Law of Attraction Subconscious Mind Power
The first tool in writing for response is knowing exactly what you want your readers to do as a result of reading your material. Determining an action objective makes writing easier and more straightforward. Keeping the end result in your mind as you write enables you to aim for it. When you know where you're heading, you're more likely to get there.
A thumbnail sketch of your ideal customer, paints a picture in your mind of whom you are dealing with and more importantly, to whom you are writing. Success will not come if you write for yourself. You don't need to be persuaded. You already know and love your product service (or those that you represent). Write for your target customer.her needs, wants, worries, interests.
Unlike babies, books will not arrive if you sit around on you butt watching soap operas or reading the funnies or talking on the phone to your girlfriends. Books arrive only if you expend concentrated effort over a long term. Every day you have to hold what you wrote the day before and the week before and the month before in the back of your mind, and simultaneously you have to keep a part of your focus on what you intend to write the next day, and the next week, and the next month.
In the first draft you should put little effort into details such as getting vocabulary right, guarding against repeated language, checking tenses, evaluating transitions. Instead, whenever you fear you may not be making a good choice, use your private code to mark the place, and move on. At this point you should not be interested in polished language. You have now completed a first draft. It is far from a finished manuscript but it is an accomplishment of which you should be proud. Take a break of several hours or overnight before beginning a second draft. You need to give your mind a rest and chance to gain perspective, yet not give yourself so long that you will have forgotten the thinking you did during your first draft.
The book is billed as Your Secret Shortcut to Power Writing. I'm not sure if that's true, but the book can certainly tickle your mind into creating juicy new phrases. Glasser's book is a word-storming partner. Just open it to one of the several lists, all sorted by categories, and let your mind connect the words listed with the ideas you're trying to get across. Mark Twain wrote, A man's intellect is stored powder it cannot touch itself off the fire must come from the outside. Thoughtline is the fire you need to make your mind explode
Visualization is the technique of imagining visual pictures. It closes off the left hemisphere of your brain and lets the right hemisphere express insights and inspirations without criticisms. Visualization also involves the exploration of pictures that come to your mind allowing you to experience a kind of waking dream.
Who the protagonist should be is not always obvious. Don't automatically give the story to the character who shows up first in your mind or the one who clamors the loudest for your attention. You might have to have two or three characters try on your story idea and model it for you before you discover which one it fits most comfortably.
Could conceivably use in your screenplay. Let your mind expand and free associate your ideas. Write everything that comes into your head in a couple sentences for each potential scene. It doesn't matter if you discard most of them, it's important to get them down without judgment. Next, imagine all the situations that could possibly happen to your main character in order for him to reach his goal. Put down everything that comes into your mind. Think of your settings, of the characters, of the locations, atmosphere, the obstacles and write them down as fast as you can. After you have written all of the possibilities you can imagine, then start concerning yourself with putting the scenes in some order.
Make up your mind to write them, even if especially if you're afraid to. If you see that things in your story are heading toward a blowup between Ginger and Fred pretty soon, show the tension building up, show the hurt feelings accumulating, and then blow everything sky-high. Make their blowup happen at a party, on a train station, or someplace where neither can get away until they've both had their hurtful say. Use the setting to complement or contrast strongly with the action. Write the battle as though it were a new beginning, with that much clarity and intensity.
The blog post then picks up with the actual story. As you read it, you can see in your mind the events unfold. On the blog, I placed an actual picture of Lindsay Lohan, which helped people pay attention to my writing. (She's pretty hypnotic to look at.) But the story itself keeps people riveted.
An epiphany is a moment of truth in which your mind seems at one with the universe. (In fact, I think what we mistakenly call the muse really is an epiphany that electrifies our mind.) During such times you realize something sublime or solve a critical problem in your life. Everyone has such moments You wake at 3 A.M., bolt up in bed and proclaim Now I know why he (or she) left me. He never wanted a partner. He (or she) wanted a parent.
I knew what you were thinking, not because I read your mind, but because I led you there with story. I gave you an experience that hooked you in. Fine, so far, but where do we go from here We left me standing there, watching my wife talking to Larry. What's next Well, I've raised your expectations, so I have to give you what you want or something better. Let's go with the kiss. My wife says something. Larry laughs, opening his arms. They embrace and have a nice long kiss.
The above advice also applies to a different cause of getting stuck. In this version, you know where you're going. You've worked out the whole story or novel in your mind, or you've outlined it on paper, and when you started to write it you were very interested. Then something happened. You've stuck to your outline, but now you hate the idea of sitting down to write. Also, the characters are behaving oddly. They're overreacting emotionally to simple occurrences. They're saying or doing things that strike you as out of character, but that they must say for your plot to work. They're making long speeches explaining to other charac
Every plot needs a few surprising twists and turns, of course. But even here it is best to let the characters themselves surprise you, the writer. If you have developed a set of interesting characters, people who are alive in your mind, you will find that they start to do surprising things as you write their story. They will take over their own destinies and stubbornly resist your efforts to bend them to a preconceived plot. The antagonist that you wanted to put in jail will squeeze out of your trap. The protagonist whom you thought would go off in one direction will suddenly decide to do something completely different.
With your reader(s) held in mind, review all your notes and printed matter so that all is fresh in your mind, seen as a whole. If you are writing a brief news item, such a review may take fifteen minutes. For a major feature, it may take several days. Relax You will get the time back when you write. Just keep combing through. (You can see why immersion and planning tend to blur.)
Most writers have an occasional day when writing feels like flying Your mind is quick and clear, your verbs are active, the sun is out, and you feel like a minor deity, able to recreate the world (if only re- and only on paper). Then there's the occasional day that feels like creeping along a trail in the dark, extruding each sentence slowly and with pain from somewhere near the umbilicus. In between those extremes come days when you feel like a carpenter, putting together a pretty darn good bookcase.
Read at cruising speed like any other reader but jot down your reactions in the border Note that wordyour reactions not
At first, you may find yourself pulled into fixing, which you Refining should resist. Of course, it's fine to mark any typos or grammatical problems that leap to the eye, as you'll do by reflex. Just don't stop to think about fixes. Keep moving, reserving your attention for the text and your own reactions. You want to notice every slightest flicker of boredom, impatience, confusion, put-off-ness, or pleasure. Do you have an impulse to skim To jump ahead To laugh Are you working hard Is your mind wandering Make a quick note and keep moving.
As soon as you know you are going to speak, begin by preparing your slides. Choose titles, key words, graphics, citations, and think about color and design. Everything will become easier once you have prepared the slides. Unknown to you, all the time you are preparing slides, your mighty subconscious mind is preparing the ground for the words with which you will explain your slides. As you create your slides you are like a farmer planting seeds from which a garden will grow.
Such worries are normal, but you must not let them hamstring your creative efforts. If you can't entirely banish such worry from your mind, then consider adopting a pen name. For you have plenty of other things to worry about, and frightened self-censorship simply has to be jettisoned at once.
Especially when you're writing rough draft in a story, your job is not to be a critic. It's to be a creator. Any thought during this time that This is dumb is a bad thought, a thought likely to screw up the imaginative process. If such a thought comes to you as you're writing early-draft copy, you must recognize it as bad, toss it out of your mind, and simply press on.
Pay attention to the business end of writing. But always keep in the back of your mind a reassuring fact every hot new fiction trend was Usher's expected leaders in started by a lonely writer, working alone, bucking whatever the last trend seemed to be, and creating such a grand story that it started a new trend the moment it was published.
So, what's the nature of an emotional thought What might be going on in your mind with that gun in your ribs Anger If you wrote, He was angry, would that give you a real sense of the character and how he experienced anger The word anger is a label, not an expression of an emotion. How about This bastard. This rotten bastard. Just one chance. Give me one chance, and I'll take that gun and pistol whip him to death. Those are angry thoughts, yet the word angry or anger isn't used once. Also, the character has no reason to tell himself he's angry. I'm angry, wouldn't help. That doesn't mean there might not be a case in which a character might think, This guy is making me angry. But that's a certain kind of self-consciousness that isn't there in most people. And even if the character has this thought, you still have to go on and give us his angry thoughts if we're going to experience the full extent of his anger. through your mind. Your emotions have a mind of their own. In fact, we might...
Let's assume you have not yet selected any other appreciations. Begin by picking the throughline you want to work with, i.e., Objective Story, Main Character, etc. Don't consider what Class that throughline might be attached to. Then, keeping that throughline in your mind, get a feel for the Variations in each Class by simply letting your eyes wander over each set of sixteen and treating them as a single item. Eventually one set should emerge as having the best overall feel for that throughline. In other words, the Variations in that set best express the kinds of thematic issues you will want to explore in that throughline.
Finally, if you are not using the Dramatica software, you will have selected your appreciations by feel or topic. Some may have been chosen as appropriate to specific ideas you are working with, but the rest just seemed appropriate to the story you have in your mind and or in your heart. We're back to intuition again here. And once again, you will need to examine those appreciations which do not yet have specific encoding in your story and ask your muse to suggest something.
But in is, in a goofy way, applicable. Do something with your writing that you wouldn't normally do, or wouldn't do in public. If you would never consider writing poetry, then write ten poems. If the very idea of erotica makes your ears turn pink and your palms sweat, write the raciest scene your mind can conjure up. If you only write literary fiction, break out and write the climactic scene from a murder mystery or a romance novel. If murder is already your thing, write a pastoral medieval literary scene.
Come with software programmed to produce two thousand words a day, day in and day out. Your mind is a mystery, and one that likes to play. It can do more than you can imagine, but only if you give it a little time of its own, to just burst free without constraints or specified objectives.
Keep notebooks, doodle out concepts, create characters you don't need and don't have any place for yet, write down lists of titles that sound cool, draw maps to noplace, develop lists of names. Keep plowing the field of your mind, so that when this book is finished, stories will already be growing in it and you will be hungry to write the next one. And the next. And the next. The writer's work is never done. (But if you set yourself sensible page limits each day, you at least get some guilt-free free time.)
Exercise and shit like that. You won't be lifting those bales and toting that hay, but to work your mind, your brain still needs a good supply of oxygenated blood, and healthy highways to get it there and back to the heart and lungs. Twenty minutes of aerobic exercise four times a week or better, and a diet as low in animal products (none is best) and as high in raw fruits and vegetables as you can manage will strip the cholesterol out of your arteries and keep them from hardening. cadavers from apparently healthy children as young as eight have shown fatty deposits and the beginnings of hardening of the arteries, so no matter who you are or how young you are, this is an issue. At the point where this crosses your mind, ask your accountant. You'll already be making money, and will have one.
You started writing because you loved to write. You loved to tell stories. You wanted to let your mind run. And somewhere along the way, unless I miss my guess, some coach told you that you were doing it all wrong. Wrong grammar. Wrong style. Wrong subject matter. Somebody who had been doing it for a while blew your doors off, and you looked at him, and you listened to that coach, and you started giving up the part of you that loved to run because that part of you didn't run right. You were trying to be some other writer, someone who was already out there doing what you wanted to be doing, because all of a sudden you realized that you weren't good enough. You got so caught up in doing it right that you lost sight of why the hell you were doing it in the first place.
Life is too short for that sort of nonsense. And when you're writing, why put yourself on a Procrustean bed and whack off your own feet, just to maintain your rigid sense of control If your subconscious mind is taking your character in a new direction . . . it's still you. You're still the writer. You can stop the process at any time. But if you don't ever let yourself go off on tangents, you'll never discover the amazing secrets you've been hiding from yourself.
Sometimes the nowhere else is clear from the outset. An intriguing place triggers your imagination, providing the flour idea. Hiking up a rocky trail into a box canyon or driving past a Victorian mansion that is falling to ruin, you realize there must be a story here. Characters might stroll into your mind with their locales firmly attached. You know from the outset that she does social work in a Miami ghetto, that he herds cattle on a Montana ranch, that she attends school in an upscale suburban neighborhood, that he is a manager who pushes paper in a corporate high-rise, that she is a cop who walks a gritty city beat.
Sometimes your flour idea for a story might be a premise, some sort of dramatic situation or incident. The trick in that case is to find the right characters to adopt that premise as their own. At other times a character marches into your mind and announces he wants to be in a story. Then you must figure out what kind of situation and conflict this person would become involved in, given his particular personality, desires, motives, and circumstances.
Were you able to jot down relevant thoughts What came to your mind Take a look at Brad's Hub & Spokes model (Figure 8.1) and read his comments. I was struck by two things, Brad explained. First, I wrote the word 'diversify' twice. Second, I found myself in a defensive position, as if I was going to be attacked for not recommending Jacksonville. If I came across as defensive during my presentation, I would weaken my performance, so I decided that I needed to win the committee's respect for my analytical process before I explained the results.
This is a major secret to creating Hypnotic Writing. Create a list of prompt words that you can draw on. Use these words to lead you into your next sentence. Examples of prompts are because, and, and or. Whenever you write and feel stuck for the next thought, take on a prompt word. The word will nudge you, or prompt you, into your next thought. For example, say you are writing the following line Hypnotic Writing caused the reader to stay glued . . . and you can't think of what else to say. Just add a prompt word to your sentence and write down whatever comes to your mind. Example Hypnotic Writing causes the reader to stay glued because the sentences are so artfully done no one can resist them. Get the idea The prompt word prompts you into another thought. Try it
When the power of suggestion is used by the hypnotist, the result is a trance. A hypnotist sits you in a chair and you look at a shiny object, say a pendant. The hypnotist gently swings the pendant and intones Your eyelids are getting heavy, you feel yourself getting more and more relaxed, more and more relaxed, as you listen to the sound of my voice. As your eyes begin to close you find yourself on a stairway in your mind, going down, down, down to where it's dark and quiet, dark and quiet And, amazingly, you find yourself feeling more and more relaxed. As the hypnotist says these words, the objects that the hypnotist mentions the garden, the path, the magnolias appear on the viewing screen of your mind. You will experience the breeze, the sun, the smell of the flowers. You are now in a trance.
Ifyou're like most of the writers I've run into, you have more story ideas than you know what to do with. They're popping into your mind faster than you can jot them down in your handy bedside notebook. Does your idea divide itself into a vivid opening, one or more specific developments, and a solid ending Can you block out in your mind a beginning scene, intermediate scenes, a final confrontation or resolution of some kind
Two processes are involved in written communication. The first, in your mind, is the selection of words to express your thoughts. The second, in the mind of the reader, is the conversion of the written words into thoughts. The essential difficulty is in trying to ensure that the thoughts created in the mind of the reader are the same thoughts that were in your mind. Revisions are just a way to fine-tune this transfer. Coherence - the quality of being logically and aesthetically consistent - is the desired result.
Furthermore, because the manuscript looks so good, many people find it difficult to throw away unnecessary material. If you find you've strayed off course, and ended up with more verbiage or material than you really need, cut out the extra, no matter how hard you worked at it. Some writers save their trimmings in a separate orphan file. Adopting a similar approach could be useful in case you change your mind later.
Your mind is a complex and tricky thing. It looks at the endless plain of a story stretching before you - a plain that you must traverse with no landmarks, no signs, no map and no compass - and it says, Nope. Not me. Not today. Not gonna do it, don't think that's my sort of thing, I believe I'll stay here by the river where the water's calm and I know the terrain, thank you. Try me again tomorrow, won't you And when you try again tomorrow with a new idea, you again present your mind with an enormous, uncharted terrain. Even the sketchiest of outlines creates a few landmarks for you and a bit of a map to help you navigate. And when you know how long you'd like the book to run and you set a page limit for yourself, you give yourself a compass. It doesn't tell you which way north is, but it does tell you when you're done for the day, and it lets your mind begin planning the terrain you'll cross tomorrow.
What I want you to do now is train your mind to create Hypnotic Writing. How First, you have to find some Hypnotic Writing. Look around your room. What are the articles, letters, or books that have stuck with you over the years What have you read recently that you could not forget You might have read a novel, a short story, a letter, a direct mail advertisement, and even a memo. Collect examples of writing that you regard as hypnotic. Since this is a subjective judgment, there aren't any wrong examples. Just gather examples of writing that you think is excellent. Mark Twain wrote, A man's intellect is stored powder it cannot touch itself off the fire must come from outside. Thoughtline is the fire you need to make your mind explode You have just fed your mind information on how to create Hypnotic Writing. The more you read powerful writing, and the more you copy it out in your own hand, the more you will train your mind to write irresistible material. You can't do this exercise once...
Keep your mind open to the possibilities revision offers and take those possibilities from critiques you receive. Remember that as wonderful as you might think your first draft is, there is always another way to see it. Long ago, a professor outlawed explanations in a workshop I attended. If a writer tried to defend a technique or explain a plot twist, he would immediately cut them off. You can't follow your manuscript out into the world, explaining it. The work has to speak for it-self.
After finishing-you think -the story, it's imperative that you give yourself a few days off away from it so you can rest a bit and allow your mind to clear. It may be months or years before you could hope to read your own story truly cold , as if it were someone else's work, with any genuine objectivity. But even a week or two away from the project can provide you with some artistic distance, some perspective.
Sometimes, this practice can free your mind from your usual thought patterns and allow you access to ideas you might otherwise be too busy editing. Most importantly, freewriting allows you to stop making sense. When you are not trying to order your thinking, your writing surprises. When you are not trying to infuse your writing with meaning, you may discover beauty. Exercises often will ask you to freewrite in response to a specific prompt. Another approach, which is itself a kind of trick, is to change your mind. You picked up this guide because you care about creative writing. You want to be a writer you want to write. You will find, if you allow yourself the routine of daily practice, that focused attention to your writing can be joyous. I started writing because I discovered, at a young age, that I could lose myself in words. I could create worlds I wanted to inhabit, control time and space, surrender to rhythms and sound. When I was five or six, I remember playing in the mud,...
This is the secret to keeping Self One, the chatterbox monkey mind, quiet. When you are focused on this moment, you squelch Mr. Editor. Eastern philosophers have known this for centuries. Be aware of something in this moment, something that occupies your mind, and you concentrate all your attention on the moment at hand. screen your mind won't be able to edit your work. (Some new software comes with a built-in program to prevent you from seeing the screen as you write. See www.HypnoticWritingWizard.com) Self Two probably already helps you in your writing. Whenever you think you want to write a larger work, say a novel, you usually have a sense of the whole project. You don't have the complete idea in your mind, only a sense that it will be a novel. Well, how do you know it's a novel and not a short story Somehow your feeling where is it coming from lets you know your idea is going to be a book. You haven't begun the book and haven't even thought much about it. But it feels like a...
One way of thinking of what you're doing in all of this is you are training your imagination. Which isn't exactly true, since it's not particularly trainable. But it's always there, and it's always willing to work for you. It's going all the time whether you're in touch with it or not. What you can do is get in the way. When you're in the way, you may feel that you have no imagination, but your imagination is a lot stronger and more durable and inventive than the rest of your mind. But it obeys its own rules. (The more you push it, the less you get, etc.) So, you don't train it. If anything, it trains you. If you want your imagination to work for you, you must learn to open the door and step aside. It leads. You follow. And if you do it long enough, if you don't allow your doubts and worries and fears to do you in, you will be rewarded. You will do less, and your imagination (subconscious) will do more. It will carry the load if you learn how to let it. Then, when you get into bed at...
For example, it might strike you, in a tense conversation with your boss, how much he reminds you of a squat, jowly little bulldog you saw on the street that morning. In that situation, you would have to scramble to keep your mind on what he's saying and to push the idea out of your head before you smile or even crack up and get into trouble. But, if you were writing, you would explore that idea how he looked, your smiling and telling him what he looks like, and walking out. You also can't be open to anything and everything that presents itself when you're walking along the street. If you were, you wouldn't last long. The creative state of mind is unusual. You're not in your right mind by normal standards. And to get there you have to let go of the normal defenses, protections, and controls that you must maintain to function everywhere else. Giving up your defenses, going from secure to insecure, is never comfortable. Once you get there, it's never so bad, but crossing over is always...
The 5 minutes a day will in themselves help you to make progress, but they will also keep your imagination stirred up, start things moving in the deeper levels of your mind and keep them moving, so when you do get more time, you'll be ready to go. Deeper levels of your mind What does that mean The subconscious the place where most of your mind and your imagination lives (or hides out) when you're not using them. No one has the final answers to how the mind works, but it's easy to see how it works for our purposes. I'm sure that you've had trouble trying to remember something, racked your brain, then finally given up, only to have it jump into your head hours later when you're doing some totally unrelated activity. That's the subconscious. Ask, and you will receive. Believe it or not, you can learn to use the subconscious and depend on it to help you write even when you're doing something else. How much can your mind do, on its own, without your conscious direction Well, we know it can...
The act of learning these details will make them part of your thoughts, and your mind will know they exist even if you don't put them on the page. And as a result, the book you write will live within a whole world, and not in a Hollywood set, where if you walked out in the front door of that beautiful house, nothing would greet you but the parking lot behind the propped-up set.
The search for your characters' voices and your story's action and the truth of the world that you are building begins in the silence of your mind. You can reach that silence through training your mind to stillness - not an easy task, but one that offers tremendous rewards. While I'm sure people have found dozens of ways to lead their minds to quiet, I've found that meditation works for me. I advocate no religious systems and follow none - my meditation is nothing more than sitting cross-legged on the floor, my hands clasped in my lap in front of me and my eyes closed, breathing to a slow count of four. Inhale to four, exhale to four. I slow my breathing and counting as i begin to relax, i acknowledge stray thoughts that wander into my mind and immediately dismiss them, and I sit for fifteen minutes. No more, no less. I have a little timer that I sit in front of me, and I set it to run backwards - I'm to the point now where, when i peek at it, i'm almost always just a few seconds to...
So you start with Uncle Wilmont, even though you may not know exactly what it is you want to say about him or have him do. All you know is that Uncle Wilmont is an interesting guy. He collects bugs. He smokes strong-smelling tobacco. He tells funny jokes. He argues loudly with his wife. He's an old socialist whose passions never cooled. Now how do you use this fascinating character in a story You picture him in your mind and think real hard, but nothing happens. No story emerges, no matter how much you think. You're stuck. Where's the story Something has to happen to Uncle Wilmont. What you're looking for, of course, is a dilemma. To set a forest on fire, you light a match. To set a character on fire, you put him in conflict.
Forget about publishing your ideas to the world publish them first to yourself. Tell yourself what you're thinking. Write out what's on your mind. Write it down and you'll identify it, understand it, and leave behind a memory of what it was. Any writing task can be accomplished in more than one way, but the greatest gain will occur if you articulate in writing these possibilities. Exploring also involves limiting your options, locating the best strategy for the occasion at hand, and focusing energy in the most productive direction. It doesn't matter if you make outlines or lists,
What do you want to achieve Be specific. You don't want to write a sales letter. Anyone can do that. You want to write a sales letter that pulls in a certain number of orders. Whatever your intention, write it down. This programs your mind with a target. While you're thinking about your intention, let me reveal a new way to direct your mind to help you create powerful Hypnotic Writing. I've never discussed this secret before. Ever. You're reading an exclusive news bulletin here. Noah St. John is a dear friend, author of Permission to Succeed, and creator of a method he calls Afformations. Now, affir mations are traditionally positive statements used to program your mind. I am now wealthy, is an affirmation. I now write hypnotic copy, is also an affirmation. Noah says the why questions awaken the mind and cause it to seek out answers to make the question's hidden statement come true. So when you ask, Why am I now at my ideal weight , you direct your mind to find the reasons and the...
There is a limit, however, to the similarity between drafting and free writing. Free writing involves exploration and discovery your pencil should move wherever your mind pushes it. A draft is more reined in. You know, more or less, what you want to do, and the draft is an early version of an organized composition. Therefore you are not as free as in the exploratory phase. If you get into blind alleys in a draft, you must back out and set off in a new direction. The mistake will not be unproductive if it tells you where you don't want to be.
That's the image you probably get when you think of hypnosis. And you're right. Hypnosis is about getting you so relaxed that your mind, especially your subconscious, is more receptive to commands. Hypnosis is controversial but effective. It's been around since 4 B.C., and for good reason. It works. To understand Hypnotic Writing better, let's begin with a little history.
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