DESARROLLO PRÁCTICO Y EXPLOTACIÓN DE LOS RESULTADOS

CAPÍTULO 3. VALIDACIÓN DEL PROCEDIMIENTO DE GESTIÓN DE INCIDENCIAS

3.5 DESARROLLO PRÁCTICO Y EXPLOTACIÓN DE LOS RESULTADOS

to Put Any Story Together to Guarantee a Total Hypnotic Blockbuster

Igor: So how are you doing? I appreciate your bearing with me. I know it’s been a hard afternoon. We’ve really been working it. The first thing I want you to realize – and I want you to give yourselves a nice big round of applause for this in a moment – is that you have invented over 32 stories like that. Who feels good about that?

Anyone feel a bit stretched, a little used and abused right now?

Student: Like an electric panel with fried components throughout.

Igor: Is that a metaphor, I’m hearing? You should now be in a position to kind of notice that storytelling is relatively easy, isn’t it? Even telling good and interesting story’s is relatively easy. It requires energy.

Would it be fair to say that you used up energy?

Students: Yes.

Igor: Would it be fair to say that I have proved my point along the lines of storytelling is a state of mind, and also that the more you practice it, the easier it becomes? I mean, sure, there’s fatigue involved in that too, but practice just makes it easier and more natural.

Of course, the biggest one of them all, it’s not you. Who’s beginning to understand what I mean by that now, anyone? It’s not about you and as soon as you get that out of your head, the better it will be. So far we’ve got

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What I want you to think about in terms of those plots lines is you can use those things in many different ways. Just like the archetypes of forces that shape a story. And we have the performance element with four basic qualities that allow it to come to life in terms of the story. The 20 plot lines can either be the story or be part of the story.

How many stories have a pursuit or a chase scene inside them, although the entire story isn’t just a pursuit? How many stories start with a discovery, which then leads to some kind of quest? Maybe there’s a love interest in there somewhere. So not only are these plot lines entire story packages, they also can be mini loops that can bring your story forwards. In other words, they can be used within your story as a sub-routine to enrich that as well.

How would you like to have the story of all stories? As one would say one myth to rule them all and in hypnosis bind them. Yes, it’s the Lord of the Rings story. The story that I’m referring to that a lot of people are already familiar with or at least the concept of, and it’s been alternatively known as the monomyth or the hero’s journey.

Who here has heard of Joseph Campbell? He’s an anthropologist or philosopher. He wrote a very influential book in the 60’s, maybe the early 70’s, called The Hero’s Journey. He made it his life’s work to investigate myths and legends around the world and began to notice there’s a theme, a pattern that all these stories go through.

The word monomyth came from I believe James Joyce, Finnegan’s Wake, but he borrowed the term monomyth to say there is one myth, one story that underlies every other story. From Aladdin and the 40 Thieves through, to the collapse, bearings or anything like that. So to the extent you understand the monomyth, you understand the things that the unconscious mind is responding to.

When we talk about the monomyth, by the way, I want you to realize that you don’t have to have every single element in place. The sequence doesn’t

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The first thing we need to look at – and as hypnotists, I think we’ll have a unique appreciation of what this is all about – is the idea of realities. In the monomyth, we have essentially two realities. We have the normal everyday world, the mundane, the world of socks and showers and feeding dogs with vengeance, and then we have the other world, the one where magic can happen, where amazing things happen and the world where we pause to answer the call.

You should know that usually I answer those phone calls. It is a timer?

That’s a shame. I could always call someone for you just as a little revenge plot line. No, I’m not your husband. Yes, he’s gone off with someone else.

Well, something else at least.

Okay, we have the normal world and we have the other world. Now typically what will happen in these stories – and if you think about it, most stories kind of work this way. There will be some kind of resistance as our protagonist, our hero and main figure makes his way from one world to the other.

There’s inertia. They like to stay in the normal world. They want to stay there. That’s where all unknown is scary, it’s risky in some way it’s uncomfortable. So they have to somehow enter the new world, but there is some barrier or problem penetrating it. Does that make sense?

Then stuff happens here. Usually, it’s good stuff at the end of which they’re going to have to come back in some way, even though they may not want to. Again, there’s going to be some kind of resistance of some difficulty making the transition back again. Do we have any hypnotherapists in the room? Does this look familiar to you?

The hero’s journey is another way of understanding how hypnotherapy works. The PCAT formula is another way of understanding the hero’s journey. These are, shall we say, some kind of a fundamental cycle of how people work. I won’t go as far as saying, it’s how the universe works,

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This is the essence of the monomyth. All the stories you’ve been telling today fit that category, don’t they. Essentially, at this point in the middle – isn’t that the break? Don’t we typically resist the break in some way? We try to pretend it’s not there or ignore it, and it comes snapping at our heels and it happens anyway. Does that kind of make sense?

So the way Campbell calls it is he alls it the departure. We start here and we’ve got to separate ourselves, we’ve got to depart from normal reality, but there will be resistance. So there’s our opening act, opening scene. The hero has to start in a normal world. Otherwise, we don’t have a contrast. If there’s not a contrast, then we don’t know how amazing this world that he’s getting into is.

Now, even if you’re starting with some kind of fantasy world, like a fairytale, the hero still starts in “normality” according to that world. Does that make sense?

The next phase is typically called the initiation.

When you actually get into this other world you’re initiated and invited into a whole new world where things happen. Finally, the return is called the return, where you have to be able to bring with you the new you and there will be resistance because the people that you meet when you get back home – you’ll be different and they won’t like it. Again, this is a perennial issue in hypnotherapy, isn’t it?

Has anyone here ever tried to change themselves for the better only to find that their family and friends start saying, well, you’re acting weird? Anyone ever have that? They push back. You maybe start being a little more interesting or charismatic or you dress a little different and they start censoring you. Well, do you really think you can pull that off? Do you see where I’m going with this? People who don’t know you don’t offer any resistance because they’re not trying to keep you the same in order to make you more predictable and so on.

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Conversational Hypnosis Mastery ©Street Hypnosis All Rights Reserved So the monomyth really speaks to how we experience life in the form of a story. There are many ways you can look at this. If you want we can happily look at the Campbell version. But, the version I’d like to run you through is a reinterpretation of Joseph Campbell’s version, which is very useful and famous.

There’s actually a book on this now by Christopher Fogel who actually came up with the reinterpretation. Christopher Fogel was one of the writers in lots of different studios, but the place where he came up with what’s now known as The Memo was when he was working at Walt Disney Studios.

He was so enamored with this whole monomyth idea of Joseph Campbell that he wrote a summary of it in a memo, and it made it around to all of Hollywood, and people got very excited by it. Basically, a lot of movies are based on those principles.

The classic one that everyone talks about, of course, Star Wars, is based on the monomyth. It has a lot of the classic maneuvers – pretty obviously on the surface, and that’s one of the reasons it works so well, or at least the first versions. I’m not going to talk about the second versions.

At the beginning of the whole monomyth, we have to set the scene in the ordinary world. It sets the context so we can start identifying with the hero and we understand that some kind of story-ness is going on. Does this remind you of something? Hint - hint. We’re in the ordinary world right now.

Typically, something will occur, a call to action, call to adventure, something that seeks to draw the hero out into the other world, which is, of course, in our example, it will be the break or the hint of some kind of break in our sequence.

If it were that simple, in a lot of stories does he go straight after it? Well, is it realistic? Little Johnny, 12-year-old; the government comes knocking on the door and says, okay, young man you’re going to save the world. Okay.

Does that feel like a story that’s going to be un-clichéd and full of depth and meaning?

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Conversational Hypnosis Mastery ©Street Hypnosis All Rights Reserved Or, is it more likely that the government man comes knocking at the door and says, we need you to save the world, and he goes, me? What the hell?

Which is the more realistic story, or shall we say which I the story you’re more likely to respond to? The second, right?

So part of what establishes the hero and as hero makes them a character that we want to believe in and follow and identify with is the very natural tendency to refuse the call. This on its own begins to build attention. We know there’s an ordinary world. We know that a different world is calling to him.

The call to action, to adventure, to some kind of greater purpose and initially there is a refusal. The refusal is necessary to establish his humanity, the frailty, create a little bit of tension and suddenly unconsciously we’ll start thinking that could be me.

How many times do we kind of want to change, but we kind of hold ourselves back at the same time? Then something happens that forces us to do it anyway, and then we actually arise to the challenge. Isn’t that a regular pattern in our lives? That’s being mirrored in the story. We’re being called to action to the greater versions of ourselves, but we’re afraid. It’s the unknown. We don’t know how to deal with it so we reject it initially. Make sense?

The refusal can be overcome in one of many ways. Sometimes it’s just forced on the individual, but typically we’ll have some kind of mentor figure that draws the hero and encourages them. Remember the mentor archetype from before? The role of the mentor is to get the hero to believe in themselves, to take the necessary action, to move from one world into the next.

Often it’s to prepare him for the rules of the next world. We’re giving him the tools he needs for that next world. Otherwise, how is he going to survive in that world? Does that kind of make sense?

Let’s use some classic stories or films that we know about as an example of this. Anyone here know The Karate Kid? It’s a classic, isn’t it? Who would be the mentor there? How does he prepare? Notice how most of the film is

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It’s kind of like a quest kind of story where the growth is the preparation. Do you notice how each of these segments can constitute the greater part of the story? You can focus more on the mentor relationship, and in the other ones the conclusion of the whole story ends up being the tail end or something.

Or, we’ll take something else. We just mentioned Star Wars a moment ago.

Who is the classic mentor in the Star Wars Saga? Obi-Wan, right? Yoda in the sixth film, I guess, in the series or the fifth. I don’t know, one of those films for the wrong number.

But notice how the mentor disappears very quickly in those films, doesn’t he? Obi-Wan is there for just a bit of brief screen time and then he dies.

Yoda does a bit of cool training, feels like a real Jedi, and then goes off and starts fighting. The action is not with the mentor. The mentor only prepares for the action. Does that make sense?

Now we’re in a position to let the hero loose in this other world. He’s going to pass the threshold. Now something like the threshold guardian is very useful because it is a test. The first test of the hero, the first real test is can he make it? Can he enter this other world? Again, a classic example, in The Karate Kid what is the threshold for the young kid? When he figures out when he’s waxing on, waxing off – that’s a little bit later. It happens before.

The point of the threshold is, is to show determination. The point of the threshold is to test the hero’s character.

In The Karate Kid, the threshold will be more the fact that he turns up and keeps training, even though it’s not really in his character. He’s kind of like this happy-go-lucky kid who you have a hint that he might not be the most reliable of kids, but suddenly he has discipline. Suddenly, he turns up day after day. How does he get tested? He doesn’t want to be there anymore.

He’s just painting fences. What the hell’s all that about? So there is a test involved in passing the threshold. Do you see how that works?

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The door was the mentor and it was the first threshold that we passed that moved us out of the initial sequence from the normal world, the whole refusal and all the rest of it into the second world. The second world was represented by the bathroom. Does that make sense?

The next phase is taking place.

Now we’ve made the transition. We’ve made the transition now into the alternate reality, right? So, you could think of it right now as so far we’ve focused on the trance induction, the problem the person comes with. This is their inability to deal with the problem. The mentor, is that in the whole hypnotherapy process? Any ideas? You! Or, at least the other you.

When they pass through the threshold that’s the equivalent of trance, I like this idea. I haven’t actually thought of this before. Let’s put this in the form of the PCAT formula. Would this not constitute the P of the PCAT formula?

What would the mentor constitute? Here’s a hint. It’s in sequence. C. The mentor is the one that facilitates the passing through the threshold. So this whole area here, the passing of the threshold and the mentor is the critical factor bypass, isn’t it? Does everyone understand?

What’s the next thing that happens in the PCAT formula? The A. We’ve got to access resources here. So, in terms of the monomyth, the big myth, what do we have? We have allies. We have tools or learnings. The hero has to collect skills. This is the phase, by the way, that you were referring to, Mickey.

This is when he discovers that painting the fence, passing the threshold, actually gave him the tools he needed. Make sense? Now he’s collected the tools, but he’s not used them yet, has he? He has no need for them yet, but they’re kind of cool anyway.

In Star Wars again, just to use it, what are the allies and tools and so on?

It’s the force, learning to use the force and the handing over of the light saber. It’s a symbolic transition, but do you notice how he meets the mentor, he gets the tool, then he refuses the call by not wanting to go on the adventure, and then he actually enters the whole world wholeheartedly? So

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The sixth is where he starts acquiring the tools. He’s just entered this new realm. In terms of a fairytale type story, he now enters the magic forest and instead of stepping on the caterpillar, it says don’t hurt me, and he goes oh, what’s this? Oh, I’m sorry, little caterpillar let me help you up. He’s just got a

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