiencing their
phobic response as the movie runs forward in black and white.

5 When the movie comes to an end have them black-out or white-out the screen

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6 Have them associate into the movie screen and run

the movie at high speed backward in colour

7 At the beginning of the movie white-out or black-

out the screen

8 Repeat steps 4 – 7 until the kinaesthetic has totally gone

9 Test and future pace

10 Check ecology. If necessary use a swish pattern to install a new appropriate

Behaviour

Anchoring

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Desired Outcome:

1 To be able to anchor a sate in a person at any time in any modality.

2 To be able to collapse a negative anchor in yourself or your client
3 To be able to chain anchors leading from one state to another

Definition:

Pronunciation (ãng’ kar’ – rÎng). verb

1 A naturally occurring process that associates a unique stimulus to an intense

emotional state – either positive or negative

Theory:

1 Anchoring can assist you in gaining access to past states and linking the past state to
the present and the future

The Process:

There are Four Steps to Anchoring

1 Recall a past event

2 Anchor (Provide a specific stimulus at the peak

(see chart below)

3 Change the person’s state

4 Evoke the State – set off the anchor to test

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The Five Keys to Anchoring

1 The Intensity of the Experience.

A low intensity emotion will not make a good anchor. The more intense the emotion,
the stronger the anchor will become.

2 The Timing of the Anchor.

Sensory acuity is very import when establishing an anchor

3 The Uniqueness of the Anchor.

Similar to the intensity of the emotion, the more unique the better.

4 The Replication of the Stimulus

To compliment the 3rd key, you must make sure that you can easily reproduce the
trigger, so make it unique enough that it doesn’t happen all the time but make it
simple enough you can duplicate at a later time.

5 Number of times

As a general rule the more often the anchor is established, the stronger the trigger
will be.

APPLICATION OF AN ANCHOR:

Anchor

State

Intensity
Up to 5 to
15 Seconds

Time

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State Elicitation Scripts

The best states to anchor are naturally occurring states

During normal conversation and day to day activity, people will go in and out of emotional
sates naturally. With practice you can utilize these states and anchor them as occur. These
will be the most authentic and the most powerful.

For Example: Every time you find yourself feeling confident or powerful create a unique
trigger (anchor) to associate to that emotion. The more you do this, the
stronger the anchor will become. Then, whenever you find yourself
needing to feel powerful or confident, simple fire off the anchor

Next best are past, vivid, highly associated states.

By using the script below, you can have a client associate back into a time when they
experienced a naturally occurring state.

For Example: Can you remember a time when you were totally ______________?
state
Can you remember a specific time?
As you go back to that time now…. Go right back to that time float down
into your body and see your body and see what you saw, hear what you
heard and really fell the feelings of being totally ____________
state

The least preferable are constructed states

Occasionally, you may experience or work with someone who has never felt the emotional
state you needing to anchor. In this situation they hallucinate or imagine what it might feel
like if they did

For Example: Imagine what it would feel like if you were to feel totally ____________
state

right now. And as you imagine feeling that ____________

state right now, sit
(or stand) the way you would sit (or stand) if you were to feel totally
_________
state right now. Breathe the way you would breathe if you were to
feel totally __________
state right now. Say whatever you would say to yourself
if you were to feel totally _________
state right now and just picture in your
mind whatever you would need to picture in order to feel totally ________
state
right now.

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Stacked Resource Anchor

Sometimes a resource anchor may not be strong enough in order to move you or
your client into the resourceful state, simply because the state you are in so
intense the resource anchor can not overtake it. In these situations it is best to
stack multiple anchors on top of one another making them even stronger than any
particular unresourceful state.

To create stacked resource anchors illicit several instances of positive states and
anchor them in the same way (i.e. the same location, or the same phrase or the
same scent etc.)

The state chosen for a particular stacked anchor can be the same or different. For
example, when collapsing a negative anchor, the states in the stacked resource
anchor should be different, but in stacking resource anchors for a chaining anchor
technique, the states used should be the same.

The following are a list of recommended states for a stacked resource anchor.

Ø Absolute Power.

Ø Totally Loved.

Ø Unstoppable Confidence.

Ø Totally Energized.

Ø A feeling that you could have whatever you wanted.

Ø A feeling that you could have it all.

Ø Uncontrollable Laughter.

Add other states you feel are good, to this list as and when you come across them.

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Circle of Excellence

The circle of Excellence is a stacked resource anchor that uses the three main
modalities – visual, auditory, kinaesthetic.

1 Decide on a number of states to be associated with the resource anchor.

2 Elicit each state in the client. When the state begins to increase, have them
step into an imaginary circle on the floor.

3 Once the state has reached its peak have them step out of the circle.

4 Repeat this process for each of the resource states.

5 Once the resource anchor has been created have the client choose a word or
phrase that goes with the resource anchor. Have them step into the circle
and as the resource state reaches its peak, have them say the word and
then step out of the circle

6 Have the client choose a physical gesture, Have the client step into the
circle say the trigger word and as the resource state reaches its peak have
them make the gesture and then step out of the circle.

7 Break state

8 Test by having the client step into their imaginary circle say their trigger
word and make the trigger gesture. Notice that they become fully
associated in the resource state

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COLLAPSE ANCHORS

1. Get into rapport with the client.

2. Tell the client what you are about to do: "In just a moment I am going to do
a process called “Collapse Anchors” (explain), and that will necessitate that I
touch you. Is that O.K.?"

3. Decide on which Positive Resource States are needed, and decide on the Negative
State to be collapsed. Make it clear which states specifically are involved.

4. As you elicit the Positive States get into each one before you elicit it in the
client.

5. Make sure that the client is in a fully associated, intense, congruent state for each
of the states you anchor.

6. Anchor all the positive states in the same place, I.E. a knuckle or other easily
identifiable place.

7. Anchor the negative state once.

8. Fire anchors at the same time until they peak, and the integration is complete.
(Watch the client; they will usually exhibit signs of asymmetry until the integration
is complete.)

9. Release the negative anchor

10. Hold the positive anchor for 5 seconds and then release

11. Test: "Now how do feel about that old state?"

12. Future Pace: "Can you imagine a time in the future when you might be
in a similar situation, and what happens?"

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New Orleans Flexibility Drill

This is a 3-person exercise:

1 Client identifies an external stimulus (a person, place, thing or a specific syntax of

external and internal processes involving any or all of these) that consistently
triggers an unresourceful state in client.

2 Practitioner anchors client in several resourceful states accessing the appropriate

resources to successfully handle the situation identified in Step #1. Using the same
anchor for each of these resourceful states, Practitioner creates for Client, a
powerful "stacked anchor". Practitioner tests the anchor.

3 Client provides a detailed description of the scenario identified in Step #1 and

coaches Observer in the specific behaviors necessary to role play so as to totally and
accurately reproduce the external stimulus. (This means, using verbal and nonverbal
language patterns to re-create the external stimulus, and may include the re-
creation of situations devoid of human interaction.)

4 Practitioner triggers Client's stacked resource anchor as Observer begins to role-play

external stimulus. As Observer continues to role-play, Practitioner intermittently
releases Client's anchor, calibrating Client's. If Client begins to revert to an
unresourceful state, Practitioner fires anchor again.

5 Continue until there is no longer any need for Practitioner to externally anchor Client
i.e. Client stays completely resourceful.

6 Future Pace

What has occurred now is that the external stimulus that previously
triggered an unresourceful response in Client now triggers a resourceful
response (related to the resources provided by the stacked anchor in Step #2).

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Change Personal History

Change personal History is for the purpose of changing a number of memories in the past
and adding resources. This technique is a version of collapsing anchors and works great
when the client has a specific negative emotion anchored to a specific event in the past.

Procedure:
1 Design and install a positive resource anchor.
2 Identify with client a persistent recurring undesirable state, and anchor the state.

3 Fire the undesirable state anchor while you identify and then anchor one event in
the client's past where the client experienced the state.

4 Repeat this, anchoring at least two more events. (Anchor as many as necessary.)

5 Make sure that the state associated with the positive resource anchor is greater than
the negative state.
6 Fire the first event anchor while holding the resource anchor and have the client
relive the event with the new resources.
7 Repeat this for each event that was anchored.

8 Test.

9 Future Pace.

Design Criteria for Anchor Chains

Ø Usually design chains with no less than two and no more than three intermediary
states
Ø The first intermediary state can be a mild away from state (i.e. frustration or
boredom)
Ø Each if the states must have movement that will move the client onto the next state
Ø The client should be able to move directly from one state to the next In other words
there must be a logical flow
Ø Each state should be sufficiently intense to move the client to the next state
Ø The last intermediary state should be a towards state
Ø Each of the states should be self- initiated
Ø The intermediary states should not be how the client does it now

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Chaining Anchors

Chaining is a technique that is used when the desired/resource state is

significantly different from the present state.

1. Get in rapport.
2. Tell the client what you are about to do: "In just a moment I am going to do a
process called 'Chaining Anchors' (explain), and that will necessitate that I touch you.
Is that O.K.?"
3. Identify the undesirable present state (E.G.: Procrastination), and decide on the
positive/resource end state (E.G.: Motivation).
4. Design the chain: Decide on what intermediate states are needed to lead to
the end state.

1 2 3 4

Present Intermediate Intermediate End

State State#1 State#2 State

5. Elicit and anchor each state separately, beginning with the present state through the end
state. (You may have to stack all states to get a high intensity.) Make sure that the
subject is out of previous state prior to anchoring the next one. (Break State between
states, especially between the last one and the first one.)
6. Test each state. Make sure that the client goes into each one.
7. Chain each state together firing #1 and when #1 is at its peak add #2, and then release
#1. When #2 comes to the peak, add #3, then release #2. Add #4, etc. in the same way.
(This is NOT a collapse because the two states do not peak at the same time.)
8. Test: Fire present state anchor. Client should end up in final state.
9. Ask the client, "Now how do you feel about ______."
state EG: How do you feel about
procrastination.
10. Future Pace: "Can you think of a time in the future which if it had happened in
the past you would have _________
state (EG: Procrastinated) and tell me what
happens instead?"

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Strategies

Desired Outcome:

1. To be able to elicit strategies within your client overtly.

2. To be able to elicit strategies within your client overtly.
3. To be able to utilize a client’s strategies in your own language.

Defination:

Pronunciation: (strãt’ e- jēz)- noun

1. The order and sequence of internal and external representation that leads to a
specific outcome.
2. It’s what we do in our mind that lets us do things in our reality.

The Components:

1. Elicitation: Discovering the person’s strategy through visual sensory acuity or

through asking specific syntactical questions.
2. Utilization: Feeding back the information to the person in the order, and sequence
that it was elicited. If the strategy has been elicited correctly, we will get the desired
outcome.
3. Change and Design: If a person’s strategy is not getting the desired outcome or the
person doesn’t have a strategy can be modified or a new strategy installed. This
requires design.
4. Installation: The process of implanting a created strategy in the neurology through
anchoring and rehearsal. In essence, training the brain with a new skill.

Types of Strategies:

We have strategies for everything we do. Here are just few:

Love Deciding Relaxation

Hate Motivation Stress
Learning Happiness Fun
Forgetting Attraction Boredom
Confidence Waking Up Understanding
Sports Health Wealth
Speaking Disease Depression
Sales Creativity Reassurance

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Belief Change Script

Whenever you do any sub-modalities work you should use the sub-modalities checklist
starting on page ninety. This is for precision and accuracy.

13. “Can you think of a limiting belief about yourself that you wish you did not have?
Good, what is it? As you think about that belief do you have a picture?”

14. Elicit the Sub-Modalities.

15. “Can you think of a belief which is no longer true? For example perhaps you used to
be a smoker. Someone who was a smoker used to believe they were a smoker but
now they no longer believe that. So the belief ‘I am a smoker’ is no longer true. Or
someone who used to own a certain car but no longer does, they would have the
belief of ‘I own a (make of car)’ as being no longer true. Do you have something like
that which used to be true for you but no longer is? Good what is it? As you think
about that old belief do you have a picture – where is that old belief now?”

16. Elicit the Sub-modalities. For best results the drivers should be different than first
belief.

17. Change the sub-modalities of no one into the sub-modalities of no two

18. Test – “Now what do you think about that old belief?

19. “Can you think of a belief which is absolutely true? Like for example the belief that
the sun is going to come up tomorrow. Do you believe that? As you think of that
belief do you have a picture?”

20. Elicit the sub-modalities

21. What would you like to believe instead of that old believe you used to have? Good
what is it? As you think of that belief do you have a picture?

22. Elicit the sub-modalities

23. Change the sub-modalities of the new belief into the sub-modalities of the belief
that is absolutely true

24. Test – Now what do you believe? Why do you believe you have this new belief?

Remember to Future pace.

“I want you to go into the future to a time when you would have used that old belief and
notice how you feel now.”

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Swish Pattern Big Picture

Keys to Successful Swish Patterns:

Ø Swish patterns are for the purpose of creating momentum toward a compelling
future,
Ø The Swish Pattern installs choices for a new way of life rather than to change or
remove unwanted habits or behaviours.

The Process
8. Get the picture that represents the habit or situation you would like to change.
(When you think of________, do you have a picture?")
9. Get a picture of the type of person you would like to be. ("How would you like to be
instead? When you think of that do you have a picture?")
10. Change the visual intensity of the desired state (brightness, size, distance,
etc.) for the most "real" or most positive Kinesthetic.
11. Bring back the old picture (#1), NOW STEP INTO THE PICTURE, fully associated.
12. Now insert in the lower left hand corner, a small, bright picture of the desired
state.
13. Simultaneously, have picture of current state rapidly shrink and recede to a distant
point while dark picture explodes into full view. Sound and speed are important.
14. Repeat #6 a minimum of five times. Enjoy the results!

NOTES TO KEEP IN MIND

f. Be fully associated in old pattern.
g. Have detailed sensory-specific representations in the desired state.
h. If client is associated in final picture = OUTCOME
i. If client is disassociated in the final picture = DIRECTION (This is usually preferred to
create a compelling future.)
j. Break state between each Swish Pattern so as not to loop them.

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Sub-Modalities Swish Pattern Script

12. Elicit Present State or Behaviour: “How do you know it’s time to __________? (e.g.
Feel bad.) Make a representation of that in your mind now.” (Break State)

13. Elicit Desired State: “How would you like to (feel/act) instead? When you think of
that ______________ (State or Behaviour) Make a representation of that in your
mind now.”

14. If desired, assist client in adjusting the visual intensity of the Desired State for the
most positive kinaesthetic.

15. Good, now step out of the picture, so you see your body in the picture. (Break State)

P.S.
.
D.S.

16. “Take the old picture and bring it up on the screen? Make sure that you are looking
through your own eyes.”

17. “Have the old picture on the screen, see the new picture in the lower left hand
corner, small and bright? Make sure you see your body in the picture.”

18. “Have the picture explode big and bright, and have it explode up so that it covers
and damages the old picture, and do that as quickly as sssswishhhhh.”

19. “Good, sssswishhhhh.”

20. “Now, clear the screen.”

21. Repeat steps 5, 6, 8, and 9 until the unwanted state or behaviour is not accessible.

22. Test and future pace.

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Fast Phobia Cure

11 Establish a resource anchor.

12 Acknowledge the client’s ability to learn quickly

and never forget.

13 Have the client imagine they are sitting in a cinema looking at a blank screen. Have
them imagine floating out of their body into the projection booth so that they can
see themselves sitting in the cinema looking at the screen.

14 Have them watch themselves watching themselves on the screen experiencing their
phobic response as the movie runs forward in black and white.

15 When the movie comes to an end have them black-out or white-out the screen

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16 Have them associate into the movie screen and run

the movie at high speed backward in colour

17 At the beginning of the movie white-out or black-

out the screen

18 Repeat steps 4 – 7 until the kinaesthetic has totally gone

19 Test and future pace

20 Check ecology. If necessary use a swish pattern to install a new appropriate

Behaviour

Anchoring

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Desired Outcome:

4 To be able to anchor a sate in a person at any time in any modality.

5 To be able to collapse a negative anchor in yourself or your client
6 To be able to chain anchors leading from one state to another

Definition:

Pronunciation (ãng’ kar’ – rÎng). verb

2 A naturally occurring process that associates a unique stimulus to an intense

emotional state – either positive or negative

Theory:

2 Anchoring can assist you in gaining access to past states and linking the past state to
the present and the future

The Process:

There are Four Steps to Anchoring

5 Recall a past event

6 Anchor (Provide a specific stimulus at the peak

(see chart below)

7 Change the person’s state

8 Evoke the State – set off the anchor to test

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The Five Keys to Anchoring

6 The Intensity of the Experience.

A low intensity emotion will not make a good anchor. The more intense the emotion,
the stronger the anchor will become.

7 The Timing of the Anchor.

Sensory acuity is very import when establishing an anchor

8 The Uniqueness of the Anchor.

Similar to the intensity of the emotion, the more unique the better.

9 The Replication of the Stimulus

To compliment the 3rd key, you must make sure that you can easily reproduce the
trigger, so make it unique enough that it doesn’t happen all the time but make it
simple enough you can duplicate at a later time.

10 Number of times

As a general rule the more often the anchor is established, the stronger the trigger
will be.

APPLICATION OF AN ANCHOR:

Anchor

State

Intensity
Up to 5 to
15 Seconds

Time

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Milton Model: Hypnotic Language Patterns

The Milton Model hypnotic language patterns encourage the

listener to move away from detail and content and move to
higher levels of thinking and deeper states of mind or trance.
Some patterns are used to establish a trance state (or
downtime or relaxation in the body). Other patterns are used
to loosen the listener’s model of the world from which he is
expressing his current behaviors and to consider a more
expansive interpretation of what is possible.

Milton Ericson

You will notice that many of these language patterns are identical to those of the Meta
Model. The difference being that for the Meta Model, the client is being vague and we ask
specific questions to assist him in getting clarity on his issue/problem. For the Milton Model,
we use some of the same language patterns, but this time we wish to be vague so that the
client can easily go into trance and/or from the vague suggestions choose a suggested
course of action that will address his problem/issue.

1. Mind Read: Claiming to know another’s thoughts or feelings without specifying the
how you came to that knowledge.

a) I know you are wondering how much you will learn from this training.
b) I know that you believe ...
c) I know you're thinking ...

We must be cautious to keep our references as general as possible as specific details

will clash with the listener's thoughts, leading to a disruption of his or her attention.

2. Lost Performative/Hidden Speaker : Expressing value judgments without identifying

the one doing the judging. It's important to know about these structures, because
it's often necessary to deliver presuppositions indirectly. These types of phrases
contain at least one judgement or evaluation of which we can't identify the source.

a) Breathing is good.
b) It's important to learn language patterns.
c) It's essential to have fun learning all this stuff.
d) It's good that we are all here tonight.

The speaker doesn't state exactly who thinks these things are good, necessary or
important.

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3. Cause & Effect: Using statements like “If this happens then that happens” and
proving that one thought or action will lead to another automatically. “If ..., then ...;
As you ...., then you ...; Because ... then ...” (This is like Verbal Anchoring)

a) If you can hear my voice, then you can learn many things.
b) The occasional sounds and noises from outside make you feel more and more
relaxed."

Here you have words like makes, causes, forces, because and requires.

A linkage works by connecting a statement that is pacing something that is already

occurring with a statement that leads the listener to some other (usually internal)
experience.

4. Complex Equivalence/Assume Equal: Attributes meaning to something that may or

may not have a 'cause' capability.

“Being here means that you will change easily.”

5. Presupposition/Assumption Statements: Say something with the assumption that

the person agrees with you one way or another.

a) Will you be changing your attitude now or later today?

It is assumed the person will change their attitude, the only unknown is when.

6. Universal Quantifier/Extreme Generalisation: Using extreme generalisation to make

a point and easily influence without creating conflict.

“Everyone; No one; All; Every”

7. Modal Operator/Using Should & MUST: These are words that make a person feel
like something is necessary or important.

a) You should care for others.

b) You must resolve this issue.

8. Nominalization: Words which are formed as nouns and which are shorthand for
processes.

“People can come to new understandings.” Here 'understandings' is used as a noun

and is shorthand to describe the on-going experience of 'understanding' or 'making
sense of something'.

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If I was to say "you know that you can feel confident about some learnings from last
weekend . . . " it is much easier for you to agree, than If I was to say "you know that
you can feel confident about unspecified noun structures from last weekend . . . "

Learnings is an example of a nominalization. To nominalise something means to

make a noun out of something intangible, which doesn't exist in a concrete sense (in
NLP, we say any noun that you can't put in a wheel barrow is a nominalization). In
this example, the process of learning something is turned into a noun, learnings.

a) Being happy becomes happiness.

b) Being curious becomes curiosity.
c) Being depressed becomes depression.

A state like depression becomes an enormous and sometimes insurmountable,

overwhelming state of being, for example, whereas being depressed to most people
is more likely to imply a state that has a beginning, and more importantly an end. A
block is something much more insurmountable than something that is merely
blocking your progress.

"So close your eyes and think for a moment about some recent learning, one that
may have given you much surprise and enjoyment."

Notice in the previous sentence the speaker doesn't say how or where, but allows
the listener to fill in with his or her own details

9. Unspecified Verbs and Nouns: Implies action without describing how the action
has/will take place.

“He caused the problem.”

"People can learn easily under hypnosis." There are a few things in this sentence
which are not clear,

a) Which people?
b) How can they learn easily?
c) What do they learn easily?

When phrases like these are used, the listener is forced to use his or her imagination
to fill in the who's and how's. Again, these types of phrases are useful for pacing and
leading when the speaker becoming too specific could mismatch the listener and
break rapport or minimize influence.

"So take a moment and enjoy remembering some of the things you learned and did
at the seminar."

What were your thoughts after hearing that sentence? Did you have a specific
representation?

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What did you learn and do, and which seminar did you learn them at?

10. Nominalizations are one type of unspecified noun.

11. Lack of Referential Index: An expression without specific reference to any portion of
the speakers/listeners experience.

“People can change.”

12. Comparative Deletion (Unspecified Comparison): A comparison is made without

specific reference to what or to whom it is being compared.

“You will enjoy it more.” or “That one is better.”

13. Tag Question: A question added at the end of a statement/question, designed to

soften resistance. It is used to ratify to the listener that he has or will actually
manifest the action. It has the structure of a question and often the tonality of a
statement.

“Your perception of life is changing, isn’t it.”

According to Milton H. Erickson, "Tag Questions displace resistance to the end of a

sentence," don't they? In addition, they set up a place to create an agreement
frame, as well as to strengthen agreement in a pacing situation. It's a fairly effective
concept to utilize, isn't it

14. Pace Current Experience: Using sensory-grounded, behaviorally specific information

to describe current experience.

“You are reading this article.”

15. Double Bind: Invites choice within a larger context of 'no choice'.

“Do you want to begin now or later?” or “Do you want to go into trance before or
after you sit down?”

16. Conversational Postulate: Are questions that operate at multiple levels. Although
they require only a simple yes or no answer, they invite you to engage in an activity
in some way. Often they contain an embedded command.

a) Can you open the door?

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b) Can you choose to change?

c) Can you tell me what time it is?
d) Do you know what today's date is?
e) Can you lend me a pen?
f) Can you go into a trance easily?

17. Selectional Restriction Violation: Attributing intelligence or animation to inanimate

objects.

“Your chair can support you as you make these changes.” or “Your diary tells
interesting tales.”

18. Extended Quote: Is a rambling context for the delivery of information that may be in
the format of a command.

“Many years ago, I remember meeting a wise old man who taught me many useful
things. I cherished all of his advice. I remember one particular day when he said to
me "Change is easy and can be fun".”

19. Utilization: Takes advantage of everything in the listeners experience (both internal
and external environments) to support the intention of the speaker.

Client says: “I don't understand.” Response: “That's right...you don't understand, yet,
because you've not taken that one deep breath that will allow the information to fall
easily and comfortably into place.”
Or perhaps while working with a client, one of your colleagues mistakenly opens a
door. Instead of getting frustrated and annoyed with your colleague, you could say
to your client, “You may have heard a door opening and let this be an opportunity to
invite new ideas and thoughts into your life.”

20. Ambiguity: Lack of specificity When words have double meaning, the unconscious
mind must process all meanings. Words like down, left, duck, hand, back all have
double meanings. Then there are words spelled differently and pronounced the
same. Hear/here, your/you're, nose/knows are examples. These can be extremely
helpful in helping us produce embedded suggestions.

"One of the things that's most interesting about you're unconscious mind is its ability
to scan for hidden meanings."

a) Phonological: “your” and “you're” - same sound, different meaning.

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b) Syntactic: More than one possible meaning. “shooting stars” or “leadership

shows” - the syntax is uncertain within the context, i.e. adjectives, verbs or
nouns?
c) Scope: “Speaking to you as a changed person ...” (Who is the changed
person?) or “The old men and women ...” - the context does not reveal the
scope to which a verb or modifier applies
d) Punctuation: is unexpected and does not 'follow the rules', i.e. improper
pauses, rambling sentences, incomplete sentences - all of which ultimately
force the listener to 'mind read'.

“Hand me your watch how quickly you go into a trance.”

There are even more language patterns which we go into in more detail in Master
Practitioner such as:

Ø The More, The More

Ø Oxymoron
Ø Organ Language
Ø Negative Commands
Ø Embedded Commands:
Ø Embedded Suggestions
Ø Adverbs and Adjectives
Ø Awareness
Ø Ordinals
Ø Awareness

An example of the Milton model;

‘You are sitting here, listening to me ... and I know that you are wondering ...
and it’s a good thing to wonder ... because if you’re wondering ... then that
means ... that you are about to learn something new ... and everything, every
single thing that you can learn ... will provide you with new insights ... and
with new understanding ... and you can learn.. can’t you? One can learn, you
know ... and it’s better to do that ... because you might want to learn
something quickly ... or slowly ... or even right now ... do you know how to
relax deeply? John Grinder says that Milton Erickson liked to tell stories ...
and his favourite story was about a tense tomato plant ... and as long as
you’re here ... you might as well tell her the story too. John went to see

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Milton and Betty. They were visiting relatives. When Milton told this story,
he was speaking to you as a child ... and he would look at his watch how
quickly the tomato plant can relax...’

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Analysis of the Milton Model Example

Pacing Current Experience ‘You are sitting here, listening to me...’

Describe client’s verifiable, external experience undeniably.

Linkage Words ‘And...’

Words that make connections. (So, as, while, and, since, during, after, etc.)

Mind Reading ‘I know that you are wondering...’

Claiming to know the thoughts or feelings of another without specifying how you know.

Lost Performance ‘And it’s a good thing to wonder...’

Value judgments where the person making the judgment is deleted.

Cause & Effect ‘Because if you’re wondering, then...’

Implying that one thing causes another. (If...then, because, makes, etc.)

Complex Equivalence ‘That means...’

Implying two things as equal, or equivalent in meaning.

Presuppositions ‘You are going to learn something new...’

The linguistic equivalent of assumptions.

Universal Quantifiers ‘And everything, every single thing...’

Extreme over-generalisations. (All, every, never, without exception, etc.)

Modal Operators ‘That you can learn...’

Words which imply possibility or necessity. (should, must, can, will, etc.)

Nominalisations ‘Will provide you with new insights, and with new
understanding.’
Process words which have been ‘frozen’ in time and made into nouns.

Unspecified Verbs ‘ And you can learn...’

Tag Question ‘Can’t you?’

Lack of referential Index ‘One can learn, you know.’

A phrase which does not specify who it refers to.

Comparative Deletion ‘And it’s better to do that...’

Unspecified comparisons. (Who or what is being compared?)

Double Blinds ‘Because you might want to learn something quickly, or slowly,
or even right now.’
When all choices produce the same results.
Conversational Postulate ‘Do you know how to relax deeply?’

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A ‘yes’/‘no’ question with an embedded suggestion. It allows people to choose how to

respond and avoids authoritarianism.

Extended Quotes ‘John Grinder says that Milton Erickson used to tell
stories...’
Give somebody else the credit (and any possible blame!).

Sectional Restriction Violation ‘And his favourite story was about a tense tomato
plant...’
Ascribing human characteristics to animals or things.

Phonological Ambiguity And as long as you’re here, you might as well hear the
story too.’

Syntactic Ambiguity ‘John went to see Milton and Betty. They were visiting
relatives.’
Where the meaning of a word is not clear from the immediate context.

Scope Ambiguity ‘When Milton told the story, he would speak to you as
a child...’
Where it cannot be determined how much of the sentence a word or phrase applies to. (The
old man and woman, the relaxing noises and thoughts, etc.)

Punctuation Ambiguity ‘And he would look at his watch how quickly the
tomato plant can relax...’
When it is unclear where one sentence ends and the next begins.

Some of these are dealt with in the master practitioner programme and are here as a
complete record only

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The Meta Model Pattern Response Prediction

DISTORTIONS
1. Mind Reading: Claiming to know someone's "How do you know I don't like Recovers Source of the
internal state. Ex: "You don't like me." you?" Info.
2. Lost Performative/Hidden Speaker: Value "Who says it's bad?" "According Gathers evidence.
judgments where the person doing the judging is left to whom?" "How do you know Recovers source of the
out. Ex. "It's bad to be inconsistent." it's bad." belief, the Performative,
strategy for the belief.
3. Cause¾Effect: Where cause is wrongly put "How does what I'm doing cause Recovers the choice.
outside the self. Ex: "You make me sad." you to choose to feel sad?" (Also,
Counter Ex., or "How
Specifically?"
4. Complex Equivalence/Assume Equal: Where two "How does her yelling mean that Recovers Complex
experiences are interpreted as being synonymous. Ex: she..?" "Have you ever yelled at Equivalence. Counter
"She's always yelling at me, she doesn't like me." someone you liked?" Example.
5. Presuppositions/Assumptions: Ex: "If my (1) "How do you choose to Specify the choice & the
husband knew how much I suffered, he wouldn't do suffer?" (2) "How is he verb, & what he does.
that." There are 3 Presuppositions in this sentence: (re)acting? (3) "How do you Recover the Internal Rep.,
(1) I suffer, (2) My husband acts in some way, and (3) know he doesn't know?" and the Complex
My husband doesn't know I suffer. Equivalence
GENERALIZATIONS
6. Universal Quantifiers/Generalisation: Universal Find Counter Examples. Recovers Counter
Generalizations such as all, every, never, everyone, no "Never?" "What would happen Examples, Effects,
one, etc. Ex: "She never listens to me." if she did?" Outcomes.
7. Modal Operators/Words Creating Necessity: a. a. "What would happen if you
Modal Operators of Necessity: As in should, did?" ("What would happen if
Recovers Effects,
shouldn't, must, must not, have to, need to it is you didn't?" Also, "Or?"
Outcome.
necessary. Ex: "I have to take care of her."
b. Modal Operators of Possibility/Action Words (Or
Impossibility.) As in can/can't, will/won't, may/may b. "What prevents you?" ("What
Recovers Causes
not, possible/impossible. Ex: "I can't tell him the would happen if you did?")
truth."
DELETIONS
8. Nominalizations: Process words which have been "Who's not communicating what Turns it back into a
frozen in time, making them nouns. Ex: "There is no to whom?" "How would you like process, recovers
communication here." to communicate?" deletion, and Ref. Index.
9. Unspecified Verbs: Ex: "He rejected me." "How, specifically?" Specifies the verb.

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10. Simple Deletions: a. Simple Deletions: Ex: "I am a. "About what/whom?" Recovers Deletion.
uncomfortable."
b. Lack of Referential Index: Fails to specify a person
b. "Who, specifically, doesn't Recovers Ref. Index.
or thing. Ex: "They don't listen to me."
listen to you?"
c. Comparative Deletions: As in good, better, best,
c. "Better than whom?" "Better
worst, more, less, most, least. Ex: "She's a better Recovers Comparative
at what?" "Compared to whom,
person." Deletion.
what?

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