New Behavior Generator

1. Recall a situation where you felt unresourceful

2. Take a deep breath and physically step back
3. Evaluate the situation and select someone to model
4. See the model do the behavior brin! in model"s necessary behaviors only#
$. Self yourself doin! the behavior in conte%t
&. Ecolo!y check ' do you have any ob(ections to bein! that way)
*. +ssociate into it and do the behavior
,. Evaluate your new response
-. .uture'pace.
The principal of stretch/
01f you can2 you can"t .. and if you haven"t2 you must0
3hen you have an e%perience 4ie ne!ative family e%periences5 you are movin! from E6 to 172 which is
8isual to +uditory9 +nd that produces a ne!ative kinesthetic2 which is the 1S part of it.
1f you then shift the internal state you will in turn chan!e the E6 and 17.
V A K
1t moves ri!ht to left from 8 to : and clockwise from E6 to 1S.
Components of Effective Anchoring (Tape 4, 60min
1nternal
State
E%ternal
6ehavior
1nternal
7ommunication
' ;urity of the state accessed
' 1ntensity of the state accessed
' Timin! of the anchor
' <ni=ueness of the anchor
' +ccuracy of duplication
' The key to settin! an effective anchor is the elicitation of states
!ntensit" increases over time#

Circ$e of E%ce$$ence
1. 1dentify e%cellent state
2. Set up the circle of e%cellence > use trance words to elicit that combination state and
put it inside the circle2 ?it lives there@
3. Elicit a color for the circle. Ather submodalities that happen when they associate into
that feelin! warmth2 sound2 etc#
4. Bave them step into the circle2 and anchor the e%cellence into the circle
$. +s they step out2 break their state because the circle is !oin! to be the pure emotion#
&. Bave them step into it a!ain2 and out to test.
*. 1dentify desired conte%t > where do they want more of this state)
,. 7hainin! > 7ollapse and inte!rate the anchors. Bave them access a problem state2
lead them into the circle2 tell them to be in that conte%t but with the new resource
available
-. Test it a!ain2 with different event2 future pace.
1
n
t
e
n
s
i
t
y
Time
Changing &ersona$ 'istor"
1. 1dentify problem state
2. +ccess and anchor problem state stay at fairly superficial level#
i. separator state#
3. Test problem state anchor
i. separator state#
4. 1dentify resource state the resource is directly relevant to the problem#
$. +ccess and anchor resource state
i. separator state#
&. Test resource state anchor
*. 1nte!ration fire resource anchor first2 then problem anchor.. ?Take these resources
into this situation#
,. Test inte!ration
-. .uture pace
C+D ;R1D7E
(eta (o)e$
' Eeleted unspecified thin!s
' 7ause'effect
' Fost performative
' <nspecified verbs
' DominaliGations
' <niversal Huantifier
' 7omparatives
' Iodal Aperators of Decessity and 1mpossibility
?1 have a !ood relationship@ '' 3hat does that mean) Bow specifically are they relatin!)
3ho is relatin! to whom) 1t is !ood accordin! to whom)
<niversal Huantifier > ?+ll women make men craGy@ > 1t takes a specific that can be
=uantified and !eneraliGes it out.
Iodal Aperators of Decessity and 1mpossibility > ?1 must do somethin!@ or ?1 could never
do somethin!@
7omparatives > ?1Jm doin! badly@ '' 7ompared to whom)
Fost performative > Ieans the performer is not there. KouJll see parents do this. ?1tJs
necessary to be polite@ '' 1tJs necessary for whom) ;olite is a nominaliGation.
?Those people are awful@ > 3ho are those people) +nd to whom are they awful)
?Thin!s are !ettin! me down@ > 3hat thin!s) Bow specifically are they !ettin! you down)
?The sales team is not functionin! well@ > 3ho within that team specifically)
?1 had an DF; session@ > 3ith whom)
?1 did poorly@ > ;oorly compared to what)
*etting +sef,$ -,tcomes
Somethin! that they want that is perhaps undesirable ie killin! mother in law
Ar2 fi!urin! out how to move from Dew Kork to .lorida
1# 3hat specifically do you want)
2# 3hat will that !et for you)
3# Bow will you know when youJve !ot it)
4# 3here2 when2 with whom)
$# 3hat else will improve)
&# 3hat resources can be applied)
*# 3hat are the first steps)
Nomina$i.ations
' 7an you put it in a wheelbarrow)
' 7an you hold it in your hand)
Thin!s endin! in >ship2 >ion2 'ence2 'ity2 'ment are usually nominationaliGations.
Thin!s that you can put ?on!oin!@ in front of are nominaliGations.
3e know we have a nominaliGation if we canJt make a concrete verb or noun structure out of
it9 3e donJt have a clear picture of it ...
DominaliGations are abstract ideas9 8erbs froGen in time and bein! used as nouns.
There is an ?on!oin! relationship@ > nominaliGation. 3e all a!ree that ?freedom@ is !ood.
3hat is freedom) 7an you hold it in your hand)
Ather nominaliGations/ understandin!2 knowled!e2 the economy2
?learnin! disability@ 9 double nominaliGation. 1n what way am 1 not specifically able to
learn2 and what am 1 not specifically able to learn2 and in what way specifically are you
tryin! to teach me that is causin! me not to be able to learn)
?alcoholic@ > but what specifically are you doin!) There is an actor but no specific action. ?1
have alcoholism 9@ 1 have it2 so 1 can also !et rid of it. ?1 am an alcoholic@ comes down to
identity level2 how can 1 !et rid of who 1 am)@
?obsessive compulsive@ > itJs a concept .. itJs a label .. thereJs a definition but itJs not very
specific. ?Kou have obsessive compulsiveness@ 9 Ak2 so lets take ?it@ away. ?Kou .. act in a
specific way .. to !et specific results .. how often)@
?accomplishment@ > who is accomplishin! what specifically) Bow did they do it)
When someone uses a nominalization and then gets into more specific detail with it what is
the shift in their physiology? What is the shift in their internal state? What is it like for them
to go from vague to specific?
7B+RFES .+<F:DER
DominaliGations are both processes that are bein! used as nouns2 and states encompassin!
tons of different thin!s# that are used as a noun. 7an you hold happiness in your hand)
Nomina$i.ations / processes into nouns.
motivation freedom knowled!e !enerosity compassion
wisdom balance intelli!ence satisfaction chan!e
e%cellence production security mana!ement or!aniGation
performance resources resolve discipline economic success
achievement creativity vision spirit resolution
curiosity welfare clarity precision in=uisitiveness
solution drive well'bein! confidence success
coura!e inte!ration serenity enthusiasm collectedness
economic spirituality e%perience health wellness
balance intelli!ence motivation challen!e relationship
*tates
e%citement respect fear love trust an!er honor patience
happiness tenacity
&rocess 0or)s ' non'specified verbs
know e%perience connect understand remember think
!o wonder believe transform help work
!ive learn solve relate fi% connect
e%plain belief effort eat live send
relate learn discover become aware of sense !row
develop unfold find
Non1*pecifie) No,ns
people they it them place environment thin!s certain situations
sensations
Non1,sef,$ nomina$i.ations/ Eepression2 neurosis2 alcoholic2 frustration2 learnin!
disability2 addiction2 over'reaction2 (ud!ment2 stupid2 evil2 syndrome2 paranoia
?1tJs the clientJs responsibility to be as specific as possible and for the hypnotistJs
responsibility to be as !eneral as possible@
?Kou could thin2 about2 you could go2 you could wor2 with2 you could he$p "o,rse$f2 you
could get connecte) and ,n)erstan) that by remem3ering the e%periences that you like
and that you $earn from you could so$ve new problems in new ways.@
?+s you find your way back to a seat that is most comfortable for you2 allow me to invite you
to think back over this mornin! 9 and notice which e%periences ... touched you2 related to
you2 stand out in your mind ... and of those e%periences what learnin!s you want to keep2 that
you want to remember2 and take forward into future memories2 and occasions2 chan!es in
ways you want to be9 and this too is somethin! that makes it possible.@ ;rocess
instructions.
?Kou have certain abilities9 knowled!e that you brou!ht here. +nd you have natural
resources and curiosity2 and while you wonder which of those applies most2 1Jd like to
su!!est that itJs also your coura!e to take part of this course that makes it possible for you to
!et even more than you ima!ined out of this course.@
4,t,re &ace
1# Lo thru previous knowled!e and e%periences
2# ;ick important ones
3# .ind a placeMtime in the future and apply it.
4#
?3hat would you like to know that would make a difference in what you could achieve2 what
you could create2 and what you could make possible for your family) 1 want to know that.. in
the ne%t couple days.@
?3hat would you want to 2now2 that would allow you to )o more of whatJs important to
"o,)@
?1tJs so !reat to see a !uy who is willin! to play2 and be part of the class. That kind of !o for
it !oes many places. 3here would you like to !o)@
AB*T5ACT
+(& (ETA (-6E7 (!7T-N (-6E7
E1START1ADS 7onnections ;ossibilities
EEFET1AD Fimits ;ermissions
LEDER+F1N+T1ADS Specific Eetails Leneralities
*EN*-58 E9&E5!ENCE
<I; O <niversal Iodelin! ;rincipals.
7harles .aulkner e%plains this model on Tape 112 *$ mins.
CA+*A7 (-6E7!NG
' +nd ... +nd ... +nd9 The brain says ?these belon! to!ether@#
' +s2 after2 while2 before
' Iakes2 causes2 produces2 results in
: The structure is ... you !et them !oin! with ?and9 and 9 and9 as while you do this 9@
then and only then do you say ?and this can make it possible for you to make new results in
your life.@ 9 Anly then you do the connection.
Erickson/ ?KouJre sittin! in that chair2 and youJre noddin!2 and youJre listenin! to my voice2
and youJre wonderin! about how this could be important for you.@
?6efore 1 say the ne%t thin!2 you can wonder how important it mi!ht be even as 1 tell you@
Eric2son/ 0Kou remember the other day when we met in the park)0
0+nd you were lookin! at all the thin!s in the park...0 puts his hand up in the visual
accessin! area#
0+nd 1 told you that you would learn somethin! very important...0 +uditory Remembered#
0+nd so 1 want you to !o to those feelin!s2 and drop into trance...0 Era!s hand from 8 to +
to :#
''''''''''''''
1"m curious how easily you can understand nods head# and you can let me know ... do you
know how to let me know that you know the word no know#) That"s not no...
'''''''''''''''''
0Dow0 and 0Bere0
'''''''''''''''''''
.R+7T1AD+T1AD
This2 .. that
Bere ... There
+ part ... another part
7onscious mind .. <nconscious Iind
Dow .. Fater
''''''''''''''''''''''''''
Kour unconscious mind is allowin! you to/
' 6alance yourself from side to side
' ?.acin! here and focusin! and attendin!@
' Takin! bits of sound and interpretin! lan!ua!e
' 6eatin! your heart
' 6linkin! your eyes
' +nd make sense of each word even as 1 stop sp....
1 Stay still as the earth spins and moves around the sun9
' Erickson would tell people to do lots of thin!s9 ?Bave you climbed that mountain)@
?Bow soon will you find yourself doin! that)@
' 1n his later years he had a stroke so he would hold up his head9 and say stuff like2
?Take time talkin! 9 to each 9 of both of you 9 can know2 you know more than
you know2 do you not)@
?0or)s )on;t change peop$e, e%perience )oes#@
' Huotes and reverse =uotes
' 3hen you are talkin! to someone about somethin! ne!ative2 point away from them9
+nchor bad =ualities to a space. Kou can anchor emotions to people usin! =uotes and
then lookin! at them. Tape 112 $P mins#
' ;ractice noticin! what states people are in and where you are anchorin! thin!s.
0Sure2 Erickson was !reat2 but each and every one of both of us are two one with the
possibility of bein! e%ceptional0
?Bave you ever seen 9 water) Bave you seen the rain) +nd a drop of water2 in a leaf on the
rain2 as it slowly makes it way down the leaf2 all the way to the bottom2 until it han!s on2 and
han!s on2 until it drops into trance9@
?3hat are you not thinkin! about now)@
&res,ppositions
Awareness > know2 realiGe2 aware2 notice2 reco!niGe
Time / before2 after2 durin!2 while2 prior2 when2 since
A)<ectives an) A)ver3s (1$" > fortunately2 luckily2 actually2 wisely2 =uickly2 visibly2 slowly2
merely
Tag =,estions ' donJt you2 didnJt you2 have you not2 canJt you2 arenJt you
-r)ina$s / .irst2 Second2 Third
111111111111111111111111111111
-rgan 7ang,age (from 4rit. &er$s / heart2 !ut2 hand2 neck2 !rip2 foot2 si!h2 choke2 release2
?it strains me@ ?1Jve !ot to put my foot down@ ?havin! your feet securely on the !round@
(ar2e) (essages > Iarkin! out words in a sentence that you want people to pay attention
to. 7an be done with their body2 head movement2 or voice tone as well.
?Dow2 1 donJt know if you know what you donJt know. 6ut you donJt know what you know 1
know2 donJt you)@ ?Do@
Am3ig,it" > ;unctuation
Sentence 1 > 3ARE
3ARE > Sentence 2
&hono$ogica$ Am3ig,ities
DoMknow
;atientMpatience
EntranceMin trance
+voidMa void
Sense M sensible
?:nee'd@
?+ part of you knows this is makin! sense and another part of you knows that itJs sensible to
rela%@
?1 !ot up this mornin! and 1 was !ettin! stuff and 1 realiGed 1 didnJt have my 3+T7B fin!er
as it leads towards this other sentence9@
?Take myM1 hand it to you@
?+nd now dream a dream of inte!ration. +n unconscious conscious dream of ima!es and
feelin!s and ideas9 Ane minute of clock time2 all the time in the world for your unconscious
mind.@
' Bow you learned to drive > difficult tasks become automatic and unconscious.
Awareness pattern e%amp$es
?Eo you realiGe that QQQQQQQ)@
?Kou realiGe9 youJre already doin! this naturally9 and itJs only a matter of findin! out
how.@
?+re you aware yet 9 how you could use these patterns)@
?1Jm curious to know if you realiGe 9 the impact theyJll have@
?3hat would you need to notice 9 yourself !ettin! better at this)@
?+nd you know how pleasin! satisfaction feels2 do you not)@
?KouJre aware of understandin! on many levels 9 and with that you can become aware of a
warmth2 and satisfaction2 and curiosity be!innin! to build inside 9 you donJt have to
acknowled!e it2 itJll (ust continue on itJs own@
?3ell before we be!in2 lets have a chat. +re you comfortable) +re you aware youJre
comfortable) +nd as you feel more of that comfort 1 wonder what other awarenessJs9
curiosity9creativity9 mi!ht also be comin! to mind2 and body9 1 donJt know2 but your
unconscious mind does.@
Someone stiffens in the chair9
?+nd youJre aware you know how to stiffen your body2 and you can feel that thorou!hly as
you wonder what youJre !oin! to feel ne%t.@ ThereJs a truism2 they have to feel somethin!
ne%t.
TAI 6EST
?Take a deep breath and e%hale your mind@
+uditory Ei!ital is usually spoken word. 1E talkin! to yourself2 or the last time you heard
someone talk to you on the phone.
8isual 7onstructed is also disassociated ima!ery. To see yourself doin! somethin!2 you must
do visual construct.
E%ercise > <se someoneJs eye accessin! cues to determine which modality you will speak in.
The person who is accessin! uses no sensory based words and it is the (ob of the other person
to feed them back sensory based words based on where the eyes went. The other person then
watches where the eyes !o2 they put their eyes there and !esture there2 and they use the
lan!ua!e. Iatch and mismatch.
*trategies
?+ se=uence of internal and e%ternal representations that leads to a particular outcome.@
Eivided into 3 ma(or cate!ories > Eecision2 Iotivation2 and Fearnin!.
Specific strate!ies include/ Iemory2 Rememberin! Dames2 Spellin!2 7reativity2 .le%ibility2
Sports2 etc.
T-TE se>,ence
Test ?Bow do you know to be!in decidin!)
Aperation ?Bow do you !enerate alternatives)@
Test ?Bow do you evaluate alternatives)@
E%it ?Bow do you select which alternative to take)@
.or the ?makin! a decision what to eat at a restaurant strate!y@/ in this personJs strate!y#
Aperation > you read the menu. The other component to !eneratin! alternatives is cyclin!
back to the be!innin! of the strate!y#.
Evaluate M 2
nd
Test > + !ustatoryMkinesthetic feelin!.
E%it > ?.eels ri!ht.@ Ends on :inesthetic.
The Criteria is )eci)e) 3efore the T-TE even 3egins, however it is incorporate) into
the strateg" when )eci)ing what to )o#
' Dotice which parts of a strate!y are recursive loops. Bow do they know how to evaluate the
alternatives)
6i$ts; Ne,ro17ogica$ 7eve$s (8ideo 1*
Spirit
1dentity
6eliefs 1S#
7apabilities 17#
6ehaviors E6#
Environment
GE- / Goa$, Evi)ence, -perations#
Goa$ > 3hatever your !oal is. The bi! chunk.
Evi)ence / Bow will you know when youJve achieved your !oal) 3hat will you see2 hear
and feel that is different)
-peration > 7reatin! the evidence of havin! achieved the !oal. 3hat are you doin! to
achieve it)
' Kou are tryin! to create the evidence to achieve the !oal2 and the way you do that is by the
operations.
GE- e%amp$e? &,3$ic *pea2er
Loal/ 1 want to be an effective public speaker.
Evidence/ 1Jll be able to see a hundred people 8#2 1Jll feel comfortable in my body :#2 1Jll
be able to say to myself 1Jve been successful +d# and 1Jll hear compliments from the !roup
afterwards +c#.
Aperations/ 3hatever you actually do to achieve that.
Two states that Grin)er $i2es/ Lrace and ;ower. Tape 1,+#
STE8E +DERE+S
8isual system > wonderful for presentin! a hu!e amount of information simultaneously2 you
can chan!e a picture very =uickly.
+uditory system > Se=uential. 1tJs like findin! somethin! on a tape2 you have to fast forward2
rewind2 etc2 to find it.
:inesthetic system > lasts lon!er. 1f you !et tired or an!ry2 your body has already had the
chemicals there and it has to burn down before that emotion fades.
:inesthetic system divisions/
' Tactile/ skin sensations.
' ;roprioceptive/ internal sense > rela%ation2 softness2 muscle sense that tells you where
your body is. :nowled!e of yourself.
' Evaluative kinesthetics > feelin!s or emotions +6A<T thin!s.
o Ieasures of success. + person ?feels better@ about a chan!e.
o 1f you try to chan!e feelin!s directly itJs hard. Somebody insults you and you
try to chan!e the feelin!s > thatJs hard. 6ut if you chan!e your evaluation
about the feelin!s2 that will chan!e the feelin!s a lot easier.
' + person who focuses a lot on their feelin!s on emotions typically is a lar!e chunker
> and they lump thin!s to!ether. The plus is that they have stron! unification across
conte%ts.
' 8isual is a way to take the world apart and to small chunk. En!ineers and scientists
are notorious small chunkers.
' There is research to su!!est that most people canJt think without movin! their hands.
' Try to describe a spiral starcase without usin! your hands9
Ana$og an) 6igita$ 6istinctions / +nalo! is a sine wave2 you can be at any point amon! the
wave. Ei!ital is a stairstep2 you are either on or off.
.or our convenience we sometimes make analo! thin!s di!ital. .or e%ample we say there is
red and then there is oran!e. Bowever if you look at the spectrum it is very hard to say where
oran!e ends and red be!ins. Ar ?child@ and ?adult@ is a di!ital. 3here does the child end and
the adult be!in)
(a2ing a pict,re transparent > <sually makes it less real.
' 3ith most people2 as a picture becomes lar!er2 it tends to at first increase with intensity but
then it will hit a certain point where the ?humor@ or ?non reality@ kicks in and that feelin!
will instead intensify with the siGe.
Sub(ective one personJs# differences between a resource and problem state/
;roblem State R Resource State
6lack S 3hite R 7olor
6lurry R 7lear focus
Ti!ht R 3ide open
Iuffled R ;anoramic sound
Slow tempo R Real time
Boldin! breath R Eeep breaths
' Sometimes when you chan!e one submodality2 other ones will be affected as well2
sometimes in different rep systems.
1. 1dentify problem state
2. 1dentify resource state
3. 7ontrast submodalities and test
4. Iap across submodalities you donJt chan!e content#
$. Test ad(ust#
&. .uture'pace
' 7ocation inte!rates all three ma(or modalities and location is a very powerful
submodality. + lot of times you can chan!e location and it chan!es everythin! else.
' *,3mo)a$ities have two f,nctions/ To draw your attention and to provide
information. + bi!!er picture has more detail in it.
&ho3ia C,re
3 place dissociation. Kou see yourself on a movie screen2 then you float above into a movie
pro(ection booth and you look at yourself. Kou are on the screen2 in the chair2 and in the
pro(ection booth.
;ut a piece of ;le%i!las on the pro(ection booth window.
1. Rapport and .ramin!
2. ;hobic State
3. 3 place disassociation
4. 6M3 movie from start to end
$. 3ith a still picture2 run backward in color from end to start very fast
&. Testin!Mfuture pace
*. 7aution in the future
' Reach out with your hands2 !rab the movin! picture2 and stop it with your hands. Lrab it
and stop it hard2 and as you stop it turn it into a still ima!e.
*wish &attern Tape 2P#
1. 1dentify visual cues that occur ri!ht before the unwanted behavior.
2. Iake a bi! bri!ht associated ima!e of what you see (ust before the behavior be!ins
3. <se a lon! list of the positive benefits 4secondary !ain5 of the old behavior and
associate those into the cue ima!e.
4. Iake an ima!e of havin! evolved beyond this difficulty2 one or two steps beyond
where you are now. Cust as you no lon!er ride a tricycle2 there are some behaviors that
you (ust donJt do anymore. This new person has the capacity2 the capabilities2 the
=ualities9 +ssociate very !eneral non'specific behaviors like this to the new ima!e.
Bas many ways to rela% or please yourself2 has additional choices other than eatin! or
smokin! or whatever else. Bave an additional positive characteristic built into this
ima!e that contrasts every characteristic that is a positive secondary !ain from the cue
ima!e.
$. Iake sure that ima!e is realistic or human and that itJs attainable. The ima!e needs to
be possible so you can be drawn to it2 ?this is who 1 can become in reality.@
&. The new ima!e stays dissociated. 1f you make an ima!e about yourself as evolved
and then step into it you have nowhere to !o or aim towards.
*. The new ima!e is non'conte%tualiGed2 and you want it to !eneraliGe across conte%ts.
,. 7on!ruence check. ?Eo you have any ob(ections to becomin! this person)@
-. Iake a bi! associated ima!e of the cue ima!e2 then within that ima!e a very small
dark spot2 and that is the ima!e2 dim and dark and small2 of the you of the future.
1P. 1n the swish2 the cue ima!e !ets smaller and darker and the new ima!e !ets lar!er and
bri!hter2 very very rapidly.
11. 6lank the screen.
12. Repeat previous step $ times. Iake sure you only !o in one direction.
' Kou can do the swish in all representational systems but it is easiest to teach in the visual
rep system.
Iy understandin!s#/ The swish pattern involves not !ettin! rid of fear entirely2 however it
involves findin! very borin!2 dim2 distant ways of feelin! afraid2 and thus frees up the
circuits for other uses. The other use in this case will be the resource state comin! into it.
The cue ima!e starts out and stays associated meanin! that it is real throu!h past
e%perience#2 and the resource state starts out and stays dissociated. Thus the fear never
completely !oes away it only !ets very insi!nificant. The reason the resource state is not
associated is because you want the person to have a !oal to move towards2 and if you
associate into it2 it si!nals that it has already happened.
The swish pattern is a meta'statin! process2 meanin! that the resource state only
brin!s new resources into an already e%istin! situation. The new resources an overlap2 a
meta state# are overlayed onto a back!round of a now dim and distant and borin! fear that no
lon!er dominates the focus. 1f any of this is confusin!2 stick to +ndreasJs steps and
e%planation.#
Iy friend puts it like this/ ?1f you are in a situation where someone is threatenin!
your life2 and you anchor a state of happiness to it2 then you can !et someone to seek out
stupid amounts of dan!er2 but if it is dissociated as a meta state then its the awareness that
you have this potential for happiness in all situations2 includin! this one. 1tJs the difference
between2 1 am resourceful when 1 am afraid2 and 1 can be resourceful even when 1 am afraid@
'''''''''''''''''''''''''''''''''
' +lternatives to siGe and bri!htness/ color and distance. Tape 22#
o ;ut the pictures side by side2 the cue starts out bi! and in color2 the problem
ima!e starts out small and in black and white2 and they do the same swish.
o + reference > pullin! on a pulley2 whereas if you pull on the pulley one !ets
farther away and one !ets closer.
C+D ;R1D7E
6reakin! rapport > =uestions for dealin! with incon!ruency
' 3hat is it that you wanted by sayin! or doin! that)
' Bow did you want me to feel as a result of what you (ust said)
' 3hat did response did you want by sayin! that)
' 3hat are you TRK1DL to communicate)
Reccomended readin!/ Tape 2*#
' 1nfluencin! with 1nte!rity by Lenie N. Faborde
' The color purple fiction#
' Systems of Survival by Cane Cacobs
' The .ifth Eiscipline and .ield 6ook# by ;eter I. Sen!e
' The ;sycholo!y of Self Esteem and The Eisowned Self by Dathaniel 6randen
' Strate!ic Thinkin! and the Dew Science by T. 1rene Sanders
' Iar!aret 3heatley