Nlp Mini Course

8/12/2019 Nlp Mini Course

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he NLP

Mini Course

Copyright Charles Steed & UserFriendlyBooks.co

!isit" User Friendly Books

#ark Persuasion Techni$ues

Scienti%ic Study Method

'erco e Procrastination No(

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Table Of Contents

*hat Is NLP1...........................................................................................................................2

The Presuppositions 3f NLP...................................................................................................4

5stablishing 6apport...............................................................................................................76epresentational !#stems... Modalities................................................................................88

6epresentational !#stems and !peech Patterns.................................................................89

6epresentational !#stems and Language.............................................................................89

5#e +ccessing Cues................................................................................................................8:

5#e +ccessing Chart...............................................................................................................82

0od# +ccessing Chart.............................................................................................................84

5#e +ccessing Cue 5xercises.................................................................................................8;

Calibration..............................................................................................................................8

Changing + "isturbing 5xperience.......................................................................................92

!%ish Pattern 5xercise..........................................................................................................94

!lingshot =ariation 3f The !%ish Pattern...........................................................................9;Ne% 0ehavior ?enerator.......................................................................................................9@

+ppendix.................................................................................................................................>9

=isual *ords A Predicates....................................................................................................>9

=isual Phrases........................................................................................................................>>

+uditor# *ords A Predicates................................................................................................>>

+uditor# Phrases....................................................................................................................>:

Binesthetic *ords A Predicates............................................................................................>2

Binesthetic Phrases................................................................................................................>4

Common NLP Terminolog#....................................................................................................>;

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The NLP Mini Course

What is Neuro-Linguistic Programming

Dan attitude %hich is an insatiable curiosit# about human beings, %ith a methodolog#%hich leaves behind it a trail of techniques. 6ichard 0andler, co(creator of NLP

+ s#stem, %hich categori es, sorts and classifies the subtleties of subEective humanbehavior and communication so %e ma# reference and use them to ma e usefuldistinctions in our da#(to(da# lives. These distinctions allo% for more accurate and richcommunications %ith ourselves and others.

+ technolog# for accuratel# eliciting the desired s ills and behaviors of others$ FmodelingGand the methodolog# for teaching these strategies to others in such a %a# as to effectpositive changes.

+n approach to human enrichment based on proven methods that %or . !ince thebeginning of the practice of NLP in the 87;@s, the founders maintained the attitude thatif a particular method %as ineffective, then tr# something else.

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Presu!!ositions of NLP

-ntil a little more than 2@@ #ears ago it %as presumed that the earth %as flat. 0eforeColumbus, all explorers venturing out to sea needed to be sure and not sail too close to

the edge of the %orld, or else suffer the consequences. *e might sa# it %as 'presupposed)that doing so %as dangerous.

NLPHs founders and others have done much the same %ith their assumptions abouthumans and our behavior. The presuppositions of NLP havenHt necessaril# been proven ina hard and fast scientific environment, #et the# have been found to be useful in a greatnumber of their applications. +nd as long as a concept %or s in some context, %e haveuse for it.

The follo%ing are the basic Presuppositions of NLP.

"# The Ma! is Not the Territor$

+s humans %e experience the %orld through our five senses. o%ever, %e filter allinformation through the physical limitations of our senses, our beliefs, values, andprevious experiences. This ma es for the perception of the experience being quitedifferent than the actual realit# of the experience. !o, %e can sa# that our perceptions of

the experience represent the map, %hile the actual experience represents the territor#.This assumption allo%s us to understand ho% and %h# another personHs perceptions ofrealit# differ from ours. &or example, sa# #ouHre standing on one corner of a four(%a#intersection and suddenl# a grinding collision occurs right in front of #ou. +fter the dustscene is cleared of %rec s the police question #ou along %ith three other %itnesses, eachof %ho %ere standing on the other three corners of the same intersection. It shouldnHt beat all surprising to hear four ver# different versions, or maps of the actual event.

%# Peo!le es!on' (ccor'ing To Their Ma!s

3nce %e understand the MapJTerritor# distinctions, it is safe to sa# that an individualHsmap is made up of attitudes, morals, beliefs, values, memories, and other subEectiveinput. The %ide variet# of behavior exhibited b# human beings is a result of the %idediversit# of experience.

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)# The Meaning of *our Communicationis the es!onse it +licits

+ large part of our responsibilit# as human beings is a%areness of our surroundings. It isto our advantage to evaluate behaviors that serve us, and those that donHt. &or example,

if #ou complemented someone on having a 'hot car.) +nd the# became enraged, chancesare good, the# interpreted #our comment to mean something other than %hat #ouintended. Ma#be to them a hot car implied that it %as stolen.

,# n (n$ S$stem The +lement .or !erson# With The Most Fle/ibilit$ +/erts The Most nfluence

&lexibilit# in a situation helps to create choice for the individual or the flexiblecomponent. *ith regard to the technolog# of NLP, flexibilit# refers almost exclusivel# tochoices in methods of communication. The more options one has in communications, thegreater li elihood of a successful outcome. This assumption is fairl# self(explanator# inthat the degree to %hich a person is open and responsive, %ill directl# correspond to thelevel of cooperation the# experience.

0# f *ou (ren1t 2etting The es!onse *ou Want3Tr$ Something Different

0andler and ?rinder, NLPHs original founders, studied the philosophies and techniques ofman# schools of ps#chological theor# and found that in some context , almost all treatmentmodalities %or ed. The problem %as, that even in cases %here little or no progress %asmade, the therapists persisted. This basic NLP precept goes against the establishedgrain.

4# +5er$ 6eha5ior s Useful n Some Conte/t

This, of course, is not to sa# that all behavior is correct. 6egardless of ho% sill#,destructive, %eird or unusual a behavior ma# seem to us, it ma es some sense to theperson doing it, and ma# be a useful resource. To arrive at the 'useful) aspect of aparticular behavior, it is often necessar# to chun , or, to learn the Meta(level value.

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7# There s No Failure3 Onl$ Fee'bac8

+ll actions on the part of humans produce some outcome. If the end result is somethingother than %hat the individual %as after, heJshe might be %ise to examine thecircumstances surrounding the outcome and ma e appropriate adEustments in the

strateg#. This philosoph# is related to the presupposition stating that, If #ou arenHtgetting the response #ou %ant, tr# something different.

9# The esources (n n'i5i'ual Nee's To +ffectChange (lrea'$ +/ist Within :im

If an individual has accomplished a goal in a particular context, or, if the# can vividl#relate to someone %ho has, the# can gain access to the resources that %ere used andappl# them in a different context. This is perhaps the most useful of all presuppositions ofall because understanding its potential full# allo%s a great deal of flexibilit# in replacingun%anted behavior %ith resourceful behavior.

;# f One Person Can Learn To Do Something3 (n$one Can

0arring certain mental or ph#sical limitations, under normal circumstances all behaviorscan be studied and modeled b# others to produce similar results.

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"%# The Min' (n' The 6o'$ (re (s!ects Of The Same S$stem

This statement might serve to describe the holistic medicine movement. Mental processesaffect bodil# functions and ph#sical functions can have profound effects on an individualHsstate. &or example, h#pogl#cemia has been no%n to cause metal irritabilit# and even

paranoia.

a!!ort

6apport is the understanding and appreciation of another human beingHs model of the%orld and communicating that understanding bac to them in a %a# that trust isestablished . 6apport does not mean #ou are in agreement %ith the individual, though #ouma# be.

6apport comes %hen people are ali e. 3ften this li eness is noticed b# the unconsciousmind %ith little or no ac no%ledgment b# the conscious. IsnHt it easier to get along %ithsomeone #ou have something in common %ith1 In establishing rapport, %e tend to relateto people %ho are li e us not onl# in obvious %a#s but those not so obvious.

2aining a!!ort

Pacing 6apport is achieved b# pacing. Pacing is the practice of one person emulatinganother personHs experience of the %orld b#K

Matching their external behavior. This ma# be accomplished b# breathing %ith thesame depth and rh#thm as the individual.

Matching their mood.

Matching their posture, gestures, and expressions. 5mulating language patterns. This consists of closel# duplicating tonalit#, cadence,

volume and predicates. &inding common ground %ith regard to beliefs, opinions, social and leisure

activities, current events, etc. This is not to sa# that #ou should pretend to shareopinions %hen #ou donHt. Insincerit# serves onl# to destro# rapport.

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Though it sometimes doesnHt seem that %a#, our societ# is one of harmon#. Next time #ouare at a social gathering or restaurant, loo at the people around #ou interacting. ItHsrelativel# eas# to tell %hoHs in rapport and %ho isnHt. !ince speech patterns, language,and ph#sical actions are often the first things %e notice about people, letHs see ho% %e cangain rapport simpl# being a%are of %hatHs going on around us.

Fast-Track Rapport Tips: The more you are like a person, the more they like you. A quick rapport builder is to repeat back the last part of a persons sentence or

paraphrasin! or, as Richard "andler says, #$arrot $hrasin!.% "reathin! is the most po&erful of all physical rapport skills. 'mulate breathin!. $ace, pace, pace(lead.

eal Worl' +/ercise=

Next time #ou find #ourself in a conversation %ith another person, tr# thisK

Casuall# as the person for hisJher opinion on various subEects.

+s the# respond, notice their ph#siolog#, their tonalit#, tempo, and rh#thm of speech.

+re the# enthusiastic about the topic or calm and casual1

A !ood &ay to do this is by becomin! a !ood listener.

Notice %hat t#pes of verbs or predicates the# use.

+fter the#Hve made a point, confirm %hat the#Hve said b# as ing, '!o %hat #ouHre sa#inghere is,D) then restate the point made using their phrasing.

+s #ou listen, assume a posture li e theirs. -se the same gestures the# use. *henspea ing, emulate their enthusiasm, or lac of it as %ell as their volume and tempo.

+s #ou do this #ouHll find that #ou are breathing at a similar rate and depth.

0# no%, #ou %ill have established a strong level of rapport. +t this point #ou %ill findthat b# closel# emulating posture, breathing and speech #ou can probabl# miraculousl#predict %hat the person is about to sa#.

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3nce a strong level of rapport is established #ou ma# %ant to brea rapport b# completel#mismatching the personHs mannerisms, speech, tone of voice etc.

FI suggest #ou tr# this onl# %ith a friend %ho %ill later be receptive to #our explanation ofthe exerciseG

e!resentational S$stems> Mo'alities

6epresentational !#stems, or 6ep !#stems for short, is a fanc# sounding term for our fivesenses. The representational s#stems are also no% as sensor# modalities or simpl#modalities and often abbreviated to =+B3? or the :(tuple.

=irtuall# all of the information %e receive comes to us through our five senses. Thedevelopers of NLP found that %e give signals or clues about ho% %e are processinginformation. In other %ords, people often unconsciousl# tell us %hat sensor# s#stem the#are using, or most often use, to ma e sense of the input the# are receiving.

Learning to recogni e these clues is useful in gaining rapport, tailoring a program forlearning, effective communications, persuasion and man# other purposes.

The primar# %a#s that people ma e sense of the %orld areK

? =isual

( +uditor# F!oundG

@ Binesthetic FTouch, emotional feelingsG

O 3lfactor# F!mellG

2 ?ustator# FTasteG

*e constantl# alternate among the rep s#stems as %e ma e our %a# through variousdail# experiences. o%ever, for most of us one s#stem tends to be dominant Fprimar#G. Inthe -nited !tates approximatel# 42 percent of the population processes visuall#, >2percent auditoril#, and 2 percent inestheticall#.

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3ne sure %a# to get insight to an individualHs rep s#stems is b# becoming familiar %ithK

e! S$stems & S!eech Patterns

?isual

+ person %ho processes information visuall# often spea s rapidl#. The#often have a stream of images in their head and construct language based onthese pictures. The# are no%n to sometimes use rapid and animated handmovements. =isual people can also become impatient or bored %ith people%ho spea slo%l#.

(u'itor$

+uditor# fol s are usuall# quite comfortable %ith language. The# often have

a rich vocabular# and enEo# tal ing. The# spea some%hat slo%er thanvisual people. The# have harmonious speech and ta e the time to find Eustthe right %ords.

@inesthetic

Binesthetic people spea %ith feeling and emphasis. The# too use handmovements and gestures, but more for dramatic effect and to accent the %a#the# feel. Binesthetic fol s ma# sigh a lot %hile spea ing. Their speech canbe ver# slo% and deliberate.

e! S$stems an' Language

People offer clues as to ho% the# process information. If someone said the# felt theirfuture %as bright, %eHd probabl# understand that statement to mean the# felt theirfuture prospects %ere good. 0ut their use of language is li el# to be far more revealing.*hat once might have been considered colorful or metaphorical language is no%recogni ed as an indicator to an individualHs rep s#stem to one %ho has been trained toloo listen and feel, that is.

&or example, notice the differences in the %a# a car salesperson might describe thisclassic car to a prospective client. The language patterns in the follo%ing paragraphsmight be an indication of the salespersonHs primar# rep s#stem or carefull# tailoreddescriptions deliberatel# designed b# the salesperson to appeal to the rep s#stems ofvarious prospects.

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ouHll notice the %arm inner glo% as #ou grasp the firm %heel in #our hands. ouHre a%are of the solid, stead# handling as #ou ma e #our %a# along the boulevard.The controls are sensitive to #our touch. The# respond easil#. The feeling of utter prideradiates throughout #our entire bod# sending chills do%n #ou spine.

ou start #ou ne% car and listen as it gentl# purrs. ou sit for a moment in silence,telling #ourself that #ouHve made it. ouHll be the tal of the to%n as #ou express #oursuccess quietl#, #et %ithout question. our friends ma# squa% , the# ma# tal , the# ma#even shout %hen the# hear that #ouHve received an honorable mention in the %hoHs %ho ofclassic car histor#.

Picture #ourself in this spotless, spar ling, beaut# driving along the main drag. +ll of#our friends %ill notice #ou as #ou sit behind the %heel beaming %ith pride. The blindinggleam shining off the bright chrome bumper %ill reflect the loo in #our e#es as peoplestop to stare as #ou pass.

These examples ma# seem a bit over(emphasi ed to #ou and I. et one or more of themcould quite possibl# ma e the difference to someone considering the purchase of a classiccar. + savv# salesperson %ith Eust a little NLP training %ould be able to subtl# detect herprospectHs primar# rep s#stem and address him accordingl#. o%1 Loo at the examplesagain. The telling %ords and phrases are highlighted for emphasis.

Picture #ourself in this spotless, spar ling, beaut# driving along the main drag. +ll of#our friends %ill notice #ou as #ou sit behind the %heel beaming %ith pride. The blinding

gleam shining off the bright chrome bumper %ill reflect the loo in #our e#es as peoplestop to stare as #ou pass.

)otice all the *isually oriented &ords and phrases(

ou start #ou ne% car and listen as it gentl# purrs. ou sit for a moment in silence telling#ourself that #ouHve made it. ouHll be the tal of the to%n as #ou express #our successquietl#, #et %ithout question. our friends ma# squa% , the# ma# tal , the# ma# evenshout %hen the# hear that #ouHve received an honorable mention in the %hoHs %ho ofclassic car histor#.

)otice all the auditory references(

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ouHll notice the %arm inner glo% as #ou grasp the firm %heel in #our hands. ouHrea%are of the solid, stead# handling as #ou ma e #our %a# along the boulevard. Thecontrols are sensitive to #our touch. The# respond easil#. The feeling of utter prideradiates throughout #our entire bod# sending chills do%n #our spine.

This one is loaded &ith kinesthetic su!!estions(

3ne sure %a# to become a%are of an individualHs rep s#stem is to listen for languageindicative of the rep s#stem. +nother %a# to get insight to rep s#stems is b# becomingfamiliar %ithK

+$e (ccessing Cues

Perhaps NLP is most %ell no%n to the general public because of the attention that hasbeen put on e#e accessing cues. *ithout conscious a%areness, people are constantl#giving others clues as to ho% the# are processing information at an# given time. 6eadinge#e accessing cues is more an art than a science. This is because there is no guarantee aparticular person is processing 8@@ percent according to the chart.

The chart on the follo%ing page usuall# holds true for right(handed people. &or left(handers, the reverse ma# be accurate, though sometimes left(handed people follo% thesame patterns as right(handed fol s. The most effective %a# to determine ho% #oursubEect is processing is b# observation and calibration.

In addition to e#e accessing people send messages %ith ph#sical movement. andgestures, ph#sical positioning and spatial placement are also indicators of ho% someoneis processing.

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+$e (ccessing Cue +/ercises

+/ercise "

In groups of three, designate +, 0, and C participants. + begins b# as ing 0 the follo%ingquestions. + ma es careful observations as to the e#e movements of 0 as sJhe ans%ers. Cstands beside + to corroborate +Hs observations. "iscuss briefl# and proceed %ith a roundrobin.

?isual emembere'=

*hat does loo li e1

*hat is the color of 1

Can #ou picture 1

?isual Constructe'=

*hat color %ould #ou li e #our next car to be1

Imagine #our friend in a #ello% and pin tuxedo.

+nimal heads A bodies Imagine the head of a on the bod# of a .

Can #ou imagine becoming a 1

(u'itor$ emembere'= Can #ou recall the sound of 1

6ecall #our favorite teacherHs voice.

*hat is something #ou sa# to #ourself1

Can #ou hear 1

(u'itor$ Constructe'=

Can #ou hear the sound of changing to 1

Combine the sound of %ith .

Can #ou hear the sound of and at the same

time1

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@inesthetic=

Can #ou recall the feeling of 1

o% does feel to #ou1

&eel the sensation of .

+/ercise %

This exercise authenticates the conclusion dra%n from the first. If #our findings %erecorrect in the previous exercise, #ou should see li e patterns in this one. *ith the sameparticipants, 0 role(pla#s as a teacher, customer spouse, brother, sister, etc. and tal s to

+ for five minutes about something pertinent to the character.

&or example, a customer might tal about her experience in a department store. +s

before, C stands beside + to corroborate the observations. 5ach 'stor# teller) should ma ea conscious effort to include each of the rep s#stems. 0e sure to include %hat #ou see,hear and feel as #ou relate the experience. The listener ma# as brief questions to clarif#an#thing the stor#teller is sa#ing. 6ound robin, and discuss observations.

Calibration In simple terms, calibration describes our a%areness of another personHs subtlemannerisms or unconscious ph#siolog#. &or example, I once %or ed for a man %hoseupper lip began to t%itch %hen he had to assign unpleasant tas s to people. I came tounderstand that this %as an indication he %as nervous. It certainl# didnHt mean thatever#one %hose lip t%itches is nervous, but it certainl# did for him

+ensory acuity is the terminolog# %e use to describe ho% sharp our senses are. 3ursenses can become finel# tuned so %e notice man# of the fine distinctions people displa#

giving us clues to their internal states. -sing calibration, %e are able to discover therelationship bet%een external behavior and internal states.

The rep s#stems %e use to calibrate behavior are visual and auditor#. 3bviousl#, Inoticed m# bosses lip t%itching b# loo ing at him. 0ut there ma# have been other cluesthat he %as uncomfortable. Ma#be his nec became red or his face flushed. is tone of

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voice might have changed. is speech might have become more rapid. 0eing a%are ofchanges li e this in a personHs ph#siolog# can tell us a lot. 0ut, it is important to notethat such distinctions are for that person onl#.

Cues For ?isual Calibration

Posture 5#e Movements 0ilateral Cues !#mmetrical or not Particular movements, t%itches Muscle Tension &acial tension

0reathing F6ate, Pauses, =olume, 3bserve mouth, diaphragm A lo%er abdominalmovementG ! in Color Lip !i e Pupil "ilation

Cues For (u'itor$ Calibration

=olume !peed, Tempo Pitch Intonation

Calibration +/ercise

In this exercise %eHll be visuall# calibrating to each otherHs li e A disli e in groups ofthree.

8A Calibrate to li8eA

+ tells 0 'Thin of someone #ou reall# li e a lot.)

+ and C calibrate to visual cues %ithout comment.

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%A Se!arator StateA F0rea the mood %ith a funn# stor#, sill# song, etc.G

)A Calibrate to 'isli8eA

+ tells 0 'Thin of someone #ou disli e.)

+ and C calibrate to visual cues %ithout comment.

,A Se!arator State

0A Testing

+ as s comparative questions such as, '*hich of these t%o people istaller1) Folder, richer, has dar er hair, lives closest, is better loo ing,sa% most recentl#, etc.

0 ans%ers b# nodding. FThis is also a good exercise for noticing e#eaccessingG 0 gives immediate feedbac #es or no.

Continue until + has four or five right in a ro%. If + has difficult#,bac up to the beginning and recalibrate.

(u'itor$ Calibration

"o the same exercise, but + and C close their e#es and as 0 to ans%er differentquestions. &or example, %ith e#es closed + as s 0 '*hich of the t%o lives closer to #ou1)0 responds b# sa#ing, 'IHm thin ing of the person %ho lives closer to me.) -sing auditor#calibration, + and C are to determine %hether 0 is tal ing about the person sJhe li es ordisli es. 0rea state bet%een questions. "iscuss the differences in enthusiasm, tonalit#,etc.

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(nchoring

+n anchor is a specific stimulus that evo es a consistent response from an individual. Isthere a favorite piece of music or photograph that evo es certain feelings in #ou1 Themusic or photo is an anchor to the feeling. +nchors occur in all rep s#stems.

?isual (nchors

&acial 5xpressions

and ?estures

5mblems F&lags, logos, etcG

Internal and 5xternal Pictures and Photographs

(u'itor$ (nchors Music F our favorite song, '3ur song)G

!chool 0ell

The !ound of the "entistHs "rill

!creen "oor !lamming

The !ound of Thunder

+dvertising !logans

The !ound of the Car in the "rive%a#

@inesthetic (nchors

The Touch of a Loved 3ne

+ !pan ing

Cool, Clean !heets

+ 0ac 6ub

Olfactor$ (nchors !mell of Lilacs

&resh Cut ?rass

+ ospital Treatment 6oom

our &avorite "ish

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+nchors can be useful to us in man# %a#s. Thin of a time #ou %ere completel# andtotall# confident. *ouldnHt it be great if #ou could have access to this resource %henever#ou needed it1 ou canO

Setting an (nchor?aining access to a resourceful state is as simple as eliciting the state and at or near theheight of the experience, setting the anchor. This is %here calibration s ills becomeessential. ou %ill need heightened sensor# acuit# to gauge the optimal time for settingthe anchor. The most important factors to consider %hen setting an anchor areK

Timing Fset near pea stateG

-niqueness Fshould be some%hat out of the ordinar#G Intensit# Foptimal, passionate height of stateG Purit# of the !tate Fstrive for maximum state experienceG

(nchoring +/ercise

8. In groups of four, + accesses and anchors three different positive statesFsense of humor, Eo#, love, a%areness, etcG in 0. 0rea state before

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proceeding to the next.

9. Test each anchor. Calibrate carefull# to each state. " FmetaG notices if + is getting clean states.

>. + randoml# fires off one anchor at a time, brea ing state bet%een eachanchor.

:. C determines %hich state is being elicited.Continue until C ans%ers correctl# four times in a ro%.

Submo'alities

!ubmodalities could be described as the %a# %e code our experiences through our senses.&or example, thin of a special birthda# #ouHve had. Perhaps it %as a da# %henever#thing Eust seemed to go great. *hen thin ing of this event, do #ou see pictures, hearsounds or music, experience a feeling or sensation in a particular part of #our bod#1

!ubmodalities describe the qualities of the image, sound or feeling. &or example, if #ousa% a picture of a group of children gathered around the itchen table of #our house, the

qualit# of the picture %ill have a direct influence on #our memor# of the event. Considerthe distinctions %ith regard to the !ubmodalities in the maEor rep s#stems.

?isual

Thin of a particular event from #our past.

+re #ou in the picture FassociatedG or loo ing at the scene from another vantage

point FdissociatedG1 Is the picture in color or blac A %hite1 *here is the picture located1 Is the picture a snapshot or panoramic Fcontinuous, life(si edG1 Is the picture flat or three(dimensional1

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Changing ( Disturbing +/!erience

The advantages of understanding !ubmodalities are that %e can revie% our experiencesand adEust them, and change the feelings the# produce. &or example, if #ouHve had anunpleasant experience %ith someone an experience that bothers #ou, thin of it no%.

o% is it represented1 If itHs a picture, is it close, bright, in color1 +re #ou in it or%atching1 If itHs close, move it out into the distance and notice ho% #ou feel about theexperience. If itHs in color and panoramic, tr# ma ing it blac and %hite and a snapshot.If #ou find that #our memor# has #ou in the scene, tr# loo ing at is as a spectator. +ndfor even more disassociation, have #ou, the spectator move outside and loo at thespectator %atching the original scene. "oing this 'removes) the intensit# of experiencebecause #ou no% recall it from a 'distant) perspective.

&or most people shrin ing the picture, ma ing it more distant, changing it to blac and%hite and dissociating from it decreases the intensit# of the memor#, thus changing itsmeaning. The same thing goes for sounds and feelings.

If the experience is one %here a person is shouting and angr#, in a thunderous voice, tr#changing the voice to that of a cartoon character. If #ou have a song that empo%ers #ou,tr# using it as bac ground music for this scene. If #ou find #ourself feeling %eighed do%nb# the gravit# of the situation, feel #ourself being lighter.

Fast-Track +ubmodality Tips:

To enhance experiences =isuall#K Associate into the scene. +ee it throu!h your o&n eyes. To chan!e your experience of

an unpleasant situation, dissociate from it. atch it from a distance . /ma!ine there are control knobs like a tele*ision and ad0ust contrast, clarity and

bri!htness. "rin! the ima!e closer. 1ake the scene close and panoramic &ith rich *ibrant color. )otice the location in your ima!ination of other pleasant experiences and place the

sub0ect situation in that place.

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Test

8. ave the subEect imagine the situation in the future using the ne%behavior. Calibrate nonverbal cues

Fast Phobia Cure

+ phobia is nothing more than an irrational reaction to a stimulus usuall# a frighteningstimulus. !ince the fear response %as installed in an instant, the same fear response canbe altered virtuall# as fast. o%ever, %e must understand that the part of us thatcreated the phobia %as simpl# doing its Eob Fpreserving the organismG. *e %ant topreserve its abilit# to protect us in the future %hile refining its abilities.

8. +ccess the phobic state. +s the subEect, ' o% do #ou no% #ou have aphobia1) +s , '*hat happens %hen #ou become phobic1) +s , *hen %asthe last time #ou had a phobic response1) Calibrate to cues. This %ill beimportant later in testing.

9. ave the subEect imagine himself sitting in the theater at the movies.ave him see a still, blac and %hite picture of himself on the screen. Then,have them float out of the spectator them Fthe one sitting in the theaterseatG and ta e a seat in the proEection box. 5ssentiall#, %e have the subEectFproEection boxG %atching the subEect Fin the seatG %atching the subEect onthe screen. This is called Three(Place "issociation.

>. ave him run a blac and %hite movie of the phobic incident. !tartbefore the incident began and have it continue %ell past the end to thetime %hen ever#thing %as o a# again.

:. Instruct him to %atch and listen as the #ounger '#ou) goes through theexperience as a detached observer as though it happened to someone else.

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*hen heHs finished and safe, stop and hold the final scene as a still picture.Instruct him, 'Let me no% %hen #ouHre there.)

2. No%, have the t%o observers integrate and have that integrated selfstep into the free e frame. 6emind them that the# are the #ounger them at

the end of the experience.

+ssociated, and starting %ith the final scene, run the entire thingbackwards in color, in two seconds or less. ou ma# repeat this t%o orthree times. 0e sure to go bac to the time before the phobic experienceFsafet#G. ave them see, feel and hear ever#thing thatHs happening.Calibrate to cues.

4. Test the process b# doing an#thing that might access the phobic

response, no% and in the future. If #ou still get the phobic response or apartial response, ma e sure that #ouHve done the procedure properl#. If so,repeat steps three through five. +dvise the subEect that caution should beused %ith regard to approaching situations %here the stimulus ma# bepresent. This %ill give the subEect time to integrate the ne% learning.

The Circle Of PoBer

The circle of po%er is a technique designed to install an# number of positive qualities inan individual. The beaut# of it is, the subEect can simpl# 'borro%) and then eep theparticular qualit# from someone %ho alread# has it.

This can be performed either %ith the guidance of a practitioner or b# the subEect alone.ItHs best done in a tranquil environment %ith e#es closed.

8. &irst have the subEect identif# the qualit# he %ishes to have. ThereHs no need for

him to share the information %ith the practitioner. 3nce identified, as him if heno%s an#one personall# or in the public arena %ith the qualit#. !uggest that hechooses someone %ho demonstrates the qualit# profoundl#.

9. 3nce this part is complete have the subEect imagine he is standing comfortabl# in aroom. ThereHs a door in the far corner of the room and the subEect has his bac to

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the door. ave him imagine he hears the door opening follo%ed b# light footsteps. +fter a second or t%o the subEect sees the individual he identified %ith the qualit#he desires.

>. The individual %ith the qualit# smiles gentl# and as s if the subEect %ould li e to

have the qualit# as a gift. The subEect should ans%er in the positive. The individualpossessing the qualit# then closes his or her e#es. 0efore long, the individualbegins to be surrounded in a circle of colored light. ThereHs no need to mention thecolor as the subEectHs imagination %ill suppl# that.

:. &irst the light is faint but it graduall# intensifies until finall# it is rich andbeaming %ith po%er. There is so much po%er coming from the light the subEect canfeel if from %here he stands. Then the individual %ith the desired qualit# steps outof the light and invites the subEect to step in. The subEect gladl# does.

2. +t this point the practitioner %ill encourage the subEect to drin in the po%eroffered b# the light, to feel it permeating ever# fiber, ever# cell of his being, toabsorb the po%er, to feel it and breath it in. These suggestions should be offereduntil the subEect is sho%ing signs of accepting the po%er. The practitioner %ill be%atching for ph#siolog# such as facial expressions and bod# language indicatingacceptance of the qualit#.

4. +t this point the practitioner %ill as the subEect to step out of the circle and allo%the giver of the po%er to step bac in. +s the individual steps bac into the circle

the colored light fades. ave the subEect than the giver of the po%er. ave thegiver %ish the subEect %ell and leave through the door.

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(!!en'i/

?isual Wor's & Pre'icates

+dmire

+ppear

0ehold

0lind

0lurred

0lush

0right

0rilliant

Clear

Cloud#

Colorful

Conceal

"ar

"a%n

"isappear

"ispla#"ra%

"im

"ull

5nvision

5xhibit

5xamine

&adeFdG

&lash

&ocus

&ogg#

?a e

?lance

?lare

?leam

?limpse

?listen

?lo%

?raphica #

Illuminate

"emonstrate

Illustrate

Image

Imagine

Inspect

Li eness

Loo

Luster

Mur #

Neat

Notice

3bserve

3versight

Peer

Perspective

PicturePortra#

Previe%

6eflect

6eveal

!cene

!ee

!ho%

!ight

!par le

!p#

!tare

!tud#

!trobe

!unn#

-gl#

=ie%

=isible

=ision =ista

=ivid

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?isual Phrases

Loo at this

Ta e a loo

+ppears to me

Ta e a pee

Illustrate m# point

Clear cut

In light of

Light at the end ofthe tunnel

0irdHs e#e vie%

5#e to e#e

In light of

Paint me a picture

"ra% a conclusion

!hed some light on it

!ight for sore e#es

0e#ond a shado% ofa doubt

Ma e a scene

MindHs e#e

Prett# as a picture

0right prospect

0right future

Tunnel vision

?lo%ing 6evie%

Loo into the matterxxxxxx

(u'itor$ Wor's & Pre'icates

+nnounce

+ns%er

+rgue

+rticulate

+s

+ssert

+ttune

0abble

0laring

"eaf

"eclare

"escribe

"iscuss

5cho

5xplain

5xpress

5xpression

?roan

Melodious

Mention

Moan

Mumble

Mutter

Nois#

3rchestrate

3utspo en

3rder

!a#

!cream

!hout

!hrill

!igh

!ilence

!ounds

!pea

!peech

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0ooming

Call

Chatter

Chat

Cheer

Chime

Clatter

Command

Comment

Complain

Conversation

Cr# 3ut

?ro%l

?rumble

armoni e

arsh

ear

iss

um

Inquire

Insult

Lecture

Listen

Loud

Praise

Purr

uiet

6ecite

6emar

6epl#

6esound

6ing

6equest

6esonance

6umor

!ang

!qua%

Tal

Tell

Told

Tone

Tune

Translate

-tter

=erbali e

=ocal

=oice

ell

(u'itor$ Phrases

!ounds good to me

I hear #ou

IHm all ears

Purrs li e a itten

6ings a bell

Loud and clear

Lend an ear

*ord for %ord

Manner of spea ing

old #our tongue

=oice #our opinion

+rgue the point

LetHs tal it over

-nheard of

!tate #our purpose

"escribed in detail

The silent treatment

Chime in an#time

*eHre in harmon#

5cho their sentiments

It rings true

Tongue(tied

-nheard of

idden message

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@inesthetic Wor's & Pre'icates

+bsorb

+ngle

+ttach

+ttac

0ac ing

0alance

0end

0rea

0rush

Carr#

Clums#

Cold

Comfortable

Compress

Concrete

Connect

Crouching

Cram

Crumble

Cut

5lectric

&ear

&eel

&irm

&lat

&lop

&orce

&lush

&umble

?rab

?rapple

?rasp

?rind

ard

old

ot

ug

urt

Inhale

Irritate

Itch

Lin

Pinch

Plush

Point

Pressure

Probe

Pull

Push

6agged

6each

6elaxed

6esist

6ough

6ub

6ugged

!cramble

!crape

!ei e

!ense

!ha #

!hoc ing

!huffle

!tretch

!tuffed

!turd#

!uffer

!upport

!%eep

Tac le

Ta e

Tender

Tension

Thro%

Tic le

Tight

Touch

Trample

Tremble

T%ist

-nbalance

-ncomfortable

-nfeeling

-nite

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5xciting

5xhale

5xtend

&all

&asten

Manipulate

Massage

Merge

Movement

Nervous

! ip

!olid

!pi e

!table

!tead#

*arm

*ash

*eigh

*or

*orr#

@inesthetic Phrases

It feels right

IHve got a feeling

+ concrete idea

?et a feel for

Too hot to handle%ith

+ll %ashed up

Beep #our shirt on

Pull some strings

!lipped m# mind

Connect %ith

Measure the impact

IHm not comfortable

+ solid concept

+ solid base

Ma e the connection

Come to grips

Control #ourself

!tart from scratch

!mooth operator

0ac up #our claim

Meeting of the minds

Point it out

?et the drift

*al ing a thin line

&irm foundation

?et in touch %ith

ands on

?et a hold of

!harp as a tac

Tap into

Turn around

Tic led pin

Moment of panic

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Common NLP Terminolog$

(ccessing Cues Ta ing notice of the %a# %e use our bodies. Through observation of e#emovements, breathing, changes in s in color, posture, and hand and bod# movements %ecan both gain access to the state of others, as %ell as improve our o%n inner

communications.

(s- f-Frame To pretend a particular thing is so in a given, real or imagined situation.This greatl# enhances certain methods of problem solving b# using the imagination to seepast the perceived obstacle.

(nchoring The lin ing of a particular state %ith some outside stimulus. +nchors ma#be visual, auditor#, inesthetic, gustator# or olfactor#. +ccessing the feeling of love onefelt for another b# hearing a particular piece of music is an auditor# anchor. +nchoring is

useful in gaining access to desired states either b# using existing anchors or creating ne%ones.

(ssociation To imagine or re(live an experience in the first person. 3pposite of"issociation.

(u'itor$ The sense of hearing.

6eha5ior +ll activit# both ph#sical and mental

6eliefs The subEective generali ations %e ma e about the %orld. umans assignvalues, understanding, and meaning to all of their experiences. It is beliefs that guide usin our perceptions of realit#. NLP offers a %ide range of interventions to help people alterbeliefs the# feel to be non(supportive.

Calibration -sing oneHs sensor# acuit# to observe subtle ph#sical and non(verbalchanges in another. &or example, one might ta e note of e#e accessing cues, along %ith a

change in s in color and come to the conclusion that a person is recalling anembarrassing event.

Chun8ing +ccessing ascending or descending levels of perception. Chun ing up elicitsan individualHs higher ideals or levels of abstraction. &or example, %e might as %hatsmo ing does for a person. The# repl#, 'it reduces stress in social situations.) *eHd follo%

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%ith, 'and %hat does that do for #ou1) The repl#K '+llo%s me to feel accepted.) '+nd %hatdoes that do for #ou1) 6epl#K 'I guess then I feel loved.) Chun ing up can help us to get tothe higher value or belief often driving the behavior. Chun ing do%n allo%s us to becomemore specific or brea tas s into manageable pieces.

Congruence *hen a personHs internal representations are in alignment %ith theirout%ard behavior %e sa# the# are congruent or displa#ing congruence. &or example, #oureceive an unusual birthda# gift and proclaim ho% much #ou love it, but #our %ords arenot congruent %ith #our tonalit# or bod# language. 3pposite of Incongruence.

Conscious *a ing state of a%areness. umans process seven QJ( bits of information atan# given time %hile conscious.

Content The specific details of an event.

Conte/t The setting in %hich an event ta es place and provides meaning for content.

Cue.s# 0oth verbal and non(verbal information people relate unconsciousl# %hich allo%sothers to have access to their internal processing. 0reathing, e#e movement and voicetonalit# might all serve as cues.

Dissociation To imagine or re(live an experience from 'outside) of the perspective ofan# of the pla#ers. To %atch from a safe perspective.

Distortion To represent outside realit# in terms of our individual neurolog#. 0ecause ofthe limitations of our senses and of personal interpretations of our experiences, distortionof realit# becomes a certaint# in man# cases. "istortion accounts for the man# differente#e%itness accounts of the same event. "isarm

+colog$ Ta ing into account the necessar# balance, %hich must be maintained %ithinthe self, the people in our lives, and %ith our actual ph#sical environment. &or change tobe lasting and effective it must be ecological for ourselves internall# as %ell as for thosein our sphere of influence.

+licitation To produce a particular state of consciousness in an individual b# providingcertain stimuli. 0# eliciting certain behaviors %e can learn both ho% to produce andreproduce desired states, as %ell as gain the understanding needed to%ards neutrali ingnon(productive ones.

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+$e (ccessing Cues The movement of the e#es in particular directions, %hich indicatesthe subEectHs use of visual, auditor#, or inesthetic internal processing of images, feelingsor sounds.

Frame Context, situation, or perspective

Future Pace To mentall# rehearse an event. &uture pacing is often done to test theeffectiveness of an NLP intervention. &or example, 3ne %ould %ant to future pace anencounter %ith a spider after experiencing the &ast Phobia Cure.

2eneraliEation The relation %e ma e bet%een a ne% person, place, thing, or experienceand a familiar one. &or example, #ou ma# never have driven a 6olls 6o#ce, but %ouldprobabl# assume, based on experiences %ith other cars, that to start one #ou %ould use ae#, to stop, the bra es, etc. ?enerali ations save us from having to re(learn lifeHsexperiences each time %e encounter them. Ma ing inaccurate generali ations can be thesource of difficulties depending on circumstances

2estalt + series of experiences or memories emotionall# connected.

ncongruence *hen a personHs internal representations are out of alignment %ith theirout%ard behavior %e sa# the# are congruent or displa#ing incongruence. 3pposite ofcongruence.

nstallation The process of establishing ne% behaviors %ithin the mind so the# becomeautomatic. This is achieved through gaining rapport, anchoring, h#pnotic language,future pacing and through the use of other techniques.

nternal e!resentations +ll of the inner processing occurring in our minds as aresult of internal dialog, sights, sounds and sensations.

@inesthetic 5xternal tactile sensations consisting of feelings, a%areness of balance,gut(level sensations, and abstract emotional a%areness of sentiment, Eo#, loss, etc.leading to direct another to%ard a certain t#pe of action b# first altering #our o%nbehavior to emulate theirs, then subtl# changing to the desired behavior.

Ma! +n individualHs perception of hisJher realit# as represented via internalrepresentations.

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Matching +dopting the characteristics of another in an effort to establish rapport.

Meta +bove, about, be#ond, a higher position.

Meta Position To assume the position of an observer.

Meta!rograms 0eliefs, habits and behaviors, %hich are dominant over all others. The%a# a person guides and directs other mental processing. Metaprograms refer to internalpreferences presiding over motivation, and man# of the %a#s a person sees himJherself.

Mirroring 6eflecting a ph#sical behavior bac to its originator. &or example, if #ou %eresitting directl# across from another person and the# reached up %ith their right hand andscratched their left ear, #ou %ould reach up %ith #our left hand and scratch #our right

ear. To simpl# match the movement, #ouHd need onl# to reach for #our ear and scratch it%ith #our right hand.

Mismatching To offer an opinion, attitude, belief, or other observation contrar# to theprevailing thought at the moment. Mismatching ma# be used as a pattern(interrupttechnique for the purpose of directing a subEect a%a# from non(productive behavior.Mismatching ma# also represent the %a# an individual sorts experiences subEectivel#. Inthis context, it might be referred to as one of a personHs man# Metaprograms.

Mo'el The components of a particular methodolog#$ a paradigm.

Mo'eling The practice of reproducing certain actions or behaviors %ith the goal ofachieving a similar outcome. Modeling is one of NLPHs foundational concepts.

NLP Neuro(Linguistic Programming. The stud# of excellence in both self(communicationand communications %ith others. NLP practitioners then record and catalog the man#%a#s people experience the %orld subEectivel#. 0# becoming increasingl# familiar %iththe various patterns people use to ma e sense of the %orld, %e can tailor our

communications %ith them accordingl#.

Outcome The desired result.

Pacing To temporaril# experience anotherHs model of the %orld. + practice designed to

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gain rapport %ith another. Pacing another involves subtl# emulating breathing, posture,voice, tonalit#, rh#thm, timbre and speed of speech.

Parts +n allusion relating to personalit# traits and behaviors. + metaphorical %a# ofreferencing a particular belief s#stem. &or example, an NLP practitioner might as a

subEect to get in touch %ith the part causing the anger. !he then might as that person to'go %ithin) and as the part if it %ould be %illing to offer more information. Presumabl#,an individual %ould be at peace %ith the %orld %hen all of his parts are in harmon#.

Perce!tual Filters =alues, beliefs, experiences and ideas that color a personHssubEective experience.

Perce!tual Position +n individualHs personal point of reference. In NLP perceptualpositions are commonl# no%n as associated, Ffirst personG second person, and

dissociated, Fthird personG. +n individual ma# imagine or re(live an experience from anassociated perceptual position. In this case she %ould actuall# envision the experience inthe first person. In second position, she %ould experience the perceptions of anotherperson. In third person or dissociated, she %ould %atch the event but not participate.

Pre'icates *ords indicating some t#pe of action. In NLP %e can often gain insight intothe %a# a person processes subEective input b# the %ords the# use. These %ordsfrequentl# point to %hich representational s#stem is dominant. &or example, a personma# sa#, 'I see %hat #ouHre sa#ing.) This statement might indicate that, at least in thatmoment, the person is in the visual mode.

Presu!!ositions + belief that a certain model or belief is true$ an idea that is ta en forgranted. 3ne of NLPHs primar# presuppositions, 'The map is not the territor#,) refers toan individualHs subEective experience not being realit# it is simpl# realit# experiencedthrough their perceptual filters.

a!!ort + sense of affinit# or inship %ith another person. Pacing anotherHs model ofthe %orld often helps to create rapport.

eframing Changing the context of a concept or experience allo%ing it to have adifferent meaning.

e!resentations The sensor#(based information humans are consciousl# a%are of.

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?isualiEation The abilit# to imagine pictures in oneHs mind.

Well-Forme' Outcome The factors and conditions %hich must exist for the s#stematicpursuit of a goal. The criteria for a %ell(formed outcome areK

8. The goal must be stated in the positive.

9. The goal must be defined and evaluated based on sensor#(based evidence.

>. The goal must be initiated b# the individual.

:. The goal must not interfere %ith an# of the positive aspects of the individualHs life.

2. The goal must be ecological.

esources

#ark Persuasion Techni$ues

Scienti%ic Study Method'erco e Procrastination No(

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Documents

Nlp Mini Course