Mind Control Language Patterns - Dantalion Jones

Mind Control Language Patterns are spoken phrases that can act as
"triggers" to the people who hear them. In short. they influence and
control how we respond and cause us to be influenced to do things
without our knowing .
These language patterns are not fantasies but are based on

documented uses that come from , psychology, hypnosis. Neuro
Linguistic Programming and studies of human behavior.
Mind Control Language Patterns can be used to help and hurt.
One can use Mind Control Language Patterns to create positive and
lasting change in people . as well as feelings of trust. love and
affections.
They can also be used to induce amnesia . fear . insecurity and doubt.
These types of patterns are what we call "dark" pattern.
I've seen the results of these "dark" and destructive language patterns.
They are devious because most people don't even know they've
happened. They live life half-heartedly with no purpose because
someone meant to hurt them! If you know of anyone using these
Mind Control Language Patterns to injure you have every right to act
and stop them I
But there is a bright side to all of this. Mind Control Language

Patterns like the ones in this book are also there to benefit you and
everyone who knows them . Using these skills I've seen people
overcome life long phobias and land million dollar contracts . You can
use these skills just as easily to land the perfect job. meet your ideal
romantic partner and end what may at times seem like a endless
cycle of just trying to pay the bills. Knowing these persuasion skills
and how to apply them can benefit your life and the lives of others.
Knowing how to use Mind Control Language Patterns gives you

incredible power. Not knowing these Mind Control Language
Patterns takes the control out of your hands and places it into the
hands of people who know their real power.
Mind Control Language Patterns will describe, explain and

document the positive and negative uses and application of these
these Mind Control Language Patterns.
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9 780615 2 4 6666
Mind Control Language Patterns
Mind Control
Language Patterns
by Dantalion Jones
www.MindControILanguagePatterns.com
Mind Control Publishing
Copyright Dantalion Joness 2008
ISBN 978-0-615-24666-6
All rights reserved. Without limiting the rights under copyrights reserved above, no part
of this publication may be reproduced, stored in, or introduced into a retrieval system, or
transmitted, in any form or by any means (electronic, mechanical, photocopying,
recording, or otherwise), without the prior written permission of the copyright owner.
Formatted using Open Office
First Words
After writing on persuasion and mind control in my last books

(Mind Control 101 and The Forbidden Book ofGetting What You
Want) I had considered different to go in my writing. Fiction was
one possibility that is still being toyed with in the back of my
twisted mind.
But the problem was there are still areas of mind control that
need to be shared.
I decided to go into more depth in the area of persuasion and
mind control called "Language Patterns." It's a good time to make
clear what will not be in this book. First, this is a book about how
to use language to influence people. There will be very little
expositions on anchoring or other NLP processes. I want to focus
exclusively on how to use language alone to influence people.
A good friend and linguistics professor starts his classes by
saying, "The amazing thing about language and our ability to
communicate isn't how well we can communicate our thoughts.
It's that we can communicate using language at all." He's right.
There is so much opportunity for misunderstanding and
misinterpretation that it's a wonder we can talk for hours on
abstract ideas and believe we understand each other.
That said, there is a great deal that can be accomplished with
language when used precisely.
Amid all of language's complexity, there are processes that,
when skillfully used, tend to yield very interesting and useful
results. These processes, or language patterns, are what we are
going to explore.
The study and application of these patterns is both a science
and an art. It is a science in that much of it can be broken down
into basic components and reassembled to create testable and
replicable results. It is an art in that there are uncontrollable
human variables that cannot always be predicted, but which can
easily be managed given the experience and creativity of the user.
Some think of persuasion through language as akin to witchcraft

because the results of study and application can be so dramatic,
and in many ways I agree.
Let's regress for a moment back to the pre-language world of
our infancy. While in that life everything that was experienced
could only be communicated through our most primal abilities:
laughing and crying. As we learned language we became able to
describe, and even alter, our reality by the words we use to
describe it. As we grow we continue to alter our reality with
words modifying it. We constantly make choices whether or not
to use words like "sad," "depressed," and "suicidal," or "satisfied,"
"joyful," and "elated." Each of these words have a similar
meaning but the reality experienced through them is quite
different.
Like illusionists our words modify our reality and the reality of
others, much as if they were ancient alchemical incantations.
Homer's tale of the Argonauts describes The Sirens, whose voices
can compel any man to act even against his own best interest. But
that's only in mythology, right? You're invited to learn these
powerfully persuasive language patterns as if they are secret
incantations that will magically enchant or curse those who are to
hear only your voice.
Dantalion Jones
Seattle WA
February 2008
Note To Reader
You should be warned. Although I attempt to provide as much

detail as possible in the theory and application of persuasion
language patterns, please understand that this is very advanced
material.
If you're a beginner to this field then by all means read and
learn as much as you can from it. You'll also likely benefit from
supplementing your studies with the decent books on NLP and
persuasion that are recommended in the back of this book. As a
beginner you are encouraged to memorize the language patterns
that are of greatest interest to you. By memorizing them they can
become second nature, and from there you'll effortlessly begin
creating your own language patterns on the fly and as you need
them.
For the reader who is skilled in the theory and practice ofNLP,
hypnosis, influence and persuasion, and even therapists who are
paid to help people change, you'll find this an adventurous ride
through the forest of words that effect men's minds.
The best way to judge the language patterns you'll learn is to
imagine as you read that they are being spoken to you with a
passionate and sincere tone. You'llieam that if they effect you in
some way then they can be even more effective when you use
them to affect others.
The last point I want to make is on ethics and morality. While I
encourage you to use these tools with ethics I can't enforce it.
Language, like any tool, can be used to help or harm. It is
essentially amoral. You'll read exactly how to both use and
misuse these patterns, how to help and harm using language.
Beyond that it is within your judgment (hopefully your better
judgment) how you use them.
Good luck!
Dedication
To all those wonderful friends and brothers living "behind the
veil" who have brought me from darkness to light and who taught
me that there is no greater ambition than to cast a boulder into the
current of time and alter the course of history. They have shown
me the programs we live by and the programs behind the
programs. They have shown me that while we all value free will
very few truly have it ... or want it.
Also
To my faithful djinn, familiar and constant companion, Dantalion,
the seventy-first spirit of the Goetia, "His Office is to teach all
Arts and Sciences unto any; and to declare the Secret Counsel of
anyone; for he knoweth the 'Thoughts of all Men and Women,
and can change them at his Will. He can cause Love, and show the
Similitude of any person, and show the same by a Vision, let them
be in what part of the World they Will."
Table of Contents
Introduction 1
The Foundational M indset 4
More on The Mind Set of Persuasive Language Patterns. 6
Taking Mind Control From the Laboratory to The Streets 9
Providing and Deleting Options 13
Using Your Voice To Control Emotions 16
The Parts Pattern - Creating Another Personality 18
Give Them Exactly What YOU Want 21
Taking People on a Time Travel Adventure 24
Weaseling Into Peoples Minds 31
The Language Pattern That Frightened Psychologist 35
When I Talk About Me I'm Talking About You 39
Compare Things So That You Always Get What You Want 40
Getting To The "Core" Of Any Woman 45
Doubt and Uncertainty Patterns 46
How To Make Other Hear YOUR Voice in THEIR Heads 47
How To Motivate People To Do ANYTHING You Want 49
How to Destroy Old Beliefs and Install New Ones 52
How To Make Yourself The Instant Expert 54
Instantly Manipulate Your Social Status 55
How To Control The Mind "Because" It's Easy 57
How to Make Anything Mean Anything You Want 59
How to Bind Your Success 60
Choosing Between Two Evils is Still Choosing Evil 61
How To Double the Impact, Seal The Deal and Lock In The
Emotions Y ou Want 62
How To Make People Crazy - Gaslighting 64
Know The Weakness of Anyone - Hidden Addictions 68
How To Open The Door To A Womans Heart 72
Why Ask When You Can Tell Them What To Do? 73
Lead Others Through Confusion: Confusion Patterns 75
Fun Playing With People's Emotions 77
Influence Their Hearts and Minds 81
Mind Control Language Pattern Example 86
Punctuation Ambiguities 89
Covertly Induce a Hypnotic State In Less Than 30 Seconds 92

Force a Thought Into Someone's Mind 94
Operant Conditioning 95
Distracted Sentencing 96
What You Can Learn Form People Who Can Make You To Join 98
The Army
Changing Peoples Beliefs 107
Meta Model Persuasion 125
Distracted Sentencing 133
Scripted Patterns vs. Process Patterns 135
The Door 136
Boyfriend Destroyers 137
Death Pattern - The Connection Pattern - Fascination Pattern 140
The BJ Pattern 141
Forbidden "Dark" Patterns 144
The Hospital Pattern 142
The Depression Pattern 145
Elements of Dark NLP Patterns 146
Story Telling as Language Pattern 147
Magic Questions: The Cube 150
Gorilla War Linguistics 152
Meta Programs As Language Patterns 165
Using Emotions to Persuade 173
Using Mind Control to Create an Addiction 178
The Voice Roll 180
October Man 182
The Book of Forgetting 191
References 218
Other Books and Products By Dantlion Jones 220
Language Pattern Lessons 221
Introdnction
Language patterns are a unique fonn of covert hypnotic sugges

tion. You will hear them referred to by the tenns "conversational hypno
sis," "covert hypnosis," "Erickson ian hypnosis," "covert persuasion or
influence," or my favorite, "mind contro1."
In traditional hypnosis the hypnotist gives direct suggestions
and tells the subject what to do and how to respond. Language patterns
differ because they are not direct. Instead, the operator often describes a
process, and in order for the subject listening to understand what you're
saying, they have to go through the process in their mind, and end up
convincing themselves.
The popularity of covert language patterns evolved from NLP
practitioners using them for seduction. They were packaged into "get
laid" NLP products and seminars designed for the horny male too busy
to take an NLP course and figure it out for themselves.
Likely you have heard the claim that only seven percent of a
message's meaning is received from the verbal content, thirty-eight per
cent from vocal cues, and fifty-five percent from facial expressions.
This book openly disputes that claim.
Voltaire said, "Give me ten minutes to talk away my ugly face,
and I will bed the Queen of France." While other factors can influence
the results of your communication, it is the spoken word that gets re
sults. Also, keep in mind that Voltaire did say he would have to talk to
the Queen, meaning he would have to be in front of her to make his pre
sentation. This is important, because there is a mind set that is vital to
the effective use of "mind contro1."
For those new to NLP-type persuasion there is often a belief
that all one has to do is say a few language patterns and people will
bend to one's wil1. Some newbies hope they can "get into someone's
mind and drive it around."
STOP!!
Page 1
If you held that belief, then understand that language patterns
are entirely interactive and require both party's participation.
Consider a child's game where someone hides an object and the
only clues given are "warmer," when the seeker gets close and "colder,"
when they move away from the object. The effectiveness of language
patterns works much the same way. The user must pay attention to the
other's responses. From that information, they know whether they are
getting "warmer" or "colder." The difference is in the degree of subtle
changes that you will be observing. For many, those subtle changes
have never been given proper attention, but the truth is that this infor
mation makes all the difference in getting what you want.
Your ability to notice how someone is reacting is essential to
your effectiveness. When you begin to see the subtle flush of the cheek,
for example, it's a sign that something is happening. You may not know
immediately what the person is feeling - it could be anger, embarrass
ment, arousal, or simply a hot flash. It could be good or bad. All you
know is that something is happening! To ignore it, as most do, would be
a fatal flaw in getting what you want. It would be equally wrong to read
too much into it. Don't fall prey to "mind reading," where you make as
sumptions about what people think. It could be completely untrue. In
the late 1960s came a barrage of books on body language that pro
claimed that someone sitting with crossed arms and legs is closed to
learning. These were the best books at the time, but many people have
proved these simplistic statements wrong. Anyone can sit with their
arms and legs crossed and still learn. Try it for yourself.
Language patterns work for many reasons, a primary one being
that they bring about an emotional state and then suggest an action
to accompany the emotion. The truth is that someone can be talked
into bed, a business partnership, or sold a product or service - just with
words.
If one controls the emotions of others, then they are very likely
to follow suggestions. This is because people almost universally make
their decisions based on feelings, rather than reason. The skillful manip
ulation of emotions can drive a nation to war or to build giant monu
ments and institutions. Individuals in one-on-one encounters are no dif
ferent, and gaining control is then often easier, because feedback is in
stant.
Page 2
Most people learn language patterns by first memorizing exist
ing patterns and, if they're smart, practicing them. After some practice,
one quickly understands the theory behind the patterns and begins to
generate creative patterns on their own.
Dark and Light Language Patterns

When NLP was discovered, a few people began to play with the
techniques and patterns in ways that were "less than helpful."
In fact, they devised and applied these skills in completely
harmful and wicked ways, like finding ways to create phobias of pover
ty for those people who want to be rich. Worse, they would create pho
bias in people with no positive intent. This brought about the field of
"Dark NLP," also known as "Black Ops Patterns".
There are several reason that this book is going to discuss and
reveal "Black Ops Patterns." Yes, you could use them on others but it's
just better to know when they are being done on you. Suffice to say that
if you use these patterns on people it can be the end of the line for any
further productive relationship. Take note.
Page 3
The Foundational Mindset
If there were only one section of this book that you could read
in order to get the best benefit, then this is it, and it has nothing to do
with language patterns! It is about your mindset, the mental attitude and
beliefs you take on that allow language patterns to work their magic and
make yourself incredibly effective.
Language patterns are merely the outer game of mind control
and persuasion. It is in your inner game that lies the difference that
makes the difference.
You're about to discover a list of beliefs that make the differ
ence between being effective with language patterns, or merely reciting
words. Sit back. Read them. Recite them. Let them echo in your own
mind and become your own beliefs. You can choose to believe them by
simply believing them. It's that easy.
1. You will create for anyone the best, most profound and real ex
perience they will have in their life.
2. No other person can give the kind of experience you can.
3. You can do this.
4. You know it works beyond any doubt, question or hesitation.
S. Others will believe that you and your abilities are amazing.
6. It is normal for you to give anyone exactly the type of experi
ence you want them to have.
7. Given the place, time and situation, you can do this with anyone,
without hesitation or doubt.
Something else that further empowers your words is your inten

tion. In NLP terms this is referred to as "having a clearly formed out
come." More specifically, it means knowing what you want the other
person to do and holding that in your mind.
It also means having your outcome express itself as an assump
tion that is subtly expressed in your emotions and actions. For example,
let's assume you want a romantic encounter. If you hold in your mind
this intention as you talk, then your actions will begin to be colored by
that intent. Because this process is interactive, the intent will affect both
Page 4
you and them. Part of your intent is to pull your subject, through ac
tions, into a shared reality that you have created.
Using Language Patterns

As you go through these language patterns, you'll want to go
out and use them just for the sake of using them, and you can. What
you'll find is that you can on Iy measure your effectiveness if you have
an outcome in mind. You can start with simple outcomes, if you like.
Like getting a smile. From there, feel free to explore, but always keep
your outcome in mind
Fear of Using Language Patterns

Many hesitate to use language patterns, because they're afraid of
getting caught or because it feels different from how they normally
communicate. My advise on these two points is, first, you won't get
caught and second, get over it!
Anything worth learning is worth doing poorly. Consider for a
moment the benefits you'll receive in being able to effectively commu
nicate in order to get what you want. Yes, there are many. Among
them ...
• The ability to get what you want.
• The ability to feel comfortable with anyone as you
communicate with them.
• The ability to see subtle changes in their behavior
that help guide you to influence them.
• The ability to change peoples' minds.
• The ability, if cornered, to make someone feel de
pressed and confused.
Go back and then re-read the seven beliefs mentioned above.
PageS
More on The Mind Set of Persuasive Language Patterns.

Have you ever been in conversation with someone who made
you feel as if you were the most important person in the world and that
they were speaking to the deepest parts of your soul? Being able to cre
ate this feeling in others makes delivering language patterns easier and
more forceful.
The endless debate on how to do it all boils down to one word:
charisma. To understand this powerful quality, consider how most peo
ple communicate. Often their attention is on two levels. On one level,
they are directly communicating their thoughts, insights and information
to the other person. On another level, they are indirectly communicating
all the other things that are on their minds. Perhaps they had a fight with
a spouse that day or are worried about bills. These semi-conscious
thoughts act to distract and prevent them from fully focusing on the oth
er person. For you reading this book - focus fully on the other person.
When you put aside all distractions, by sheer force of will, if
necessary, your awareness opens to more subtle cues from the individu
al, and your ability to influence them is multiplied.
Combine this sense of focus with your own unstoppable convic
tion, and your words take on a power of their own.
The first step is to recognize that these distractions exist. The
next step is to vow that, while you are attempting to influence someone,
you put your distractions aside in order to focus only on them and how
to direct them toward your outcome. See to it that nothing deters your
focus.
By the way, when practicing, it's important to remember that
your purpose is to pay attention and not to stare them down.
Many teachers of persuasion will tell you that sincerity is a vital
component of effective persuasion. Yes, sincerity is important even
when you don't believe what you are saying! Con-men have the ability
to believe what they are saying, sincerely, even if they only believe it
for that moment.
Know that it's much easier to be sincere, when you actuaIly are
sincere, but it's not essential.
Page 6
The Dual Reality Principle

What you say is always subject to interpretation, and the inter
pretation is completely dependent upon the perspective of the listener.
When more than one person hears you, there can be many different in
terpretations, and this can be used to your advantage. Nothing demon
strates this concept more than what stage magicians call "The Dual Re
ality Principle."
The Dual Reality Principle is when two people have heard one
thing, yet by design they each come to different conclusions.
One can notice this when language patterns are being used. For
example, a man is using language patterns to win a date. A bystander
hearing the conversation may think the guy is a little strange, talking
about things that are typically non-guy topics, like "connection," "pas
sion" and "the warmth of feelings." However, the woman likely has a
completely different perception of the conversation.
Stage magicians make use of this effect all the time, when they
allow the audience to perceive something "magical," while the volunteer
on stage perceives that they are merely following orders.
An example of this would be when, without giving away an en
tire magic trick, the magician asks a volunteer to reach into the magi
cian's pocket to prove to the audience that it's empty. As the volunteer
does so, the magician says, "Don't do anything, okay!" This, of course,
gets a laugh from the audience, as they envision the volunteer's hands
potentially injuring the magicians nether regions. He then tells the vol
unteer, "Okay, take your hand out," and then he proclaims to the audi
ence, "Your hand is empty."
What the audience doesn't know is that the pocket wasn't empty
but had a deck of cards in it. The volunteer could even feel the deck of
cards, but when he heard the magician tell him, "Don't do anything,
okay?" he heard it to mean, "just put your hand in my pocket...nothing
else." When the magician tells the volunteer, "your hand is empty" the
volunteer thinks nothing of it but the audience hears it to mean, "there is
nothing in my pocket."
Understanding the Dual Reality Principle will give you a higher
level of thinking about communication and language patterns. Imple
menting this principle may take some time and planning, but is always
Page 7
fun. To use it, you must take on three perspectives: your perspective and
what you will say; the second person's perspective and how you want
them to perceive what you are saying; and the third person's perspective
and how you want them to perceive what you say.
Page 8
Taking Mind Control From the Laboratory to The Streets
Mind Control Theory
Mind control theory is simple and can be described as having

four basic levels of perception and influence. First, consider the basic
theory behind mind control, which is very simple, and then we'll dive
into about the practice of it, which the remainder of this book is dedicat
ed to describing.
The first level of perception and influence is the most superfi
cial; this is where stimulus meets the senses. This is quite simple and
straightforward in theory - people respond to what their senses perceive.
On a practical level of influence and mind control this means limiting
what the subject perceives with the five senses, so that they can make
conclusions and assumptions based only on that information. This is
what many cults attempt to do and many of the paranoid conspiracy the
orists believe the so-called Illuminati are doing to everybody.
The second level is an attempt to define the meaning of the sen
sory perceptions. In other words, if you introduce someone to people
jumping up and down with drums beating, then you can define it as
dancing or demon possession, and the definition will be accepted, as
long as the subject has no prior reference to the stimuli. If the subject
does have some prior associations, then they are likely to bring that in
formation into the meaning they create.
This third level is one in which the subject develops their own
meaning and interpretation of the information. This personal interpreta
tion may incorporate level two definitions. Here the individual com
pares the sensory information and it's given meaning to their own preex
isting beliefs, perceptions and experiences, in order to draw a conclu
sion. For example, a beating with a cane may include pain (first level
perception) and be prescribed as a punishment (second level
perception), but the subject may associate it with an experience in their
youth, where they were whipped by an attractive nanny and experienced
arousal. Thus, their third level perception would be one of arousal, in
stead of punishment.
At the fourth level of perception, strong emotions and beliefs
are associated with the external stimuli and thus ingraining them deeper
in the individual psyche. At this level, these beliefs and emotions be-
Page 9
come like elected politicians, who spend a great deal of energy trying to
maintain their power. It is at this level that habits, obsessions and pho
bias take hold.
Mind Control Practice

When bringing the above theory into practice, it is always wise
to consider the design of every part of what the subject will experience
with their senses. This is why a salesman in his own sales office will
sell more than visiting prospects. In a sales office (or church, temple, re
cruiting center, bed room, etc.) the subject has no control over the envi
ronment and must often yield to the experience that the sales office cre
ates for them.
At this level, influence has less to do with language and lan
guage patterns than what the total five senses are perceiving. At this lev
el one can create the "pacing and dragging" experience for the subject.
Pacing and dragging (which is not exactly pacing and leading) occurs
when the subject figuratively agrees to step into the door (pacing) and
then is brought from one experience to another with such force, speed
and intensity (dragging) that they must agree to the conclusions of what
they experience. This is how some criminals create a compelling reality,
which makes their mark feel safe enough to give up his money.
At the second level, language patterns can be applied. The most
simple application of language patterning is done by calling an experi
ence or perception good, bad, holy, demonic, important, worthless, or
something else. Practical application at this level of influence is often
done long before the actual experience. For example, many young wom
en are raised to anticipate their wedding as a sacred, special and impor
tant event, and as a result, they minimize the work, trouble and expenses
that anyone else would consider a pain in the ass. As a lesson to the
mind controller, it's important to set up this level of influence as early as
possible, so the subject is ready to experience it as you prescribe.
The third level of influence can be the most challenging to con
trol, because it is difficult to know how the subject will incorporate the
information they receive. While you can prescribe a meaning to the ex
perience, it does not guarantee that it will be accepted or that variations
in the meaning will not be made. As a practical matter, getting feedback
is very important. The meaning the experience is given can be nudged
Page 10
in one direction or the other with accurate infonnation. Ifthe subject has
a strong preexisting opposition to that direction, then change can be
very difficult.
Assuming the subject's personal meaning of the events doesn't
oppose how you want to persuade them, the fourth level of influence
can be the most powerful and enduring. For that reason, it can also be
the most perilous. To succeed can mean a long lasting and beneficial al
liance. To fail could create an enemy that obsessively wants to hurt you.
At this level you can ingrain beliefs and emotions into the subject that
make the resulting behaviors self sustaining.
The Ideal Persuasion

We can describe what could be the ideal model of persuasion,
using these four levels of perception and influence.
Level One
Every aspect of what the subject will perceive is engineered to
lead to the most desirable result. Think of this as arranging the ideal
date. But it also applies to sales, cult indoctrination, political campaign
ing, and police interrogation.
Level Two
You give your meaning to the events, describe it in all the glori
0us or gruesome tenns that would best suit your needs. If possible, you
inoculate your subject by describing their experience and how they will
interpret it, before they have it. Useful language patterns include presup
positions, values elicitation, and elicitation of the feeling of anticipation.
Level Three
Here, the subject begins to make associations to the experience,
based on their previous experience. Language patterns can be used to
guide the subject's associations, based on your prior knowledge of their
history.
Level Four
The subject assigns beliefs and meanings for the experience you
created for them. With those meanings, they also have the emotional ex
perience you wanted. The experience and its meaning become solid for
Page 11
them, as something that is important. Emotional elicitation and anchor
ing would be a few of the language patterns useful on this level.
Page 12
Providing and Deleting Options
So now you're aware of four levels of perception and four levels

of influence that can be used to give you more power and control. A
sense of power comes about when you become aware of what other peo
ple don't usually consider. Because most people aren't aware of these
levels of perception, your power can grow by increasing or decreasing
the options that you offer people at these levels. What follows are four
types of information. With each level, the information gets more com
plex.
Binary Information (All or Nothing, Good or Bad, Black or White)

This is the most limiting of information options. It means the in
formation will only fall into one category, or it will not. Used in its
darkest form, a religious cult will ask its members to divide everything
into us/them categories. In terms of language patterns, it means describ
ing something in binary terms - good or bad.
BetterlWorse Information
There is more flexibility when there are more options. Here,
choices are not binary but have a rank - this one is better than that one.
What is absent with this information is how much better/worse some
thing is, compared to its counterpart. There is no gradient or scale.
Scaled Information (rating on 1 to 100)

Here, the information is provided on a gradient scale that starts
at zero, or nothing, and goes to any extreme. With this quality of infor
mation you can provide information that is "good enough" or "not bad
enough," and thus influence a decision the subject can make.
Complex Relationship Information

This is the level of information with the greatest degree of vari
ability and therefore, the greatest freedom and flexibility. This quality of
Page 13
infonnation contains certain traits that can be ranked on a gradient, and
there are relationships between certain traits.
U sing this model of mind control and the various levels of per
ception, you can add and delete infonnation with varied qualities at the
various levels of infonnation. Thus if someone is stuck at seeing some
thing in binary tenns (good or bad), you can go up enough levels to give
them flexibility of choice. Once they are directed to the decision you
want, you can go back down to the binary level of infonnation and call
it "good."
It should be noted, the difference between counseling/therapy
and mind control. Generally, therapy is designed to help a person move
from a narrower to a broader range of perspectives, all for the benefit of
the individual. Mind Control, by comparison, is interested in the results
as it relates to the controller, and perspectives can be broadened and
narrowed to suit the end result. To better understand this process, let's
look at some example.
(Binary Iriformation) There is an experience that almost
everyone has shared ofoverhearing an interesting conver
sation and knowing what every word means, but still hav
ing to focus in on the words, so that you can follow what is
being said. (BetterlWorse Information). You then realize
that you/ve moved from hearing just the words to under
standing the concepts and principles that are being dis
cussed. And so the topic becomes interesting to you.
(Scaled Information), so as you pay more attention, you
start to learn. The words which were really just sounds
now have even greater meaning, because this is something
new to you that's interesting. (Complex Information). Now
you can begin to wonder how it is you are able to take in
information so well, and use it to make changes in your
life. That type ofinformation has a quality all it's own.
Here is an example taken from the book "Understanding Ad

vanced Hypnotic Language Patterns" by John Burton Ed.D.
(Binary Information) Have you ever been riding in a
car... . but you were a passenger in the car, maybe in the
front seat ... and you were just looking out the window,
Page 14
down at the roadside, watching the edge ofthe road as you
passed along? You noticed how incredibly fast the road
passed beneath you, how landmark after landmark flew by.
It seemed extremely fast. (Better/Worse Information). Then
maybe you decided to look just a bit further off the road
maybe to a front yard, as you passed by. And then the next
front yard, as you passed, noticing that the yards passed
by more slowly. It took longer for them to go by - or really,
for you to go by them. (Scaled Information). And then
maybe you decided to look even further off the roadside
and noticed the houses, or beyond these, behind the hous
es. And you noticed how much more slowly these passed,
or you actually passed them. This seems much slower
(Complex Information), and then you decided to look even
further off in the distance, perhaps to the uttermost edge of
the horizon or maybe up at a cloud in the sky, way off in
the distance. You know how clouds can sometimes appear
in the shapes of something else familiar, like a dog or a
boat or something else? And you can start at a cloud way
off in the distance, not really knowing quite what shape it
is taking, but also noticing that it seems to be completely
still, not moving at all, and how paradoxical this stillness
feels. You know you are moving, and yet at the same time,
completely still- completely still, as youfix your eyes upon
this cloud that remains in constant view, knowing that
there are other clouds in other places that are in constant
view as well, appearing completely still. And now a soft,
still, calm feeling steals down inside, and you find you may
absorb this feeling, just like a soft, absorbent cloud within
you that soaks up the feeling, saturating your very being
with this comforting, floating, calm, deeply relaxing sensa
tion. As you let go, you realize this is everywhere.
Page 15
Using Your Voice To Control Emotions: Tones and Pacing
While the focus will be on the words themselves, you'll find

that the tonality and pace of speech are very important when delivering
language patterns. Please note that what is described here is specifically
for English. Other languages have their own rules regarding voice tonal
ity.
The Flat Tone

Consider the words, "You will lift that bag." If spoken in a flat
monotone, then it simply describes what will happen, as if reading from
a to-do list.
The Rising Tone
It begins to sound like a question, when you say, "You will lift
that bag," with a rising tone. This could be a question or a statement,
said in a rising tone. A question is an acknowledgment of uncertainty,
so even if spoken like a statement, it sounds uncertain and weak ..
The Downward Tone
When spoken with a downward tone, "You will lift that bag"
becomes an order, command or imperative.
An understanding of rising, downward and flat tones will give
you a clue about how to modify the impact of the words you use. Per
haps you want to make a suggestion but don't want to give it a strong
impact. In that case, you say it in a rising (questioning) tone. For exam
ple, saying "Maybe you can choose this path?" has a different impact
than when said in lowering tones.
Pace ofSpeech
The pace of speech has a stronger impact than one might think.
One way of noticing this is by speaking at the pace of your breathing.
Begin by simply noticing your breath when not speaking. The length of
the inhale will be as long as the exhale. When speaking, we modify our
breathing, because we only speak when exhaling. Therefore, inhales
will be shorter than the exhales. When we pace our voice to the natural
rhythm of our breathing, the attention of the listener is subtly altered.
Page 16
When speaking, there is a pause during the inhale, which is usu
ally not noticed, but tends to have the unconscious effect of creating an
ticipation. When it is followed by speech or the continuation of the sen
tence, there is an unconscious sense of relief.
As you speak at the pace of your breath, you are creating a sub
tle cycle of anticipation and relief in the listener. They are anticipating
your next words and feeling relief when they hear it.
That is quite a compelling power. When it is working, you will
most likely notice the face of the listener, gazing intently and hanging
on to your every word, without blinking.
Another example of pace of speech is often referred to as "the
voice roll," that is very common among evangelical preachers. The pace
of the voice roll is a bit faster than the pace of breath, but the effect is
the same. Voice roll is usually delivered at the rate of forty-five to sixty
beats per minute, in order to maximize the hypnotic effect.
EXERCISE:
Listen to your own voice as you speak. Most people have a very
monotone voice, even when they are passionate about what they are
speaking. Pick a sentence to read aloud and change the tonality of each
word. Read it with a questioning tone. Then read it as if it were a com
mand. Begin to notice how the tonality of your voice can impact the
meaning of what you are saying.
Page 17
The Parts Pattern - Creating Another Personality
This first pattern should be easy, because it requires only to un

derstand a concept. You don't have to memorize anything word for
word (but you can if you want).
To understand The Parts Pattern, consider that we all have
"parts" within us. There is a part that finds learning patterns interesting,
even fascinating. You can recognize it as the part that made you buy this
book. With this part now awakened, you can notice a growing interest to
learn. As you learn more patterns and how to use them, this part comes
alive and grows stronger and stronger, until it becomes so overpower
ing, you have to go out and see how they affect people.
Now, I just made that last part up - but it's very likely that you
noticed it had an effect.
The secret of "parts" creation is to realize that, when you name
something, it becomes real. When you start to describe it, it comes alive.
It is sort of like that childlike part of you that is curious to learn more.
Before you read that last sentence, there was no "part" there, and after it
was described, your mind began to connect the dots, so that the "curious
childlike" part began to come into awareness.
Step one - name a part.
Step two - describe it.
The part could be the part that becomes fascinated, or the part
that ignores the unimportant, or the part that becomes remorseful or de
pressed (if part of a "dark" pattern). Let's now make these examples
come alive:
Interesting things happen when you notice something that
you recognize as interesting. It's like there is a part ofyou
that becomes fascinated, and it locks into whatever you're
focusing on. When it comes alive, it's almost like you close
off all your awareness of the surrounding world, and it's
just this one subject that commands all your attention, and
you can't ignore it. In fact, as much as you try to turn
awtry, itjust draws you closer.
Page 18
When you have a clear idea about what's important, and
you focus on it, there is another part ofyou that begins to
take everything that doesn't matter and pushes it awtry.
Have you ever noticed how, as soon as your attention be
comes aware of a trivial distraction, it shrinks it in your
mind and screams, "FOCUS!" and snap - you're right back
on what really does matter? All you have to do is realize
that what you're doing is important, and this part gets
ready. This part that ignores the unimportant will take
what really matters and make it grow bigger and brighter
in your mind, so that nothing will distract you - and the
more you try to turn away, the more important these things
become.
There is a part inside your mind that knows when you've
done something wrong. It's the part that feels guilt and
quickly tries in vain to push it awtry, but only makes it
more glaring, noisy and sharp in your mind. Again and
again, it comes back, even when you sleep, and the more
you try to suppress it, the stronger it becomes. Finally, it
becomes so strong that you do everything in your power to
avoid sleep, because ofthe guilt that grows stronger, like a
cancer weighing you down. Even in those moments, when
your mind is free of the guilt, this part ofyou is plotting to
remind you of what you did. You'll never outrun it. You'll
never even outlive it.
If there is one part that does something, then there can be others
that have other functions. One part could activate another part, and all
you have to do is describe how they interact with each other. Here is an
example with a part that feels depression and a part that takes action.
Sometimes there is part of each of us that makes us feel

down. For some people, it only pulls them down further
andfurther, and a lot ofpeople get stuck there. But there is
another part inside that pulls you into action and straight
ens your spine and paints a clear path, focuses on simple
and doable tasks. It's the first part that calls the other into
action and keeps you going, no matter what.
Page 19
One can darkly create two parts that loop back on each other.
The first is the part that gets confused. The second is the part that feels
fear and terror. One causes the other, creating a loop in which the per
son either feels confusion or terror. The only option is to leave the
thought. The only use of this is to create amnesia to a specific thought.
When the thought comes up, the confused part comes alive. The con
fused part then awakens the fearful, terrorized part. They cycle back and
forth, creating discomfort, no matter what, until the subject stops trying
to think about the suggested topic. This is a sure prescription for neuro
sis.
Page 20
Give Them Exactly What YOU Want:

Presuppositions
To presuppose something simply means that what you want is

going to happen, and you demonstrate that belief in your words and ac
tions. This is the linguistic equivalent of an assumption. In other words,
presuppositions are not directly stated but assumed within the language.
For example, by using the following words, one can presuppose that
something will happen or has happened: automatically, continuously,
spontaneously, steadily, instinctively, almost magically, constantly, even
without thinking, second nature, unconsciously, involuntarily.
Before you automatically open the refrigerator door, you

should hold your nose.
This presupposes that the refrigerator door will be opened with
out resistance and that something smells bad inside.
As an exercise, write three sentences that presuppose that some

thing you want is happening automatically. Likewise, by using the fol
lowing words, one can presuppose something is true, factual and
proven: actual, actually, absolute, genuine, self-evident, unimpeach
able, real, really, true, truly, obviously, fact, factual, certified, proven,
authentic, valid, verified, unquestionable, undeniable, definite, ir
refutable.
Thus the following sentences presuppose something about this
book and the person reading it...you.
By studying this material, you'll steadily appreciate the ab

solute depth ofthe author's insights.
Here, the presupposition of "steadily appreciate" emphasizes
that you will be appreciative, and it is not questioned, because it will
happen steadily.
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The irrefutable commitment to learn is the self-evident key
mark ofthe people who read this material.
Here, the commitment is presupposed, because it is described as
irrefutable.
Presuppositions of Permanence
There are many benefits to presupposing permanence. If you
want a long term customer, enduring satisfaction, or for someone to feel
a long lasting feeling then presupposing these indestructible qualities
has value.
You can suggest moving towards permanence. In other words
convey how the results and the help you'll give your customers and
clients will be permanent or long lasting. You can also suggest moving
away from permanence. This is where you suggest that the pain they're
in will persist, and will be permanent unless they let you help them.
Suggesting all the permanent problems they'll get by dealing with your
competitors is also a lot of fun.
As a dark application you can suggest that all their guilt, shame
and fatigue be lasting and permanent.
Here are some useful words for presupposing permanence: last
ing, remaining, stable, secure, staying, indestructible, endless, non
stop, stay with, year after year, day after day, long term, continuing,
eternal, ceaseless, constant, enduring, persistent.
Note, for everything that you can presuppose don't forget that
you can also imply it and simply say it straight out as well. A presuppo
sition might be, "do you know any other provider with such a dedication
to long lasting customer service?" An implication might be, "our com
mitment to customer service began 50 years ago when the company
started, and it's part of our mission to continue to improve in that area."
A direct statement might look like this, "we have a commitment to cus
tomer service for as long as you have our products."
As powerful as presuppositions are it's important to note that
linguistic presuppositions alone will not get anyone laid. Presupposition
patterns like "as you continue to focus your attention on me banging
you..." just don't pull much weight. This is where you should make
some further distinctions.
Page 22
First, if you're using language to bring someone to arousal and
have sex with them the linguistic presuppositions should be on the ease
of feeling certain emotions and feelings in the body, and not the act of
sex. For example, "It's amazing how just by thinking about it a person
can begin to naturally feel an ongoing sense of comfort. Have you had a
chance to notice how quickly that feeling of connectedness follows a
persistent sense of ease when you're talking to someone?"
In the area of seduction there are some mental beliefs that you
should presuppose that will help you. These are the Foundational Be
liefs mentioned earlier. Just another good reason to go back, read them
and make them a part of your personality.
SOME WORDS YOU CAN USE:

lasting, remaining, stable, secure, staying, indestructible, endless, non
stop, stay with, year after year, day after day, long term, continuing,
eternal, ceaseless, constant, enduring, persistent, etc.
Notes on presuppositions:
For everything that you can presuppose, don't forget that you
can also imply it, and simply say it straight out, as well.
Presuppose
Do you know any other provider with such a dedication to
long lasting customer service?
Imply
Our commitment to customer service began 50 years ago
when the company started, and it's part of our mission to
continue to improve in that area.
Saying it Straight Out
We have a commitment to customer service for as long as
you have our products.
Page 23
Taking People on a Time Travel Adventnre:
Verb Tenses of Past, Present and Future
Using verb tenses to change people's minds is both very ad

vanced and very simple, because when you "get it" you can make dra
matic changes in people with seemingly little effort. A good example of
this is the perceptive cop who can tell a husband murdered his wife, be
cause upon investigation at the murder scene, he says, "I loved my
wife," instead of saying it in the present tense, "I love my wife."
As we speak, we are unconsciously using the verbs we've
learned. These verbs have a verb tense that indicates if the action of the
verb is in the past, present or future. Okay, so much for the review of
grade school English. How can we apply this for persuasion?
The easiest application is in therapeutic settings where problems
can be switched from being in the present to somewhere in the past, and
solutions and resources can be moved into the present and available in
the future.
To get a grasp on how to use verb tenses, let's think of how we
perceive time. For most of us we are familiar with a "time line" with
"the past" in one direction and "the future" in the other direction and
"now" being where you are standing on the time line.
o
---I
I
1\
Past ------------------ NOW ---------------- Future
So someone is talking to you, and you want them to do some

thing, but they have an objection, or if you're in a therapeutic setting,
the person is talking about a problem that they have. If the problem is
present, they will be talking about it in the present tense.
Page 24
Notice how the experience of the problem/objection changes as
the verb tense changes.
I procrastinate. (Present Tense)
I procrastinated. (Past Tense)
I will procrastinate. (Future Tense).
Now notice how your experience changes when the present par
ticiple form (-ing) is added.
I am procrastinating.
I was procrastinating.
I'll be procrastinating.
For many people, adding the -ing makes the procrastination

more real and "present," regardless of when it will happen.
The procrastination can be made to feel more distant by using

the past perfect:
I hadprocrastinated. (Past Perfect)
This makes the action feel as if it is not only in the past but
completed and, perhaps, not likely to be repeated.
I had had procrastinated. (While this may not seem completely
grammatical, the effect is significant).
I have procrastinated. (Present Perfect)

Present perfect indicates that now the procrastination has ended.
I will have procrastinated. (Future Perfect)

The future perfect indicates that at a time in the future the pro
crastination will reach a point when it ends.
So, using this knowledge, one could take a problem that some
one states in the present tense, and begin to talk about it in the past per
fect tense, as if it were over and done with. Then they could imagine a
Page 25
response or reaction that works better, and talk about it in the present
and the future.
Person A: I notice that every time I want to talk to a girl, I
get nervous.
Person B: So, you have had a habit of getting nervous,
right?
Person A: Yeah.
Person B: What would you rather be feeling now, instead?
Person A: Confidence, I guess. Yeah - excited confidence.
Person B: Hmmm ... okay, so you know what excited confi
dence would feel like?
Person A: Yeah - I think so.
Person B: So you probably can remember a situation where
excited confidence was present?
Person A: Yeah, when I was competing in debate in high
school. I was very good.
Person B: Can you remember that feeling now?
Person A: Oh yeah!
Person B: When you're feeling that feeling now, how do
you notice it in your body and how you move?
Person A: My mind is quieter. I stand taller. I feel like .. J'm
in control.
Person B: You do, don't you?
Person A: Yeah!
Person B: Now, what would it be like at that time in the fu
ture, now, when you see a girl you want to talk to, and you
feel this excited confidence pull you into action? It feels
good, doesn't it?
This is a hypothetical conversation, and not all changes can be

done so quickly. After all, mind control and persuasion is an art, not a
science.
In a conversation with a friend, ask, "What is a limitation you
would like to overcome?" and begin to speak of it only in the past tense
and past perfect tense. More importantly, assume it is in the past and
over with.
Next ask, "What resource would you rather have, instead of
that limitation?" With their response, begin to revivifY the resource,
Page 26
asking them to remember (now) what it feels like, and describe it. Then
follow by speaking about the resource as if they have it now, in the
present tense, and witt have it in the future. You can covertly test how
well you've done at the conclusion by simply asking, "Do you think you
know what to do now?" If they answer "Yes," then you've done your
job. To anyone listening, it may seem like nothing more than a simple
conversation, but the effect is a dramatically therapeutic one.
Another exercise in covert use of time tenses is to first deter
mine your outcome for the other person, and then what emotions and re
sponses within them would facilitate that outcome.
Step 1. Elicit the emotional state.

"Do you remember a time when you felt... ?
Step 2. Bring it from the past to the present.

"What does that feel like?" and "that's a neat feeling, isn't
it?" (Put it in the present.)
Step 3. Use the verb tense to program that feeling into the future, or
link it now to your outcome.
"What would it be like at that time right now when you
have a chance to decide on a widget that you see, and you
feel that emotion right now? That has got to be a solid
feeling, isn't it?"
Using verb tense can also be used to create problems, worries

and doubt in others. AlI you have to do is take the good feelings and
state them in the past tense, and state negative feelings in the present
and future tense. In this black ops example, the feelings of insecurity are
reinforced.
Person A: I'm noticing I'm feeling more confident with myself
when I talk to people.
Person B: Oh you had, hadn't you?
Person A: WelI, yeah.
Page 27
Person B: I remember you've been feeling uncertainty when
you're around people. Do you ever find yourself remembering
how heavy that feels?
Person A: No, not so much.
Person B: While you're feeling that doubt and insecurity right
now, how do you know you will have never gotten rid of it?
Person A: You're an asshole.
When using this, and many dark patterns, you'll find that they
will quickly alienate you, but they can still accomplish your goal of cre
ating doubt and insecurity.
As a final note on verb tenses - this is so powerful that it can ac

cidentally be used to create problems. In fact, people do this uncon
sciously all the time by simply reminding others, "What about your fear
of large crowds?" or "Do you still have that problem?" Of course they
mean well, but the effect is to make the problem real and present.
A very simple and formulaic way to do this process for thera
peutic reasons is to first ask, "What is a challenge you're facing?" and
make sure the challenge is an internal state and potentially under their
control. Then ask, "What state or emotion would you rather have, in
stead?"
These two questions will give you the challenge and the re
source.
To remove the challenge, ask three questions that presuppose
the challenge is in the past. "So, you had had that challenge, right?"
"And you remember having felt that challenge?" "Having remembered
havingfelt that challenge in the past you then knew what it hadfelt like,
right?'
To put the resourceful response in the present, ask three ques
tions that presuppose having and feeling the resource right now. "Be
cause you're mentioning this resource you know what this resource
feels like and it feels pretty good, doesn't it?" "And as you're feeling
this resource now it feels better, doesn't it?" "Having this resource now
present can really make a difference, agreed?"
The final step is a sentence attributed to Richard Bandler that
will lock it into place in the future, "What would it be like at that time
Page 28

in the future, right now, when you remember having had that challenge
- but now youfeel that resource with you at every moment... that's got to
feel pretty good, doesn't it?"
After doing this process, the most interesting response I've
found is that, when I ask, "So is there really a problem?" they say,
"No, theres no problem. " - and they truly mean it!
Black Ops Variation

Using verb tense can be done to hurt or create problems, wor
ries and doubt in others. All you have to do is take the good feelings and
state them in the past tense and negative feelings in the present and fu
ture tense.
When using this, and many dark patterns, you'll find that they
will quickly alienate you, but they can still accomplish your goal of cre
ating doubt and insecurity.
Time Distortion Variations

By playing with tenses and with how people perceive time, you
can put them into a hypnotic state where there is no "now."
Think of time distortion as taking someone on a temporal roller
coaster that goes from past to future to present in a seemingly chaotic
order. A good example of this effect is the connection pattern that is in
troduced in the seduction community. The connection pattern is de
signed to create an emotional connection that seems as though it has
been there forever. This eternal connection is created by riding the roller
coaster of time distortion.
Have you ever noticed what it's like when you really con
nect with someone? It's as if there is this cord oflight that
connects the two ofyou and that cord glows warm with the
feeling of this connection. You can even imagine yourself,
six months from now, still feeling this connection and you
can remember back to this day, right now and remember
when youfirstfelt it.
Page 29
The last sentence of this pattern is filled with ups and downs on
the temporal roller coaster - first feeling the connection now, then six
months from now and from there, remembering back to now, all the
while feeling the connection.
The lesson you can learn from this is that, if you want to have
someone feel any emotion or response as enduring and permanent, use
time distortion.
Page 30
Weaseling Into Peoples Minds:

Ericksonian Hypnotic Phrasing Examples
(a.k.a. Weasel Phrases)
What follows is a collection of language patterns used by Dr.

Milton Erickson. With each of these examples, a person can make sug
gestions without giving a commanding order. Consider the command,
"Consider why you want to do this." If said as a direct command, it
would create a great deal of resistance - but you could say, "I'm not en
tirely sure how well you can consider why you want to do this, " or "A
friend once never told me - you want to do this!" -thus working the com
mand into a sentence, which does not offer the listener a chance to reject
it. This explains why these are called "weasel phrases."
Complete each one of these phrases with a command:

A friend once NEVER told me to ...
After you come to ...
After you've ...
And the more you (X) the more you (Y)
Asyou...
... by just noticing.
... in a way that meets your needs.
... what would have to happen to convince your Wondrous Mind
to continue this ... "
A whole new way ofthinkingjust opened up...
All that really matters ...
All that's really important ...
Allowing yourselfto just naturally..
Almost as iJlas though/like ...
And (Name), you know better that anyone that ....
And as that occurs, you really can't help but notice ...
And creating change like this ...
And do you notice the beginning of ... ?
And I think you're going to enjoy being surprised that ....
And I want you to notice something that's happening to you.
And I wonder ifyou'll be curious, as you notice ...
And I wonder if you'll be curious about the fact that you ...
Page 31
And I'd like to have you discover ...
And ifyou wish ...
And it appears that already ...
And it's very rewarding to know that ...
And like magic ...
And maybe you'll enjoy noticing ...
And so it has been done ...
And sooner or later, I don't know just when ....
And that growing realization
And that will probably remind you of other experiences, and
other feelings you've had.
And that's justfine/all right/okay ...
And the awareness that you've gained today ...
And the genuine desire to really CHANGE once andfor all...
And the ways in which you'll surprisingly be using these learn
ings ...
And then, now you'll discover ...
And while you continue ...
And while you wonder that, I want you to discover that ...
And would you be willing to experience ... ?
Andyou begin to wonder when ...
Andyou can be pleased ... .
Andyou can really use it .. .
Andyou can wonder what ...
Andyou can wonder ....
Andyou will be surprised at....
Andyour unconscious mind can enable you to ...
And, in an interesting way, you'll discover ...
Another part ofyou can take care ofyou comfort...
As that suggestion finds its mark ...
Atfirst... , but later ....
At times like this, some people enjoy ...
Before you (name outcome) you can always simply (another or
related outcome) ...
Can you notice ... ?
Continue by letting your unconscious ...
During this relaxing yet profound process ...
Enable a particular resource to surface ...
Even though you THINK it would've been hard...
Page 32
Find that these changes positively in your future ...
Give yourselfthe opportunity to see if. ...
Have you begun to notice that yet?
I don't' know if you're aware of these changes, and it doesn't
really matter.
I want to remind you of something that you probably already
know, which is ....
I want you to enjoy this experience.
I wonder ifyou'd like to enjoy ...
I wonder ifyou'll be interested, in learning how, to ...
I wonder ifyou'll be pleased to notice ...
I wonder ifyou'll be reminded ...
I wonder ifyou'll be surprised to discover that ...
I wonder ifyou'll decide to ... or...
I wonder ifyou'll enjoy how naturally, howeasily...
I wonder ifyou've ever noticed....
I would like you to appreciate the fact that ...
I would like you to discover something ...
I'd like you to begin allowing ...
I'd like you to let yourself become more and more aware of ...
In all probability ....
Ifyou could...
It is easy isn't it ...
It may be that you'll enjoy ...
It may be that you're already aware of ..
It's so nice to know ...
It's going to be a pleasure to ...
It's so easy, wasn't it?
It's very positive and comforting to know ....
Just using the natural processes ofyour mind...
Keep changing in your life just like this ...
Kind oflike ...
Maybe it will surprise you to notice that ...
Now I'd like you to have a new experience.
Now ofcourse I don't know for sure what you're experiencing,
but perhaps you're ...
Obviously, naturally, convincingly, now ...
One ofthe first things you can become aware ofis ...
One ofthe things I'd like you to discover is ...
Page 33
Perhaps beginning to notice ...
Perhaps even taking a special kind ofenjoyment (in your ability
to}...
Perhaps noticing ...
Perhaps sooner than you expect ...
Perhaps you wouldn't mind noticing ...
Remember to forget to remember ...
So just let it happen ...
So now's the time ...
So that it's almost as if ...
That ongoing commitment to change .. .
The learnings that are taking place ...
The really important thing is just to be fully aware of ...
The stuffreality is made of ...
This makes sense like anything else in your life that you have
totally accepted...
Very likely ....
What's important, is the ability ofyour mind to ....
When would NOW be a good time..
While another part ofyou really works to create this CHANGE
NOW. ..
While you go to the proper level ...
While YOUR UNCONSCIOUS continues to CREATE EVEN
MORE POSITIVE CHANGE like this.
With you permission ...
Wondering whether your unconscious will carry out this
change or your conscious mind will..
You already know how to ...
You don't need to be concerned if ..
You'll befascinated andfeel a strong compulsion to ...
You might be fascinated and feel a strong compulsion to ... or
to ....
Page 34
The Language Pattern That Frightened Psychologists:

Embedded Commands
You will hear many superlatives about this form of language

pattern from those who have effectively used it. They will tell you em
bedded commands are simple to understand, wonderfully effective and
difficult for others to detect. They will also tell you that embedded com
mands are easy to use, if you practice them.
Embedded commands are so effective that when first discov
ered and used by psychologists, they restricted teaching embedded com
mands only to licensed psychologists who were willing to pay several
thousand dollars for the training. The fear was that embedded com
mands would fall into the wrong hands and be used by con-men and las
civious Lotharios.
The good (or bad) news is that the genie is out of the bottle, and
embedded commands are now being taught to everyone, from salesmen
to seducers.
Learning embedded commands is simple. Applying them de
mands some practice.
An embedded command is a single command that is hidden, or
embedded, within a sentence. When used effectively, the command is
clearly heard by the unconscious mind. This means that you can be
speaking normally while these messages are being received, and the
person will unconsciously follow the commands.
As an example, a normal sentence might be, "1 can see that you
can get out from this a lot of benefit. You can leave your worries at the
door." The hidden messages are, "Get out," "leave," and "door." You
would find yourself unconsciously heading toward the door, if your un
conscious mind only heard those words.
The key to making embedded commands work is to mark out
the command, and make it different from the rest of the sentence.
To mark out the commands, the speaker needs only to pause be
fore and after the command, and speak the command in a voice that is
deeper, louder, or softer than the rest of the sentence. Using the annota-
Page 35
tion of (...) to mean a pause and (bold) to mean a deeper tonality, the
above sentence would sound like this:
"! can see that you can...get out...from this a lot of benefit.
You can...leave...your worries at the ...door. "
When the sentence is spoken intentionally in this manner, then
they won't think anything about it, but unconsciously, their minds will
hear the words "Get out! Leave! Door!"
You can be talking about anything when you are delivering
your embedded commands, so think of the commands as the payload
and the sentences that carry them as the stealth missile that delivers
them.
Learning Embedded Commands

The most difficult part of embedded commands is simply
putting the time aside to practice them. The following is an effective
process for mastering this skill.
1. Choose your outcome.

Decide what you want the other person to do, and simplity it
enough so you can put it into a simple phrase of less that four words.
Consider three different aspects of using embedded commands:
the action, the feelings that motivate the actions, and the awareness of
the person.
Assume you want the person to lean against the wall. What are
simple commands that would describe that action? They could be
"Lean," "Shoulder up," "Put your back into it," "Support the wall,"
"Rest against it," Get comfortable," "Rest."
Now, include commands and feelings that might motivate
someone to do that. These feelings could be, "Put yourself at ease," "Re
lax," or "Feel Comfortable."
Include commands about what they might notice. ''Notice the
ease," "Notice the supporting pressure," "Notice how natural it is."
Your list might look like the following:
Lean
Page 36
Shoulder up
Support the wall
Rest against it
Put your back into it
Rest
Put yourself at ease
Relax
Feel comfortable
Notice the ease
Notice the supportive pressure
Notice how natural it is
2. Choose the topic to contain the embedded commands.

Let's assume you are commanding the person to lean against the
wall while describing the time you purchased a washing machine.
3. Place embedded commands into the topic, and mark them.

If new to this process, then you should write everything down
the first few times, and make certain to mark out the commands using
(...) to mean a pause and (bold) to mean a deeper tonality. Here is my
example made up on the fly:
I just went to Acme Appliances and got a washing ma
chine. When I get there I thought the salesman would real
ly start to...lean... on me to buy, but instead, he really
did .. shoulder up...and make me.. feel comfortahle...so I
wasn't... up against a wall...He made it seem as if you did
n't have to...put your hack into it... to find something you
liked. The one I found was way in the... hack, resting
against the wall.. .!t was a Washmate brand, the kind with
the motto that says... "Put yourself at ease".. .! wanted a
good deal, so I tried something. I said "Notice how natu
ral it is... to give me a discount," and he said he would .. do
it! And just like that, 1..Iean hack. .. and .. notice the sup
port. .. they give their customers.
4. Read it aloud - and overdo the commands!

Page 37
Yes, that's right, you must overdo them, and exaggerate your embed
ded commands far beyond what you think is normal. Make the pause
(...) a one second pause. Make the command in a much deeper and/or
louder voice.
You need to overdo and exaggerate the commands, in order to over
come this strange way of speaking. If you have never done embedded
commands before, then it is likely you'll say your commands in the
same way you speak, and the result will be zero impact on your subject.
Fear of Getting Caught Using Embedded Commands

There is a natural hesitation you will overcome when first using em
bedded commands. That hesitation comes from speaking in a new way.
It will feel like you are sounding strange, and to you, you are. It is also
the hesitation that someone who hears you speak will catch you.
The only people who could possibly notice you speaking "strangely"
are those people who are used to how you normally speak. If they do
notice you speaking differently, then rest assured, they will not know
exactly what you're doing, only that it's different.
Page 38
When I Talk About Me - I'm Talking About You

The I-You Shift
This is a very simple pattern, and something that we do all the

time in regular conversation.
The I-You shift happens when one begins talking about their
experience and moves from using the first person "I" to the second per
son "you." This is a covert way of telling someone to feel what you de
scribe.
"1 was thinking what happened to me yesterday. I was

standing in line at the checkout counter, and someone
asked me to hand them a magazine by the register. You
know what it is like when someone looks at you and has
such a kind voice and manner that you smile, and just do
what this person says. And they just smile and tilt their
head. It leaves you with such a warm feeling that you know
it is something that you are going to remember for that
day."
In this example, the speaker is covertly telling the subject to feel

a warm feeling toward them, using the I-You shift.
This one is fun and simple. Use the I-You shift in your next four
conversations to create a feeling in someone that you want them to feel.
All you have to do is start off by saying, "I had an interesting experience
today. 1..."
Page 39
How To Compare Things, So That You Always Get What You
Want
The Comparative Structure
Often people will have in their mind one thought, assumption or

conclusion about something. They will have often abandoned any other
alternative, as if they have discovered one flavor of cheese and forbid
themselves to taste anything else.
On the one hand, this is reassuring, because they have landed
solidly on their conclusion and no longer need to waste energy to think,
analyze or consider anything else. On the other hand, they have forbid
den themselves from the freedom of comparison.
What follows are various ways that one can introduce compar
isons. They can be very simple - but they can be very trance inducing.
The As-As phrase

Here the word "as" is used twice to create an comparison.
"You'll find that you can notice your interest growing as
easily as noticing the pleasure ofa touch. "
This sentence compares noticing "growing interest" to noticing "plea
sure of a touch," and in so doing, links the two.
The Difference Between Pattern

"The Difference Between" pattern allows you to go into rich de
scriptive detail, describing two similar mental states. By describing
these two states, X and Y, you covertly elicit them both.
To create a "Difference Between" pattern, ask yourself, "What
mental-emotional states would drive someone to do what you want them
to do?"
Upon determining what states would compel the action you desire, you
then pose the question,
"Have you ever considered the difference between X and Y?"
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What can make this pattern interesting is when X and Yare so
similar that the difference between them has been overlooked, thus cre
ating a sense of curiosity.
Attraction and Desire

"Have you ever considered the difference between attraction and de
sire? "
Attraction is when you begin to notice something in someone
that you like. Perhaps it's just the fact that you laughed together, or that
you feel comfortable enough to consider other things you want to do to
gether. Attraction is when you have this person's face in your vision,
even when they are not around.
Desire is something different, more intense. Desire has many of
the qualities of attraction, of course, but you add to it a warmth that be
gins to pull you toward this person. I don't know if you notice it as a
pull from the inside, or as if there is a force outside of you drawing you
to this person, but you know it's happening, because somewhere in the
back of your mind, you can hear this voice saying, "Mmm, yes! I gotta
have that!" And it builds and builds and begins to take on a life of its
own, so that no matter how much you try to suppress it, it just gets
stronger."
Cost and Value

Most people are familiar with the credit card commercial that goes,
"Wedding Ring: $1500. Wedding Dress: $2200. Bride's maids' gowns:
$3200. A wedding she'll remember forever: priceless."
This pattern can be used in sales to emphasizes the value over the ex
pense. "Have you ever considered the difference between what you're
spending and the value of it and what you'll get with it. While the cost is
$X, you'll get the priceless experience of (benefit) and (benefit) and
(benefit). "
Want and Commitment
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"Have you ever thought about what makes up the difference between
want and commitment?
Want is interesting. You know that pull that comes from deep inside.
You see your future out in front of you, and there is a chance that the
thing you want might not be there. It's that feeling that might start as a
piqued curiosity that says, "Yeah, I like that," and can turn into some
thing so powerful that you almost find yourself screaming, "] gotta have
it! "
Want is fast, frenetic and fun.
Commitment, on the other hand, is calmer and more solid. You can
look out into your future and know beyond any doubt that what you
want is there, and it's there because you decided, right now, to have it.
There is no more want or pull. You simply did it and made it happen,
and you did it because you knew it was the right thing to do."
Stillness and Immobility

"When you relax and get very comfortable, you may notice
something that happens. You begin to make very subtle distinctions, and
you can notice there is a difference between the comfort that causes a
stillness and the difference between stillness and what it's like to be
come completely immobile, because you're so relaxed. With stillness,
there is a calm that feels so comfortable that you don't need or want to
move, and that stillness can grow stronger and stronger, until no matter
what, you can't move, no matter hard you try."
Fear and Anxiety (Dark Pattern)
"You know some people don't really draw the distinction be
tween fear and anxiety.
Maybe you remember what it's like to know something terrible
is about to happen. It's like there is this ominous, heavy, dark figure,
looming just behind you, out of vision, and you know if you tum around
to check, that something painful and deadly will happen. Your heart
pounds, and your breath is short and rapid. All you can do is run and
hope that, by some small margin, you can escape it.
Anxiety is a type of fear, in its own right. Only this anxiety is
that you know that something terrible and deadly is going to happen,
Page 42
and the worst part is that nothing that you can say will convince you that
you're not going to die. No matter what you tell yourself, the terror only
grows, and the walls being to shrink around you. The air gets thin, so
you can only breathe in short gasps."
Depression and Hopelessness (Dark Pattern)
"There's a difference between depression and hopelessness.
I don't know how clearly you can imagine feeling so tired, all
you want to do is go to sleep and not wake up. Maybe you're feeling sad
about something that has happened. That's just one of the symptoms of
depression. You can think of all that you've done in life, and realize that
it doesn't mean anything; that there is nothing of any importance in life
to think about, and all you can see within your mind is a vast, black
emptiness. Nothing important is left to think about.
Hopelessness takes all your depression and places it everywhere in
your future. No matter what you try to look forward to, it's not there.
Just a black emptiness. All you can anticipate is that, no matter what
happens, you can't be there to enjoy it. That part of you has been re
moved forever. Even now, you could feel every loss that you've experi
enced, as if they are all happening over and over again."
Page 43
Getting To The "Core" Of Any Woman (or Man)

The Sacred Core Pattern
Consider that we all walk around with an outer persona that we

present to the world. Also, at the same time, we protect another part of
ourselves deep inside which holds our deepest desires and what we truly
respond to.
They are not the same.
The outer persona holds all ofour rules and roles within society.
The Sacred Core holds our deepest passions, hopes and dreams.
Originally used for seduction, the goal of this pattern is to get

past the outer persona and to expose and touch the Sacred Core. Be
warned. This is a powerful emotional pattern that exposes the vulnera
bility of the individual. Ifthat vulnerability is mistreated, you will likely
create an enemy who compUlsively wants to hurt you. Imagine if some
one else should mistreat the deeper self you share with them.
I find that, within most of us, there is a part that we all have to
protect. You see, we go through life with this public self, and
this public selfis the part ofus that has all the roles to play and
all the rules to live by that we've all agreed upon. It even con
tains all the beliefs that we have about what we think we want.
But deep inside, there is another part that holds what we would
truly respond to ...things that we wouldn't even tell our closest
friends. Within this very sacred core, we carry our hopes, our
dreams, our fondest memories and our deepest desires. This
part we protect, because it's where we hold things no one else
knows.
It's also the place where anything can be possible. Where you
can create and explore new feelings, new directions and even
new behaviors that the outer persona protects from the world
What Ifind is that it's rare to find someone who understands this
part of you... this person. ..with whom you feel safe enough
to... create an opening and invite them in, and there you can be
gin to explore together all the wonderful possibilities.
Page 44
Doubt and Uncertainty Patterns
Doubt and uncertainty patterns are similar to sleight of mouth

patterns, except they are not specifically designed to attack particular
beliefs. Doubt and uncertainty patterns are designed to put the person
into a state of willingness to consider alternatives.
Here are a sequence of doubt and uncertainty patterns, which
can be used in any combination.
Are you sure?

This is just the beginning of patterning, and on a subtle level, it places
the person in a position to question their certainty. Often it will yield a
"Yes," as a reflex.
Are you sure you're sure - or just think you're sure?

"I think I'm sure."
That's right - you THINK so.
This response further distinguishes the difference between certainty and

doubt.
Are you certain enough about X to be uncertain?

This puts the person into a double bind. If they answer "yes" then they
are willing to doubt, and if they answer no then their certainty is not cer
tain enough, and has doubt in it.
So you are certain about X? You know what it's like when
you think something, but then you realize that you just
think you think it? You go inside, and mentally, it gets
turned around, so back is front, and what's left becomes
right, and you realize that things aren't what you thought
you thought they were.
Page 45
This is a use of Erickson ian language, in order to induce doubt, and gen
tly allow their mind to change.
Page 46
How To Make Other Hear YOUR Voice in THEIR Heads

The Voice Of Experience Pattern
This is a very covert form of suggestion that comes from Erick

son ian hypnosis.
Let's start by recognizing that, in one form or another, we all
talk to ourselves. Sometimes we do it out loud, but more often, we have
some sort of voice in our heads that we use to think, reason, rationalize
and direct ourselves. For most people, this voice is a generic voice, with
qualities no more distinct than the voice one hears when they speak.
What would it be like if you could make that inner voice in oth
ers' heads sound just like your voice? If someone were to wonder what
to do, they would hear your voice talking to them. When wanting to en
courage themselves, they would hear your voice cheering them on.
Therefore, when they hear your voice over the phone or in person, it just
feels right, because it's exactly like the voice in their heads. They would
feel comfortable with almost anything you tell them.
"We all have memories ofthings we've learned, and maybe

you can even remember your very earliest memory of
learning, when you learned what it was like to learn.
Maybe you were with a group ofpeople or with someone
older, but in that moment, you knew what it was like to
learn, and everything seemed right. It sounded true, and it
felt real.
In a lot ofways, it's like this voice - a voice of experience
and support. So when you think about what it is you're go
ing to learn, and you listen, you can hear this voice... and if
you listen... really listen ... you can hear this voice right
now.. .speaking to you, right from the very center of who
you are. This is your voice of experience and support. I
have a voice like that, and you have this voice too... and
even in the quiet moments of your thoughts, you can al
ways hear this voice.. .guiding you, protecting you and
keeping you from harm. "
Page 47
You'll note that there is nothing in this pattern that directly says, "My
voice is the voice in your head," but when someone is hearing this pat
tern, at some level, they put in the speaker's voice as that "voice of ex
perience."
There are a lot of ways you make variations of this pattern. One
way is to simply ask, "Have you ever had to talk to yourself to get your
self motivated to do something?" And then ask what they would say to
themselves, while consistently referring to "this voice" that makes them
"go for it."
Have them play a game with you to put "this voice" in their
head when they need it, and have them do things the instant they hear
"this voice." Of course, you will practice being "this voice" for them.
Secretly, you are training them to respond to your voice, by framing it
all as a game.
Page 48
How To Motivate People To Do ANYTHING You Want

Values Elicitation
When you find out what is most important to people, you can
use it to influence and persuade them. The power of being able to do
this is profound and can be used to help or harm.
The key is to uncover their set ofvalues.
The good news is that it's much easier than you might think.
Consider that people love to talk about what is important to them, when
someone shows even a little interest. Sometimes, all you have to do is
pay attention, and people will give you their hearts (more on this later).
Other times, you only need to skillfully ask a few simple questions, and
they will tell you everything you want to know about what motivates
them.
Here is the process. First, understand that there is a context in
which you want to influence the other person. This context could be
selling a car, thus the context would be "cars." The context could be se
duction, thus you would be talking about "romantic encounters." The
rule is to keep the conversation within the context.
Once you are aware of the context, then the question you ask is
quite simple. "What's important to you about (context)?"
So if the context is cars, then the question would be, "What's
important to you about a car?" and if the context is sex, then the ques
tion would be, "What's important to you in a lover?"
A variation of this question can be, "When you have (context)
fully and completely, what does that give you that's important?"
So, using the examples and this variation, the questions would
be, "When you have the car you want, what does that give you that is
important?" or, "When you have the lover or sex partner that you truly
want, what does that give you that is important?"
When asking these questions, the first answer is not likely to be
their deepest value, but it is important. In order to get to their deepest
value for this context, you repeat the questioning cycle.
Page 49
Let's say that your context is seduction, and you are attempting
to woo a particular person. The first question asked is, "What's impor
tant to you in a lover?" Let us say they answer "romance." So to repeat
this process, you would use the word "romance" as they have used it.
"When you have romance fully and completely, what does that give you
that's important?"
Let's then suppose the person's answer then becomes "passion."
This process of questioning would continue, until you reach
their highest value. As a general rule, you will likely only have to repeat
this process three times, sometimes less and sometimes more. How will
you know their highest value has been reached? Pay attention, and look
for some expression of emotion.
Keep in mind that these are people's highest values within this
context, and for them to talk about it is bound to elicit emotions of some
sort. This emotional response may be subtle or overt. It might not be
tears, but you will want to pay attention to their response.
So, knowing that her first answer is "romance" and then "pas
sion," you ask again. "What is ultimately important to you about pas
sion?" Let's suppose their answer is "That would fulfill my deepest de
sire."
Keep in mind that we are only half way through the entire val
ues elicitation process. Often this first half of the process of elicitation is
enough for the person to begin to link these powerful values to you or
your product.
Let's continue with the entire process.
Next, you use their answers to link their values to you or your product.
So you know that "romance" and "passion" are part of what
makes their vision of an ideal partner and that ,ultimately, passion
would "fulfill (her) deepest desire." All you do is work those exact
words into the description of your values, or demonstrate them in your
behavior.
You might later say something like, "When I think about the
things that make a relationship worthwhile, there has to be a feeling of
romance and passion, in order to fulfill my deepest desires," or "I don't
know how well you can sit there and look at me as we talk, and know
Page 50
that there is, deep inside, a sense of romance and passion that will be
there to fulfill your deepest desire."
At first, this may sound mechanical and contrived, but keep in
mind that you are talking about their highest values, and it has a very
powerful effect.
This pattern is so powerful that it can influence people to do
things they would not normally do.
Warning!!!
If this pattern is done to someone in a "dark" way, and they are
persuaded to expect something you cannot live up to, then it is likely
you will have made an enemy for life - or worse. You may have created
someone who is compelled to hunt you down and kill you. Remember,
this is manipulation on the level ofa person's deepest values.
Page 51
How to Destroy Old Beliefs and Install New Ones
The TruelUsed To Be True Pattern
The TruelUsed To Be True Pattern is very useful, if you want to

help someone eliminate a limiting belief, and install a more supportive
belief in its place. This pattern is also useful in various "dark" applica
tions - but more on that, later in the book.
The TruelUsed To Be True Pattern works by altering how we
view beliefs. As a general rule, we seldom examine our beliefs. Instead,
we only notice how our beliefs affect us. For example, we feel dissatis
fied, because want to do more with our lives, but there is a belief that
holds us back that says, "I'm too old to learn anything new."
To use this pattern, you have to isolate the specific belief, and
determine its positive and beneficial opposite. "I can learn anything,"
for example.
Once you have these components, the next step is to ask for two
other thoughts that are unrelated to the belief you are going to change.
These two new thoughts must both be absent of any strong emotions.
These two new beliefs are, first, something you know that used to be
true and second, something you know is absolutely true.
Having these two new thoughts, you need to find out the vari
ous qualities of them, what NLPers call submodalities. This means how
they are pictured, their size, color and motion.
With this information, you would have them imagine the old
unwanted belief that take on all the qualities of "something that used to
be true," and the new and supportive belief that take on the qualities of
something they know is true. What follows is a semi-dark conversation
al application of The TruelUsed To Be True Pattern.
Person A: Let me show you something about how your
mind works. Think of something you know that used to be
true for you, but it isn't any more. Something that isn't a
big deal, like you used to ride a bike, but now you don't, or
you used to be in high school, but now you aren't.
Person B: Okay, I've got it. I used to be in high school, but
now I'm not.
Page 52
Person A: When you think of how that used to be true, and
picture it in your mind - could you point to where you see
it in front of you? (Person B Points) What are it's dimen
sions? Is it in color or black and white? Is it still or in mo
tion?
Person B: About 3 ft by 2 ft. in color. It's still.
Person A: Okay. Now, think of something you know is ab
solutely true - like you know the sun rises or that fire is hot
- and tell me how it's is different.
Person B: Closer and right in front of me, and it's four feet
by four feet. It's in color and in motion.
Person A: Great. Now let me show you something about
how your mind works. Just suppose you looked in that area
where something used-to-be-true, and right there, three feet
by two feet, and in color, and still - is the image of you
doubting what I have to tell you. Now, in that place where
you put things that are absolutely true - see what I tell you,
fitting in right there, and notice how it just fits NOW!
The effect is that you are covertly altering how they experience
beliefs and that any doubt of what Person A says falls into used-to-be
true, and acceptance of what you say becomes absolutely true. Very de
vious, but useful, when you attempting to persuade someone.
It's important to note that to do something of this nature does
require a great deal of rapport, and if you can add a sense of lighthearted
fun to it, others will be more willing to follow along.
Working with an actual belief like, "I'm too old to learn" in a
coaching or therapeutic setting is easier, because the other person is
likely to know just what is going on and be willing to follow every step.
Page 53
How To Make Yourself The Instant Expert

Credibility Patterns
These is a technique that helps add credibility and status to

yourself. It is akin to name dropping, because it covertly links you to
some expert or authority in your field. By so doing, you elevate your
own status. Make sure the experts you use are relevant to the subject
(don't quote an artist when you are talking about health care), and use
experts that are alive. The covert expert endorsement goes like this.
"One thing I learned from (EXPERT'S NAME) was/is

(WHAT YOU LEARNED FROM HIMIHER)."
Or
"If there was one thing that (EXPERT'S NAME) taught
me, it's this: (WHAT YOU LEARNED)."
For example,
"One thing I learned from Steve Jobs is always innovate,
never stagnate."
"If there was one thing that David Ogilvy taught me, it's
this - always make your ads interesting. You can never
bore people into buying from you."
As you can see, you don't have to actually know the person to have
them covertly endorse you in this manner. This language patterns works
best in writing when no one can ask you, "How do you know (EX
PERT)?" Thus emails, ad copy and letters are the perfect medium.
It's best to use this language pattern cautiously when spoken, because
it could be challenged and because excessive name dropping of this na
ture may be perceived as condescension and braggery.
Page 54
Instantly Manipulate Your Social Status
Manipulating Social Status is not so much a language pattern as

it is a process of subtly altering your behavior to influence people. For
lack of a better term, the quality you will be affecting we'll call "status."
Status shows itself by the external demonstration of power be
tween individuals. A person who is of high status will subtly demon
strate more power over others who have low status and, more important
ly, the people of low status will respond.
So status is really about altering the relationship that exists be
tween people.
A military general has more status than a private, and they
demonstrate it in their behavior. They speak with more authority and in
such a way that they know their commands will be followed.
A bouncer at a night club has status over everyone who wants in
the club.
Many of us think that status is frozen and static, but it isn't. Sup
pose the private had a part time job working as a bouncer. In different
situations, they would be interacting with the military general with dif
fering levels of status, depending upon the situation. Because status is
dynamic, one can alter it at will, instead of letting themselves be domi
nated by the situation or the social agreement.
A good example of the dynamic quality of status is that of a
man asking for a date. If the man presents himself as lower status than
the woman, he may feel she is "out of his league," and asking for a date
might be a form of supplication. He might even say something like,
"You wouldn't want to go out with me on Saturday, would you?" Were
this man to present himself as equal or slightly higher status to the
woman, he might instead say, "Would you like to join me at the new
comedy club opening this Saturday?"
Status is a delicate thing. Too Iowa status, and you may be
looked down on. Too high, and you may seem condescending. Status
can be altered, depending on what you want to accomplish. To speak to
a beautiful woman that a man has just met, it is often better to be of a
status that is only slightly above hers. This allows a recognition of
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equality but that he has more power and can thus provide more security
and opportunity. This dynamic might change, when the two are in a ro
mantic encounter, when his status is equal to hers.
In simple terms, people of high status don't physically move a
great deal, because they have everything that they need, and they often
have people who will do the actions for them. They don't even blink a
great deal. The actor, Michael Caine, once described what happened
when he learned about the concept of status. When rehearsing a charac
ter of high status, like a powerful mobster, he would practice speaking
with a calm assurance, and do it so unblinkingly that people would be
gin to get intimidated or go into what seemed to him a hypnotic trance.
He found that he could be very intimidating, even if he was calmly say
ing "You know, I like you Sonny. I really do. I don't want anything to
happen to you."
Here are a list of behaviors and qualities of high and low status.
These are the overt qualities that you can moderate, as you raise and
lower your behavioral status.
High Status: calm, confident, secure

Low Status: nervous, worried, agitated
High Status: slow intentional movements

Low Status: twitchy
High Status: responsive, acting as if all reactions are planned and

thought out.
Low Status: reactive, reflexive to what happens.
High Status: no blinking (not the same as staring)

Low Status: blinking with eyes darting
Being of high status may not always be the most effective strategy. To
use the manipulation of status effectively, you must ask yourself what
level of status would give you the best advantage in a given situation.
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How To Control The Mind "Because" It's Easy
The Because Pattern
"This pattern is easy - because anyone can do it. "

Quite simply, all you have to do is say "because" after almost
anything you say, and offer some sort of reason. This works because the
mind tends to accept anything as a reason simply because we say "be
cause."
"This is an easy pattern to learn, because it was written in a book. "

Now, I ask you, when you think about that sentence, what does
having something "written in a book" have to do with it being easy to
learn. Nothing! Yet, we tend to accept it as reasonable just...because.
This is "because logic."
Other forms of "because logic" include:

• due to - "Due to the fact that you're sitting down it's quite easy
to feel comfortable and relax. "
• for that reason - "We are all here in the same room, and for
that reason it's not too hard to feel a little excitement. "
• thus - "You're fairly nervous about attending the meeting, thus

the whole prospect of giving the presentation can be fairly ex
citing. "
• causes - "The lights are bright, and that causes you to focus on
the beautiful decor ofthe living room. "
• gives way to - "Knowing that there is a car parked outside

gives way to an exciting feeling to escape this crazy party and
have some real fun. "
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• yields - "The conversation yields an enthusiasm that makes fol
lowing along easy. "
• results in - "The fact that you're just here listening results in a

sense ofrelaxation and an ease to hear more. "
(Dark Versions)
"You can probably notice that feeling of being stared at,
because you're standing where everyone can see you. "
"It's natural for you to feel guilty, because you're standing
in front ofme. "
Begin to use this "because logic" in every situation you can

think of, and notice how people will easily accept what you are saying.
That's the power of "because logic."
Why does it work? Because!
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How to Make Anything Mean Anything You Want

The X Means Y Pattern
As a rule, consider that, when you give a meaning to something,

most people accept it, without question and that even bullshit sounds be
lievable, when spoken congruently. This is a power that con-men bring
to their nefarious craft; because they speak congruently, as though they
believe themselves, they gain "confidence" with others that they are
speaking the truth.
Please note that we all use this form of deception in everyday
life. Much like the example of the "Because Pattern," the "X means Y"
pattern is both simple and powerful. To use this pattern, one says that
one thing means another thing.
Here are some examples:
"The fact that you're here means you're going to listen in

on some important information. "
"Standing in this room shows your sincere interest to

learn more. I deeply respect that. "
"There is a strong implication that you're interested in

me, just by the kind way you hand me the papers. "
"That you are sitting so close indicates you are going to

learn a lot from this process. "
Here are some darker examples:
"That you are willing to speak about it so calmly is a

sign of the incredible guilt you're going to feel when you
are revealed as a fraud. "
"lfyou have a bad dream it means you're did something

wrong that only confession will absolve. "
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How to Bind Your Success
The Single Bind Pattern
The Single Bind pattern works in the same way as "because log
ic." People just tend to accept it, without question. Simply put, the sin
gle bind pattern links an action to a feeling.
The simplest construction of the single bind is, "The more you
X - the more you Y," but it can be morphed in a number of ways:
"The more you watch, the more curious you'll become."
"The more you think about it, the more interesting it becomes. "
"The sooner you agree, the faster you'll feel satisfied"
"The faster you do it, the less you will hurt. "
"The less you resist, the more you'll enjoy. "
"The more you study, the more you'll remember it. "
"The more you sweat in training, the less you bleed in combat. "
"The faster you act and the less you think, the more quickly
you'll enjoy the suggestion."
"The slower you eat, the more you'll enjoy the taste and texture
ofthefood"
"The more you worry about your erection, the harder it will be to
get one. "
"The more you interrupt me, the more guilt and shame you'll suf
fer."
"The more you think about that embarrassment, the more
painfully humiliating it becomes for you. "
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Choosing Between Two Evils is Still Choosing Evil
The Double Bind Pattern
A Double Bind pattern creates a choice in the other persons

mind - and either choice will give you what you want. A typical exam
ple of a double bind is being asked by a cashier whether you want to
pay with cash or credit. The bottom line is that you will pay, thus the re
fusal of either option still creates the same result.
A double bind combined good rapport will minimize the
amount of antagonism felt when offered to pick the lesser of two evils.
The doctor asked, while smiling, "00 you want the hypodermic injec
tion in the arm or the hip?" Either way - you got a shot.
Also, you will get stronger results by adding emotional respons

es into your double binds. Here are some examples:
"When you consider how conifortable you feel, you can either
linger on it to get the most from it, or you can begin to imagine
how much more real pleasure is possible. "
Also:
"Sitting here a person can either just sit back and relax, or they
can get comfortable with everything around them. "

"You can either think about what you did and how it hurt peo
ple, or you can let the guilt build up and haunt your every wak
ing moment. " Also, "When that feeling ofanxiety automatically
appears you can either let it grow stronger or you can think
about how much stronger it will grow no matter what. "
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How To Double the Impact, Seal The Deal
& Lock In The Emotions You Want:
Meta States
The central key to understanding meta states is to know the dif

ference between a "primary state" and a "meta state." A primary state is
a thought or feeling. For example, "1feel sad" is the statement of a pri
mary state. To think about a concept like death is a primary thought.
A meta state is a thought or feeling about thoughts or feelings.
For example, "Ifeel guilty about my sadness" describes a state - in this
case, guilt, about a primary state - in this case, sadness.
Likewise, thinking about thoughts of death would also be a
meta state. "1 think it would be interesting to think about death. "
One can take a single state, sadness for example, and associate
many meta states to it. A person can feel fear about their guilt about
their sadness, and thus have two levels of meta states, fear and guilt. As
you can see, this example describes a very uncomfortable state, where
someone can be trapped into a cycle of sadness, the primary emotional
state.
As an alternative, one can start with the same emotion of sad
ness and go in a different direction with the meta states. They can feel
sadness, then relief about their sadness, and then finally joy about their
relief. So imagine feeling joy about your relief about your sadness. It's
quite a different experience.
In this way, meta states can be suggested, in order to achieve an
end result, but starting with any originating primary state. To "lock in"
the new meta state, all one has to do is to ask the subject to notice the
original primary state.
Consider the following exercise:

Either alone or with a partner, begin with an originating state X.
Now ask,
"When you notice X, what thoughts orfeelings come to mind?"
or,
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"How do youfeel about X?"
In this way, you will get the meta state, because it is a state that
is one level removed from the primary state. Ask the same question,
even further. "When you notice that feeling about X, what thoughts or
feelings do you then have?"
You can also suggest meta states, such as saying, "As you no
tice that uncertainty (the primary state), can you bring to bear a calm
sense ofrelaxation, and notice how that feels?" In this case, the person
feels uncertainty and then a sense of calm.
As a "dark application," consider the same person feeling un
certainty and then being asked, "As you notice that uncertainty and it
grows, notice how it overlaps anxiety. "
Notice that, by asking questions in this way, it continues to dis
tance the subject from their original state. This is why, if you want to
connect the person to the new meta states, you must reconnect them to
the primary state.
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How To Make People Crazy

Gaslighting
Gaslighting is the process of causing someone to doubt their

own thoughts, beliefs and perceptions. The term "gaslighting" come
from the 1944 movie "Gaslight," about a man who attempted to cause
his wife to go crazy by making her doubt what she was seeing.
To understand gaslighting, you must realize that it happens all
the time and that it is a basic process of human communication.
Gaslighting, in itself, is neither good nor bad. Like many of these pat
terns, it is how they are applied that make them a light or dark pattern.
Sometimes gaslighting is done effectively and our subject will
ingly reevaluates what they are perceiving, and other times we do it
with a brute force, by telling people, "You're wrong." As you might
guess, this latter technique is minimally effective. The point is that
gaslighting is a central aspect of human communication.
When someone is willing to rethink their thoughts, perceptions
and conclusions, they are much more open to suggestion.
Gaslighting Method #1: Repeated Questioning

One way to cause people to reevaluate what they are sensing is
to ask a series of questions that cause the subject to analyze things about
the topic that they weren't focusing on. Doing this in a supportive fash
ion only encourages the subject to follow through with the process. At
the conclusion of the questioning, the subject may be completely con
fused about what they had thought or seen.
Consider what happens when you are repeatedly asked to ex
plain something. Each time, there is subtle variation in the story, and we
can soon begin to doubt our own thinking.
It is in this way that police find failures in stories and even get
false confessions. This process has been documented to be used in un
ethical police interrogations in which the subject is lead from, "What
did you do?" to "Could you have done ..." to "You said it was possible
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you could have done it. Are you sure you didn't?" - to a complete signed
confession.
A classic example of how repeated questions are used as a
gaslighting technique can be witnessed by watching most any documen
tary that is made by Paranoid Conspiracy Theorists (PCT). During these
documentaries you will often be posed questions that are never an
swered but leave you thinking in the direction that the documentary
makers want you to go.
You may hear a string of questions like this:

"How can we know that these explanations are true?"
"Could it be there is something else going on?"
"How can the so-called experts explain these apparent con
tradictions? "
"What else is going on that they are hiding?"
"Are we truly safe from other possible deceptions?"
By asking these questions and not answering them, the viewer

is lead to question their own perceptions and assumptions. Very tricky
stuff.
The light use of this pattern is to ask questions that focus a per
son's attention away from sadness, failure, disappointment, and toward a
more positive direction. The pinnacle of gaslighting techniques is
sleight of mouth, which will be discussed in more detail later. Sleight of
mouth is a questioning process that specifically causes a reevaluation of
ones' beliefs.
Gaslighting Method #2: Pointing Out The Invisible

When there are things that we don't perceive around us, it's nat
ural to question what we are perceiving. An example of that is when a
doctor or some other professional begins to point out the significance of
certain personality traits of which we are not aware. Because these traits
are not within their awareness, the person will tend to halt their judg
ment and accept the reality that is given to them.
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Light use of this technique is done by pointing out positive
traits and gives the individual a heightened sense of self. Likewise, the
dark use of this pattern would be to describe destructive traits in a man
ner that implies that they are uncontrollable, and therefore they will per
sist.
Gaslighting Method #3: Alluding To The Mysterious

This form of gas lighting is similar to pointing out the invisible.
It is simpler, because it can employ a familiar tactic - bullshit. By call
ing someone's outburst or hesitation a "complex," it creates a sense of
authority and dependence on the person who describes the "complex."
By doing this, many people discover the value of nonsense.
Gaslighting Method #4: Revealing the Secret Thoughts of Others

Imagine yourself in the following scenario.
You are part of a close knit social group and feel a strong rap
port with the group and all the people in it. You are liked by others for
your good humor, and you often regale them with jokes that leave them
laughing. To your knowledge, everything is going well, and the world is
running in greased grooves.
You are then taken aside by one of the people closest to you,
and it is revealed that the majority of the group finds your jokes pedan
tic and boring. He further tells you that the group is concluding that you
must be an idiot, because you seem to refuse to notice their annoyance
each time you begin your one man stand up comedy routine. He then
asks you to not return to any more of the groups social gatherings.
Given that experience, most people would begin to reevaluate
what they first thought about their sense of humor. To turn this into a
language pattern, start with, "They wouldn't want you to know I told
you... " or "Please, don't let X know that you heard this from me," and
then follow with whatever the "secret thoughts" would be.
"Don't tell your boss I told you, but he told me your presenta
tion made all the difference in choosing to increase your team s fund
ing. He actually told me you turned him completely around"
"You seem very eager to be a part ofour team. I hate to be the
one to tell you this, but your comments have not been welcomed. They
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side track the topic and have annoyed enough people that, if you don't
shut up and listen, they won't be taking part at all. "
Gaslighting Method #5: Social Pressure
This one has a long history of research behind it. In brief, it
states that social pressure is very hard to resist. Social pressure can easi
ly alter our actions, but it can also cause us to change our perceptions.
The skillful and artful way to apply social pressure is to do it
gradually. Design the group to have its own secret agenda for the new
comers. They are to be kept happy and gradually led in the specific di
rection that is designed for them. The best way to do this is to plan
ahead and have everyone play their part.
Keep in mind that this is done all the time in schools, churches,
cults, fraternities and families and happens regardless of whether the in
tent is benevolent or malicious.
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Know The Weakness of Any Man (or Woman)
Hidden Addictions
"Hidden addictions" were first described by Blair Warren in his

book and e-course called "The Forbidden Keys of Persuasion."
These "hidden addictions" are, in fact, seven needs to which we
all respond. The term "addiction" is used, because these needs are so
powerful that we respond to them almost as if they were drugs. They are
so strong that we respond to them even when we know they are being
used on us.
As language patterns, these hidden addictions are more difficult
to qualify as either light or dark. They are simply factors to which peo
ple naturally respond.
Hidden Addiction #1: The need to be needed.

Consider that everyone positively responds to knowing that they
are needed, appreciated and valued. As a language pattern, it is very
easy to enlist someone using this technique. Here is a six-step process
that can he used as a guideline to employ this hidden addiction.
1. Explain the situation as a whole. What is at stake? What is the dilem

ma?
2. Explain the specific role the person can play in the situation.
3. Emphasize the importance of the role.
4. Point out how the person is uniquely qualified for the role.
5. Openly acknowledge that your request will require a sacrifice on their
part.
6. Ask if you can count on them to help.
U sing this technique takes hardly any time at all.

"Mark, the project is reaching the deadline - and it's going to be
close. if we don't make it, we'll lose out on any more contracts of this
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nature - and you're the one person with the technical skills to complete
it. To get it done, it'll take a some extra hours. Ofcourse, you'll be com
pensatedfor the time, but the important part is getting it done. You're a
vital part ofthis project. Can we rely on you? "
The Black Ops use of this hidden addiction would be in getting
someone to do something (or not do something) that would be detrimen
tal to them.
Hidden Addiction #2: The need for hope

When aware of an impasse, people will do anything to gain a
sense of hope. This one is very common sense. Anyone in a tough situa
tion will respond to anything that gives them hope. As a dark tactic, one
might secretly create a problem for someone, or put them in a state of
confusion, and then give them relief from their difficulty and confusion.
Hidden Addiction #3: People need a scapegoat

The reason this hidden addiction is so powerful is that it is
much easier to blame someone or something else than to look inside and
find out how we might be responsible. To blame something else means
to seriously reevaluate what we are doing, and even our own percep
tions.
As a language pattern, this hidden addiction can be reduced to
four words, "It's not your fault. " But any time you offer an explanation
for a problem, other than blaming the sufferer, you've fulfilled this hid
den addiction. People will respond to it, even if it isn't true.
Hidden Addiction #4: The need to be noticed and understood

While this can be a language pattern, it does not have to be.
Anything that allows people to feel noticed is important. The simplest
way to make people feel understood is through "active listening," which
is to rephrase what they say, and ask for acknowledgment. You don't
have to agree with them, because that isn't the point. Simply acknowl
edge that you hear what they say by restating it.
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Hidden Addiction #5: People need to know what they aren't sup
posed to
''Allow me to let you in on a very sneaky and DANGEROUS secret. "
Just hearing those words, people will involuntarily lean forward
and listen. Why? Because having a secret makes someone special and
implies extra knowledge and power, which that secret endows.
To use this hidden addiction as a language pattern, all you have
to do is work in these words and phrases into the information you're
providing: prohibited, banned, closed, closed down, closed up, contra
band, no no, off limits, outlawed, proscribed, refused, taboo, verboten,
vetoed, confidential, closely guarded, eyes only, top secret, illegal,
black market, banned, bootlegged, exclusive, prohibited, illicit, clandes
tine, back room, no-fly zone, restricted, ruled out, unacceptable, unmen
tionable, unthinkable.
Hidden Addiction #6: People need to be right

People need to be right...even if they are wrong. The reason this is
such a powerful addiction is that, for them to admit they are wrong, they
would have to question their own perceptions and assumptions. To call
them wrong, as mentioned above, would be a very ineffective form of
gas lighting.
If they are wrong, and you have to correct them anyway, then your
best option is Hidden Addiction #3 - give them a scapegoat. In other
words, you will tell them, "You're wrong, but it's not your fault (scape
goat). You just didn't know."
Hidden Addiction #7: People need a sense of power

There are no good feelings in being powerless. If given the chance to
feel in control, people will always respond positively. To make someone
feel in control and as if they have power, the simplest way is to give
them the final choice in something.
In his book, The Forbidden Keys to Persuasion, Blair Warren de
scribed talking to a woman whose daughter was becoming part of a cult,
and she was concerned and had expressed her objections to her daugh
ter's involvement. Blair explained what the cult leader is likely to say to
her daughter.
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"Of course your family loves you. They only want the very
best for you. At some point, Jennifer, you're going to have to
make an adult decision as to what you need to do. Of course
we'd love you to be with us, but the choice is really yours. No
one can make that decision for you. "
Given her mother's pressure to leave the cult and the cult telling
her it's her choice, it's easy to see that the cult is giving her a sense of
power.
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How To Open The Door To A Woman's Heart

The Emotional Chamber
(as created by JD Fuentes)
The "emotional chamber" is a language pattern that has wide applica

tion, when working with women. It creates a metaphor for the female
sexual response, and here are its components:
Step 1. Create a doorway or opening where an emotion can be brought

in.
Step 2. Create kinesthetic descriptions of the emotion, such as "warm,"

"tingling" or "electric."
Step 3. Escalate the feeling, culminating to a peak or climax of the feel

ing.
Step 4. The culmination yields to different feelings that are brought in,
and the cycle begins again.
"When a person finds that they are interested in xyz, it's often like
you have to stop and create an opening, like a doorway, and bring in a
sense of curiosity. Now, as you bring in that tingling curiosity, it can
begin to grow and build, until finally, it culminates in a feeling of sin
cere interest. So you welcome in this feeling of interest, and it goes in
very deep, and the interest takes on a warm and welcoming feeling that
grows stronger and stronger and stronger, until it explodes into this
feeling of want...so you welcome in this electric feeling of want, and it
begins to intensify and build, until it gets so strong that finally,
finally...FINALLY you realize this XYZ is yours - and you're going to
get it."
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Why Ask - When You Can Tell Them What To Do?

The Zero Decision Pattern
The Zero Decision Pattern removes the other person's choices,

by simply not offering them one.
When decisions need to be made, the individual first has to have
some understanding of what they are deciding. This understanding can
act as a barrier to their taking action, so it is often better to make it so
that they don't have to choose or decide.
For example, if Mr. J. is given a choice between X and Y, then
he will have to make a mental effort to decide. The Zero Decision Pat
terns simply removes the choice. So instead of asking, "Would you like
to go ahead with the program?" and giving him a choice between saying
"yes" or "no," you might say, "Let's step over to the schedule, and see
where you can fit in" or, "The program you'll be in starts on Monday."
When Mr. J. tells you what he wants, it is important that you tell
him he is right for wanting it. That will only make him want it more
(people love to be right). Then tell him what to do next. Don't ask. Tell!
So Mr. J. wants service X but can't afford it. First, agree with
him for wanting it. "Mr. J, you want X. You're right to want it. Your
program starts ... ," or "Good choice. Here is the program package you'll
be using." If Mr. J says, "I don't have the funds," reply, "Good. Bring
what you can, and we'll setup payments. Be here on ... "
If you are putting the zero decision pattern into effect for your
business (it's a damn good idea), then you must drill into every employ
ee to direct the client and never to ask. It is also good to write these pat
terns into the conversational patter your employees are taught to use
when dealing with the public.
The tone of voice is important, in order to avoid feeling bullied,
so consider how you might say it, if you were ordering from a menu,
with a kind smile on your face.
The unique part of this pattern is that, with ongoing exposure, a
person will automatically get used to following the commands. Why
wouldn't they? They are simple and not really a choice - just what they
are sl!£eosed to do!
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To summarize the Zero Decision Pattern:
• Find out what they want and why, and agree that they are right
and good to want it.
• Tell them (don't ask) the very next step and direct them. Don't
tell them they need to, and don't offer options. Just tell them to
do it. Consider saying it like you were ordering from a menu.
No emotion just direction.
• Avoid making a big deal out of your direction. Say it as if it's
what everyone does.
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Lead Others Through Coufusion: Confusion Patterns

Confusion is a very uncomfortable feeling, which people will
do almost anything to avoid, even if it means accepting the next thing
you tell them as the truth. This tendency makes confusion a very useful
tool of influence. In other words, create confusion and offer the solu
tion.
The simplest way to induce confusion is the non-sequitur.
People operate within the boundaries of certain sequences or
patterns. If right now your computer transformed into a singing turnip,
you will likely be at a complete loss about what to do. You would
quickly retreat into a deep hypnotic trance, while your mind tries in vain
to make sense of the situation.
The same is true of the non-sequitur. By saying something
meaningless and totally unexpected, while stating it with the air of
something meaningful and important, people will retreat into a momen
tary trance to try and understand what you said. This confusion gives
you time to quickly slip in a command, and be delighted as you see it
followed through.
When stating a non-sequitur, it's important that it appears you
are doing nothing unusual. They will assume there is meaning in what
you say and will search inside, in order to figure it out.
Here is an example in sales:

Customer: "You know, I don't think this computer isfor me."
You: "Fortunately, clouds don't fall from cars."
Customer: (blank expression while he or she processes your state
ment)
You: "Funny how easy it is to change your mind, isn't it? I used to
think I didn't like soccer, but then found that I loved it. You may soon
realize that the same is true ofthis computer. "
Here are some other non-sequiturs:
"The wall outside my house isn't four feet tall."
"The clock I don't have doesn't say it isn't seven-thirty."
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"The list o/night is running back, isn't it?"
My personal favorite, which induces an instant state of confusion is,

"Consider what you are not thinking right now. "
The important point is that, as soon as the other person enters a state
of confusion (i.e. trance), you must be prepared to instantly offer some
thing that they can hold on to, like how good your product is or how
good they feel.
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Fun Playing With People's Emotions:
The Art Of Anchoring
"Anchoring" is the name that NLP (neuro-linguistic program

ming) has given to the mind-control technique of classical conditioning.
Basically, you are adding bias and emotion to a situation, which then in
fluences the person's perception. By changing the emotion that a person
perceives within a situation, they are much more likely to alter their be
havior. When anchoring is used correctly, it becomes very easy to un
consciously control other people ... in both a good and bad way.
You can anchor pleasant wonderful emotions, like joy and ex
citement, and link them to some action or object, so that people go after
them. You can also anchor painful and negative emotions, and link them
to objects and activities, so that people avoid them. This is one powerful
technique indeed!
It is important to understand that anchors are being created all
the time - unintentionally. When we are in a bad mood in a certain loca
tion, we tend to not want to return to that location, because the bad
mood is anchored to the location.
A Little Background To Classical Conditioning

In psychology class, you may remember classical conditioning
and Pavlov's dog. Put simply, classical conditioning is when your brain
pairs things together that happen at the same time. For example, the
sound of opening a can of soda will probably make you also imagine a
carbonated, cold drink. Picking up the remote control will probably re
mind you of watching television.
It is also very common for unrelated things to be paired together
in your brain. For example, you may have had a romantic relationship in
the past, and your lover always smelled of a particular perfume. The
thought of your lover brings back memories of desire and passion. Be
cause of classical conditioning, the smell of that fragrance may also
bring you feelings of desire and passion. By itself, perfume fragrance
has nothing to do with desire and passion, but your brain has paired all
of these things together.
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Perfume fragrance -> Previous Lover -> Desire and Passion
Perfume fragrance -> Desire and Passion
The famous Pavlov rang a bell, when he fed a dog. After the dog had
been conditioned, or "anchored," the dog salivated, when he rang the
bell.
Ring Bell -> Get Food -> Salivate

Ring Bell -> Salivate
The Significance Of Pairing Unrelated Things

There are two ways of using the technique of anchoring. The
first is to observe your subject, in order to find out things that they have
feelings about (an activity, a relationship). Once you've identified a top
ic that elicits a response, you can then pair a new stimulus to the topic.
The second way is to elicit the feeling from them (more on this later).
Bill really likes to watch football games. When he talks about
football, his eyes light up, and he becomes very animated and passion
ate.
Football-> Excitement & Enthusiasm
So now, during your conversation with Bill, you are going to

anchor another thing (snapping your fingers) to football. So now every
time that you mention football, you snap your fingers. When John men
tions football, you also snap your fingers. With enough repetition, Bill
will eventually pair you snapping your fingers with the idea of football.
Snapping yourfingers -> Football
Once Bill has made this pairing, you will now have the ability
to trigger the excitement and enthusiasm inside him, whenever you
want.
Snapping yourfingers -> Football -> Excitement & Enthusiasm

Snapping yourfingers-> Excitement & Enthusiasm
Lets pretend that you want Bill to like your friend Jane. So
while talking to Bill, you snap your fingers, and begin describing Jane
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to him. Unconsciously, Bill will feel excitement and enthusiasm, and his
perception of Jane will have this bias. Now when you introduce the two,
Bill is much more likely to have the emotions of excitement and enthu
siasm for Jane. It works.
The Steps to Anchoring Any Emotional Response
1. Find what creates an emotional response (hate, fear, love, dis

gust, embarrassment).
2. Attach a trigger (snapping your fingers, flaring nostrils, grab
your ear) by using repetition.
3. Use the trigger to elicit the emotional response.
Testing your success is a matter of paying close attention to your sub

ject, in order to notice their response.
Eliciting Emotional States

There are several ways to elicit the emotional state you want to
anchor in someone. You can have them talk about what brings up that
emotion. Just asking, "Have you ever been in love? What is that like for
you?" will tend to bring up a feeling of love. "What was the saddest
event you've ever had?" will bring up sadness and depression.
Another way is to describe the emotional state to them, and lead
them into it. This method can be a bit harder, because the state you de
scribe may not perfectly fit how they would feel the same emotion.
The Game of Anchoring Drunkenness

This game involves elicitation and anchoring. It's quite fun and
should be always presented as a game, to get the best involvement from
people.
The first thing is to work with someone who remembers what it
feels like to be drunk. Ask your volunteer to describe what it's like,
starting with the first sip and how they feel the earliest buzz of alcohol.
This is the elicitation process.
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After the state is elicited, have them mentally go over the state
again and again, amplifying it, until they are acting as if they are drunk.
The anchor can be anything, so I often recommend you use a
unique word on a small card. While in their self-created drunken state,
hold up the card, and have them look at it. The next step is to have them
"sober up," and get them fully out of the drunken state. Have them walk
a straight line, to demonstrate that they can do it, without trouble. Then
have them do it again, but this time hold up the card with the word on it
- and watch them begin to stumble.
The point of this game is to both have fun and to practice the
elicitation and anchoring processes. Have fun!
The Game of Anchoring Catalepsy
This is much like the above game and is done in a climate of
lightheartedness.
It starts with the basic setup of "Can] show you something fun
about how your mind works?" and can easily follow the Anchoring
Drunkenness game.
First, you get the agreement that, to do this, you have to make
sure that they can notice an emotional or mental state that they are in,
and hold it for a while. So you have them go through a list of fun and
benevolent emotions, such as joy, glee, lightheartedness, wonder, cu
riosity - and each time they get into that state, you touch them on the
arm or shoulder (a physical anchor), and say "Hold it. Stay there. " (au
ditory anchor). You do this, until they demonstrate that they are good at
holding that state.
You then ask them a questions that elicit an internal sense of
confusion, and anchor it, by touching them with the physical and audito
ry anchor.
Some examples of the questions you ask could be, "What are you not
thinking right now?" or "] wonder what the next thought you have will
be. "
What makes this trick amusing is that you leave them in that state.
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Influence Their Hearts and Minds:
Emotional Elicitation Patterns
Warning...
In order to make the point of how emotions are used to per
suade, I have two outcomes in mind. The first is to demonstrate subtle
emotional elicitation. The second is to encourage you to invest in learn
ing more about Mind Control Language Patterns. Yes, I am being overt
ly manipulative. I AM! Because, in order for persuasion to occur, it
must happen within a context. The context is: Learning Mind Control
Language Patterns.
Emotions
When first learning persuasion skills, it's often the goal of the
initiate to make people do certain things that are in the initiate's interest.
They may consider simply putting the subject in a trance and telling
them to do things for them. That is rare, and the learner of persuasion
will quickly find out that people are not motivated by thoughts, but by
emotions. It is through the elicitation of emotions in the subject that the
persuader will get their outcome.
In persuasion literature, they are referred to as "discrete emo
tions," because they are elicited and felt subjectively, without an out
ward expression. Most persuasive writing and speeches appeal to sever
al emotions, both positive and negative. When you read a persuasive
sales letter, you can begin to list the emotional states they are trying to
elicit. Likewise, when you are persuading someone, be mindful of their
emotional states and the emotions you are trying to elicit.
I'd like to demonstrate, in writing, the persuasive use of both positive
and negative emotions.
The Need to Learn Mind Control Language Patterns
Pride - Let me first begin by saying, "Thank you." Of all the people in
the world, you've taken the steps that have brought you here to learn
more about persuasion. That translates as you being a single fraction of
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a percent of all the people in the world who value themselves enough to
know that learning persuasion skills is absolutely vital to your success
and well being. Before you read any further, take a second to acknowl
edge your efforts in getting this far, because there are too many mo
ments that pass us by, when we don't take pride in what we've done.
Fear - I've been studying persuasion for almost a decade, and the sad
fact is that there are some people who know these skills and would use
them on anyone, regardless of the possible negative effect it might
cause. Some people have referred to these as "Dark Side" NLP skills,
and I can tell you from personal experience that they do exist! I also
know that the only way to protect yourself from any of these malicious
processes and language patterns is to know about them. Yes, knowledge
is your only defense against the most wicked people who would even
think to use them.
Anger -I've seen the results of these destructive language patterns. They
are devious, because most people don't even know they've happened.
They live life half-heartedly, with no purpose, because someone meant
to hurt them! If you know of anyone using these language patterns and
NLP skills to injure, you have every right to act and stop them!
Hope -But there is a bright side to all of this. Persuasion skills like the
ones I teach are there to benefit you and everyone who knows them. Us
ing these skills, I've seen people overcome life-long phobias, and land
million dollar contracts. You can use these skills just as easily to land
the perfect job, meet your ideal romantic partner and end what may at
times seem like an endless cycle ofjust trying to pay the bills. Knowing
these persuasion skills and how to apply them, you can benefit your life
and the lives of others.
Envy - Okay, it's true we want all of that. What sane person doesn't? I
have a friend who easily uses the persuasion skills I teach to get every
thing he wanted. He's happy, he's loved, he's proud of what he's accom
plished, and every time we meet, he's eager to tell me, or anyone, about
the richness that life has to offer. He also wants everyone to know that
they can have what they want, too. Some people will tell you that he's a
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freak, an abnonnally happy person, but his message is that he got it
largely due to his hard work and knowledge of how the mind works. For
him, persuasion has become easy.
Guilt - He has a less positive side, too. There are some times when he's
taken people aside and reminded them how much they haven't really
lived up to what they could do. He makes a good point. We each may
have started with an idea or ideal, but we stopped and never finished it.
There is something to be said about squarely facing your shortcomings.
You may have shown an interest in persuasion - but how much have
you really dedicated yourself to learning and using it. For most people,
the answer is "Not much. " When you're faced with that reality, it can re
ally eat away at how you think of yourself. That's a burden I don't want
you to ever face again.
Sadness - It can be like we've really lost something. Lost a hope for our
lives. By realizing that we haven't lived up to what we could be, most
people are compelled to act. Compelled to do something ... anything,
rather than feel the real burden and misery of losing control of life.
Happiness/Joy -The one great comfort of all of this is that there is a so
lution that comes by just taking a few simple steps. One of them is mak
ing a decision to learn persuasion skills by investing in your first prod
uct. When you do that, you know you're doing something right. Improv
ing yourself is the one act no one can take away, and it will be with you
for the rest of your life.
Relief - When you do take those steps, a burden will be lifted. If you
could imagine the freedom of having the time to enjoy the things that
you want, take vacations and participate in the social activities you've
always loved, that's what you'll have for yourself, by becoming a life
long student of persuasion skills.
Anticipation -You've read this far, so I know you're showing some in
terest - and there is a lot to look forward to. Think about it. Instead of
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looking back on what you could have done but didn't, you can start to
look forward to making life-changing decisions.
Let me paint a picture for you of what you can look forward to when
you become a master of Mind Control Language Patterns. First, you
will have fun, you'll enjoy the adventure of power, and you will also be
come free, absolutely free, of all the weaknesses that came when you
were lost and impotent. Free from hurt. Nothing to regret. As you learn
these skills, your life will change, as well. You'll find that you're more
confident, relaxed and able to talk to anyone, anytime.
Regret - My friend, Tony Robbins, points out that, near the end of life,
most people find it way TOO easy to look back, and see the opportuni
ties we could have chosen but didn't. It's the things we didn't do that we
regret more than what we choose to do. There is an opportunity right
now that could change everything for you ...and you could pass it up,
and regret it forever.
Let me just stop right here, and point out that no one really knows how
much time we have on this earth. Because we don't know, we think it's
limitless, but it's not. You have no idea how many full moons you'll see
in your life - maybe twenty, maybe only five. How many times will you
see a butterfly spread its wings and fly? Maybe ten times? Maybe less.
Maybe more.
Opportunities are like that too.
When you commit yourself, you've made the decision that will positive
ly affect you and everyone around you. Don't walk away, and make a
choice to live only half a life.
Every moment is an opportunity, and using your knowledge of persua
sion, you'll be able to take advantage of opportunities you never knew
how before.
Conclusion
The list of emotions used is by no means exhaustive, and I en
courage you to explore how to use discrete emotional appeals to per
suade, influence and negotiate.
Let me first recognize that a few readers may have read this far
and felt unnerved, irritated or coerced and even compelled to invest in
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persuasion products. That is not the point. Emotions playa powerful
part in any persuasion context, no matter how subtle. It will benefit any
would-be persuasion expert to pay attention to the emotions they see
and the emotions they attempt to elicit.
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Mind Control Language Pattern Example
The following is a personals ad that uses all various patterns al

ready discussed. The ad has been tested by submitting it to free "men
searching for women" personals forums in various cities, to measure the
response. It has consistently gotten SOME interesting replies. There was
no follow-up to the replies; the exercise was to measure only if women
would favorably respond to it, and they did ..
Please note how this personals ad says virtually NOTHING
about the author, while eliciting strong emotional responses.
What am I like?
Before you read any further, I want you to notice something in
teresting about yourself. It's that feeling of curiosity. It's that
warm, compelling feeling that makes you focus in a little deeper
or move a little closer, to find out what you want to know.
I'm a lot like so many people you've known andfelt that curious
feeling offamiliarity, that "click" that tells you that you're in for
something interesting.
At this point, you might think, at some level, that you may know
me - and in a sense, that would be true. There are men just like
me you pass by every day - some you acknowledge, some you
don't even remember. Some, like me, want to look you in the
eyes and shake you, telling you "Wake up! Do you know what
you are missing right this very moment?"
There is something within you that only a few men have known,
but something you want to share. The problem is that this
"something" you have to keep safe and protect. It's that part of
you where you keep your hopes and dreams and secret
desires... those things you wouldn't even tell your closest
friends. Most men only see your exterior. They would throw
themselves at your feet to worship your physical beauty.
But how many men do you know want to discover the real you,
the woman that lays beneath that angel's body?
How many men want to know your deepest desires, and nurture
and protect them?
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All of that is possible... but you are the only one who can allow
it to happen.
There is something that happens, when you accept that you can
have that fulfillment. A part ofyou wakes up, and comes alive.
It's a part that knows and wants that passion, and no matter
how hard you try to ignore it, it only grows stronger.
It's a feeling so powerful that to have it, even if only for a mo
ment, you know it could be locked away forever in your heart,
and hold there safe, with all your fondest memories.
You might recognize that feeling, when you reply... the feeling
ofyour heart pounding... even now, wondering ifyou should do
it.
You might recognize it at that knock on the door. It's seven
a. m., and you woke, because you knew he would be there for
you ... all for you.
And no one would know.
But only you can make it happen.
So you want to know about me?
Here is one thing that you can be certain about - very little sur
prises me. In fact, the only thing that TRULY surprises me is
someone who is caring and genuinely kind. I make a point to
bring into my life as many ofthese rare people as possible.
There is little more that I can say.
Before I go, I know it's very likely you will never reply to this
message and that it will be lost to time in that vast ocean offor
gettings.
Ifyou don't reply - it will all be gone.
Life is short. Because we don't know the end oflife, we believe
it's limitless, but it is not. You may live to see 1000 full moons....
but you may only see two ... or none at all.
Life is short, and moments pass, never to return.
If I came from your future to talk to you right now, I would say
your life was good, you're happy ... but unfulfilled. You remem-
Page 87
ber that personal ad, and you passed it up. You still wonder
what would have happened ifyou didn't.
I've come back to give you a second chance to find out.
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Punctuation Ambiguities
Punctuation ambiguities are wonderful tools to help deliver a

message to the unconscious mind. You'll notice as you say them to peo
ple that the listener will easily overlook the strangeness of the sentence,
as if nothing were wrong. To create your own punctuation ambiguity,
pick a word that can be used as both and noun and a verb. That will be
the "pivot" word of the ambiguity. There is a list of "pivot words" at the
end of these examples.
Once you have a pivot word, work it into an ordinary sentence
as a noun, and when you say it, let the words that follow it be a whole
and complete command. Once you have stated the command which
started with the pivot word, simply go back to your original subject, like
nothing was the matter.
The reason this is so effective is that the command is so out of
context from the surrounding sentence that the conscious mind ignores
it completely, but the subconscious mind is aware of it as a command.
Address "...and you might remember how you found your latest address
me with an understanding of what I'm telling you ... "
Before "... This change could have never happened thinking like you've
been before will get you nowhere ..."
"...and all these values can become stronger than ever before you
know it you're a different person that values these reasons ..."
Benefit "... and you can easily see, simply hear and convincingly feel
how this can be of benefit by taking this change into your life ...
Block "... and you may be able to understand this in chunks so let me
give you the first block out any hesitation to learn this unconsciously .... "
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Challenge "... and some may say that this is a challenge yourself to go
even further ... "
".... and if you're up to the challenge any resistance to what I say and
destroy it you can do this by simply .... "
Days ".... and the beginning of that change may come about in hours or
even days - and confuse and eliminate any thoughts contrary to what I
say .... "
Direct"... and this is a way to make that change direct your unconsciolls
to profoundly achieve your goals ..."
Drain "... and working too hard can cause you a real drain your mind of
any resistance to my suggestions ..."
Dive "... and this is an aspect of your life on which you can truly dive
head first to find agreement..."
Focus" ... and through this awareness you can bring your mind to a clear
focus all of your skills to a level of betterment and as a result..."
Force"... allow your mind to cause you to more clearly understand how
you control this powerful force all obstacles far, far behind you because
it's the strength of your mind that can make this happen ..."
Free "... and from this place you can allow your mind to wander and be
and feel completely free yourself from even conscious thought because
it's a place where anything can be true ... "
Loop "... and using this power of your unconscious mind creates an ever
improving loop all your positive feelings into this process to make it
even stronger ... "
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Match "... and when you compare this to your outcome you can find a
match all your values to these suggestions so they really fit into the
change you want... "
Place " ... in a wonderful, and relaxed place all your objections in a bas
ket and put them far behind you because you know how pleasant it can
feel to be led in this manner ..."
Power" ...because this type of change has power all those thoughts deep
into your unconscious now ..."
Seal "... and as you grow in making this change easier and easier you
can place on it your seal this with a large dose of understanding."
Understand "...now there is so much out there that you can more better
understand the power of what I'm saying."
Work "...you can find that things can be done a lot easier when you use
this type of work this deeply into your mind ... "
Fish, Fix, Flower, Glue, Happen, Heat, Home, Index, Land, Lead, Like,
Love, Make, Map, Mark, Microwave, Mind, Name, Open, Pay, Picture,
Pile, Reveal, Ring, Seal, Salt, Shield, Shoot, Smoke, Tease, Tie, Toss,
Understand, Veil, X-ray
(Note This is NOT an extensive list. As you practice this, you will find
many more examples to use.)
Write at least five paragraphs that each have at least one example of
punctuation ambiguities.
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Covertly Induce a Hypnotic State In Less Than 30 Seconds
This is a rapid hypnotic induction that uses ... everything ...that has al
ready been discussed. Note that pauses in speech are marked by ellipses
( ... ) and command tonality is signified by CAPITAL LETTERS.
"Before we ...DO THE HYPNOSISITRANCE. .. induction I'd like you to

think back to yesterday... remembering what it would be like ...knowing
that tomorrow...you would ..BE IN A TRANCE TODAY. ..NOW. .. I just
want you to consider what it is that you're not thinking about... THAT
WILL MAKE IT EASY. .. toltoo... GO INTO TRANCE... and think about
how... yesterday...you know that tomorrow you wi/LCLOSE YOUR
EYES... and ..BE HYPNOTIZED...NOW. .. "
This is so full of stuff that I would like to break it all down for you:
"Before we... DO THE HYPNOSIS/TRANCE. .. "

- Command to "Do the trance"
"... TRANCE. .. induction I'd like you to think back to yesterday... "
- Beginning a memory. This requires going inside to remember.
"... knowing that tomorrow...you would .. "

- Going from a memory to a memory of thinking about tomorrow,
which is actually today.
"...you would ..BE IN A TRANCE TODAY. ..NOW. .. "

- Command to be in a trance, not just today - but NOW.
"Ijust want you to consider what it is that you're not thinking about... "
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www.MindControlLanguagePatterns.com
- When you think about what you are not thinking about, you STOP
THINKING.
"... THAT WILL MAKE IT EASY .. "
- What will make it easy? Is "IT" the memory or something else?
"... to/too ... "

- Ambiguity. The way the sentence is read makes the "to/too" have both
meaning and the mind will accept both of them.
"... GO INTO TRANCE... "

- Command.
"...and think about how... yesterday... "

- More jumping around in time. Is yesterday now today - or is it yester
day, being thought of now?
"...you know that tomorrow you will ... CLOSE YOUR EYES. .. "
- More disorientation in time, followed by a command.
"... and. ..BE HYPNOTIZED ... NOW. .. "

- Command. Note the pauses ( ... ) create anticipation.
It would be a challenge to use this on someone, without some prepara

tion. Because the words "hypnosis" and "trance" are being used in this
sentence, there must be a set up. A simple set up would be simply say
ing, "Can I show you something about hypnosis?"
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Force a Thought Into Someone's Mind

A "force" describes a move used in card magic, where the magi
cian asks the spectator to choose a card at random, while the magician
secretly "forces" the spectator to choose a specific card. By all outward
appearances, the spectator is randomly picking a card, but in fact, he is
made to pick a card the magician wants him to pick.
A childhood trick, that is a form of a verbal force, is to ask
someone to say aloud, "Silk. Silk. Silk. " - then ask them, "What do cows
drink?" The typical answer is, "Milk." The real answer is, of course,
water.
The essence of a verbal force is to use your words and direc
tions to make one thought more likely to occur than another. By all out
ward appearances, the choice seems random and directed by the will of
the subject.
A few examples of how magicians can force thoughts are as follows:
• Ask a person to think of a regular deck of 53 cards and to

pick one of them. Because you said 53 and not 52, 80 per
cent of people will pick the Joker.
• Tell someone to think of a card, and make a "bright" picture
of the card. By mentioning "bright," you force them to think
of a red card. Then make a fist, while pounding your heart,
and say, "Make sure you have a feel for it. " - and they are
more likely to choose the heart suit.
• If you tell the person to "make the picture sharp, with dis
tinct contrasts, " you force them to think of a black card.
• Tell someone to quickly think of a three digit number, then
say, "Is it 333?" You'll be surprised how many times they
will say yes.
• Referring to "see the number of the card" instantly elimi
nates the jack, queen and king
• When you ask the subject to "see the figure on the card, "
people will choose a jack, queen or king.
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Operant Conditioning
Operant conditioning is the name given by B. F. Skinner to a

systematic form of behavioral modification. In operant conditioning, re
wards are given for good behaviors, and punishments are given for inap
propriate or bad behaviors.
Operant conditioning is relatively easy to do, covertly, using
simple gestures and responses to various behaviors.
For good behaviors, a simple smile and head nod is enough.
For bad or inappropriate behaviors, simply looking away and
acting bored is enough.
These two simple responses have the most impact when juxta
posed against one another and done over a the period of time of a con
versation or visit.
As an exercise, pick a behavior or mental/emotional state you
wish your subject to demonstrate. Be willing to gauge when your sub
ject's response gets closer and closer to your ideal response. Consider
this a variation the "Getting warmer/colder" game you got as a child.
The responses, for the most part, will not be exact but "warmer" or
"colder," so sensory acuity is important.
This exercise is an excellent way to get out of your head (i.e.
thinking, "am I doing this right? "), and pay attention to what is truly im
portant - the person with whom you are speaking.
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Distracted Sentencing
This is a conversational method of causing someone's aware

ness to focus internally (i.e. go into a trance). Each time you use Dis
tracted Sentencing to send someone into a brief trance, you will then
give them a simple suggestion or command to resolve their confusion.
This technique requires that you place a certain phrase within a
collection of other statements and that the phrase is very much out of
context from the rest of what you are saying.
There are two basic ways to do this:
I. Create the distracting phrase as part of a story.

The phrase will appear at any time while you're speaking but is surpris
ing and confusing in effect, and the listener is then compelled to search
for meaning. Dogs pulling bobsleds are trained completely by voice
commands. The rest of the conversation then proceeds as if there was
nothing wrong. This leaves the listener lingering on the odd phrase.
2. Create phrases that have no context.

Each word may have no meaning in the context of the conversation, yet
serve to distract the "critical factor" of the conscious mind. You then
have access to the unconscious mind. My sister asked me if birds fly
backwards in Australia... enjoy this book. Directly after the phrase is the
perfect place for placing embedded commands or addressing what you
know is true for the listener.
Play around with this technique by speaking with a friend or into a
recorder. Start to tell a story about your day, for example, and interject a
Distracted Sentence, which is then followed immediately by a simple
suggestion or command.
Yesterday I had two clients that seemed to have the same problem, but
it became clear that I couldn't solve them the same way. I wonder if
people buy chairs for comfort or looks. Let's sit down. Both of my
clients had weight problems. The first client...
Page 96
Don't do this too often, because it causes confusion, and too much
confusion is uncomfortable for most people.
Page 97
What You Can Learn From People
Who Can Make You To Join The Army:
Military Patterns
Military Patterns are taken from some of the world's top mili
tary recruiters. These eight patterns are more direct and simpler than
"sleight of mouth" patterns and are in the form of simple templates of
language. For the sake of simplicity, the examples given are going to fo
cus on sales of gym memberships and then for recruiting church enroll
ment.
What you wiII notice is that the recruiter is never arguing with
the potential recruit. The recruiter is always being a sincere friend, and
these linguistic patterns help demonstrate that. The first three of these
patterns represent the simplest of the Military Patterns.
1. "Have you found (your outcome)?"

This linguistic pattern is covertly designed to introduce your
outcome in a favorable fashion. Have you found that, by simply asking
questions like this, that you can easily lead the discussion? Since this is
a yes/no question, you may find they answer "No." If so, you can simply
reply "Oh, not yet, huh?"
Have you found that having a fitness program is something a
lot ofyour friends are committed to?
Have you found that fitness memberships are something your
friends are enjoying, too?
Have you found that (name their values) just naturally come
from working afitness program?
Have you found that a fitness program is the best way to in
crease your sense of(name their value)?
Have you found yourself often considering the benefits of a
fitness program on one level or another?
Have you found how people need the fellowship of others
close to them?
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Have you found how easy it is to consider that there might
possibly be something more to life than what you know?
Have you found the values ofa beliefin God?
Have youfound that the more you value churchfellowship the
more youfeel strongly about attending?
Have you found that participation in services is joyful, or that
you get pleasure from being in the congregation?
2. " Would it he fair to say (your outcome)?"

This is another wonderful example of a pattern that easily
places your outcome in a favorable light. Would it be fair to say that
you want to use your language and speech in the most effective and
powerful way possible?
Would it be fair to stry that, the more you consider your rea
sons for joining, the less your excuses feel valid?
Would it be fair to stry a fitness program is your best way to
achieve (name their Value)?
Would it be fair to stry that, based on (name their value), you
can find your own reasons to start a fitness program todtry?
Would it be fair to say you know the value of a fitness pro
gram?
Would it be fair to stry taking the time for a fitness program is
a small price to ptry for (name their Value)?
Would it be fair to stry, the more you consider how God can
fulfill your life, the easier it is to attend a service?
Would it be fair to stry that, underneath your commitment to
share this joy with your friends is a deep appreciation of how
being a regular member can benefit you?
Would it be fair to say that, beyond your love of God is also
knowledge ofhow it will benefit others?
Would it befair to say you recognize that sharing the doctrine
only brings you closer to God?
Would it be fair to say, the more you consider attending ser
vices, the easier it is to invite afriend?
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3. "Just suppose... "

The two words "just suppose ..." are in fact a way to induce a
hypnotic trance. Whenever someone says to you ''just suppose ..." they
are actually asking you to forget what is reasonable, forget your objec
tions, and to allow them to paint a picture in your mind of what they are
about to describe. These two words force an individual to imagine what
ever follows it. Seems harmless, right?
Just suppose you started a regular fitness program. You could
see yourselfgetting the results you want, and that would feel ul
timately pretty good, doesn't it?
Just suppose you joined the gym, and you started to come
closer to your goals. Can youfeel that is a good decision?
Just suppose this was your fitness program. Can you see how
it would change your health?
Just suppose this training schedule was something you either
practiced regularly, or youjust made it a part ofyour daily life.
How many ways would it benefit you?
Just suppose the more you found yourself devoted to your
health, the more you came closer to (name their values). That
feels pretty good, doesn't it?
Just suppose you brought one extra friend to services a week.
Can you see how that will bring afriend even closer?
Just suppose, because your faith is so strong, that you
brought a friend to the service.
Just suppose you introduced yourself and your faith to three
people a week. Can you understand how that strengthens the
faith you already have?
Just suppose, for all your own reasons, you deepened your
faith and decided to attend every week. You can see the benefit,
don't you?
(This last piece of linguistics, "don't you?" as opposed to "won't
you?" forces the person to see the benefit in the present, instead of in
the future. Persuasive language isn't about being grammatically cor
rect.)
Page 100
Just suppose you made your faith the most important part of
your life. Attending services would be simple, isn't it?"
One can add to the power of this pattern by adding reasons, "because"
people respond better when you give them reasons to act.
4. "What would happen if(your outcome), because (their values)?"

With this pattern, you use "because," or any other word that de
scribes a "reason." The word "because" makes this pattern more power
ful, because most people resort to "default logic," and assume the out
come is appropriate, simply because a reason was given.
Note: Your outcome and the "because" can have nothing to do
with each other, and people will still tend to accept it. What would hap
pen if you successfully tried this language pattern on someone right
now, because it came.from a reliable source?
What would happen if you got a membership, because you
recognize it will bring you closer to your fitness goals?
What would happen ifyou did get a membership, justfor real
izing either you deeply value your life, or you want more energy
and stamina?
What would happen if by just recognizing your commitment,
you became a member, because it constantly brings you closer
to your goal?
What would happen if you became a member, only for the
reason that (name their value) is what you admit to yourselfyou
want. Would it easily bring you even closer to all your other
goals?
What would happen ifyou just worked this program daily, be
cause it met all your needs and goals. Wouldn't you just natu
rally be able to see yourself working out regularly, and know
that today's decision was a good one?
What would happen if you brought just one new .friend a
month, because it reaffirmed your faith in God. Can you feel
that is an easy thing to do?
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What would happen ifjust one friend came with you a month,
because it solidified your faith?
What would happen if your devotion to God grew so much
that inviting a friend was a natural extension of that love?
Wouldn't you do that, if it fulfilled your sense of (name their
value)?
What would happen ifyou introduced yourself to three new
people a week and told them about this congregation, because
three is a sign of the trinity and it would bring you closer to
God?
What would happen if attending every week became a com
mitment, because it caused you to grow in the faith?
5. "Don't (action), unless you want (your outcome). "

This pattern provides an opportunity to link any objection they
may give you (action) with what your outcome is, thus creating a bind
in your favor. What you'll notice again is that the connection between
the action and your outcome doesn't have to make logical sense. The lis
tener will tend to resort to default logic, and accept the whole of the
statement.
Don't even consider hesitating, unless your commitment to fit
ness is strong.
Don't object to the fitness program, unless you want to feel
good about creating one here that you really like.
A friend ofmine who's really committed to training once said,
"Don't even walk into a gym, unless you want the health your
life is missing. "
Don't even consider something contrary to your fitness goals,
unless you realize how convinced you are to start training.
Don't examine the equipment, imagining how it will benefit
you, unless you want to really see yourself improve.
Don't stay on the sidelines ofthe congregation, unless you re
ally want to feel compelled to take part.
Don't come alone to services, unless you really want to feel
the joy ofbringing in people you know and love.
Page 102
Don't consider how you might lose in not taking part in this
growing congregation, unless you deeply want to feel the power
ofGod bring you closer to our church.
Don't bring a friend each week, unless you want to feel the af
firmation ofGod's love and light.
Don't hold back on your tithing, unless you want to feel cer
tain how much that giving ten percent will add to your life.
The final three Military Patterns are specifically designed to

handle objections. In all of these patterns you are not agreeing with their
objection, but are, in a minor way, validating the person's feelings for
bringing it up.
6. "[ appreciate (intent of objection), and what would happen if (new

behavior), because (reason), and if you'd do that, I'd be willing to
(concession). "
Whenever one argues with an objection, the other person will
be forced to defend their side. This language pattern allows you to ac
knowledge the intent of the suggestion and offer a concession, without
triggering defensiveness. Remember that many negotiators start by ask
ing for much more than they actuaIly want, so they can make conces
sions along the way. This aIlows the people with whom they are negoti
ating to feel that they worked to get the best deal.
I appreciate you wanting to save money on your membership,
and what would happen ifyou started your program today, be
cause you want to start loosing weight right away - and ifyou
do that, I'd be willing to add one month free to your member
ship.
I appreciate your need to validate your decision to join today
with your spouse, and what would happen if you started your
program now, anyways, because you've agreed you want to lose
weight - and ifyou'd do that, I'd be willing to offer your spouse
a free three month membership.
I appreciate you wanting to start when the time is right, and
what would happen ifyou began right away, because you want
that sense of accomplishment of doing what you need to do
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and if you'd do that, I'd be willing to add a month to your annu
al membership, and put it on hold, until the time is better.
I appreciate your desire to start a training program at the
right time, and what would happen if you get your membership
today, because you know the value ofa fitness program - and if
you'd do that, I'd be willing to hold the membership inactive,
until you're ready to start and will add a month to your mem
bership.
I appreciate you wanting to wait to decide now, and what
would happen if you get your membership today, because you
know how it can benefit you - and ifyou'd do that, I'd be willing
to extend your membership an extra month.
I appreciate your concern about your friends thinking you're
annoying them, and what would happen if you simply offered
them an invitation to service and shared what you've gotten
from it.1fyou'd be willing to do that, I'd be willing to, personal
ly, help you in talking to them.
7. "Yes, (objection), but (positive feature), and i/you're committed to

(positive emotion or value), then you must be committed to (propos
al).
Again, in this language pattern, you are not arguing over the ob
jection but are acknowledging the negative feature. You then link a
higher value or emotion to your presentation.
Yes, this membership requires a monthly withdrawal
from your checking account, but with it you get twenty-four
hour availability to the gym and free training, and if you're
committed to getting the changes you've admitted you need,
then you must commit to this program.
Yes, I can't go down on the price, but this is the closest fitness
facility to your home, and if you're committed to easily getting
results and losing weight, then this program makes it a logical
positive change.
Yes, the price is fixed, but this program does provide you with
features you've asked for, and if you're dedicated to making
Page 104
positive changes that'll bring you closer to the stamina you
want, then you'd agree, this is your fairest option.
Yes, you're likely to feel some muscle soreness with this pro
gram, but as you see, it clearly gets the results you want, and if
you're as committed to those results of strength and growth,
then you must be committed to the program.
Yes, this church program requires some ofyour time, but it's
only 6 hours a week for one month, and ifyou feel service to the
church and God is important, then you must be committed to
the small amount oftime it requires.
Yes, a ten percent tithe can be difficult, but our congregation
has an active support staff and family money management
team, and ifyou're committed to serving God and making a dif
ference, then you must be committed to the small regular dona
tion often percent.
Yes, asking your friends to come to church has been difficult
for them, but you know how welcome both you and they will
feel, and ifyou're committed to spreading that love ofGod, then
you must be committed to seeing to it your friends get that, too.
Yes, membership recruiting does take a special type of indi
vidual, but this program will train you and your peers to walk
with God in ways you can't now imagine, and ifyou're devoted
to being closer to God, then you must be committed to this wor
thy cause.
Yes, a commitment to bring a new person to services each
week does take a certain focus, but you've witnessed how God
has changed your life and the lives ofothers, and ifyou're com
mitted to continuing to have that change, then you must realize
that this is, in fact, an easy decision to make, not a difficult one.
8. "(Objection), and I appreciate (future obstacles). Imagine for a

moment that together we/you overcome (future obstacles), as
we've/you've done in the past. Don't you feel good now?"
Again, in this one, you are acknowledging the obstacles and ob
jections. Most of all, you are being a friend to the person and bringing
good feelings from the future into the present, where their decision is to
be made. This pattern assumes a preexisting relationship, and therefore
Page 105
each pattern must be tailored to the situation. For that reason, only a few
examples will be given.
Taking charge ofyour finances to invest in this venture is a
risk, and I appreciate your hesitation. Imagine for a moment
that, together, we overcome the problem offinancing, just as
we've done with our previous investments - doesn't that create a
sense ofconfidence for you now?
Page 106
Changing Peoples' Beliefs:

Sleight of Mouth Patterns
The phrase "sleight of mouth" was first coined by Robert Dilts,

after observing that NLP founder Richard Bandler never lost an argu
ment. In fact, he would would usually change someone's beliefs, simply
through conversation. Depending upon with whom you speak, there are
sixteen to twenty-four different sleight of mouth patterns.
Sleight of mouth patterns are extremely pithy comments and
questions designed to attack the very heart of a belief and dislodge it, or
at the very least, question it. It is important to note that these techniques
can also be used to reinforce existing beliefs.
The patterns are not difficult. However, one needs to fine-tune
themselves to listen for a belief being stated. Once they've identified the
belief that is to be changed or loosened, then a volley of four or five
sleight of mouth patterns will produce an entirely new perspective.
The danger in using these patterns is that they can offend people
if used without rapport and a dose of kindness. People value their be
liefs, and to challenge them is to question how they perceive reality.
That is not a comfortable process for most people, and so it is helpful to
use "softeners" during the process, which we'll discuss in a moment.
One first needs to recognize beliefs. When a belief is stated, it's always
stated in one of two ways:
A equals B.
Examples would include, "Bob is a jerk." "That movie is terrible." "You
are a thief." "I will never be able to master this."
In other words, one things equals another.
A causes B.
Examples here would include, "Whenever you say that, I get mad."
"Thinking of marriage frightens me." "Sitting through class bores me."
Something causes something else.
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Everyone states beliefs all the time, and most aren't very important (Wa
ter is better than soda, or television makes people stupid.) However, if
one pays attention to beliefs when they are stated, then the following
techniques can be used to pry them out and change them, if necessary.
Softeners
The purpose of Softeners is to:
a) distance you from the abrasive and confrontational aspect of sleight
of mouth patterns, and
b) ease the sleight of mouth patterns into a more conversational format.
Examples of Softeners are:

''1 had a brother who used to believe <belief>, and then he real
ized .. " <sleight of mouth patterns>
"This may sound silly, but... " <sleight of mouth patterns>
"! am curious as to ... " <sleight of mouth patternS>
"Let me ask you... " <sleight of mouth patterns>
"I'm just wondering... " <sleight of mouth patterns>
In addition to Softeners, you can make delivery of sleight of mouth pat

terns patterns easier by establishing and maintaining rapport.
Changing Beliefs
It's been asked, "How does a beliefchange, when sleight ofmouth pat
terns are effectively used? "
There is no accurate evidence to precisely measure that. What
can be assumed is that the belief tends to become more general and
more flexible.
From the questioning of the person using sleight of mouth patterns, the
beliefs can be guided. It can also be assumed that, if there is a high de
gree of transference going on (and high rapport, as in a teacher-student
relationship), that the belief will move closer to that of the person using
the sleight of mouth patterns.
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Sleight of Mouth Patterns:

1. Attack the source of the belief
2. Meta Frame
3. Use Criteria Against Itself (Apply A to A) and (Apply B to B)
4. Focus on the intent of the belief
5. Attack the methodology of the belief
6. Change Frame Size - Chunk Up
7. Change Frame Size - Chunk Down
8. Change Frame Size - Chunk Laterally
9. Redefine
10. Metaphor
11. Consequences
12. Reality
13. Counter example
14. Another outcome
15. The Threshold
16. Appeal to a higher criterion
17. Model of the world (switch referential index)
18. Reverse presuppositions
#1. Attacking the Source of the Belief

As the name implies, this questions the origin of the belief.
"Where did you hear that from? "
"What could cause you to make that decision?"
"According to whom?"
"Have you checked the source? "
"How did you reach that conclusion?"
"Who told you to think that?"
"Well, is it possible that's based on faulty logic, isn't it?"
You can also attack an unspoken part of the belief.

Belie/: Using persuasion techniques is good.
Sleight ofmouth pattern:
"Only ijyou're a loser."
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"Only ifyou know how to do it. " (This will reinforce the belief)
"Sure, ifyou believe what everyone else says. "
"Only ifyou read the advertising. "
"Are youfamiliar with how they teach humiliation?"
Belief: John is a good guy.

Sleight 0/ mouth pattern:
"Ifyou know what 'good' is. "
"Since when?"
"Good luck convincing everyone else. "
"Yeah? Have you checked with his last partner? "
"Yeah - butfor how long?"
EXERCISE: Write at least four examples of this type of sleight of

mouth patterns, including any softening phrases.
#2. The Meta Frame

These attack the belief, directly.
This sleight of mouth pattern can be derived at by placing this question
in front of your comment: "How is it possible to believe that?"
Belief: I need to wait.

"How is it possible, the future is going to be easier than the
past?"
"Because as a person who knows that opportunities can be
fleeting isn't waiting the thing you need to avoid? "
Belief: I will have to talk to my boss.

"Could it be that you haven't yet considered the amount ofde
cision making ability your boss has already bestowed on you? "
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mouth pattern, including any softening phrases.
#3. Using the criteria against itself.

With this sleight of mouth pattern, you might have to ask a "because"
question, in order to get at the real belief.
Belie/: John's a good guy.

"You're too good a guy to really believe that. "
Belie/: You're not my type.

"You're not the type to really have types. Are you?"
Belie/: I don't have enough time.

"You don't have enough time to not have enough time."
Belie/: But I'm just not attracted to you.

"Have you ever considered how you can become attracted to
the belief that you can choose exactly whom you're feeling
things for?

mouth pattern, including any softening phrases.
When the subject uses a cause and effect (A causes B) statement, you
can either apply the cause (A) or the effect (B) against itself.
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Belie/: Listening to you makes me crazy.
Sleight ofmouth pattern: (Applying the cause against itself.)
"Listening to me only causes you to hear my words. "
Belie/: IfI buy this, I will go broke.

Sleight ofmouth pattern: (Applying the effect against itself.)
"I wonder how crazy it is to stry that? "
Sleight ofmouth pattern: (Applying the cause against itself.)
"How can you buy what you just said? "
Sleight ofMouth pattern: (Applying the effect against itself.)
"You 'Il go broke thinking like that. "
#4. Focusing on the intent of the belief.

Here you try to see a secondary gain ofthe belief, and refocus on that or
search out (or even imply) their motive for the belief.
Belie/: I need more time to think about it.

"Are you really trying to buy more time? What sort of benefit
could you get from waiting? "
Belie/: I am not pretty.

"Hmmm.. .I am trying to figure out what sort of outcome you
want by strying that. What real benefit is there to you in hang
ing on to that belieF You know you will get as much attention
by accepting you are pretty and living with it as complaining
that you are not. "
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EXERCISE: Write at least four examples of this type of Sleight of

Mouth pattern, including any softening phrases.
#5. Attacking the Methodology ofthe Belief.

This Sleight of Mouth pattern requires that you ask them to consider the
process that they went through to arrive at that belief.
Belief: I could never vote Republican.
"Never? Have you asked yourselfjust how you came about to
believe that? 'Cause there are a lot ofdifferent beliefs out there
that you haven't thought about. "
Belief: There is no way I would think of you as anything but a friend.

"Hmmm... .I am trying to understand. .. .just how you've come to
that... there are just as many paths to proceed to arrive at a de
cision. What else is there you are not thinking about? "
Changing Frame size.

This Sleight of Mouth pattern is in subsets of "Chunking up," "Chunk
ing Down" and "Chunking Laterally."
#6. Changing Frame size via chunking up (to a higher value).

For every belief there is a bigger structurelbelief that can con
trol it. When you "chunk up," you are going to a higher level of belief
which controls the mentioned belief.
This method sometimes requires a few questions like, "For
what purpose?" or "What's important about this/that?" or "What this
is that an example oft" And then you use that answer against the origi
nal belief.
Page 113
Belief: I don't have the enough time to study.

"What is that an example oft" (Me being too busy.)
"So your work is important to you? " (Yes.)
"If money and being busy are important, you can easily see the
profit ofstudying. "
Belief: I have to talk to the boss/wife, before I buy this.

"What is important about that?" (Get their respect.) And when
a good decision like this purchase is completed that respect will
be reciprocated Won't it?"
Belief: I have to win this contest.

"What's important about winning this contest?
(It'll prove that I am good enough.)
"You are good enough - whether you win or not. "
Belief: I really wouldn't take part in a business like that.

Sleight of Mouth pattern:
"Is that the example ofsomeone critically looking at their out
come or is that they example ofa snap decision?"
Mouth pattern and Including any softening phrases.
#7. Changing Frame size via Chunking down.

This uses universal quantifiers, such as "never," "always," "forever"
and "everyone."
Belief: I can't afford it.
Sleight ofMouth pattern: "Ever?!"
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Belief: There are no good TV shows.
Sleight ofMouth pattern: "Never?!"
Changing Frame size via Chunking down (using Metamodel)

This variation points out a portion of their belief that they have not no
ticed.
Belief: I don't have the time to study.
"Do you have the time to make money? Because studying is

about learning how to apply knowledge to business. "
Belief: I don't want to go out.
"Do you like coffee and talking withfriends? (Yes) Well, instead ofgo
ing out let have coffee and talk. .. besides that is what we would do any
wlry. "
Mouth pattern and including any softening phrases.
#8. Changing frame size via chunking laterally.
This variation neither gets more specific nor more general but maintains
the same behavior.
Belief: I can't go forward until I get out of this relationship.
"What would happen ifyou changed and stayed in the relation

ship anyway?"

Mouth pattern and Including any softening phrases.
Page 115
#9. Redefine
Here, the subject believes A=B, and you argue that A doesn't = B; A=C.
There are several version of this Sleight of Mouth pattern. All

of them deal with either statements of causation ("Doing that will cause
you to go blind.") or complex equivalency ("These exercises are some
thing we do daily.")
Belief: Doing that will make you go blind. (causation)

"It's not that it will make anyone go blind It won't. It will,
however, cause you to see how some people feel uncomfortable,
if it is discussed"
Belief: Learning persuasion causes you to care more about results than
people. (causation)
"It is not that it causes you to care less about people. It causes
you to care enough to give people the reasons they want to be
happy with their decisions. "
Belief: Your product is too expensive. (complex equivalency)

"It is not that it's too expensive as this is one of exceptional
quality. "
Belief: You're not my type. (complex equivalency)

"It's not that I am not your type - it's that you know you want to
be treated special... in a way that YOU REALLY LIKE...and you
want to KNOW THAT YOU CAN FEEL THAT. ... WITH ME. "
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EXERCISE: Write at least four example of this type of Sleight of
#10. Metaphor
In this version of Sleight of Mouth, you will use a metaphor to reframe
the belief.
Belief: I don't know. I just don't think I can do it.

"Well, the Bible says if you have the faith of a mustard seed,
you can move a mountain. So, I ask you - is your faith at least
as big as a mustard seed? "
Belief: I can't spend the time I would like with your group.
"You know, my own brother has a family and a full time job,
just like you. When I told him the real need we have for help
here, he knew he had to help, and he made the time to ...put in
the time ...and I know just how important time is to him. "

#11. Consequences
With this form of Sleight of Mouth pattern, you focus the on how the
belief will affect the subject.
Belief: I won't be able earn what I want.
"Really? Let me ask you... Have you really given any thought to
exactly what sort of outcome this belief is going to give you in
the future? "
Page 117
Belief: I don't think I am attractive.
"Hmmm ..... as long as you hold on to this belief, do you under
stand the goodfeelings you are denying yourself? "
Belief: I can't buy that.

"Stop for just a moment, and really think to yourself how be
lieving that you can't is deeply going to affect you. Do you want
that?"

#12. Reality (How do you know this is true?)
Belief: I don't want to go to therapy.

"How do you determine between problems only you can solve
and those where you must askfor help?"
Belief: It's not right to give money to beggars.

"What is your REAL test between a beggar and a man asking
for a church donation? "

#13. Counter Example
Page 118
Keep in mind that all Sleight of Mouth patterns work by "chunking up"
to another level. With the Counter Example, you are providing a case
where their belief does not apply and making it into a universal state
ment/question, as in, "Do you ALWAYS believe this is true?" or "Has
there ever been a time when A doesn't equal B? "
Belief: Murder is wrong.

"If you know that killing a man was the only option to prevent
ing a family member's imminent death at the hands of a mad
man, would it be wrong to murder that man?"
Belief: I can't get the job done in that time.

"If your mortgage, your income and the happiness of your fami
ly depended on getting it done in that time - could you do itT'
Belief: No one likes a show off.

Slight ofmouth pattern:
"If Henry Ford believed that, you wouldn't be driving a Lexus. '

#14. Another Outcome

This Sleight of Mouth most resembles sleight of hand, because you
switch the subjects attention from their original outcome to another.
"Whether X is true, isn't really the issue, but rather.... "
"It's not that X is really the issue, but rather.... "
Belief: It is too expensive.

Page 119
"Whether it's too expensive or not isn't really the issue, but
rather that you be satisfied on into the future for your purchase
ofthis product. "
Belief: There is no way I would visit that city. The crime is too high.
"As I see it, it's not really that the crime rate is high, because
thousands live there without trouble, it's that the city is so dif
ferent from what you are used to that, that alone, is scary. "

#15. The Threshold

With this Sleight of Mouth pattern, you extend the belief to the ridicu
lous, to the point where it is irretrievable.
Belief: I don't think I can quit smoking.
"I know someone who would be willing to die to quit smoking. "
Belief: In pay for this workshop, I'll go broke.

"I know of three people who willingly went in to debt for ten
years, in order to learn this information. "
Belief: I need to think about it for a while.

"If I gave you a year, could you make a decision by then? What
do you think you would have already decided after that time?"

Page 120
#16. Appealing to a Higher Criterion
This Sleight of Mouth pattern requires that you ask questions to find the
criteria behind the belief. The questions you can use are, "What is that
an example about?" or "What is important about that?"
Belief: The homework is hard.
"What is that an example oft
(Not having enough time to study.)
Do you see how much more time you'dfree for yourself, having
this knowledge?"
Belief: If I can't get the price I want - I walk out.

"What's important about that?
(That I have a say in the negotiation.)
"Well you've already made it clear that you do have a say. "
Belief: I have to talk to my boss.

"What's important about that?
(That I demonstrate respect for the boss.)
"And when you make a good decision like this one that respect
will be reciprocated, won't it? "
Mouth patterns, including any softening phrases.
#17. Model of the World (Switching referential index)
This Sleight of Mouth pattern requires that you ask if their belief is true
of everyone's model of the world, or has their model of the world al
ways held true.
Belief: If it were so good - why haven't I heard of it?
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"Is it always true that you only know about things that are
good?"
Belief: If we didn't upgrade, we can still get by.

"Can you always get by through living with a substandard sys
tem. "
Belief: He is rude, because he talks loud.

"Does everyone respond to a speaker's volume by assuming
rudeness?"

#18. Reversing Presuppositions
This Sleight of Mouth pattern basically asks, "How can the opposite of
your beliefactually be true and helpful? "
There is a formula for this Sleight of Mouth pattern, but the concept is
easy to grasp. The Formula is:
, is, does , , cause ,

How ,has, would, ,(opposite of your belief)' make' more of your outcome?
, can, could, , , mean'
, might , , equal'
Belief: IfI had a better job, I could make more money.

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"Have you considered how you can make lots money at a less
satisfactory job?"
Belief: I can't afford your product.

"In what way does the cost equate to not being able to get one
today?"
Belief: It's not possible to buy a house with no down payment.

"Have you considered the benefit of not putting a down pay
mentfor a home purchase?"

Further Exercises:
Sleight of Mouth patterns can be used before an objection occurred, in
order to inoculate against it. In this manner, and when combined with
softeners, it can highly effective.
Example:
Belief: It is too expensive.
".... and when it comes to the cost, it's $1000, and I used to get
people telling me it was expensive, but I don't know what
changed - maybe they realized that it was too expensive to not
buy it or that they actually began looking at HOW they're fig
ured, if something is expensive.
EXERCISES:
1. Write the 5 most common objections you might encounter, and write
at least three SoMs that would inoculate against them.
2. Create a debate with yourself in which you play both sides, and re
spond only with sleight of mouth patterns.
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3. With a partner, engage in a Sleight of Mouth battle. Make sure your
tone is humorous, amiable and warm, in spite of it being an "argument."
Softeners
Softeners primarily fall into three categories:
I.Quote Others:
H •• .John said that you're an inconsiderate fool... "

2.Quote yourself:
.I'd wonder, if I were in your shoes... would I be an inconsiderate
H ••
fool... "
3.Presuppose receptive traits:
You seem to be a person who wants it straight; with that in mind,
H •••
you're an inconsiderate fool... "
These softeners can be combined in any order.

Presupposing traits and quote others:
.John said that you're a man of character, and you would
H • •
want to hear the truth - he would stry to you that you're an in
considerate fool. "
EXERCISE: Soften insults

• Write three strong statements (i.e. Insults).
• Write each of the statements within softeners, three different
ways.
I) Quote self
2) Quote others
3) Presuppose traits.
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Meta Model Persuasion
Meta model persuasion is a way of pointing out the errors in

their thinking. It is very useful as a form of Gaslighting, because it
forces the subject to question their thoughts and perceptions.
To understand meta model, realize that when anyone speaks,
the language that they use provides an indication how that person makes
sense of their world. In order to reduce their understanding of the world
to language, they have to delete, generalize and distort information. The
results of these errors show themselves in behaviors.
Meta model violations are divided into four categories: dele
tions, distortion, generalizations and miscellaneous, and include their
appropriate response and what you will gain from this information.
While these are referred to as "violations," that does not mean
that you shouldn't use them. In fact, most people are not trained in these
techniques and will not notice them being used on them. So, you can
(and perhaps should) use them to influence and persuade. Understand
ing these "violations"makes it much easier to prevent them being used
on you.
DELETIONS
Nominalizations
A nominalization is a word that is reduced to a noun form. An
example is the word "decision." "Decision" is not really a thing, in the
way a dog or a newspaper is a thing. You can't put it in a wheelbarrow.
"Decision" is a noun form of the verb "deciding."
When a verb is changed to a nominalization, it changes from an
action that is dynamic to a static event.
Meta Model Response
Nominalization: "We need to improve our decisions."
Response: "How would we best decide?" "Who is deciding?"

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Nominalization: "I'm stuck."
Response: "What is sticking?"
Result Gained
By responding to the nominalization and changing it back to a
verb, you make it dynamic again, and make the person more able to
make a change.
Dark Use
It is also possible to tum a fluid verb into a "static" noun. This
will contribute to making a change more durable and assist the person to
get "stuck."
Unspecified Verbs
In many sentences, "how" something is done is not explained.
This qualifies as an unspecified verb.
Meta Model Response
Statement: "He makes me feel like crap."
Response: "How, specifically, did he make you feel like crap?"
"How specifically ..." is what you will often hear when talking to a per
son trained in N LP.
Result Gained
This forces the individual to add more detail to the statement

and, like questioning as a form of gas lighting, causes them to further
evaluate their statement and their underlying beliefs.
Simple Deletions
Example: "I'm upset."
Response: "About what?"
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Result Gained
This response simply gains more information about what was
omitted, and as a form of gaslighting, causes the individual to begin
questioning their thoughts and assumptions.
Lack of Referential Index

When you hear someone refer to "people" or "they," the
specifics of who "they" are or "which people" are omitted. Thus, you'll
hear things like "They are out to get me" or "People are stupid."
Response: "Which people?" or "Who, specifically, are 'they'?"
Results Gained
Causing them to reexamine their words and thoughts can act
like a gas lighting pattern. As a Dark Pattern, this and any other meta
model pattern can be used in reverse. Thus, you can remove the referen
tial index, and take one example, and generalize it to "they" and "peo
ple" .
DISTORTION
Mind Reading
Mind reading is when an assumption is made about the internal
state or emotions of another and not verified.
"Management is out to get me. "
"She thinks she is so far above us all. "
Meta Model Response: "How do you know?"
Result Gained
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What this does is recover the source of the infonnation and
cause the speaker to analyze how their conclusions are made.
Dark use of Mind Reading can be done in two ways. First, by applying
mind reading yourself and telling someone what others are thinking,
based on how you want them to react.
Secondly, you can prescribe the reason for mind reading, and
back up an existing conclusion that is based on mind reading. So if
someone says "Those people don't like me," you can verify it, and sup
ply a reason for that conclusion. "You can tell that by how they looked
at you when you walked through the door. No one glares like that, un
less they have blood in their eyes."
Lost Performatives
Lost perfonnatives are value judgments that don't site the origin
of the judgment. "It's wrong to do it this way." "That's evil."
Meta Model Response

"According to whom?" "Who says it's wrong or evil?" "Did your moth
er or father tell you that?"
Result Gained
You get the source of their belief or their belief strategy. If in
fact they did learn it from a specific source, you can invoke that source
for a dark use.
Example: "Your parents wouldn't find that acceptable would they?"
or
"IfI were your professor, I'd say only an idiot would follow that logic."
Cause and Effect (A causes B)

When someone says "That makes me mad" or "When you do
that it makes me feel like crap," they are implying that A causes B,
whether it is true or not.
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Meta Model Responses

"How does what they do cause you to choose to feel angry?"
or
"What does this action have to do with your feelings of anger?"
Result Gained
You cause the subject to reevaluate the cause and effect rela
tionship between the event and their emotion. This is a form of gaslight
ing.
Complex Equivalence (A=B)

A = B basically means "A is B." So when someone says, "Bob
is a jerk," they are using complex equivalence. Keep in mind, "Bob is a
jerk" does not have to be any more true than, "A duck is a cat."
A politician in a speech was referring to excess spending and

said, "If I'm elected, I'll cut the fat." The complex equivalence is fat =
spending. A person in the audience stood up and asked, "What does fat
have to do with money?"
Meta Model Response

The simplest response to a statement of complex equivalence is
to directly ask, "What in the universe does does A have really to do with
B?"
Result Gained
The answer mayor may not be obvious, but the meta model re
sponse will stop someone for a moment.
Presuppositions
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Presuppositions have been covered earlier in greater detail. As a
meta model of distortion, it's easier to see how they affect peoples'
thoughts.
GENERALIZATIONS
Universal Qualifiers
Words like every, all, nothing, never and always takes whatever
is stated and makes it always (or never) present.
Meta Model Response

Depending on the universal qualifier, the typical response is to
say "Always?" or "Never?"
Dark Use
Using universal qualifiers is common as a way to influence people.
Unspecified Verbs
In an unspecified verb, it is not clear how the action creates or
created the result. For example, "] lost my cool" does not say exactly
how you lost your cool or what "losing your cool" even means.
Meta Model Response

"How, specifically, ... " is the typical way to get more information.
Note that lots of cult-like groups have their own form of group-speak
MISCELLANEOUS
Either/Or Phrases
This is often expressed as giving an ultimatum or describing a dilemma.
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www.MindControlLanguagePatterns.com
"You have to either turn the toilet paper around the RIGHT way, or you
will have to leave the house, "
or
"I've got to either go to college or join the army."
Meta Model Response

"According to whom?"
or
"Or you could make a third choice."
Keep in mind that very few people will question a simple binary
either/or phrase, simply because it gives options ... Just make sure the
options are of your choosing.
Attribution Of Emotions
This is the process of assuming another persons' emotional mo
tivation, similar to mind reading but is based on an unproven assump
tion about what another person is feeling.
Example:
"Why are you being so mean to me. You just want me to feel
upset. "
Predictions
A prediction foretells what will happen, without a rational basis.
Examples:
"You're going to go to hell for that. "
or
" Send this email to ten ofyour friends, or bad luck will befall you. "
Meta Model Response
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"Based on what?" "According to whom?" "Can you see into the future?
If so - give the winning lottery numbers."
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Distracted Sentencing
This is a conversational method of causing a person's awareness
to focus internally, i.e., go into a trance. There is a warning to this: Do
not do this too often, because it causes confusion, and confusion is a
very uncomfortable state for most people.
Each time you use this Distracted Sentencing, it is important to
give the listener a simple, easy suggestion or command to resolve the
confusion.
This requires that you place a phrase within a collection of other
statements. The statement you are embedding has to be very out of
place or out of context from the rest of the text. There are two ways this
can take place.
I) Created the embedded statement as part of a story. It will ap
pear at any time while you're speaking but is surprising and
confusing in effect. The listener is then compelled to search for
meaning. Dogs pulling bobsleds are trained completely by
voice commands. The rest of the conversation then proceeds, as
if there was nothing wrong. This leaves the listener lingering on
the phrase that is the exception to the rule.
2) Using this method of distracted sentencing words, text, ideas

occupies the conscious mind, without context. Each word may
have no meaning in context, yet distract the "critical factor" of
the conscious mind. The speaker may then have ideal access to
the unconscious mind. My sister asked me if birds fly back
wards in Australia. This is the perfect place for placing embed
ded commands or addressing that which you know is true for
the listener.
EXERCISE:
This you must practice ALOUD, preferably speaking to another
person or into a tape recorder. Start to tell a story about your day, for
example, and interject a Distracted Sentence, followed by a simple sug
gestion or command.
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Example:
Yesterday I had two clients that seemed to have the same problem, but it
became clear that I couldn't solve them the same way. I wonder ifpeo
ple buy chairs for comfort or looks. Let's sit down. Both of my clients
had weight problems. The first client ....
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Scripted Patterns vs. Process Patterns

Let's make a distinction between two types of language patterns
- Scripted Patterns and Process Patterns.
Scripted patterns are often the first type of language pattern that
people use. It is a a basic script that someone reads and recites back.
Scripted patterns are great for anyone starting out learning language pat
terning, because of the simplicity. After getting the scripted pattern
down and using it, the neophyte can begin to see how and why language
patterns work.
A good example of a simple scripted pattern is, "The Reci
procity Pattern" which is to respond when someone thanks you for
something you say "You're welcome. You would have done the same/or
me." In saying it word for word, it covertly emphasizes an indebtedness
the subject will have to you for your kindness.
Process Patterns are less about using the exact words than they
are about using your language to lead someone through a process. Thus
a process pattern is much more interactive, and it's success relies much
more on the reactions and feedback of the other person. For that reason,
rapport is essential when doing a process pattern.
What you'll learn is that even the scripted language patterns are
process patterns, to one degree or another. Nonetheless, some patterns
more easily fall into one of these two categories.
What follows are a number of scripted patterns, many of them
with an emphasis on seduction. To learn the most from them, you can of
course memorize them, but read them aloud. As you read it aloud, be
come passionate about what you are speaking, and imagine that you are
reading it to someone.
With a bit of practice, you'll begin to feel the impact that the
pattern is designed to create. With that experience, you'll start to grasp
how a process pattern works to guide people through your interactions.
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The Door
(This is a very dark pattern)
This is another pattern that works with fractionation. You bring
someone into a deep, relaxed state, bring them up, and take them back
under again. Each time they go in deeper.
Think about how a woman flirts with a man. She will give him
a bit, then pull back, give him a bit more, pull back some more ... it
works quite well in making the man interested in her.
This pattern is designed to place an anchor of deep fear and loss
in a woman after you've slept with her. It will link a great deal of pain
to 'the door.' Yes, this is a VERY dark pattern.
After you have sex with a woman, say, "What's over there?"
and point to the door. Continue with "You know, I'm a really positive
person, but can you imagine, I mean, I don't know what can happen
from day to day. What would happen ifI walked out that door, and as I
left, it slammed shut, and no matter what, you could never open it. You
would never be able to look in my eyes again, you'd never be able to
hear my voice or feel my touch." At this point, she'll probably say she
doesn't like this, and you cuddle with her, and have sex, and make her
feel great again.
Afterwards, when you're resting, say, "You know, a really terri
ble thing happened the other day. A friend of mine got hit by a truck.
It's almost as if... it would be horrible <point to the door> that even if
you were to get that door open, you could search, and never find him."
At this point, she would get upset again, most likely, so kiss her, and
stop for a bit.
Keep doing this a few times, up and down, then get up and go to
the bathroom and SLAM THE DOOR. This completes the routine, and
the anchor is now firmly in place. Any time she gives you a hassle in the
future, you need only to point to the door, and the feelings of pain and
loss will come back.
This can create slaves with this, so please use your discretion.
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Boyfriend Destroyers (dark pattern)

Boyfriend destroying used to be clumsy and ineffective, but no
more. But let's explore some new ways of prying apart relationships,
which actually work. These techniques make the boyfriend unappealing
in her mind, which is a more easily accessible and less risky goal than
"destroying" him.
Let's note that if she was extremely happy with her boyfriend
then she wouldn't really be giving you the time of day, would she? Keep
this in mind. You will convey to her that you're her real type of man, but
without ever explicitly stating it.
Below are some of the most common complaints from women with re
gards to their boyfriends. Your task is to find out which one( s) her
boyfriend is displaying, and frame the boyfriend in inferior terms be
cause of it:
1. Failure to commit
2. Jealousy-inspired arguments
3. Physically or mentally abusive behavior
4. Not assertive enough in bed
5. Being too predictable
6. Wanting odd things in bed that she isn't into
7. Acting too needy
8. Acting withdrawn
With each of these situations, you can make them more promi
nent in a womans mind by altering the visual, auditory and kinesthetic
features of how she perceives them.
Failure to commit
"That reminds me of my friend Jim. He drives a truck for a liv
ing, but he met a girl from a wealthy family and started dating
her. She was really into him, but in his mind, he just didn't de-
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serve a girl of that status. It was like, inside his mind, he was
always worried that she would leave him, because she could
have any man she wanted. "
Jealousy-inspired arguments
"Try not to be mad at him, OK? It's just that you are probably
the highest-caliber woman that he's ever been with, and he
knows that if you ever left him, he would never find someone of
your quality again. He's just worried, that's all. "
Abusive behavior
"This happens all the time, when a guy is with a woman that he
can't handle emotionally. He just can't handle all the things that
are going on inside his head, so he acts out in this manner. He's
probably never been in demand with women, so he desperately
wants you to stay with him. "
Not assertive in bed

"I'm sure he wants to please you sexually but can't, because
he's insecure. It's like the guy with a really hot girlfriend who
ends up cheating on her with some unattractive girl, since she
makes him feel better about himself. It sounds like he has a case
ofunworthiness, but you should bear with it for awhile, because
I'm sure he'll do better soon. "
Being too predictable or boring

"You two have become so close that you are more like a sister
to him now, than a lover. He's really secure with you, so he
doesn'tfeel the need to do anything special anymore."
Also one might say something like,
"Don't you see how most marriages evolve? This is the way it
is. Now, with me, I'd rather keep the spice in a relationship, but
I understand that it's hard, and most people don't have the time
for that sort ofthing. "
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Wants odd things in bed

"Since he's never had someone like you, he feels the need to ob
jectify you. He can't open up to you, because he risks the possi
bility of being hurt, so he turns sex into some sort ofperverse
game."
Acting needy
"Well, you should understand that this guy has nothing else go
ingfor him, and you're the only thing in his life that makes him
feel important. Without you, his life would be meaningless, so
you can't really blame him. He needs you. "
Acting Withdrawn
"He's just afraid to open up to you, since he feels he doesn't de
serve someone like you. If he opened himself up, then you might
not like what he reveals. Now, with me, I believe that communi
cation is incredibly important in any relationship, but I can un
derstand where he is coming from. He really doesn't want to
lose you."
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Death Pattern
(very dark)
"Have you ever considered looking inside yourself to determine
why you behave the way you do? 1 don't know ifyou'll discover
that you're completely, totally alone, or ifyou'll find that awful
feeling of emptiness inside. 1 guess you need to find what you
really want... out oflife. "
"Really... take your life, and examine it closely. What do you
hope to gain by continuing like this? You might even say to
yourself, 'Why do 1 bother?' or 'Can 1 ever accomplish what 1
want?' These feelings are normal, and many people feel that
void inside themselves. "
The Connection Pattern

You'll recognize this one from earlier. It is designed to create a
sense of connection and familiarity.
"1 don't know what it is that causes most people to ...notice that
feeling of connectedness... to each other. One of my friends was
telling me that when she can..feel that connection... it is like
there is this cord of light that connects us (gesture by moving
the hand between you and the other person, simulating the con
nection), and this cord grows with the warmth of that connec
tion. 1 imagine that it is like you..feel this 'click!'...and then you
can... see yourself years from now...and still.. feel that connec
tion...and then. .. remember back to today... as the start of it. You
can.. feel that right here (touch the solar plexus of the other
person). "
Fascination Pattern
This pattern is, as it describes, designed to create fascination.
"Have you ever seen something that really got your attention?
Maybe it was something you wanted .. to buy... or a maybe you
got in a conversation that could really... grab your attention... it
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is like whatever you have right in front ofyou is the only thing
... that's in your awareness... and you ... focus in... because what
you have in front ofyou is so compelling that you close off ev
erything else... when it is as if you just ... begin to fall... into the
thought that something. .. like this ... can be so compelling that
time stops... "
These patterns can go on for as long as the operator cares to de

scribe them.
Here is another attraction pattern.

"Isn't it interesting how everyone is so different, yet in
so many WLryS, we are all the same. I mean, for example, I don't
know what it is you do, when you decide for yourself that you
really want to be with someone, and you know it is what you
want causes you to find yourself imagining it ... You picture it,
and your mine, and you look forward to it, for all the right rea
sons. Reasons that are right to you, because you know it's what
you want, but I think you know a person can find that when
that's what's taking place. Wow, what a difference in the WLry
they think and just how readily you then begin to make time for
this special person you are now connecting so strongly with. It's
a totally different experience... it's like you feel almost magneti
cally drawn to this person. .. you know what I mean? And some
times, I think a person wouldn't even know that that's what's
taking place, until afterwards. Andyou look back on it as one of
those amazing memories you treasure, cherish for the rest of
your life ... now ... with me, as I think long and hard about it, I
think that's the process of discovering that a person is being
drawn to another person. "
This one is referred to as "The BJ Pattern"

"I was just sitting here thinking about taking a vacation, ifyou
could imagine your idea vacation spot, what would it be like?
(Stop and let her talk)
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You know I think it's so interesting how people connect with
their hopes and their desires and their daydreams right ... I was
reading this article the other day about compulsions, and it got
me to thinking about the difference between compulsion and an
ticipation.
I mean, you ever come home from a hard day a work, and the
boss was a jerk and kept piling the papers up on your desk, and
it's like all you can think about is dropping your clothes and
getting into that steamy hot bath or shower. That's like before
you even step in, you can already feel that heat working its way
through every muscle in your body, and all your frustrations
just drop away, and all you can feel is the pleasure of that
warmth just shooting through every part ofyou. And then there
is that moment ofsliding in, where you really let that pleasure
take you, and it just feels great, doesn't it? Yeah, well, do you
like chocolate? (Is there afood where, when you see it, you ab
solutely have to put it in your mouth?) I mean, can you stop and
remember a time when you, it is like you see that piece of
chocolate and your mouth is already tasting it, before you even
put it in, you can already taste that sweetness against your
tongue, and you can feel the special rich texture of it against
your tongue, as well. You know that texture that really good
chocolate has. And then there is that moment, that moment
when the first molecule of chocolate touches your tongue, and
you know it is inside your mouth, and you just want to keep it
there, because it is so rich and so good And there is that extra
special warmth, when you swallow that sweetness down. Or
then maybe, you know like, sometimes, you meet someone, and
you are really attracted to them, and you both know it, and
there is that moment when your eyes lock, it is that special look,
just before you kiss, before the very first time, and you are
trembling with anticipation, and your heart is pounding, be
cause you are thinking about how good it is going to be. It is
like every physical moment of that relationship is enfolded/con
tained or rolled into that first touch ofthe lips, and there is that
excitement, with that first soft contact of the lips, where you
don't even know if you are touching or not, but then, oh man, it
is like a jolt ofelectricity all through you. See, I think what hap
pens is the conscious mind goes down into the unconscious and
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brings back up all these thoughts, images, desires and fan
tasies, and you may think those thoughts are above me, but re
ally, I think they're blow me, because you are coming from a
much deeper part, and your mine. Aren't you?"
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Forbidden "Dark" Patterns

Dark patterns refer to patterns that can be used to hann. These
types oflanguage patterns tend to create depression, fear and guilt. They
are most difficult, because it requires a lot of rapport, combined with
stealth and guile. It is like using a velvet glove to hide a steel hammer.
Disclaimer
Neither the author, the publisher nor anyone known to them endorse the
use ofthese patterns.
The Hospital Pattern

This is a fear inducing pattern that produces a fear of loss. It begins by
describing a loss of something of great emotional value.
a) Did you ever know someone that went into a hospital and
never came back?
b) it is amazing how often people just go, and never come back.
c) If you like what we have, remember that I could leave you,
and never come back.
The operator would then capture the pieces into a nice little story and
likely multiply the effect, using anchors.
Example said to lover:
a) "Did you hear about (insert famous person or acquaintance)
who went to the hospital for something (anchor here) and never
came out?"
b) "By the wtry, I had a doggie that I loved, and one dtry it just
disappeared (use same anchor here with more intensity), (keep
building value of doggie) She was so good to me, she would
wait for me after school, and she would just kiss me and knock
me down, ever so gently. We would roll on the floor and pltry
all kinds ofgames. "
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c) "We would chase each other, she would fetch for me, she
even slept in my room (what could you do with this?) but then
one day, I came lookingfor her, and she wasn't there. You have
no idea what itfeels like to lose someone like that (anchor). For
days you look for her, you post posters, you post rewards. No
matter what you do, it is over, gone out ofyour life (anchor)."
The Depression Pattern

This pattern is very advanced, because it employs Values Elici
tation and Anchoring.
The start of the pattern is to elicit the life values of the subject.
In other words, the process begins with rapport and the operator asking,
"What's important to you in life?" This will lead the subject finally to
reveal whatever those values are and, for this example, let's say the sub
ject answers "Family, religion and work," in that order of priority.
The operator will then ask the question, "What are you not
thinking about?" This question will bring about a profound state of con
fusion in the subject, at which time the operator would covertly anchor
the confusion with a touch or gesture.
The operator would then begin to talk about the subject's values
of "Family, religion and work," and fire off the confusion anchor, link
ing confusion to these values, effectively nullifying them
The most malicious use of this or any "dark" pattern would be
to have the subject to practice this response and have it effectively pre
determined as an outcome. This might sound something like this:
"I'm not sure how well you can imagine thinking about family,
religion and work and still having this feeling (firing anchor) in the fu
ture ... from now on ... but that's not something you have to think about
consciously, as it takes place."
Consider now why this type of pattern is so malicious. When
done effectively, anytime the subject thinks about what they used to
have value in - family, religion and work - they now feel confused.
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Elements of Dark NLP Patterns

There is an element of some Dark NLP patterns that, in itself, is
not bad and is often used to help in an NLP therapeutic setting.
It is creating an anchor for "things that used to be true".
The hypnotic version of this would be to have the subject create
a place or even a box in their mind that they put things that are no
longer true for them. Then they can put habits, compulsions and crav
ings in the box, so that they no longer are true. The result is very effec
tive and positive for the subject.
But what if the operator has them put things there that they value?
The effect would be much like the previous pattern.
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Story Telling as Language Pattern

When anyone tells a vivid and compelling stol)', they are using
metaphor to covertly influence and hypnotize. This is true, because a
stol)' is not personally about the listeners' lives, and therefore, the audi
ence can absorb the messages, without feeling preached to. Also, in or
der for them to truly understand the stol)', they have to, at some level,
feel the emotions of the characters. Because of the emotions a good sto
I)' creates, stories are a great tool for mind control.
There are several good examples of this that can help a beginner
understand the process of Mind Control. The first example is fairly
common and happens any time someone reads a stol)' or watches a
movie and becomes so involved in the stol)' line that they forget the fact
they are involving themselves in a fiction.
In spite of the fact that they are maybe sitting on their couch
reading or watching a TV show, they react as if they are in the stol)'. In
other words, they are being affected by what they are reading/watching
AS IF IT WERE REAL.
This has been used by Mind Controllers all throughout histol)',
and many shamanic cultures place the story teller as central person in
their rituals.
To learn this skill, it is best that the controller first go into their
histol)', and remember times when they were reading or watching a
show and got so intensely involved that they lost track of time and be
gan to care about the characters in the stol)'.
What was it that made it so interesting?
How was it you forgot that you were at and 'got into the story?
What emotions did the story involve?
By answering these questions, the controller can begin to under
stand what kinds of stories move them, and begin to craft stories they
can tell that are equally involving.
How does one craft a story that delivers a covert message?

There are a few factors that one needs to consider and tl)' to incorporate.
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1. Tell a story with a character that is similar to the listener. The main
character needs to have something that the listener can relate to, regard
less if the main character is a turtle or a human being.
2. If telling the story orally (aloud), become involved, yourself. The
more passion, energy and enthusiasm you can put in the story, the more
the audience will react to it.
3. Lead off the subject, at times. The more one convolutes a story, the
more the listener must involve themselves to follow it. Often you will
hear a story begin like this:
"When I was little boy, my mother would send me over to her
mother's house, my grandmother. And she would tell me stories
from the old country. I've never heard these stories, except from
here, so I don't know if she made them up or if they're just part
of the folklore. She told me that when she was a little girl her
cousin would tease her to go to the "The Witch's House" and
talk to the lady they called "The Witch. " The thing was that the
witch didn't mind being called that, and my grandmother al
ways approached the house scared, and every time The Witch
would befriend her, take her in, tell her a story and she'd leave,
always feeling better. Her friends told her that The Witch put a
spell on her, which scared her every time, yet she would still go
backfor more.
Well, one day The Witch told her a story about when she was a
little girl and how she was always concerned about getting too
close to the Black Lake. The Black Lake, they told her, was
haunted and would pull young girls in from the shore and
drown them, if they didn't take a certain path to the shore.... "
Just from this introduction, it is hard to tell who the story is re
ally about - the person telling the story, the grandmother or the witch?
In order to understand it, the listener must forget who the story
is about, and follow deeper and deeper into the story, eventually, losing
themselves in it.
4) Design a message in the story. The message in the story can be like a
moral of the story, like Aesop's Fables. The message can also be much
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more covert. The covert message is one of emotion, meaning there is an
emotion that the main character feels that motivates them. This emotion
must be justified in the story. In doing this, the subject that hears the
story can relate to the emotion. Remember a simple story, like Snow
White...
Make up and tell a story that is convoluted, like the one above.
Write it down, if you have to. Tell it to someone, and make impression
able young girls dream of a Prince Charming.
Exercise:
Observe how they respond. If you get a glassy-eyed stare in the midst of
telling it, that is a sign of a hypnotic state induced by the story.
Other Variations of Story Telling

A testimonial is another example of story telling, because it is
one person saying what happened to them with a certain product or ser
vice. It is used everywhere, from the religious practice of "witnessing"
to TV commercials featuring both stars and ordinary people telling their
story.
Exercise:
Make a list of all the times a testimonial has been used to sell a product
or promote a service. Consider how you can do that with your outcome
in mind. Who can tell the story? What will they say?
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Magic Questions: The Cube
These were somewhat popular back in the good 01' days of the
alt.seduction.fast newsgroup but have fallen out of favor in recent years,
mostly due to the popularity of "The Cube."
Well, I got a fever, and the only prescription is Magic Ques
tions. These are much easier to remember than The Cube, and can be
done quickly. Best of all, it gives you insight into the person you're talk
ing to. One time I had a girl answer the "beach" question by saying "I
would run and hide!" I didn't spend more time on her.
The lead-in is simple. Just say your friend showed you an inter
esting personality test, or that you always ask people these questions, in
stead of exchanging resumes first. The questions are asked in order:
1. Visualize yourself in a white room. You're in a bed, and everything is
white. How do you feel?
2. What is your favorite animal? What qualities do you see it as having?
3. What is your favorite color? How does it make you feel when you
think about it?
4. Imagine yourself on a beach. Nobody is around, and the ocean is right
in front of you. What do you do?
Now the answers:

1. This is how they view death and dying.
2. This is how their friends view them.
3. This is how they view themselves.
4. This is how they view sex.
I've turned around some of the coldest women I've ever encoun
tered using this routine and conversation piece, so enjoy!
The pattern works, because the images they create are
metaphors for aspects of the person's personality. The interesting thing
about this patterns is that, much of the time, you can make anything
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they say mean anything you want it to mean, and it will generally be ac
cepted, without question.
If you want a detailed description of "The Cube" process you
can get the book "The Cube by by Annie Gottlieb and Slobodan D.
Pesic.
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Guerrilla War Linguistics
Dirty Tricks, Tactics and Put downs that Evade, Belittle and
Disrupt any Argument.
It should be noted that these tactics are "dirty" in that they have
nothing to do with reason or logic to win an argument. They are
designed help person win an argument by putting the other person down
or evading the subject.
You Wouldn't Understand

"That demands a response, but taking into account your
background, education, and intelligence, I am not sure you
would grasp it. "
Basic Condescension
"This is key to the subject and I think even you can understand
it. "
"Even you should be able to get a handle on this next issue. "
You're Young And Naive:

"That is what I used to think when I began learning. "
"When you grow to an age of mental (emotional, spiritual)
maturity you'll see how your way ofthinking has really weighed
youdown."
"You're new here, aren't you?"
"Whoa! Didyoujustfall offthe boat?"
Yeah, You Wish:

This s not to prove a point true or false, instead tries to imply
that the individuals deepest wants have led them astray and sidesteps the
issue itself. A strong desire can be used to show to have tainted an
outcome of conclusion or and destroyed any objectivity. Thus it casts
doubt on the legitimacy of a point. This is very close to the classic ad
hominem fallacy: "you say that because you are a man."
"You support abortion because your hatred for like that is a
result ofemotional traumas during childhood. "
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"You were bullied as a child, were you?"
Disappearing Arguments
These are ways to make sure the unwanted subject disappears.
The Evasive Agreement

This is done by simply agreeing to one part of a persons
objection.
Objection: ''As a gun lobbyist you represent the destroying of
peoples lives. "
Answer: "1 must agree that lives destroyed by the progressive
elimination of our civil rights is a horrible thing and there is no way 1
would standfor that."
ATTENTION TO DETAIL
Instead of dealing with a comment or question directly, the idea
here is to focus on some insignificant detail to evade the issue or buy
time to think.
"Let's define just exactly what you mean by _ _ _--' "
"Let's break it down word for word.. "
"You used the pronoun 'the' but you really mean say "}'a'. "
Twisted Context:
This one is very sneaky. The technique here is to intentionally
misunderstand some part of what is stated and shift the focus to it
instead of the subject. This forces other person into defending one
insignificant part of the argument that was said out of hand.
"You're mixing up felling and thinking.. If you are feeling

instead ofthinking then you're stuck and can't learn."
"You said this happened in the era of Mo Tse Tung. Why are
you so fascinated by chairman Mo? Are you supporting a
cultural revolution. "
I won't mention that ....

This is a strange way to come off as nice while saying things
that would otherwise be considered rude.
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"Have I ever brought up the I loaned you? Never! Have I ever
embarrassed you or made youfeel bad over it? Have I ever told
you how much I need that money? No, I never have and I won't
do it now."
"I'm not saying that all masons are evil... "
''/ don't care if other people say you're boring. .. "
"1 don't want to spend a lot of time on this, but (blah, blah,
blah. ..). "
Trouble Making Questions:

The purpose of this argument is to throw the other person's
competence in suspicion and change the subject at the same time. The
person is asked a question to which they don't know the answer
destroying their credibility and confidence. To be cruel the questioner
and task the person by forcing them to answer a loaded question.
"You mentioned the constitution. Can you quote the preamble
for us?"
"Do you realize the various rules ofsocial etiquette you've just
broken?" ["No.''} "I'd be glad to explain them to you, but .... "
Any Intelligent Person Would ... :
''Any intelligent person would agree with me that .... "
"Most people who disagree with this point haven't the
experience to understand this point... "
"qf course there is a lot of debate on this subject, but all the
authorities agree that ....
Low Blow:
"What was it your gay lover would say?"
"Weren't you saying the same thing just before you were
indicted and went to rehab?"
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Leading Questions:
This technique asks a leading question that plays on guilt or that
drives the person to a common sense yes/no answer that supports the
questioner's point of view. This is
Joining our church:
"Do you care about your families well being?" ["Well, yes!"}
"Then I will see you at 10 am. "
Support a political movement:

"Do you want a complete downfall ofthe America institution of
democracy? Is that what you want?"
Join a Gym:
"Don't you care about your own body?"
The Flamboyant Challenge:

A tactic gives more emotional plea to a point or objection than
is appropriate. Be ready for some overstated showmanship if you want
to try this one. Melodrama and exaggeration becomes a central part of
this tactic.
"Do you DARE question such an obvious point?"
"Get out oftown! You can't REALLY expect me to support that
fantasy?"
More Thinking, Less Feeling:

In this case you use the dichotomy between emotions and
rationality. If they are emotional you attack their lack of rationality. If
they are rational you attack their cold uncaring responses.
"You may be able to say it's reasonable but it's not rational.
Your emotion is your only reason and it's completely
irrational. "
"You may be able to rationalize this and it completely evades

the insensitivity to the emotional effect the issue has on people. "
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Creating a Conspiracy:
If the argument contains a novel or imaginative point, the
questioner pushes the idea to a radical and unreasonable extreme.
Whether it's realistic doesn't matter. The idea is to make it so extreme
the other person will retreat and become defensive stopping the
argument.
"So you think every masonic lodge is part of a conspiracy?
What do you suggest?"
"How is what you're saying different from paranoia?"
"So everyone but you and your fellow believers are hiding
behind a government conspiracy?"
Create a Dead End

This is a way to preempt the continuation of an argument.
"1 don't think we can go on until we test every possible
consequence ofyour proposal. "
"Whyare we arguing over what could be when we don't know
all the facts. This is ridiculous. "
The Hammering Agreement

This tactic is simple and formulaic. It is a robot like response
that is said so kindly and persistently the only option is to drop the
subject. The key is to do it with completely supportive tone so as not to
quickly agitate your opponant.
"I agree (nodding affirmatively) AND that is not what I was

saying. (repeat your statement) ... "
Unacceptable Conclusion
This simply halts the conclusion and calling it unacceptable.
"In no way does your logic make sense. "
"Okay, you stated a series offacts. Yes, I can agree with them.
But then you add them up to an irrational conclusion. The facts
are there. The conclusion is way off."
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Delay Tactics
If, when put on the spot to answer a question or point, you come
up blank, then delay tactics can buy time to dream up a response. These
tactics are risky, because if you are not able to think of anything clever
during the time you buy, you will be pinned even further.
Focus On The Answer

You must be able to think quickly on you feet to use these
tactics and be able to endless "BS" your way around most any topic.
"Think about what you just said. Your answer can create some
clarity on the topic. (Long pause) May I explain?"
"Good question, hold on to your seat because there is some

depth that only afew smart people like you can grasp .. " (Pause,
look thoughtfully as you think ofwhat to say.)
"I'm glad you asked. I can give you the short answer or the
REAL one. Which do you want?"
Focus on The Question

Same as above, only here the diversionary shift of focus is on
the question.
"If you are asking that question and you are sincere about the
answer you're going to get then please consider the nature of
the question. "
"Consider that you are posing questions to the problem. It

might be more productive to focus on the solution. "
"Give me a moment with what you said. " (Long pause nodding
affirmatively.) As I heard what you were saying the main points
were... " (Restate the questions in various ways, delaying for
time)
Asking If They Truly Want An Answer

This one is designed to make them shut up and feel on the
defensive.
Page 157
"Most people ask a question because they want to know the

answer. It seems as though you are just asking to prove your
point and that you don't want to hear ... or aren't truly willing
to hear... what the answer could be. "
Throw Doubt on The Question or Comment

This is a variation of the Sleight of Mouth patterns.
"Who told you that would be the best question to ask?"
"Have you thought how asking that presupposes what you're
not thinking about?'
"Have you considered how the opposite might benefit you?"
Confusion Comment
A complex statement that paralyzes the brain.
"Consider what you are not thinking about right now. "
"1 really don't doubt that you can't not completely change your
thoughts that way. "
"Your problem is that you are thinking in a linear versus
configurational framework. "
"I'm not sure if I fail to disagree with that or not. "
Baffle Them With BS

A bureaucrat will to this to no end. It is basically BS with big
words that seem so sophisticated as to be unintelligible. Include a few
words that appear to pertain to the subject. Without saying truly
anything it can sound very impressive. It's important that it be sprinkled
with simple commands for attention like "Stay with me on this." and
"Keep your focus this is important." Done well it can actually seem as if
you made a point.
"In view of the configurations offinancial institutions and and

current tax laws, and noting the need to mitigate the desertions
of world leaders toward their own localized financial
considerations, there are important steps that each ofus can do
to in order to put things right. "
Page 158
Boomerang Question
Here you don't answer the question, instead you ask the
questioner to answer it.
"] think you have your own answer to that question. So what
answer would you pose?"
The Old Geezer Delay Tactic

This is similar to the "Baffle Them With BS" tactic except that
it involves stol)' telling. Imagine an Old Geezer hearing your question
and having it trigger a flood of mostly irrelevant stories with no
foreseeable end in sight.
"That reminds me when we were hunkered down avoiding an

ambush in the middle east. You could smell death on the other
side ofthe door. My buddy, Lex, was trained as a sniper but the
problem was we could hardly find enough room to aim, point
and shoot. He once demonstrated his marksmanship by
shooting the flagpole cable offan enemy encampment.... "
Being Over Literal

Here you take their words and remove all figurative references
in your reply.
Example: {How do you sleep at night?}
] lie prone with my eyes closed.
{What is the difference between these two people doing the

same job for different pay?}
"] would guess the difference has to do with what they are
paid. "
Any Answer Will Do

This tactic is to use the question, whatever it was, to be a
sounding board for the answer or statement you want to give. They
question and answer may seem completely unrelated to each other.
Page 159
Classic Redefine
This is a Sleight of Mouth tactic where the entire issue is
redefined to suit your answer
"It is not a question of(this) or (that), but rather it is an issue of

(insert your issue here.)"
"By focusing on [Xl you're avoiding the bigger/real/important

. 0if"
Issue ...
{''Are you for or for or against (name issue) ?"] "1 don't think
the issue is beingfor or against (issue). The real issue is (insert
your issue here). I propose that we.... "
Two Separate Issues

This tactic allows you to divide the other persons facts and
conclusions into two separate issues and refocus where you want to go.
"My personal life is one issue, getting the results you need is
another. Let's focus on accomplishing something positive.
Agreed"
"We could discuss that topic or we could focus on (name
topic). "
Hypothetical Insult:
This tactic is mean and devious because it allows you to insult
and then say "I'm not saying you're a __."
"Hypothetically, if I knew for a fact that you have no idea

about that which you speak, what would my best answer be?"
Hidden Insult
"I have to compliment you on answering that far beyond your
education level. "
"You look good Your dress didn't offend anyone today. "
"Congratulations on not saying anything stupid at the
meeting. "
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Inactive Listening
Active listening is a constructive communication method where
you acknowledge what the other person has said by restating it back to
them. Inactive listening allows you to restate what was said but pervert
it to you own ends.
"So you're saying that institutionalized torture is appropriate

for national security. "
"So what you're saying is ... (give a perverted interpretation of

their statement). "
Label and Oversimplify

As a general rule when you label something you make it real.
With this tactic you take whatever the other person has said and put it in
a figurative box to throwaway.
"Your reasoningfalls into an area ofnon-Euclidean thought."
Look Into Their Hearts

This tactic is a polite way to tell the other person that you know
more, and therefore better, about what that person believes, thinks and
feels.
"That hurt me deeply. ] know you're not the type ofperson to

say that. "
"] don't doubt you mean well. Your heart is in the right place. ]
even believe you've given this some deep thought and deep
inside] know you're better than to hold on to that belief"
Confabulation
This is, in short, a lie about a previous event. It's only use is to
put the other person on the defensive or confuse them. A good way to
start is to bring up an insignificant event and misrepresent it.
"You've never lied to me? You once told me you hated

chocolate. "
Page 161
"You are always changing your mind. You did it last month
when you said you wanted to eat out. How can I believe
anything you are telling me? "
Quote an Authoritative Study

This can be a last resort. One simply refers to a bogus study and
makes up statistics and authorities to add credibility to what they say.
There is a risk that someone will call you on your bluff. If this happens
the response is to add more BS to the study and add fake credibility.
"The Meninger institute did a comprehensive study that

proves... "
"Psychological studies at Yale University and shown a different

conclusion. "
Truisms, Slogans and Exaggerations

This is a very annoying tactic that relies on wild gestures, crazy
behavior in response to a comment or question.
"Buy low. Sell high. It's all about the bottom line." Do this
while looking like a mad man.
Upset The Cart

This cruel tactic is designed to upset the questioner and then
redirect their response to justify your outcome.
''I'll tell you my answer but you're so emotionally unstable you

wouldn't grasp my intent and it would be a waste oftime. " {The
other person gets upset} "Now, you are proving my point.
Going wild. Answering your question was a bad idea. "
Referring To Their Response

This can be truly annoying. What you do is take any physical
reaction or response and use it as proof that they are wrong and you are
right.
Page 162
"You can sit there biting your lip in that chair slouched over
that way and it only proves that you know how weak your
argument is. "
"Keep trying to look at me with that blank gaze and you and I
both know how hard it is to admit you're wrong. "
Use a Useful Quotation

This is a stall tactic in which you use a quote, real or imagined
to take up some time.
"The bible says that if you have the faith ofa mustard seed you
can move mountains. Let me ask you is your faith enough to put
aside your judgment and consider my position?"
"My grandfather was a judge and he always said. .. "
Fast Thinking
This is about giving your response a sense of authority. This
done by answer fast and with as much detail as possible.
{How can you feel that others will support your idea?}
"A comprehensive study surveying 82 random respondents

showed that 77% would support it. Seventy Seven percent!"
Throwing a Fit
Imagine asking a question or posing an argument and know
you right. Using this tactic the response would be an emotional tirade
that is complete with sobbing, long pauses, and a cold and hateful gaze.
In general making it as uncomfortable as possible. This response puts
anyone on edge and warns them to step lightly the next time they
consider the topic.
Rapid Fire
The purpose here is to provide more attacks to the other persons
argument then they can defend and to do it in rapid fire, nit picking the
smallest detail.
Page 163
"What do mean by 'THE answer'... Define what you mean by
time. Where did you get your fact? Who told you that detail? "
Attacking Their Identity

Here you question whether the questioner is the type of person
to believe that.
"Is that the type ofperson you see yourself as?"
Listen to me!
This gives you two reactions. The first is if they comment on
anything you said with "You don't listen to anything [say." The second
response is if they do sit and listen and comment "You didn't hear a
word [said"
Page 164
Meta Programs As Language Patterns
Meta Programs are ways that we sort information. Everyone has

their own method of organizing their thoughts. When you know how
someone sorts information, and you present your ideas using their sort
ing process, then they respond very favorably to it. Understanding Meta
Programs adds a depth to language patterns, because now you are able
to tailor your language patterns to more perfectly fit the person you are
working with.
What follows is a list of eighteen of the most useful meta pro
grams borrowed from the book "Perfected Mind Control," with added
information to help you apply them as language patterns.
1) Criteria Which Lead to Values

Criteria is a list of what is important within a certain context. In order
to find one's criteria, the question is asked, "What do you want in an
X?" You should get a I ist of three to six criteria.
To tum this into a language pattern, you must focus in on their
criteria and what their criteria gives them. Fulfilling a criteria will NOT
consistently convince someone to buy your idea, product or service. Cri
teria are simply their first surface level response to any context.
Values are an extension of criteria and have strong emotions attached.
When you fulfill a value, you trigger these strong emotions. To get to
someone's values, you start with their criteria and ask, "What's impor
tant about criteria?" With that, you'll get a response, but this is usually
not the true value, but you'll be getting close.
With that information, which we'll call "criteria2," you'll ask
further, "What's important about criteria2?" With their next answer, cri
teria3, it may still not be reach their value, so you can ask again,
"What's important about criteria3? "
As an alternative to asking, "What's important about X," you
may also ask, "When you have X fully and completely, what does that
give you that's important?"
Page 165
Often, it is then that they will tell you their value. You will
know it by a subtle, or not so subtle, expression of emotion, when they
answer that third question. When you hit a real emotion, then you've hit
pay dirt, and you'll know simply by paying attention. This is where you
must be acutely sensitive to the other person's response, in order to no
tice this emotional response. When you hear their value, remember the
exact words they use.
It is very simple to use this answer as a language pattern. All
you need to do is work in the exact words they use when sharing your
idea, product or service. By doing this, you link your idea, product or
service with their value. This process is much more powerful than you
might first imagine.
2) Direction
When asking about criteria and values, you will discover that
people choose them, either because they bring them good things they
want, or spare them from bad things they don't want. To determine
which motivates them more ask, "What will having (their criteria) do
for you?"
The response will either be a TOWARDS response, with words
like attain, achieve, goals, include, accomplish, solutions or an AWAY
FROM response, with words like avoid, get away from, evade, and ex
clude.
The importance of this as a language pattern is to make sure that
you fulfill their Direction meta program. In other words, if they answer
your question of "What will having (their criteria) do for you?" with, "It
gets me away from the noise at work, " then it would be an error to em
phasize "silence" instead of "freedom from noise." The person's state
ment describes moving away from noise - not going towards silence.
There is a difference.
3) Source
This will help you to provide them with the type of evidence
they best respond to.
"How do you know that you have done a good job in
_---::-:-:--_? Do you know it inside, or does someone have to tell
you?"
Page 166
Their response will be one ofthe following:
() INTERNAL - Knows inside self - here you would describe how they
can just "know" that your idea/product is good.
( ) MOSTLY INTERNAL, SOME EXTERNAL - This will mean that,

while you intend to affirm their inner state of certainty, you should also
provide some external evidence.
( ) EXTERNAL - Told by Others - Give them lots of testimonial evi
dence.
( ) MOSTLY EXTERNAL, SOME INTERNAL - Give them lots oftes
timonial evidence, and elicit their own inner state of certainty.
4) Reason
With this meta program, your subject will tell you, not merely
the reason, but the process oftheir decision making.
"Why did you choose your current/most-recent ?"

( ) OPTIONS - Criteria, Look for other ways, possibilities
( ) MOSTLY OPTIONS, SOME PROCEDURE
( ) PROCEEDURE - Necessities, Facts, The Way
( ) MOSTLY PROCEDURES, SOME OPTIONS
Depending on their answer, you will have to tailor your presen

tation to this meta program. Someone who uses a procedures method
will not be convinced if you make an options presentation. Likewise, a
person using the options meta program will get very bored of hearing a
procedures meta program.
Procedures will sound like a long story about how they came to
their decision. Options will describe the choices they made and why
they chose what they did.
5) Relationship
Page 167
To determine a how a person sorts information using this meta
program, they are often shown three coins of the same denomination
two as heads and one as tails - and asked the following question, "What
is the relationship between these three coins?" Note that they are NOT
asked, "How are they the same?" nor "How are they different?" - but
the relationship.
Other questions you can ask are:

"What it the relationship between what you're doing this year
and what you were doing last year? "
"On average, how long have you stayed on ajob/in a relation
ship? "
() SAMENESS - Same thing, No Change, Similar

( ) SAMENESS /w EXCEPTION
( ) DIFFERENCE - Different, change, New, Unique
( ) DIFFERENCE /w EXCEPTION
As they describe the relationship, this will tell you how to present things
that are comparisons. So if they respond with sameness, you would de
scribe all the things that are the same; if differences, then you describe
all the things that are different.
6) Convincer and Convincer Demonstration

These two meta programs put together create an unstoppable
way to convince someone of ANYTHING.
Quite simply, all you need to know is how they know something is good
and over what time do they have to experience it.
"How do you know that a is a good? "
() SEE
() HEAR
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ODO
() READ
Thus if they have to see something, in order to be convinced, you show

them. If they need to hear about something, you have people tell them,
and so on.
This is followed by the next meta program.
7) Convincer Demonstration
How often do they have to demonstrate being good to you, be
fore you are convinced?
() TIMES
() LENGTH OF TIME
o AUTOMATIC
( ) CONSISTENT
8) Primary Sort
People make decisions to do things, based on what attracts them
to it. There are five possible things that people are attracted to when
making a decision - people, places, things, activities and iriformation.
Tell me about a vacation that you really enjoyed or what you think
would be your ideal vacation. What did/would you like about it?
() PEOPLE
() PLACE
() THINGS
( ) ACTIVITY
() INFORMATION
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When you have the answer to this question, you can then make
your presentation based on the people, places, things, activities or infor
mation that most appeals to them.
9) Style
This meta program indicates how someone relates to others,
given certain situations. This one is useful with the context of coordinat
ing actions and activities.
Tell me about a - - - - in which you were happiest (a one time

event).
() INDEPENDENT - I, Sole responsibility, Myself, Alone
( ) PROXIMITY - With Others, But In Control
( ) COOPERATIVE - All of Us, With Others, We, Share Responsibility
10) Chunk Size

Some people want and need the details of a subject to under
stand it. Others consider themselves to be "big picture" types, who need
to look at things from a distance. You can notice the first group of peo
ple, those who need specifics, at the front of a lecture, feverishly taking
notes, trying to get all the information. Those people who want the gen
eral information will be sitting or standing at the back of the room, try
ing to soak it all in, and get a feel for the information.
One way to determine this meta program is to ask, "To really
learn something in a lecture - is the best seat for you up front (SPECIF
1c) or in the back ofthe room?" (GENERAL).
This meta program is also revealed by how they speak:
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SPECIFIC: will talk with and about sequences. Extra modifiers used.
They use proper nouns.
GENERAL: Simple sentences, few modifiers. No sequence, Steps left
out. No proper nouns.
11) Modal Operators

What did you say to yourself this morning, when you decided to get up?
(Circle one: Can, Have To, Must, Want, Gotta, etc. )
Modal operators are the words that people use to motivate
themselves into action. If you use the words that they use on themselves
to put them into action, they are more likely to comply.
12) Stress Response

Tell me about a _ _ situation that gave you trouble.
() THINKING
() FEELING
() CHOICE
This will be of use, only if you are to describe the negatives that they
want to avoid.
13)Attention Direction
Do they react to others' changes in moods, or do they ignore others'
changes around them?
() SELF
( ) OTHERS
14) Values
In the context oflife - what's important to you?
List 9 or 10 things.
Rank them in order of importance.
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15)
If you could fantasize aloud for a moment about the ideal _ _ for
you, what would it be?
16)
What do you look forward to in a _ _ _ _ _ ?
These last two questions will help you formulate the positive aspects of
what you want to persuade the other person to do or buy.
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Using Emotions to Persuade
Warning:
In order to make the point of how emotions are used to per
suade, I have two outcomes in mind. The first is to demonstrate subtle
emotional elicitation. The second is to encourage you to invest in learn
ing more about persuasion. As a result, you might think I am being
overtly manipulative. I AM! Because, in order for persuasion to occur, it
must happen within a context. The context is: Learning and sharpening
your persuasion skills.
Emotions
When first learning persuasion skills, it's often the goal of the
initiate to make people do certain things that are in the initiate's inter
ests. They may consider simply putting the subject in a trance and
telling them to do things for them. That reality is rare and the learner of
persuasion will quickly find out that people are not motivated by
thoughts, but by emotions. Through the elicitation of emotions in the
subject, the persuader will get their outcome.
In persuasion literature, they are referred to as "discrete emo
tions," because they are elicited and felt subjectively, without an out
ward expression. Most persuasive writing and speeches appeal to sever
al emotions, both positive and negative. When you read a persuasive
sales letter, you can begin to list the emotional states they are trying to
elicit.
Likewise, when you are persuading someone, be mindful of
their emotional states and the emotions you are trying to elicit.
With that in mind, I'd like to demonstrate, in writing, the per
suasive use of both positive and negative emotions.
The Need to Learn Persuasion
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Pride - Let me first begin by saying "Thank you." Of all the people in
the world, you've taken the steps that have brought you here to learn
more about persuasion. That translates as you being a single fraction of
a percent of all the people in the world who value themselves enough to
know that learning persuasion skills is absolutely vital to your success
and well being. Before you read any further, take a second to acknowl
edge your efforts in getting this far, because there are too many mo
ments that pass us by when we don't take pride in what we've done.
Fear - I've been studying persuasion for almost a decade. The sad fact is
that there are some people who know these skills and would use them
on anyone, regardless of the possible negative effect it might cause.
Some people have referred to these as "Dark Side" NLP skills, and I can
tell you from personal experience that they do exist! I also know that the
only way to protect yourself from any of these malicious processes and
language patterns is to know about them. Yes, knowledge is your only
defense against the most wicked people who would even think to use
them.
Anger -I've seen the results of these destructive language patterns. They
are devious, because most people don't even know they've happened.
They live life half-heartedly, with no purpose, because someone meant
to hurt them! If you know of anyone using these language patterns and
NLP skills to injure, you have every right to act and stop them!
Hope -But there is a bright side to all of this. Persuasion skills, like the
ones I teach, are there to benefit you and everyone who knows them.
Using these skills, I've seen people overcome life-long phobias and land
million dollar contracts. You can use these skills just as easily to land
the perfect job, meet your ideal romantic partner and end what may, at
times, seem like an endless cycle ofjust trying to pay the bills. Knowing
these persuasion skills and how to apply them, you can benefit your life
and the lives of others.
Envy - Okay, it's true we want all of that. What sane person doesn't? I
have a friend who easily uses the persuasion skills I teach to get every
thing he wanted. He's happy, he's loved, he's proud of what he's accom-
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plished, and every time we meet, he's eager to tell me, or anyone, about
the richness that life has to offer. He also wants everyone to know that
they can have what they want, too.
Some people will tell you that he's a freak, an abnormally happy person,
but his message is that he got it largely due to his hard work and knowl
edge of how the mind works. For him, persuasion has become easy.
Guilt - He has a less positive side, too. There are some times when he's
taken people aside and reminded them how much they haven't really
lived up to what they could do. He makes a good point. We each may
have started with an idea or ideal, but we stopped and never finished it.
There is something to be said about squarely facing your shortcomings.
You may have shown an interest in persuasion - but how much have
you really dedicated yourself to learning and using it?
For most people, the answer is, "Not much."
When you're faced with that reality, it can really eat away at how you
think of yourself. That's a burden I don't want you to ever face again.
Sadness - It can be like we've really lost something. Lost a hope for our
lives. By realizing that we haven't lived up to what we could be, most
people are compelled to act. Compelled to do something ... anything,
rather than feel the real burden and misery of losing control of life.
Happiness/Joy -The one great comfort of all of this is that there is a so
lution that comes by just taking a few simple steps. One of them is mak
ing a decision to learn persuasion skills, by investing in your first per
suasion product. When you do that, you know you're doing something
right.
Improving yourself is the one act no one can take away, and it will be
with you for the rest of your life.
Relief - When you do take those steps, a burden will be lifted. If you
could imagine the freedom of having the time to enjoy the things that
you want, take vacations and participate in the social activities you've
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always loved, that's what you'll have for yourself, by becoming a life
long student of persuasion skills.
Anticipation -You've read this far, so I know you're showing some in
terest, and there is a lot to look forward to.
Think about it. Instead of looking back on what you could have done
but didn't, you can start to look forward to making life changing deci
sions. Let me paint a picture for you of what you can look forward to
when you become a real master of this type of influence and mind con
trol.
Every day you learn and apply new skills. You learn how to get more of
what you want from others and have them like you for it. You feel un
stoppable.
As you learn these skills, your life will change, as well. You'll find that
you're more confident, relaxed and able to talk to anyone anytime.
Regret - My friend, Tony Robbins, points out that, near the end of life,
most people find it way TOO easy to look back and see the opportu
nities we could have chosen, but didn't. It's the things we didn't do that
we regret more than what we chose to do. There is an opportunity right
now that could change everything for you ... and you could pass it up,
and regret it forever.
Let me just stop right here and point out that no one really
knows how much time we have on this earth. Because we don't know,
we think it's limitless, but it's not. You have no idea how many full
moons you'll see in your life - maybe 20, maybe only five. How many
times will you see a butterfly spread its wings and fly? Maybe 10 times?
Maybe less. Maybe more.
Opportunities are like that, too.
When you commit yourself to learning persuasion skills, you've
made the decision that will positively affect you and everyone around
you. Don't walk away, and make a choice to live only half a life.
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Every moment is an opportunity, and using your knowledge of
persuasion, you'll be able to take advantage of opportunities you never
knew how to before.
Conclusion
The list of emotions used is by no means exhaustive, and I en
courage you to explore how to use discrete emotional appeals to per
suade, influence and negotiate.
Let me first recognize that a few readers may have read this far
and felt unnerved, irritated or coerced and even compelled to invest in
persuasion products. That is not the point. Emotions play a powerful
part in any persuasion context, no matter how subtle. It will benefit any
would-be persuasion expert to pay attention to the emotions they see
and the emotions they attempt to elicit.
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Using Mind Control to Create an Addiction (dark)
With all the paranoia of mind control and how NLP can be (and
is) used to "mess with peoples' heads," it's time to pull the cat out of the
bag and let people know exactly what is possible. For example, can you
create an addiction in someone using NLP?
Yes, you can.
Before you learn the steps to do it and how to protect yourself,
let me give you two warnings. First, don't do this to people, unless you
are giving them a compulsion for something they want that will be good
for them - like exercise and healthy foods. Anything else, and it may
seem fun to think about, but leave it at that. Only think about it, don't do
it. It's just not a nice thing to do to people. Second, to do this you have
to be very good at NLP.
Start by eliciting what is called the NLP submodalities of a
compulsion a person has. You can do this by asking what are some
things they have compulsions for, like chocolate, and then asking, "As
you feel that compulsion, what sort of images is your mind making?
Where do you see those pictures? How big are the images? Color or
black and white? " and so on.
Then begin to describe what you want them to have a compul
sion /addiction for, in exactly the same way. Describe the new compul
sion as being seen in the same place, etc. One doesn't need any more de
tail than that. It's more than enough to experiment with. Using this pat
tern, a person can create a compulsion for drugs, sex, money, perfection,
driving fast - you name it; however, one can also create compulsions for
exercise, punctuality, orderliness and many so-called "good" things.
Powerful compulsions have a strong pleasure/pain dynamic. As
an example, a sexual compulsion may have a pleasure/guilt or
pleasure/fear dynamic. Food compulsions may have a depression/relief
dynamic.
Without going into details, this is enough information to engi
neer a very powerful compulsion.
Using this methodology, it is possible create a compulsion in
someone, so that they compulsively want to make you happy. While
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some might not consider this a completely "dark" application, it is not
focused on the other person's happiness and well-being, so it cannot be
considered "light," either.
To make this "compulsion to want to make me happy" com
plete, you should also consider including in "happy" other emotions
such as "satisfied," "at peace," "loved" and others, because simply
"happy" may not be the best emotion, given the situation.
There are ways to prevent someone from covertly creating a
compulsion in you. First, be aware of the mental and emotional states
that people are asking you to describe, and be on guard when they start
to talk about compulsions. If you suspect someone has helped covertly
create an unwanted compulsion in you (good luck), the compulsion can
be undone with what is called the meta yes/meta no process.
In Meta YeslMeta No, you'll start by thinking of something un
related to the compulsion that you would say "no" to. Think of that
item, and bring up the very strong feeling, and repeatedly say, "No" in a
firm and congruent manner. Practice it until the "No!" and the feeling
are deeply linked to one another. The next step is to begin saying, "No!"
repeatedly to the compulsion, and do it with the same energy and con
viction as when you started the process.
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The Voice Roll

The voice roll is a way of speaking that is very common among
public speakers, and especially common with preachers giving sermons.
The voice roll is a way of speaking that has specific rhythm.
The rhythm creates a hypnotic effect with a majority of the audience.
The reason why is that the rhythm, itself, becomes unconsciously antici
pated and thus the listener follows the rhythm.
The specifics of the rhythm is about pausing briefly 45 to 60
times a minute, or about once a second.
Here is an example of the voice roll with ( ...) representing the brief
pause:
"There is pattern... of unique thinking ... that allows us... to see
how each of us... can create such power... create such influ
ence... that people will follow ... Now... think of it!... it is all in
how you think... that propels others... to follow... it is as if you
have behind you... a force of will... And that is what it is... A
force of Will!! So think about what you want... Think about
how... you want to affect people... Imagine that you CAN. .. and
you are on your wtry... "
Another way of setting a rhythm is to pace it according to the

breath; breathing normally and only speaking on the exhale. This cre
ates a unique pattern that is unconscious. To understand it, consider
what happens when we breathe with emotion. When we feel excitement,
the emphasis is on the inhale. We sigh with relief. By pausing on the in
hale, the speaker is stimulating the part of the unconscious mind that in
hales with anticipation, and by speaking on the exhale, unconsciously
providing relief.
When speaking to an individual, the speaker would pace the
breathing of the listener. Speaking to a group is much easier, as the
speaker does not have to pace anyone. The process, alone, will allow the
audience to follow the inhale-exhale/anticipation-reliefpattem.
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Exercise:
Take a book, and before reading aloud, notice your breath. Breathe the
same way as you read aloud, only speaking on the exhale.
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October Man:
October Man Sequence
(What follows is my observations on the seduction course called, "The

October Man Sequence" no attempt has been made to edit/correct or im
prove any part of this since it was first created.)
This was written in response to Swingcat's book, called, The October
Man.
Ok here goes ... Are you familiar with Tension Loops? If you have
Swinggcat's book it's about that story of the cat named girl-george ...
Pain/Pleasure/Pain PushlPull kinda thing .
...Thats the GP version, in the context of October Man, you have to amp
up the pain and the pleasure ... Every time you talk about anything plea
surable, you anchor it to you physically or just by special gestures. I do
it by a unique stare ... Every time you go to Pain, you anchor it away by
gesturing, or just looking away ... Remember to really bring out her
Pleasurable states by patterning or just Trance Hi-Jack or create that
into filters - SRT style just as used in the new SS model ... You can do
SRT on the environment or create those dark filters on the world or oth
ers etc ... Really work on the positive states, stack them up, multi-modal
anchoring etc ... You can also use kinesthetic DHE panels/sliding an
chors for pain (others) and pleasure (to you) on the arm or leg or objects
even and stack it with other techniques. This is the crucial part, when
she's in such a high bliss, you have to immediately contrast it with
something really Painful/Disgusting/Traumatic and all the uppermost
amped up negative states you can bring out. As I told you, this will give
you headaches, as you must really explore those pain submodalities and
make them real... If you tone it down, its just standard tension loops
like, "Oh my god I love you" but pushing her away. That, in itself, is a
roller coaster ride, and for daily Sarges, this will do ... For industrial
strength Mindfucking, Tension Loops from Hell is gonna do it... Imag
ine the most intense flaming ball of fire, then in a heartbeat freezing it,
till it's a ball of DRY ICE, reigniting it back up to a fireball, and so forth
... the contrast has to be that intense and RAPID FIRE, minimize or no
fluff talk, if possible ... Just practicing this alone is a big mindfuck and
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does take a toll on you, after a few minutes ... Important thing is to learn
to desensitize or disassociate in the PAIN stuff, while making them real!
By now, you'd have already noticed the FRACTIONATION, you'd have
already noticed that at each pass YOU ARE BUILDING RESPONSE
POTENTIAL on both polarities ... Each pass, you fractionate the pain,
so it's intensifying, while also intensifying the pleasure back to you ... I
don't know if you can consider going to the Pain part, fractionation, but
it does make them more scared to go to pain and more reactive, when
you go to the pleasure part ... This kind of talking really sounds weird,
so you can use the context of this being a survey from a psychology
class or something ... If they don't want to open up their past, you do
quotes ... You do routines, just to get in there.
Here's the part that you already know ... Are you familiar with Time
Lines, Change History Pattern or the "February Man" by Erickson?
Same principle, you visit her in her timeline, in the future (future projec
tions on the Mystery Method) or in the past, and evoke the things that
were painful then ... Work it, then be like The Knight In Shining Armor
(this part is Style's version), protector and how things could have been
better, if you were there to shield her, bring her to safety, etc ... Those
periods in her 1ife when she needed someone, and nobody was there etc
... In the pleasurable moments, you can "steal" them and make them
stronger, or many times better, had you been there ... Create artificial
histories, which I know would already come easy for you, standard
change history stuff ... Nothing special. When in lOse em ailed me (not
about this specifically), he said something profound, which I mayor
may not get correctly ... Unconscious Incompetence I guess ... Anyway,
he said that the people he personally saw do these dark type patterns
correctly were Steve PlMark Cunnignham/RJ/Swinggcat and himself...
Something about shared explorations, or shared trance and putting in
strong intent! I understand it, but I don't know if that's the understanding
he wanted to convey ... If you're gonna use this, please avoid the Time-
Line part ... The Tension Loop from hell is enough to get you fast con
nections ... It time distorts them automatically, and she feels safe with
you ... Don't do this in situations with a lot of stimuli or distractions like
clubs etc.
The hospital pattern below is an example of how Pain/Pleasure works ...

Try also the "Door Pattern."
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The Hospital Pattern:

a) Did you ever know someone that went into a hospital and never came
back?
b) It's amazing how often people just go and never come back.
c) If you like what we have, remember that I could leave you and never
come back.
Now you just capture the pieces into a nice little story. If you can use
touch or smell, the anchors are that much more powerful.
Example said to lover:

a) "Did you hear about (insert famous person or acquaintance) who
went to the hospital for something (anchor here) and never came out?"
b) "By the wtry, I had a doggie that I loved, and one dtry it just disap
peared (use same anchor here with more intensity), (keep building value
of doggie) She was so good to me, she would wait for me after school,
and she would just kiss me and knock me down, ever so gently. We
would roll on the floor, and pltry all kinds ofgames. "
c) "We would chase each other, she wouldfetchfor me, she even slept
in my room (what could you do with this?), but then one dtry, I came
lookingfor her, and she wasn't there. You have no idea what itfeels like
to loose someone like that (anchor). For days, you look for her, you post
posters, you post rewards. No matter what you do, it's over, gone out of
your life (anchor)."
Clearly, tonality, certainty and body language will have much to do

with your results.
"The last thing I remember was when I left, and she kissed me, (anchor)
and I never saw her again. I wouldn't wish that (anchor) on anyone."
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"/ sure enjoy you (fire anchor), and / am having a blast getting to know
you. / know you'll miss me." (fire anchor)
The anchor will be set, and you can use it anytime. The power of the
pattern is in creating a solid story - use voice, touch and any other com
pound anchors that you can.
By the same token, you can create:

The broken window pattern
The stolen art pattern
The solar eclipse pattern
The lost shoe pattern
The lost ring pattern
The final goodbye pattern
All of these are only limited by your imaginations.
As the "major" of hypnosis says, "Do the drill, get the skill".
======Gemini Pattern======
Ok guys, remember to do the necessary anchoring and self points and
substitute hypnotic languaging, as you see fit. The more defined the
modules are, the more real they become ...
The Gemini Pattern:

a) "Most people don't realize there are actually two women inside the
woman. There's the culturally/socially programmed woman (build on
this) i.e. roles she has to play like Debbie the mother, Debbie the em
ployee etc ... "
b) "But then there's the natural woman, who has passions, fantasies,
sexual feelings, amazing possibilities, the most exciting memories, the
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kinds of things you wouldn't want your best friends to know about. "
(build on this)
<Safety module>
"(Because of the roles she has to play according to society), a person
has to lock that place away, to keep it safe, and yet it's (the natural
woman) inside,just waiting to emerge ... Waiting to be released."
<Access module>
"What is it about the way certain people affect us that causes us to think
of THIS SPECIAL PERSON in that special place, to hear this voice, to
feel this presence, see this face from that spot. "
<Dark Sun module>

"In such a way that no matter how we TRY to deny that desire to act, it
takes on a life of its own, compelling, vivid, real."
<Internal Voice module>

"Where this voice inside says, 'YES! I want to step into that special
place with this special person, and explore anything that we can both
make rea!!'" (another definition - LOVE)
<Awakening Parts module>

"What would it be like for a person to just right now, feel all those hid
den parts and desires, and wakeup hungry, ready and alive!"
<Act Now module>

"Realizing this is the moment, right here RIGHT NOW! A chance to
move in to a nude erection (new direction). The thing about them (nude
erections) is that it's not just enough to ponder them, instead you've got
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to reach out, grab hold ofthem, take it all in as far as it will go - make
it a part ofwho you are. "
Freud said - "We are made so that we can only derive IN lOSE
pleasure from a contrast." Basically, this is "Parts" technique. There are
several reasons why this is powerful... Remember the "Sleight of
Mouth" technique of reframing something from Generalized into
Specifics?
Example:
Someone has the belief that they can't talk to a girl, because she is too
beautiful.
Reframe: "Who, specifically, says you can't talk to her? What, specifi
cally, makes you unable to talk to her? etc ... "
The key concept is that, when you break something into

PARTS, you also break apart resistance.
So, for example, The Gemini Pattern is about a truism ... it's a
theme. But it also breaks someone into PARTS, i.e. There is a PART of
you that feels THIS way and wants to do THIS.
Good PARTS techniques also use PACING.

For example,
"Yes, there is a part ofyou that wants to hold back ... that wants to ap
pear conservative and follow society's rules for the wiry that you
SHOULD act ... but there is also aPART ofyou that wants to give in to
what you really want .. , what your body feels ... what you REALLY want
todo ... "
I have a theme called "The Shadow and the Rising Sun" that uses
PARTS as well.
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The Shadow and the Rising Sun Pattern:

a) "You know, I was thinking about something the other day ... about
polarities ... about the whole concept of the Yin and Yang ... about hot
and cold ... black and white ... light and darkness. And how opposites
are really the same thing ... just varying degrees on the same spectrum
... ofpossibilities ... and how one is defined in relation to the other ...
and how there are no absolutes. "
b) ''And then I remembered something that a psychologist friend ofmine
said once ... She said, ''/ have to go feed my shadow" ... and I wasn't
quite sure what she meant at the time, until I read something by Jung. "
c) "We are born completely whole, and it isn't until we learn what our
current culture tells us what is good and what is bad that we start to
both repress and express these parts ofourselves. "
d) "He said that everyone has a Shadow ... a hidden side ... a place of
forbidden desire. This is that part ofyou that you hide from the rest of
the world ... maybe even from yourself ... where you can experience and
imagine these thoughts ... these thoughts that you don't tell anyone
about .. , where you really want to experience all the excitement of this
moment ... to let go ofall the things that had been holding you back be
fore ... to just let go .. , experience all that life offers you now. The Shad
ow is a good thing, he believed, because it brings a sense ofbalance. "
e) "Now, this sense of balance is very important because the concept
that whatever you repress grows and begins to spill over into other
parts ofyour life. Ifyour shadow is repressed, it grows and grows ... un
til it just takes you over completely. Jung said it was like the Rising Sun
... because in the morning, as the Sun rises in the sky ... it gets higher
and higher ... closer and closer, to the highest point in its path (midlife)
... until at mid-day it changes polarity completely... and everything that
was once true has now changed .. and now the opposite is true... and
the sun goes down. This was the concept behind mid-life crisis. "
t) "So balance, then, is a good thing, and Jung believed that the first
part of our lives is about separation from the shadow, while the latter
part of our lives is about integration with the shadow and about being
whole. "
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g) "Now what if you were to see your shadow right in front ofyou, and
talk to it - what would it say?"
h) "Now, what if you were to step into your shadow right now, and see
the world through the eyes of your shadow... What would that say
about the person that you were before - and what does this say about
who you are now?"
Now, let me just tell you - Symbolic Morphology is the foundation and
STARTING point for the October Man.
Symbolic Morphology evolved out of Symbol Fractionation, which was
the version that RJ used.
So in symbolic morphology, you basically elicit a body sensation ... al
most like eliciting a state or a value ... except that it's a BODY sensation
... a feeling. Remember that what you NAME, you bring to life ... what
you DESCRIBE becomes real.
You have the person describe where this feeling is, what it feels like,
what they do to make it happen ... etc.
And then you give it a COLOR. You tum it into a visualization. This is
called Synesthesia. It's an overlapping of the senses. And the value of
doing this is that it makes it hypnotic, and it also allows you to control
one by controlling the other. In other words, when you have them tum
the feeling of their "Orgasm," for instance, into a colored energy ...
when you take that energy and expand it throughout their body, it be
comes more intense.
So thats the SYMBOL part ... the color, I most often use as a SYMBOL.
Now comes the MorphologylFractionation part.

Fractionation is bringing someone in and out of trance. Taking two steps
forward, one step back, hot/cold, etc.
Fractionation allows you to create a vacuum effect ... where the person
gets sucked into the void ... thus closing the space between you ... and
intensifying the state, when you bring it in again.
Page 189
There are many ways to do this, if you're having them visualize. But in
my technique, you have to incorporate 3 things; TOUCH, VOICE and
VISUALIZATION. When you overlap and combine those three things,
you create something very powerful.
So you TOUCH them where they feel the energy ... You "MOVE" the
energy through their body with your HAND on them ... and all the
while, you're guiding their visualization with your voice.
What's more, is it has to be a SHARED visualization. The magic of it is
created as you visualize along with them. This creates a SHARED
trance effect ... where your INTENT guides the interaction.
This is the reason I think there are so few of us who actually can do this.
It's because it has to be a SHARED trance, and your INTENT has to be
strong.
So back to Fractionation ... many ways to do this ...
And remember that all of this is just the FOUNDATION for the October
Man.
The October Man creates a new hypnotic IDENTITY ... like a PERSON
or an alter ego that becomes a REAL entity to the person. This is a new
SEXUAL identity ... like a split personality, like having someone over
your shoulder who is constantly influencing your every action and
thought ... only in a SEXUAL way, saying the things that you suggest.
Imagine being able to put yourself into a woman's mind, to influence
her every thought ... and to have this PERSONA within her grow and
become more real each day.
It's like POSSESSION.
Yeah, that's evil, alright. Which is why we can't ever release it. I have
horror stories about it from when we were researching it and developing
it. The Synesthesia is enough for most. It's like a nuclear bomb ... but
The October Man is like a world destroyer.
Page 190
The Book of Forgetting
by Dantalion Jones
Page 191
Dedication
To my faitliful djinn, familiar and constant compan

ion, Dantalion, the 71 st spirit of the Goetia, "His Office is
to teach all Arts and Sciences unto any; and to declare the
Secret Counsel of anyone; for he knoweth the Thoughts of
all Men and Women, and can change them at his Will. He
can cause Love, and show the Similitude ofany person, and
show the same by a Vision, let them be in what part of the
World they Will. "
Page 192
Introduction
There has now been a long history of me writing about the

mind, specifically how to influence and persuade others and yourself,
using what I call "Mind Control".
For some "Mind Control" is interesting, for others it's frighten
ing and for a few the topic of mind control initiates a cascade of violent
and disturbing emotions. To this latter group, I have sympathy and hope
they get a better grip on life.
What I haven't done, until now, is write about a subject that is
disturbing to me.
Initially, the topic seems harmless, until it uncovers the real
fragility of this part of the mind.
The topic is about forgetting.
Note, I said forgetting, not memory. Forgetting.
There is plenty of literature about memory and memory im
provement, called mnemonics, and in studying mnemonics, one discov
ers that memory can be enhanced. This is a testament to the pliability of
the mind.
What few have researched is how to exploit the opposite of
memory, forgetting.
The TV show "Heros" introduced a character who can remove
memories from peoples' minds, as if pulling grub worms from their
heads. From that, I began to ask what would it be like to have this pow
er. Using the skills ofNeuro Linguistic Programming (NLP), mind con
trol and hypnosis - how could one make real this power of removing
memories?
Does this frighten you?
In learning about and exploiting forgetting, one becomes aware
of how fragile memory truly is. This can be disturbing for many, be
cause of the unshakable credence we give to our own perceptions and
memories.
Page 193
On the one hand, forgetting can be a blessing. The hope of
many is to forget the terrors and traumas of the past that on-goingly tor
ment their everyday lives.
On the other hand, forgetting even the smallest detail threatens
that which makes up one's own personal history.
Forgetting is personal, and when one person forgets something
that others remember, it forces the person who forgot to reevaluate their
perceptions, or fight fiercely to deny what others remember as true.
This book, The Book of Forgetting, is about learning how to
forget and to make others forget. It contains many ponderings and ex
periments in forgetting, not all of which are complete. The Book of For
getting has yet to have enough content to be a book in its own right but,
nonetheless, is worthy of release. Thus, you are receiving it as an addi
tion to Mind Control Language Patterns.
This is advanced material, but I'll attempt to get as much infor
mation as possible in the form of examples, transcripts and analogies. A
background in NLP wouldn't hurt you.
Page 194
The Set Up
The idea of a set up comes from the Neuro Linguistic Program

ming (NLP) concept of giving process information versus content infor
mation.
To make it clear, content information consists of facts that peo
ple remember, the price of a product, the date of an anniversary, the
name of a lover, their own birthday. All content information is quantifi
able and specific.
Process information is more qualitative. Process information is
about how we experience that information - as bright, resounding, re
verberating, fading, shocking, etc. All of these are the ways we experi
ence the information.
The quality of the process information will enhance or detract
from the content information. As an example, let's make the content a
hamburger. How we perceive the hamburger can make all the difference
and determine if it's memorable or not.
Perceiving the hamburger can determine whether you want to
eat it or not. This becomes the process. If you make the image of the
hamburger big, bright and in full color and see it rotating on a black
background, you will have a much more memorable response than if it
were a small black and white image, the size of a postage stamp. As a
general rule, your desire to eat that hamburger will also be determined
by the process information you use around it.
So let's continue with the set up.
So it's here, in these first pages, you will get the set up for what
you'll read about forgetting. This is how you'll learn and how you will
respond to what you learn about forgetting.
There is something fascinating about the mind and how it
works. Even more fascinating is about the times it doesn't work in the
way that one expects. This includes forgetting.
Forgetting includes the feeling of confusion, because forgetting
sometimes includes the knowledge that something has been forgotten.
You may remember what it's like to have your car keys in-hand one mo-
Page 195
ment and then not knowing where they went, the next. Then the next
moment, you begin to question your ability to think.
Take a moment to remember that feeling and, sometime very
soon, you'll remember it again, and curse the fact that you read this,
knowing that you may begin to doubt the things you thought about,
yourself. But let's not go too fast. All of that will happen in time.
As part of this set up, consider everything that you are not
thinking right now .... and you'll find that you are not thinking about a
lot. Most of your thinking happens, or doesn't happen, at a level that
you're not aware of. This is the level where forgetting take place.
Forgetting also occurs when one thought supersedes another,
like when you realize the genius of the writer of this paragraph, and be
gin to smile, and look forward to learning how well you'll be able to in
duce forgetting in others.
At other times, forgetting is a mere change of thought. A transi
tion that moves from one thought to the next, seemingly unrelated
thought, that leaves the first thought buried deep within the unconscious
mind.
NLP often states that, to measure results of a goal or outcome,
the stated goal must fulfill three criteria: I) It must be stated in the posi
tive; 2) it must be quantifiable and; 3) It must be under your control.
This makes constructing a forgetting a bit difficult, because of
#1 "stated in the positive," because forgetting is about the removal or
absence or change of a memory.
So how does one quantifY the removal or change of a memory?
By quantifYing the action of removal or change.
Now another conflict arises with #2 "It must be quantifiable"
and #3 "It must be under your control". How does one quantifY a mem
ory that they can't see, hear, touch or put in a wheelbarrow? How does
one control these things?
The question of quantifYing a thought/memory can be dealt
with by the process that is used to describe it. In NLP, this is the Visual,
Auditory and Kinesthetic descriptions that make the memory memo
rable.
Page 196
To do this, it's probably a good idea to get as familiar with NLP,
hypnosis and other related fields, as you can. The author won't take re
sponsibility for your ignorance.
If you dare, what you will experience and learn are the tech
niques and theories of forgetting .
... If you remember them.
Page 197
Starting With Yourself
To master the skill of manipulating memories, so that they be

come "forgotten," it's important to begin with some personal evalua
tions about your ability to apply these skills.
The first step is to believe that it can be done and that you can
learn to do it.
This is evident, when you review the history of NLP. It was
longed believed that people with life-long phobias required a great deal
of time to overcome their fears. They were then told to go through many
years of counseling to help them overcome their fear. Even after years,
there were seldom significant measurable improvements.
On the other hand, the founders of NLP started with their own
personal belief that a phobia could be eliminated in one session. Starting
with that belief, they went out to prove it - and they did. What resulted
is referred to as "The fast phobia cure," plus a new model about how the
mind works.
The lesson of this is that your beliefs about what is possible will
have a greater impact on the results of your efforts than preexisting the
ories.
So, when attempting to create a forgetting, first start with the
belief that it's possible. It's likely you'll discover new ways of getting
your end result that are not revealed within this book.
Another lesson that comes from NLP is that if something does
n't work, GREAT! Learn from it - and do something different. As sim
plistic as this may sound, it has much more power than you might first
believe. For one, it prevents frustration in your attempts, because every
attempt will either yield a result you intended or a lesson from which
you learn. If you are working with someone attempting to create a for
getting, and it doesn't work, frustration could hinder any further steps,
so you would just take note, and go on to something different.
Lastly, broaden your definition of success. You'll learn in the
section called "Types of Forgetting" that forgetting takes on numerous
forms. Don't get trapped in thinking that a forgetting is successful, only
if you have created complete irretrievable amnesia. At times, a forget-
Page 198
ting may be a complete success, if you leave the memory of the event,
but shrink its significance in the person's mind.
While it may be a goal to create complete amnesia, you'll do
better to think of this as an art, where the real goal is to get the best re
sult, with the most minimal effort.
Page 199
Ecology, Karma and Other Peoples Stories
The origins of NLP are filled with renegades who set out to
change people, just to see if they could. This includes people who want
ed to find out if they could create a phobia as quickly as they could re
move one.
To the moralists and academics, this rampant disregard for peo
ples' well being created a backlash and redefined the word "ecology."
NLP trainings then began to tout how every change must be "ecologi
cal" - meaning that every part of the change must benefit the individual.
What many NLPers have done is taken the word "ecology" to
mean they must avoid doing anything that is dramatic and powerful and
have watered down anything to asking for permissions from their sub
jects to do every step of the process.
This is sometimes like bringing two lawyers in to negotiate a
sexual encounter between two new romantic partners.
The point is that there should be no fear of doing something
dramatic, bold and powerful. If something doesn't work, then you can
do something different.
The Morality and Necessity of Forgetting

As much as one might cling to the value and morality of "the
truth" of what has happened, there is also a value and morality to forget
ting.
Israeli sociologist Yehuda Elkana wrote a remarkable essay on
the importance of forgetting, as he addressed the Jewish culture that was
haunted by the past. He argued that to obsess and fixate on the past and
its traumas hindered one's abilities to function in the present, and build
the future. Forgetting, he argued was a necessary good. No person or so
ciety should be in the grip of the past, no matter how traumatic.
Forgetting has value.
Page 200
Karma
Karma is that cosmic punk slap that comes from doing some
thing wrong. When it comes to talking about creating forgettings in peo
ple, you're likely to get a a lot of B.S. from people that don't like, or
even fear you wielding that kind of power.
This is more a result of their personal "story" about what they
believe is real.
If you you want power, the only way to get it is to use it.
Karma-schmarma.
Do what you will - and be willing to deal with the conse
quences.
The Myth of The Eidetic Memory
There is a long-standing concept of the "photographic" memo

ry, also know as an eidetic memory, or perfect recall.
While some people have measurably better memories than oth
ers, the reality of a perfect/eidetic/photographic memory is elusive and
most often occurs in conjunction with some neurological disorder, such
as autism.
On a more practical level, there is the study of mnemonics.
Mnemonics is a systematic methodology that draws associations to
items that are trying to be memorized. By creating these links and asso
ciations, the memory is enhanced.
Page 201
Types of Forgetting
Because thought is difficult to quantify, so it's true of memories

and forgettings. For the purpose of this book, a memory will be defined
as a belief that something has happened in the past, from a first person
experience. In other words, in order for the person to say they have a
memory, they must be referring to an event that they experienced first
hand.
Any change from that definition, for the purpose of this book,
will fall under the category of a forgetting.
A sub-category of forgetting is the modification of the memory.
For example, a person may have a memory of attending a concert and
hearing the band perform a specific song. If they later learn that it was
not that band who played the song but a different band, this would fall
under this subcategory of forgetting.
Sometimes a modification of a memory can be sufficient
enough to render the memory insignificant and functionally "forgotten".
Amnesia of Identity and Amnesia of Specifics.
This is the rarest and most extreme form of forgetting.

Amnesia of Identity is a common plot twist in soap operas,
where the affected character loses all memory of who they are and their
personal history. When given the chance to see something of their for
mer life, they show no recollection.
For some people, this extreme form of forgetting has a romantic
hold over them. This is likely because everything of their current life is
unpleasant and discouraging, and by comparison, anything - even com
plete amnesia - would be a relief.
The fact is that anyone who suffers from this form of forgetting,
and is not brain damaged, is filled with an uncomfortable confusion and
self doubt.
Page 202
Because of the thoroughness of this form of forgetting, being
able to induce amnesia of identity is very likely to be short lived and
fragile to maintain. It, nonetheless, could be done, given a very suscepti
ble hypnosis subject and lots to time to train them.
It should be noted that people who have Dissociative Personali
ty Disorder (DPD) can have a variation of this form of forgetting. For
more DPD sufferers, this is a result of early and prolonged childhood
trauma that caused them "split" into different personalities. The person
alities each have a different function that is kept separate from all the
other personalities. They often have lapses in time, where one personali
ty took over doing things they do not recall.
Amnesia for specifics is about creating amnesia about specific
events. It's been reported by NLP co-founder, Richard Bandler, in work
ing with one client for stopping smoking, he was able get his client to
completely forget that he ever smoked. The amnesia was so thorough
for smoking that he would get into arguments with people who told him
that he used to smoke. When the subject was shown a picture of himself
holding a cigarette, he would hallucinate it not being there, and further
arguments would ensue.
This example demonstrates the ecological effects of creating
forgettings. One would be wise to consider the overall consequences to
the individual when making changes that are this extreme.
[Creating this type of forgetting is covered in the section titled
Creating Complete Hypnotic Forgetting For Specifics]
Forgetting of too much information.

This is a very common form of forgetting that deals with the
forgetting of information (as opposed to forgetting of events).
Forgetting of too much information is achieved by overwhelm
ing the conscious mind with details - too many details for the ordinary
human mind to grasp.
A good example of this is when someone is preparing for a trip
and thinking of all the details they need to be ready, only to forget to
tum off the coffee pot after leaving for the airport.
Page 203
Another example is in memorizing long lists of information.
Unless there is a lot of practice and some mnemonic devices used, there
will very likely be details that will be missed.
Forgetting of the unimportant.

Throughout life, we tend to alter our perspective upon experi
ences. At one moment in our youth, something can become our whole
life - maybe it's our love of sports or our first love for someone. With
time and experience, our perspective of these events change.
Sometimes the events become unimportant to us, and we treat
them as ifthey had happened to a different person, at a different time.
Forgetting by means of decay (not thinking about something for a long

time).
Attention has a strong impact on memory. By focusing our at
tention on a memory, we can augment it far beyond the original experi
ence. This is often evident when when a person has a harrowing experi
ence that ends in pleasure. Only the pleasant part of the experience is re
membered.
Several years ago, I attended a strange public event in the Neva
da desert called Burning Man. The week-long event was, at times, un
bearably hot and dusty, and even though Burning Man is a celebration,
it was very hard work.
After Burning Man, all I was left with was the wonderful mem
ories, and I concluded that "Having been to Burning Man is always bet
ter than being at Burning Man."
In this case, the difficult memories were not focused on and
eventually decayed, leaving the remaining pleasant memories.
Another example of forgetting by means of decay is Martina
Navratalova. She came to the United States to play tennis from
Czechoslovakia and learned English and became a US citizen. After
nearly a decade of living in the United States, speaking only English,
she then returned to her native country, only to find that she had to re
learn the language of her birth. It had decayed from lack of use.
Page 204
Forgetting by absence of association.
For memories to last, they need to be linked with something.
Mnemonics is a memorization system where unrelated items can be re
membered in sequence by linking them to things that are already famil
iar. For example, a person can remember their grocery list by walking
through their house, imagining each item placed in different rooms.
Thus they would link the room to the item.
Some people have no memory of certain events, simply be
cause, at the time, they have nothing to compare it to. People who have
sky dived for the first time often report no clear memory of the first 10
seconds of free fall from the air plane. This is because the experience of
free fall is so completely alien to them.
So if you can remove or alter the link to the memory, the mem
ory can be altered.
Forgetting by denial
This one is a process of forgetting that is often employed by bu
reaucrats whose actions are under scrutiny.
"I have no recollection of that event," is often what is said.
Forgetting by denial has only an outward sign of forgetting.
Subjectively, the individual knows more than they are letting on.
Forgetting by confusion
For the ordinary human mind, confusion is a very disturbing
state. So disturbing that we will do anything to end it, even if it means
accepting something that is false.
Thus any memory that has confusing elements (or to which con
fusing elements can be added) can much more easily be forgotten.
For the person who wants to play with creating confusion in
people, it can be quite fun, but it can also be hazardous. People do not
like confusion, and if you make a habit of habitually inducing confusion
in people, it's likely they will not enjoy your presence, even if they don't
know why.
Page 205
[This type of forgetting can be created by the processes described in
Forgetting by Changing the Process of Remembering]
Forgetting by disassociation (saying, "/ can't believe he did that!")

Disassociation simply means not being connected. In the case of
forgetting, this can result in an event that is modified, so that the person
who experienced it believes it actually happened to someone else.
This can also happen when someone has a memory of the event
but simply doesn't feel "connected" to it, as if it happened to someone
else.
Forgetting by substitution of memory

Substitution of memory happens when we have a "mistaken"
memory that is the result of confusion of details, thus creating a second
memory.
Page 206
Creating Forgettings
There are three main theories regarding forgetting. They are as follows:
Trace Decay
This is based on the idea of producing a trace in the brain tis
sues. If you could imagine pouring hot water into a bowl of strawberry
flavored jelly. The water will produce patterns in the jelly. If the water
is too cold, then the pattern or trace will be weak. This is the same for
traces in the brain - if the trace is weak, then the information will not be
remembered.
Interference
This theory maintains that memory is based on the formation of
associations. An item might interfere with the learning process of asso
ciating the same item with new associations. For example, when I
moved from Croydon to Tadworth, I kept on remembering myoid post
code, instead of the new one.
Retrieval Failure
The expression 'It's on the tip of my tongue' is used at some
point by people who know the answer or the item in question, but can
not retrieve it. This area of memory relates to storage and retrieval. In
formation is stored in memory, but sometimes fails to be accessed when
required.
Cues, like those used in mnemonic systems, make information
accessible. If an incorrect retrieval cue is used, then forgetting occurs.
The above three theories hold true for their followers, and as per
usual, psychological research indicates that a theory fits best in different
situations.
An old hypothesis stated that forgetting in short-term memory
(in seconds) is accounted for by trace decay, while longer intervals are
due to interference.
Page 207
These are, of course, theories of forgetting. This book is about
application - not just theory.
Beliefs That Affect Memory

To start, let's look at how beliefs effect memories. Ifwe believe
a memory is not real, then we'll not treat it like a memory. We will tend
to rationalize, minimize and justify this now unreal memory.
So what is a belief!
A belief is nothing more than a thought to which is added cer
tain emotions, especially the feeling of certainty. A belief can be aug
mented by adding other emotional qualities, such as importance, terror
or anger.
So what happens when you alter beliefs about memories?
In the book by Robert Dilts "Changing Beliefs With NLP,"
there are many ways of modifying beliefs by changing the visual, audi
tory and kinesthetic (VAK) coding of the beliefs.
Using NLP VAK Submodality Modifications to Modify Beliefs

About Memory
Here is a transcript of work done with "Jerry," who is plagued
with a memory of being left by a girlfriend.
Operator: How are you dealing with the breakup with your girlfriend?
Jerry: It's hard not to think about it. In fact, I don't think I can stop
thinking about it.
0: Have you tried?
J: Yes, seriously. It's always on my mind.
0: Would you be willing to try something?
J: Sure.
0: You said that you believe you can't stop thinking about the breakup,
so if you were to make a picture of "can't stop thinking about it" - what
would it look like?
J: It's a picture of me with my head down, depressed, in a dark back
ground. It's big. Close and right in front of me, at eye level.
Page 208
0: What happens when you make a few changes to that image? For ex
ample, can you take the same image, and brighten it up?
J: Yeah.
0: Now, can you push it away, so that it's not so close, say about fifty
feet away?
J: Yeah.
0: Let's do some other stuff to it, like rotate it over your head, so the
image is straight up and then behind you, so that it's now upside down
and behind you.
J: (laughing slightly) Yeah, okay.
0: And what if you stuck it there, so that no matter where you looked, it
was always behind your head - isn't it? Do you think you could get over
it then - now - permanently?
In this example, the belief about the memory, "I can't stop
thinking about it," was altered by changing how Jerry represented the
belief in his mind. The memory was not "forgotten" but modified. Fur
ther modifications could be made, so that the memory can become even
less important.
It's important to note that, when a subject notices the change
like Jerry experienced, they are usually more eager to do more. This is a
great window of opportunity to attempt further modifications or forget
tings.
This can be done conversationally, as described. It can also be
done in a hypnotic state, in which the subject is highly receptive to sug
gestions.
Forgetting by Changing the Process of Remembering

There tends to be a coding process that we use to access infor
mation. When the process is interrupted or changed, then accessing the
information is halted, thus creating a forgetting.
This is significantly easier than attacking the thought or memo
ry and trying to remove it.
The following transcript offers an example:
Page 209
Mary needed some help regarding some worry she had about
her job and a possible career move. She was given some NLP processes
to rethink her options and then began to pause, looking at the floor and
appearing concerned.
Operator: You look concerned.
Mary: I'm just worried that I might not be able to handle a job transition
like we talked about.
0: Do this. Look up. Keep your eyes above eye level, and think about it.
M: (Long pause. Her expression appears calmer.) I can't think of it. Se
riously, I can't think of it.
0: Keep looking up in that way, and ask yourself, "What incredible
things can I learn about myself from this transition?"
M: (Long pause)
0: Ask, "What could be great about this? What would it be like if some
thing wonderful were to happen, as you continue to look about it in this
way?"
M: Wow. I can't seem to get worried about it.
0: Like it wasn't really a concern then, is it?
M: Yeah. This seems like I could really test what I'm capable of.
By simply asking Mary to keep her eyes up, it interrupted the

process of remembering the feeling of worry. The question "What
would it be like if something wonderful were to happen as you continue
to look about it in this way?" implied that she will continue to "look"
about it (meaning looking up) in this way, and find something wonder
ful.
Creating Complete Hypnotic Forgetting For Specifics

The pinnacle of creating forgettings is to create a complete ab
sence of any memory of a specific topic or item.
It should be noted that one may occasionally see such a demon
stration during a stage hypnosis session, but on a more practical note,
this may be a bit challenging.
Page 210
The demonstration takes place late in the show, when the hyp
notist has determined who might be the most responsive of his subjects.
He then directly suggests forgetting of a fact, like the person's name. By
so doing, the subject remembers unconsciously that trying to remember
something that is forgotten is confusing and sticks on the feeling of con
fusion. The hypnotist may even augment this by pantomiming confusion
in asking the subject's name.
This process of direct suggestion for forgetting is likely to work
for a very short time. In the process of searching for a lost memory, giv
en enough time, the subject will eventually find it.
The way the hypnotist does this is by suggesting a barrier be
hind which a thought or memory can be hidden, even from themselves.
The success and duration of this process is effected by many
variables. Some of them are the suggestibility of the subject, rehearsal
of the process and emotions that are used to augment the process.
Direct suggestions of forgetting are very much "state depen
dent," meaning that once the subject leaves the stage or the theater, their
mental state is no longer the one of the hypnotized subject, and the
memory returns.
One way of enhancing this forgetting is through rehearsal of the
process and by adding emotions to the process. One such process is to
anchor the emotions of confusion and fear. The hypnotist/operator
would ask the subject to think of an item or merely name the item (like
his name), then fire the anchor of confusion, and then fire the anchor for
fear. This "chains" the item to confusion to fear, one after the other.
Given a few rehearsals of this process, what results for the subject is
first, they think of the item and feel confusion, then they feel terror at
their confusion. They will continue to feel terror, until they stop think
ing of the item.
This would functionally lock away any memory of the item
from the subject.
To test the effectiveness of the suggestion, the operator would
ask about the item. Upon noticing the subjects discomfort, he would im
mediately offer a distraction to keep him away from the memory of the
item. This test then becomes a functional rehearsal for the forgetting
process.
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Doing this a few times will create a very uncomfortable feeling
- terror, in fact.
The pinnacle of this type of forgetting is complete amnesia for
identity. This is where they completely forget who they are and any as
pect of their history.
In reality, is this is extremely rare and happens as a result of a
of severe emotional stress or severe brain damage. One might be able to
induce this quality of forgetting through hypnosis, but it is likely to be
very short lived and would require control of more factors than might be
practical.
Example of Hypnotic Amnesia Script

What follows is a script to be used in hypnosis that is designed
to induce amnesia, using the methods just described.
Begin to go deep within the mind, so that you can imagine what
is truly possible with the mind. For example, a person could
imagine that far, far behind you is a place, like a trash can,
where you've already tossed away thoughts and ideas that no
longer matter. As you place thoughts there, they don't even mat
ter, you don't even have to think about them. Gone from your
thoughts. So in your mind, find or create this place... far, far
behind you... the thoughts you no longer need. You can start by
simply taking a minor annoyance or frustration, and just toss it
away... just let it fall away... andfeel the relief that follows. You
no longer have to think about it. Like dropping a heavy bag of
groceries or an overstuffed suit case. Just feel the relief when
you let it go ... and when you have, just give me a yes response.
(wait for reply) That's right. Just erase it from your mind like
erasing a white-board, gone from your mind, it doesn't even
matter any more, feel the relief Like erasing a magnetic tape
it no longer even matters.
Now you can do that with anything, and just allow yourself to
feel comfort, as you do that.
From this simple beginning, the subject feels a reward - relief

for making something unimportant and functionally forgetting it. The
process then can be augmented with further direct suggestions.
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Now take a simple thought, your phone number, for example,

for now, and lock it away from yourself and your mind. Seal it
away, so that all you know is that you can no longer find it.
Even ifyou try, in vain ... it's just not there. So as you do that,
just notice it's not there, is it? (wait for response) That's right,
and you know you're safe to continue with that now and when
ever it's suggested, you're comfortable with the process.
This latter suggestion "seals" the thought away, even more

firmly. Now the forgetting can be strengthened further, with the addition
of emotional responses.
So that when you even try, in vain, to remember, all you notice is your
corifusion... that feels very uncomfortable... even more uncomfortable...
creating an anxiety... even a terror of confusion... until you just let it
go... let it just fall away behind you again, even further where you know
you're safe...feel the relief every time you let go ofthe thought or mem
ory and the terrible trouble, every time you try to remember it ... so now
you don't even have to remember it. It's such a bother, so just let it go...
gone from the mind, the thoughts. It feels good now to just let it go.
Erase it from your mind like wiping awtry a chalk board or erasing a
magnetic tape. Feel the reliefnow that it's no longer there.
Just as a note on the ethical use of this process, as a general

rule, don't do this process to another person, if you wouldn't want it
done to you.
Creating Forgetting by Means of Confusion

As mentioned above, in a hypnotic state, a person can create
confusion, just by having it suggested to them.
But confusion can be induced by other means that are more
covert.
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Confusion Technique: Excess Information

The easiest way to degrade a memory using confusion is to add
in as much other information to the memory as possible. Some of the
additional information can be true and related to the memory, but others
can be completely fabricated.
Another variation of this is to break the act down into as many
measurable things as possible, to create an emotional overwhelm.
Overwhelm occurs when too many things are demanding one's
attention at one time. The mind will often forget when too many details
are pointed out. Even a simple task can be broken down into so many
tasks that it becomes overwhelming.
When an act becomes overwhelming, it is very likely that some
thing will be left out.
Confusion Technique: Self Reflective Questioning

This technique is done much more often than one might think
and has been used to extract false confessions, without coercion, and
create false memories. The easiest example of this is the repetitive ask
ing of, "Are you sure?" By asking this again and again, it will begin to
create doubt.
The next step is to introduce other information, by asking,
"Could it be possible that...? " Note, they are only asking if it's possible,
not if it happened. By asking questions like this repeatedly, the mind
will begin to create doubts about what actually occurred. Eventually, the
mind can unconsciously make a leap from "possible" to "probable."
From there, a less than scrupulous person can persuade the subject to re
member having done something they did not do.
As a thought experiment, imagine what would happen if, during
hypnosis, a suggestion was made to doubt, judge and question all of
one's decisions. Add to that the suggestion of wondering if their strategy
for memory was accurate and fallible. The end result would be colloqui
ally called "analysis paralysis." This person would likely be in a terrible
mess and unable to make decisions and doubting every thought and
memory they had.
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Confusion Technique: Pattern Interrupt

A Pattern Interrupt is an NLP tenn for a method that stops a
mental process in midstream. The process of remembering something is
a process that can be interrupted in this way. When the same memory is
interrupted repeatedly in the same way, then forgetting becomes a habit.
One way of doing a pattern interrupt is to say something that is
completely out of context for the situation. So, for example, if in the
midst of a conversation you were to say, "The wall outside my house is
n't four feet tall, " the other person listening understands the words but
has no way of putting them into a context of the rest of the conversation.
Confusion results.
For example, James is trying to convince his friend Barry that

he was talking to a red-head at a party last night. Barry is covertly trying
to confuse his friend, and make him think other wise.
James: Did you see me talking to that red-head at the party last night?
Barry: Are you sure? I mean, wasn't it really some place else I saw you
talking to someone.
James: No, it was last night at the party. The red-head. Remember?
Barry: Wait. You don't know, do you?
James: Know what? What are you talking about?
Barry: About the red-head, the party, about last night....
James: What??!!
Barry: It didn't happen, friend. None of it. Wait, Do you remember what
you just forgot?
James: Huh?
Barry: I really don't doubt that you can't not have a complete forgetting
of those events. Jim, (waving hands in front of James face) put it behind
you. Done. Gone. (Waving behind James) Good bye.
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Barry then very quickly changes the subject to something entirely differ
ent.
James: Anyway, that red-head ....

Barry: The clock I don't have doesn't say it isn't seven thirty.
James: Huh??
The point is that, every time that James tries to return to the subject of
the red-head at the party, he is thrown into confusion.
Given enough repetitions, James will automatically feel confusion,
whenever trying to think of the party or the red-head.
Forgetting by Disassociation
Disassociation means detachment, and in the case of forgetting,
it means feeling as if the memory is disconnected from whatever the
real experience was. There is a discrepancy between the visual memory
and the feeling of the memory. The subject may feel as if the memory
didn't happen to them, even though they remember it as if it did.
An example of this type of disassociation is in the following conversa

tion:
Person A: J can't believe J fucked up like that.
Person B: (shocked and offended at hearing the "f' word) What did you
scry?
Person A: (realizing what he did that was offensive, acts shocked, steps
aside and points to the area where he was standing) I can't believe he
said that!
Because Person A referred to himself and his action in the third

person, he disconnected himself from the event.
When you do this, the interesting thing is how people respond,
when you say, "I can't believe he said that!" They usually laugh, which
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demonstrates that they are now disconnecting you from your action of
saying the "F" word.
At that point, make no reference to the incident again.
Covert Forgetting by Disassociation

The first step is to ask the subject to remember the incident but
to "step out of the memory," and look at it from a distance, as if they
were a third person seeing it happen.
The next step is to ask if they could imagine seeing another per
son there having do it, instead. Then follow with other reinforcing sug
gestions, "So you could see X, having done it, and you're watching it.
It's not really the same as you thought you had remembered it, wasn't
it? "
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References
Understanding Advanced Hypnotic Language Patterns: A Compre

hensive Guide by John Burton
Hypnotic Language: Its Structure and Use by John 1. Burton and
Bobby G. Bodenhamer
NLP at Work, Second Edition: How to Model What Works in Busi

ness to Make It Work for You (people Skills for Professionals) by
Sue Knight
Covert Persuasion: Psychological Tactics and Tricks to Win the

Game by Kevin Hogan and James Speakman
Handbook of Hypnotic Suggestions and Metaphors by D. Corydon
Hammond
The Forbidden Keys To Persuasion by Blair Warren

Power Persuasion: Using Hypnotic Influence to Win In Life, Love
And Business by David R. Barron and Danek S. Kaus
The Deep Trance Training Manual: Hypnotic Skills by Igor Ledo
chowski
Hypnotic Secrets of Persuasion - To Sell Anyone! Anything! Any

time! by Cody Horton
User's Manual for the Brain, Vol. II: Mastering Systemic NLP by L.
Michael Hall and Bob G. Bodenhamer
Handbook Of Hypnotic Phenomena In Psychotherapy by John H.

Edgette and Janet Sasson Edgette
Hypnotize This! by Zalman Segal
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The User's Manual for the Brain by Bob G. Bodenhamer and L.
Michael Hall
Mind Control 101 - How To Influence the Thoughts and Actions of
Others Without Them Knowing or Caring by JK Ellis
Entrancing Relationships: Exploring the Hypnotic Framework of
Addictive Relationships by Don J. Feeney
The Sourcebook of Magic by L. Michael Hall, Barbara P. Belnap, and
Barbara Belnap
The Gaslight Effect: How to Spot and Survive the Hidden Manipu
lation Others Use to Control Your Life by Dr. Robin Stem
Gaslighting: How to Drive Your Enemies Crazy by Victor Santoro
Gaslighting, the Double Whammy, Interrogation and Other Meth
ods of Covert Control in Psychotherapy and Analysis by Theodore
L. Dorpat
Page 219
Other Books and Products by Dantalion Jones
Some of these books were originally written under the pen

name of JK Ellis and are not to be confused with the writer,
Jack Ellis.
Perfected Mind Control:

The Unauthorized Black Book of Hypnotic Mind Control
Mind Control 101:
How To Influence The Thoughts and Minds of Others
Without Them Knowing or Caring
The Forbidden Book of Getting What You Want:
Make The World You Banquet
Starting With a Simmering Broth of Ambition
Cult Control: The Building of A Cult
The Delta Success Programming Audio CD Series
Page 220
Language Pattern Lessons
The following is a ten lesson course on language patterns, originally

made available on the Mind Control Language Patterns web site.
Lesson One: Welcome to the Program!

Mind Control Exercises To Build Success: Is this a novel con
cept or a practice that's been around for centuries? Honestly, it doesn't
really matter. The only thing you need to worry about is whether or not
you understand how to use language patterns in mind control.
The purpose of this course is to introduce you to the very basics
of mind control, with a view to get you on track to start using the tech
nique to boost your overall success in just about any area you choose.
This introductory course, divided into ten lessons, will make its
way to your mailbox. How you use this information is up to you. If
you're not ready to change your life, well, it's best that you close this e
mail now to save yourself further anxiety. If you're ready to take charge
and achieve - this course and the Mind Control and Language Patterns
Book are for you, so enjoy ...
Lesson Two will be coming your w~ soon!!
Lesson Two: Language and Why It's Important to Success

The conventional view of language and meaning: 7% of mean
ing is communicated in verbal content; 38% of meaning is communicat
ed in vocal cues; 55% of meaning is communicated by facial expres
sIOns.
The purpose of this course is to give you a sample, a sneak-peek
if you will, at the power oflanguage.
When it comes to language, there is a great deal of opportunity
for misunderstanding and misinterpretation. On one level, it's quite as
tounding that people are able to communicate and appear to understand
each other, given the complexity of modern language. On another level,
it's true that there's a great deal that can be done with language and the
power of language, including language patterns, somewhat akin to
witchcraft.
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With the right approach to language use, you can actually influ
ence your own progress and the progress of others as a means of deter
mining actions and thoughts. The writer and essayist, Voltaire expressed
his confidence in the power of words saying, "Give me 10 minutes to
talk away my ugly face, and I will bed the Queen of France!"
To have the same power of persuasion, you need familiarize
yourself with language patterns and how they may be applied to gener
ate specific emotional states and related actions.
Language patterns, as the foundation of language, work for
many reasons as powerful controlling devices. For one thing, most peo
ple make decisions based on their emotional states and responses. This
is something that marketers know all too well. Language patterns allow
a significant manipulation of emotions and thereby facilitate control to
achieve desired outcomes.
If you're goal is to be successful or to drive other people to
wards success, for example, then all you need to do is learn to apply lan
guage patterns appropriately.
The first step is to understand and learn to apply the fundamen
tal language patterns that exist in all instances of language use. You
need to develop the right mindset to begin to apply language patterns for
either yourself or for others.
You need to fundamentally believe the following:
When you use language patterns:

1. You will create for yourself or anyone else the best and most
profound experience.
2. No other person will be able to give the same kind of experi
ence as you do.
3. You will be able to achieve the control you strive for.
4. Anyone impacted by your efforts will give positive feedback.
5. You will be able to provide others with precisely the type of
experience they strive for.
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6. Regardless of the place, time, or situation, you will be able to
apply your knowledge to achieve your goal.
What you'll probably notice about these ideas, these fundamen

tal beliefs, if you know a thing or two about the law of attraction or just
affirmative thinking in general, is that this type of approach to any ac
tivity is a great way to facilitate success. It's a little simplistic - but only
a little - to say that, if you believe you can do something, you'll be able
to do it. Certainly, if you don't believe in yourself, you haven't got a
chance.
Language is important for success, because, with positive lan
guage, you definitely put yourself on the path to do whatever it is you
set out to achieve.
Let's look now at neuro linguistic programming, the most com
mon method for developing and applying the power of mind control
through language and language patterns.
Lesson Three: Neuro-Linguistic Programming (part I)

NLP or neuro-Iingusitic programming is formally defined as an
interpersonal communication model, based on subjective language and
communication strategies. Here, we're going to consider the elements of
NLP, and review some of the ways that this mind control technique can
be most effectively used.
We're going to look particularly at voice tones and pace, presupposi
tions, and verb tenses and their role in neuro-Iinguistic programming.
Voice Tones and Pace

Before we look at the impact that words have upon program
ming outcomes, we're going to consider the role that our voices - the
tones and pace of our voices - play in communicating messages. The
tonality and pace of speech is very important when delivering these lan
guage patterns.
Below, you can find the three key tone variations:
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The Flat Tone
When you say, "You will lift that bag," without changing your voice
lifting or dropping it - then you are speaking in what is known as aflat
tone or monotone. What you are saying will come across as a simple
statement.
The Rising Tone
When you say the words, "You will lift that bag," and you raise your
voice tone, using a higher pitch, you are using a rising tone. What
you're saying will come across as a question, or otherwise an acknowl
edgment, of uncertainty.
The Downward Tone
When you say the words, "You will lift that bag," with a downward
tone, the sentence becomes an order, command or imperative. A good
understanding of rising, downward and flat tones will give you a clue as
to how modify the impact the words you use.
Lesson Four: Neuro-Linguistic Programming (part II)
Pace of Speech
Just like the tone of your voice, the pace of your speech has a
strong impact on how you communicate meaning. One way of noticing
this is to consider the pace of your breathing.
When you're not speaking, you will generally notice that your
breath is even. The length of the inhale is generally as long as the ex
hale. Your breathing becomes modified, however, as you speak. Since
you speak when you exhale, the inhales will be faster and shorter than
the exhales. When you pace your voice to match the natural rhythm of
your breathing, you can impact the attention of the listener.
Speaking as you exhale and at a natural pace, you actually cre
ate a number of very small pauses. The pauses are too short for the lis
tener to notice consciously, but unconsciously, the many pauses in
speech, however small, help to build anticipation.
As you speak at the pace of your breath, you are creating a sub
tle cycle of anticipation and relief in the listener, anticipating your next
words and feeling relief when they hear it.
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"The voice roll" is another type of pacing, often used by evan
gelical preachers. The pace of the voice roll is slightly faster than speak
ing at the natural breathing pace. Voice roll is usually delivered at the
rate of 45 to 60 beats per minute that maximizes the hypnotic effect.
By varying the tone of your voice and the pace of your speech,
you can communicate powerful messages to your listeners' subcon
scious mind.
Lesson Five: Neuro-Linguistic Programming (part III)
Presuppositions
To presuppose something simply means that what you want to
happen is stated assuming it will happne. It also means that you deter
mine that it is going to happen, and you demonstrate that belief in your
words and actions. Linguistically speaking, presuppositions are like as
sumptions, in the sense that they are assumed, rather than directly stated
as fact.
These are the types of words you can use in your speech to presuppose:
automatically, continuously, spontaneously, steadily, instinctively, al
most magically, constantly, even without thinking, second nature, un
consciously, involuntarily
Examples:
"Before you automatically open the car door, you should watch the
traffic. "
This statement presupposes that the car door will open; that you
will open it automatically. It also presupposes that there is a reason to
hold your nose, once the refrigerator is open.
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By using the following words, one can presuppose something is true,
factual and proven:
actual, actually, absolute, genuine, self-evident, unimpeachable, real,
really, true, truly, obviously, fact, factual, certified, proven, authentic,
valid
Lesson Six: Neuro-Linguistic Programming (part IV)
Verb Tenses of Past, Present, and Future

When it comes to neuro-linguistic programming methods, the
use of verb tenses as a means of influencing people's decisions and
thoughts is both very effective and very advanced. Once you understand
the general principles behind this method of manipulation, however, it is
likely that you will be able to use it quite effectively in a variety of con
texts.
The general principle of verb tense manipulation is established
by the way we use verb tenses, in general. When we speak, we use the
verbs we have learned as a means of communicating actions or states
relevant to whatever we are thinking or discussing.
One of the most straightforward applications of verb tenses in
neuro-Iinguistic programming involves changing from the present to the
past when discussing a problem. The subsequent discussion of solutions
and the identification of available resources in the present tense also
have therapeutic value, in the sense that they reassure the listener that
their problems are in the past and that solutions are immediately at
hand.
Changing a statement from the present to the past helps to facilitate

movement past the problem and on to the solution:
1. I am having problems with my boss

2. I have hadproblems with my boss or I had problems with my boss
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Saying something like, "You have the option to get a new job,
or you can request re-assignment" helps, also, to overcome the feeling
that there is no remedy to a problem, or the feeling that the remedy is
not immediately available.
Lesson Seven: Methods for Programming the Minds of Others

(Part I)
A more comprehensive look at the theories behind neuro-Iin

guistic programming is appropriate. The practice of NLP has, after all,
been around for some time, in one form or another. Like most things
with a history, there have been many different variations developed as
expansions on the basic techniques. This section will take you through a
couple of the better known variations.
Meta Model
Two researchers, Bandler and Grinder, put forward the idea that
people generally use words and phrases in a way that reveals uncon
scious limitations and faulty thinking. The so-called meta model, in
NLP, seeks to overcome the underlying issues and ideas that go into the
faulty word and phrase selection.
Metal model questions are designed to uncover the information
that is deliberately not being revealed and to challenge the faulty think
ing, which often amounts to a very restrictive thinking style, also affect
ing the spoken language.
The basic objective of this NLP technique is to help people de
velop new choices, not online in terms of how they think, but also in
terms of how they behave. The idea is to get people to stop generalizing
and to start articulating precisely what they want, not only from them
selves, but also from others.
To use this technique, you have to teach yourself to specify. In
stead of saying "everyone must love me," say specifically who 'must'
love you - and try to establish a reason! The result is a much more pow
erful manifestation of your wants.
The central key to understanding Meta States, one must under
stand the difference between "primary state" and a "meta state".
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A Primary State is a simple thought or feeling. For example,
"/feel sad" is the statement of a primary state. To think about a concept
like death is a primary state.
A Meta State is a thought or feeling about thoughts or feelings.
For example, "/ feel guilty about my sadness" describes a state - guilt
about another state - sadness.
Also, thinking about thoughts of death is also a meta state.
One can take a single state, like sadness for example, and have
many meta states about it. For example, a person can feel fear about
their guilt about their sadness and thus have three levels of meta states
fear, guilt and sadness.
As you might see, the above mentioned meta state can be con
sidered a very uncomfortable state and can trap someone into a cycle of
sadness, the originating emotional state.
As an alternative, one can start with the same emotion of sad
ness, and go a different direction with the meta states. They can feel
sadness, then relief about their sadness and then joy about their relief.
So imagine feeling joy about your relief about your sadness. It's quite a
different feeling.
In this way, meta states can be suggested to achieve an end re
sult, starting with any originating primary state.
To "lock in" the new meta state, all one has to do is to ask the
subject to notice the originating state.
Lesson Eight: Methods for Programming the Minds of Others (part

II)
The Milton model

A model similar to the meta model is the Milton model, which
offers a way of communicating, based on the hypnotic language pat
terns. There are three primary elements to this model.
Number one, it focuses on building and maintaining strong rela
tionships with people.
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Number two, it works on overloading and distracting the con
scious mind to force the unconscious mind to work.
Third, it allows for the interpretation in words and by communi
cating with metaphor.
Here is a sample collection of language patterns used by Dr.

Milton Erickson. With each of these examples, a person can make sug
gestions, without giving a commanding order.
For example, if the command were to:

"Consider why you want to do this, " said as a direct command, would
create a great deal of resistance, but you could say,
''I'm not entirely sure how well you can consider why you want to do
this, " thus working the command into a sentence, which does not offer
the listener a chance to reject it. This explains why these are often call
"weasel phrases."
A friend once NEVER told me to ...

After you come to ...
After you've ...
And the more you (X) the more you (JJ
As you ...
... by just noticing.
... in a Wlry that meets your needs.
... what would have to happen to convince your Wondrous Mind
to continue this ... "
A whole new way ofthinking just opened up...
All that really matters ...
Representational systems
One of the things that NLP teaches is that our sensory represen
tation systems organize things in terms of visual, auditory and kinesthet
ic representations. These various forms the conscious representation of
our experience and can be manipulated to achieve specific goals, in
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terms of how people reflect on experience. If you can insight someone
to change the perceptions manifest in their representational system - if
you can change your own representational system - you can go on to
achieve a whole range of outcomes you might never have thought possi
ble.
Lesson Nine: Speech and Its Power

You don't have to study communication very long to come
across the quote that claims only 7 percent of meaning of a message is
the verbal content; from their vocal cues, 38 percent; and facial expres
sions, 55 percent.
The fact is that this quote is largely misleading. After all, even
the most expressive face cannot sell you on a point, unless they're actu
ally using language that, well- sells!
Think about the great speakers of history, men like, dare we say
it, Adolf Hitler (hey, the man was a tyrant, but he was also one of the
most hypnotic speakers of the 20th century). Then there's JFK, some of
his speeches remain famous to this day - so famous that even the odd
high school kid can tell you it was Kennedy who said, "Ask not what
your country can do for you but what you can do for your country."
Considering most people can actually quote that famous command,
well, I think JFK should definitely get credit as a speaker. Then there
are lesser known but no less significant individuals, like the British his
torian David Starkey, who manages to make hundreds of thousands of
dollars as a professional historian, simply because he is such a genuine
ly fascinating speaker; he speaks ad lib as well as he writes, and that's
saying something.
So what is the power of speech? The true power of speech is the
ability to transform opinions, govern outcomes, and influence realities.
The aim of Mind Control Language Patterns and this sampler course is
to show you the little known secrets to maximizing the power of your
speech to achieve whatever you want.
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Lesson Ten: Using Neurolinguistic Programming
to Create Your Own Success
Language patterns are a unique form of covert hypnotic sugges

tion. You will hear them often referred to by the terms "conversational
hypnosis," "covert hypnosis," "Erickson ian hypnosis" or "covert per
suasion or influence" or my favorite - "mind control."
In traditional hypnosis, the hypnotist will give direct sugges
tions, telling the subject what to do and how to respond. Language pat
terns differ from traditional hypnotic suggestions in that they are not di
rect. Instead, the operator often describes a process. In order for the sub
ject who is listening to the pattern to understand the process, they have
to go through the process in their mind, doing it to themselves.
The popularity of covert language patterns evolved from NLP
practitioners who intended to use it for seduction. They were packaged
into "get laid" NLP products and seminars designed for consumption by
the horny male masses, too busy to take an NLP course and figure it out
for themselves.
For those new to NLP type persuasion, there is this belief that
all you have to do is say a few language patterns, and people will bend
to your will. Some newbies refer to it with hope that they can "get into
someones mind and drive it around."
The truth is that language patterns are entirely interactive.
Your ability to pay attention to how someone is reacting to
these language patterns is essential to your effectiveness. When you be
gin to see the subtle flush of the cheek, for example, it's a sign that
something is happening. You may not know immediately what the per
son is feeling - it could be anger, embarrassment, arousal or simply a
hot flash. It could be good or bad. All you know is that something is
happening! To ignore it, as most people do, would be a fatal flaw in get
ting what you want.
Language patterns work for many reasons - one of them is be
cause they bring about an emotional state and then suggest an action to
accompany the emotion. Thus someone can be talked into bed, or a
business partnership, or sold a product or service - just with words.
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With a bit of practice, you can basically achieve whatever you
desire by applying NLP techniques and engaging in interactive patterns
of speech to guide yourself and others towards your desired outcome.
This course is designed to give you an introduction to the whole idea of
NLP, as it should really be understood. If you're ready and not too in
timidated by the communicated power of speech, you are well advised
to now take the next step to develop the necessary skills to manipulate
and control through speech.
What is that next step?

Very simple ...
Mind Control Language Patterns is a full-length book exploring
the theory and practice of NLP as a means of promoting achievement
and desired outcomes. Your next step - yes, it's very simple - pick up
the book, and start studying!!
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Mind Control Language Patterns - Dantalion Jones

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Mind Control Language Patterns - Dantalion Jones

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Mind Control Language Patterns are spoken phrases that can act as

These language patterns are not fantasies but are based on

Mind Control Language Patterns can be used to help and hurt.

But there is a bright side to all of this. Mind Control Language

Knowing how to use Mind Control Language Patterns gives you

Mind Control Language Patterns will describe, explain and

Mind Control Publishing

Copyright Dantalion Joness 2008

Formatted using Open Office

After writing on persuasion and mind control in my last books

Some think of persuasion through language as akin to witchcraft

You should be warned. Although I attempt to provide as much

To my faithful djinn, familiar and constant companion, Dantalion,

the seventy-first spirit of the Goetia, "His Office is to teach all

anyone; for he knoweth the 'Thoughts of all Men and Women,

be in what part of the World they Will."

The Foundational M indset 4

More on The Mind Set of Persuasive Language Patterns. 6

Taking Mind Control From the Laboratory to The Streets 9

Providing and Deleting Options 13

Using Your Voice To Control Emotions 16

The Parts Pattern - Creating Another Personality 18

Give Them Exactly What YOU Want 21

Taking People on a Time Travel Adventure 24

Weaseling Into Peoples Minds 31

The Language Pattern That Frightened Psychologist 35

When I Talk About Me I'm Talking About You 39

Compare Things So That You Always Get What You Want 40

Getting To The "Core" Of Any Woman 45

Doubt and Uncertainty Patterns 46

How To Make Other Hear YOUR Voice in THEIR Heads 47

How To Motivate People To Do ANYTHING You Want 49

How to Destroy Old Beliefs and Install New Ones 52

How To Make Yourself The Instant Expert 54

Instantly Manipulate Your Social Status 55

How To Control The Mind "Because" It's Easy 57

How to Make Anything Mean Anything You Want 59

How to Bind Your Success 60

Choosing Between Two Evils is Still Choosing Evil 61

How To Make People Crazy - Gaslighting 64

Know The Weakness of Anyone - Hidden Addictions 68

How To Open The Door To A Womans Heart 72

Why Ask When You Can Tell Them What To Do? 73

Lead Others Through Confusion: Confusion Patterns 75

Fun Playing With People's Emotions 77

Influence Their Hearts and Minds 81

Mind Control Language Pattern Example 86

Covertly Induce a Hypnotic State In Less Than 30 Seconds 92

Language patterns are a unique fonn of covert hypnotic sugges­

Dark and Light Language Patterns

The Foundational Mindset

Something else that further empowers your words is your inten­

Using Language Patterns

Fear of Using Language Patterns

Go back and then re-read the seven beliefs mentioned above.

More on The Mind Set of Persuasive Language Patterns.

The Dual Reality Principle

Taking Mind Control From the Laboratory to The Streets

Mind Control Theory

Mind control theory is simple and can be described as having

Language patterns are a unique fonn of covert hypnotic sugges

Something else that further empowers your words is your inten

Here is an example taken from the book "Understanding Ad

This first pattern should be easy, because it requires only to un

As an exercise, write three sentences that presuppose that some

By studying this material, you'll steadily appreciate the ab

Using verb tenses to change people's minds is both very ad

So someone is talking to you, and you want them to do some

Person B: Hmmm ... okay, so you know what excited confi

Person B: Now, what would it be like at that time in the fu

As a final note on verb tenses - this is so powerful that it can ac