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Vample Blog - Self Improvement, NLP Hypnosis
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Category — NLP Hypnosis

Embedded Metaphors

Embedded Metaphors
Embedded metaphors tell the audience: You don’t have it all yet.
To maintain the audience’s interest and attention so they remain
open to learning new things, you must let them know that they
don’t have all the information yet: there is more to come, things
are still open. They have some pieces, but they don’t know every-
thing there is to know on that particular topic - yet. And you will
continue to have their attention until they think they have the
final piece.
We call this process of setting things up such that the audience
knows, either consciously or unconsciously, that they don’t have it
all yet, opening loops. Thinking you know everything there is to
know about something is really not a useful place to be because it
prevents you from learning more. Opening loops prevents prema-
ture closure.
One way that we use to keep the audience open and anticipating
more, so that they are taking in everything you have to say, and
wanting to know more, is by telling stories - but in a special way,
which we call embedded metaphors or nested loops. We recom-
mend that you incorporate these into your own trainings and

April 6, 2009   No Comments

Eliciting States

Eliciting States
As a presenter, you will always be eliciting states within an audi-
ence. At every moment they are going to be in some particular
physiological and emotional state, and this will affect how they
are paying attention to you, how they are learning, and so on. But
are they in the states you want them to be? As the presenter or
trainer you want your audience to be in the ideal state for receiv-
ing and processing the information you are offering them. It is
your job to make sure that they are in the most appropriate state,
your responsibility to know how to do this.
The people in the audience are not there as neutral information
collectors. Once you have rapport with the audience, you can then
lead them through a whole series of different states. Unless your
style of presenting means that you want your audience in a state
of total passivity and boredom the whole time, you will want to
maintain their interest throughout your training or presentation
by providing variety and richness in the states they are in: low,
quiet, meditative, thoughtful states, or high, energetic, excited
states; states of curiosity, great motivation, and so on. Working
with states means you will be fully engaging your audience’s
interest as you take them on a rollercoaster ride through a range
of emotional feelings.

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Non-Verbal Patterns of Communication

Non-Verbal Patterns of Communication
When first presenting and training, people often wonder what to
do with their hands. Hands seemed to have a life of their own,
and were distracting to us, as well as the audience. Do we put
them in our pockets; hold them rigidly down by our sides; hide
them behind our backs, clutching a board marker; or do we clasp
them modestly in front in the ‘figleaf’ posture?
We found the answers by studying the Satir category patterns.
These five non-verbal patterns of communication are specific pos-
tures and gestures that involve your entire body, including your
hands. Each has an accompanying voice tonality. These distinc-
tions come from Virginia Satir - one of the models of excellence
studied by the originators of NLP. She was a family therapist who
developed an effective ways of working with whole families
together. She described four dysfunctional ways in which people
communicated. The fifth one, the Leveler, was added later.
Each category seems to have cultural associations, so adopting
one particular physiology will trigger not only a certain state
within you, it will also create a certain state within your audience.
They are international; they work across cultures. We know this
because we train people, including NLP trainers, from all over the
world. Since learning these Satir categories, they report that using
the categories works very successfully in their own countries.

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Dealing with ephemeral information

Dealing with ephemeral information
There will be times when you are drawing out or collecting infor-
mation which you need to have in front of you before you decide
what to do with it. Now, you might not necessarily want the audi-
ence to remember the information. You are just using it in order to
move on to the next stage. Suppose, for example, a problem has
arisen for the group. As they tell you about the current problem
situation, write the details on the flipchart. Then tear off this
‘problem sheet’ and put it up on the wall. Next, start working on
possible solutions, and write these on a new flipchart. This is what
you want them to remember. The problem is now associated with
the sheet on the wall, and the solutions are associated with the
flipchart. Then, you can reach over and take the problem sheet off
the wall, and throw it in the trash bin. Metaphorically you are say-
ing: “We have handled the problem. Let’s focus on the solution.”
Remember that everything you do communicates something.
Everything. Even if your audience is not consciously aware of
what you are communicating - you are still communicating to
them. They will be aware of the fact that you have just wadded up
the problem and put it in the trash, and that will have some key
associations for them, at some level of awareness.

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Using OHPs

Using OHPs
If you are using the overhead projector (OHP), is it better to reveal
the information all at once, or to cover part of it, and reveal it
stage by stage? - We no longer use OHPs at all. We use Power
PointR”‘, which means you can put the bullet points up separately,
one at a time. If you must use OHPs, put only one point per slide.
The important thing about using flipcharts or OHP slides is that
you put on the flipchart or slide only what you want the audience
to remember. For example, the charisma pattern structure in
Figure 12.2, is about as much as we would ever put on a slide or a
flipchart. No more than that, because what is on the slide is just a
visual trigger or reminder for the information, rather than convey-
ing the information itself. If you want the audience to have vast
quantities of facts and figures, give them printed handouts.

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Owning the stage

Owning the stage
When you are doing any kind of presentation, it is important that
you have a sense of ‘owning the stage’. Whether you are the first
or the tenth presenter on, when you get there in front of the audi-
ence, you have to own the stage. You have to convey to them:
“This is my place. I am at home here. I own it.” It helps ownership
to have made sure you have the stage set up exactly the way you
want it. So when you walk on stage, physically pick up a lectern,
put it over on the side, walk back to the centre, and then start off,
you have conveyed unconsciously to everyone in the group, “I am
in control. I am going to create the space that I want, in order to be
who I want to be. If I am behind a lectern, I’m not going to be in
the state I want to be in”. You might say: “OK. Do you want me to
speak here or not?” Having it the way you want it is important,
because when you have that, you can then own the space.
Before the audience arrives at your presentation take the time to
get comfortably familiar with the stage, and the surroundings, so
that you can be ‘at home’ there. ‘Walk the boards’. notice where
everything is, both on stage and in the auditorium. Sit in the audi-
torium, stand at the back, so you know what the audience will
see. Notice any ‘dead’ spots, and find where the most powerful
spot on the stage is. Even before you start, stand where you are
going to be presenting on the stage, and fill all the space with your
energy, of the appropriate quality. Expand your energy field to
fill the entire space, so that it is part of you.
Tad recalls, “Our major learning in this came from a training we
do in Hawaii. We start with an ancient Hawaiian hula ceremony,
and some of the hula dance performers are just four or five years
old, and many of them are in competition. There was one little
girl, about five, who was technically perfect at the hula, but she
had been getting only second or third place in the international
hula contests. So I spoke to her hula teacher and said, ‘There is
only one thing she needs to do. And then she will win every sin-
gle competition she enters. She is technically brilliant, but the only
thing she isn’t doing yet is owning the stage. She is there, doing it
perfectly, but the space isn’t hers.”‘
The next time we saw this girl dance, about three months later,
she came on and owned the stage. As she walked on her whole
presence gave out the message, “This is my stage. You are going
to watch me. I deserve all of your attention”. And she got it. You
could sense the energy shift in the audience instantly. Since then
she won her hula competition and a number of others as well -
because she now owns the stage.

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