Sb5 Easily C e I Experiences

Special Bonus #5
Easily Creating
Effective Imaginary
Experiences
by
Stuart A. Lichtman
Easily Creating Effective Imaginary Experiences
Copyright 2003 by Stuart Lichtman
All rights reserved. Reproduction and distribution are forbidden.
No part of this publication shall be reproduced, stored in a retrieval system, or transmitted by any
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This publication is designed to provide accurate and authoritative information with regard to the
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If medical advice or other professional assistance is required, the services of a competent
professional should be sought.
Also, the terms Cybernetic Transposition Basic Achievement Three-Step and Cybernetic
Transposition Super Achievement Three-Step are pending registration and are fully protected
names owned by Stuart Lichtman. They may not be used without his written permission.
2003 Stuart A. Lichtman, Santa Barbara, CA Page 1 of 19

Creating Effective Imaginary Experiences

This is a very key basic skill required to effectively do the Super Achievement Processes. For
some people, its easy and natural. For others, its a skill that must be learned.
There are two primary aspects involved in easily creating effective Imaginary Experiences.
Start with your dominant perceptual modality and fill in the blanks after you establish a basic
Imaginary Experience.
Start with familiar and easily imagined experiences, modify them in familiar and easily
imagined ways and assemble them into new and unfamiliar whole.
Ill address each of these aspects in this Special Bonus, in turn.
Whats This About Dominant Perceptual Modalities?

By observing very effective hypnotherapists such as Milton Ericson and effectively modeling
their intuitive actions, a University of California Santa Cruz Linguistics Professor, John Grinder,
and his then-student, Richard Bandler, created a therapeutic system called Neuro-Linguistic
Programming or NLP.
One of their basic findings was that people typically perceive and process information about the
world in three basic ways or modalities:
visually (seeing, drawing/painting, visualizing).
auditorily (hearing, speaking, expressing their perceptions by talking to themselves).
kinesthetically (feeling/touching, physically creating/moving things, expressing their

perceptions in terms of inner feelings).
Most people are strong in one of these three modalities: visual, auditory or kinesthetic (V, A or
K), weaker in a second and quite weak in a third. However, some people are strong in two and
weak in one. And a few people are balanced, being strong in all three.
This balanced condition allows a much fuller perception of inner and outer experiences.
In this Special Bonus, Ill tell you how to:
Discover your dominant (strongest) perceptual modality.

Create effective Imaginary Experiences independent of your dominant modality.
Strengthen your weaker perceptual modalities so that you achieve a more balanced and more

vivid inner and outer experience.
Discovering Your Dominant Perceptual Modality

This process is neither difficult nor time consuming but it does require a partner. In the SACP,
you have the option of working with a Call-Partner, an ideal partner for this process. However, if
you do not elect to participate in the Call-Partner Program, you can work with any partner who is
comfortable for you and is willing to read this ebook and follow the instructions.
Since we unconsciously express the way we perceive the world through our words (as well as our
actions and assumptions), all your partner has to do is to become sensitive to the types of words
and phrases associated with each of the three major perceptual modalities (V, A, K) and to then
listen to you describing a relevant experience for 3 to 5 minutes while taking notes of which
words of each type you use.
To facilitate this, Ive put together a list of words and phrases for each of the visual, auditory and
kinesthetic perceptual modalities and a sample narrative reflecting each.
Words and Phrases Associated with the Various Modalities
Visual
Visual people experience the world by watching and seeing. They use their sense of sight to
interpret the world. The appearance of people and things is important to them. They are interested
in how someone looks at them. Pictures and diagrams help them understand and learn. During
periods of inactivity, they may stare, doodle or find something to watch.
Some words indicating a visual perceptual style include:
Appear
Blind
Bright
Brilliant
Clear
Color
Colorful
Draw
Enlighten
Focus
Glance
Illustrate
Insight
Light
Look
Notice

Outlook
Picture
Reveal
See
Show
Sketch
Vivid
Watch
Some phrases indicating a visual perceptual style include:
I see what you mean.

Looks good to me.
I get the picture.
I dont see your point.
Take a look at this.
Heres how it looks to me.
Heres the way I see it.
We need some insight into the problem.
I see red when
Show me the money.
Look at that!
Let me illustrate my point.
Auditory
Auditory people experience the world through hearing and listening. They use listening skills to
interpret the world. They learn through verbal instruction and interactions. They like to talk things
out and will talk to themselves about what they are experiencing. During periods of inactivity,
they may hum, talk to themselves or talk to others.
Some words indicating an auditory perceptual style include:
Announce
Argue
Boom
Buzz
Call
Crash
Echo
Hear
Listen
Loud
Noise
Quiet
Rave
Resonate

Ring
Roar
Say
Scream
Shout
Silence
Sound
Speak
Talk
Tell
Tune in
Whisper
Whistle
Yell
Some phrases indicating an auditory perceptual style include:
I recall what he said.

I hear you.
Whistling in the dark.
It rings a bell.
That clicks.
Sounds good to me.
Listen to me closely.
What did I just say?
Can you hear me?
Tell me your perception.
Whats that sound like to you?
You tuned me out.
I just heard a car go by.
My neighbors make too much noise.
Kinesthetic
Kinesthetic people experience the world by doing and through direct, physical involvement. They
are feeling people. They like to get a grasp on things, literally and figuratively. During periods of
inactivity, they may fidget or find reasons to move around.
Some words indicating a kinesthetic perceptual style include:
Balance
Bounce
Brush
Calm
Connect
Crush
Cut

Drive
Fast
Feel
Feverish
Grab
Grasp
Handle
Hard
Heavy
Hit
Hold
Hot
Lift
Loose
Massage
Numb
Peaceful
Prick
Reach
Rough
Rub
Scratch
Solid
Stir
Stroke
Tape
Touch
Tranquil
Walk
Some phrases indicating a kinesthetic perceptual style include:
Get a grip on yourself.

Hang in there.
That feels right.
I cant grasp the point.
I catch your drift.
Youre going too slow.
I need to get a handle on it.
I feel great today.
Its hot.
Thats too hard.
Youre just a softy.
Its freezing out.
Ill just touch on the high points.
What a sharp mind.
Turn that around.

Ill have to shake him up a little.
A Couple of Important Notes

These words and phrases are merely examples, a far from exhaustive list. They are presented to
give you a reference point for categorizing the words that your partner users when describing their
experience in the Tree Process.
A persons dominant perceptual modality CAN change depending on the context but it does not
always change.
Therefore, its important to identify their dominant perceptual modality in a relevant context.
For example, if your intent is to more easily create more vivid Imaginary Experiences, the
relevant context of your description would be something you imagine or describe.
An excellent starting point would be to describe how you experienced the Tree Exercise. Thats
what I strongly recommend.
The Process of Discovering Another Persons Dominant Perceptual Modality

(and of Having Them Discover Yours)
1. Listen to the other person describing something relevant. (Start with a description of their
Imaginary Experience during the Tree Exercise.
2. Record each instance of a V, A or K word that they speak, using the form included below.
That form has three columns, one for each of V, A and K, and a list of the words
indicating each perceptual modality.
Your job is to write each V, A and K word that you recognize, in the appropriate column.
3. After about 5 minutes of listening, stop your partner and count the number of words in
each column, V, A and K. Record the total in each.
4. Tell your partner your totals. Ask them to record them.
The column with the highest total is probably your partners dominant perceptual modality.
The one with the lowest total is probably you partners weakest perceptual modality.
For example, if the scores were:
Visual: 12
Auditory: 2

Kinesthetic: 7
And assuming youd done your part of the process properly, your partners dominant perceptual
modality would be visual, their weakest would be auditory and kinesthetic would fall in the
middle.
If, however, the scores were:
Visual: 8
Auditory: 9
Kinesthetic: 7
And assuming youd done your part of the process properly, your partner would be balanced,
equally strong in all three perceptual modalities.
Since this process is obviously a learning experience for most people, the process continues:
5. Discuss the results with your partner. If they think they used more of one or another type
of words, ask them for specific examples. If you can then recall them using those words,
add them to your list in the appropriate columns.
6. Then re-total each column and tell your partner the new totals.
7. Trade places and repeat steps 1 through 5. In other words, this time you will be describing
and your partner will be listening and recording.
Repeat steps 1 through 6 at least 3 times. Take all of the results into account when determining
your dominant perceptual modality.
So What Do I Do With This Information?

I often get comments like the following after leading people through the Tree Process.
From Visuals: I could easily see things. But I couldnt hear the songs or feel anything.
From Auditories: I could hear the songs. But I couldnt see any pictures or feel anything.
From Kinesthetics: I could feel the bark of the tree and the cool of the forest. But I couldnt
see any pictures or hear the songs.
They know what theyre missing but, interestingly, they dont focus on what theyve got and how
to use it.
Well, thats what youre going to learn to do.
Have you ever heard of building on your strengths?

Thats the key to more easily creating more vivid and complete Imaginary Experiences.
Heres the Process for Visuals

For those of you whose dominant perceptual modality is VISUAL:
1. Start with the Tree Exercise thats described in Chapter Six. Picture what is described.
Focus on your inner visions. If you follow along with the instructions, you should find that
pretty easy to do.
2. On a clean piece of paper, write a description of your experience.
For example:
I saw a dark, shady redwood tree with lush dark green needles and a rough, deeply
grooved red-brown bark with a sinuous texture. The lowest branch strong enough to hold
my person looked to be about 8 feet off the ground and, as they sat down on it, it bowed
into a slight curve, appearing as if slightly offended
3. Now, on that same paper, record what you perceived in terms of auditory and kinesthetic
experiences.
For example:
I could only hear very muted sounds and I didnt really feel anything, nor did I
experience any movement. I just clicked from one picture to the next.
4. Write a description of the auditory and kinesthetic experiences you would like to have
had.
For example:
I want to hear the sound of the leaves rustling in a gentle breeze. I want to hear the birds
chirping and singing their songs. I want to hear the sound of the hoops twirling around. I
want to experience the cool of the forest and feel what its like to move around on my tree.
I want to feel what its like to stand on top of the tree and do all of those interesting
activities.
5. Now rate the experience you described in step 2, using a 1 to 10 scale where 10 equals an
extremely perceptually full and complete Imaginary Experience, very easily created and a
1 equals a perceptually minimal Imaginary Experience, created with extreme difficulty.
Record your rating below the descriptions you just wrote.
6. Next, read into your Inner Anchor Point what you wrote in step 4. Then say into your
Inner Anchor Point, Please expand my perceptual awareness so that I get the experience I
just read or an even more complete experience, a perfect 10. Please do this in ways that

are for the highest good of me and of all concerned. Now breathe in and make that a part
of you.
7. Repeat steps 1 and 2. As you do, become aware of any blocker feelings such as frustration,
inability, confusion, lack, or annoyance. Do a Base Reframing (Chapter 10) on any
blocker feelings you identify.
8. Repeat steps 1 through 7 as many times as necessary for you to have what you consider a
perceptually full and easily created Imaginary Experience of the Tree Exercise, a 10.
9. Write a statement of something youd like to achieve. It could be a Perfect Alternative

from your Wish List.
10. Read what you wrote in step 9 into your Inner Anchor Point and say, into your Inner
Anchor Point, Please immediately give me a full and complete Imaginary Experience of
having just successfully achieved what I just read, a perfect 10. Please do so in ways that
are for the highest good of me and of all concerned.
11. In your imagination, examine the resulting Imaginary Experience and rate it on the 1 to 10
scale that you used in step 5.
12. If your rating is less than a 10, write a description of how you would like to change your
experience and/or process to make it a 10.
13. Read this description into your Inner Anchor Point and ask your unconscious to make
these changes, in ways that are for the highest good of you and of all concerned.
14. Repeat steps 10 through 13 until you reach a 10 rating. If you encounter any blockers in
the process, resolve them via Base Reframings.
Through this process, youll pretty quickly achieve the skill of easily creating perceptually rich
Imaginary Experiences. However, if you consciously need to choose a starting point, continue to
start with the visual aspects and then Tune-Up to bring in the others.
Heres the Process for Auditories

For those of you whose dominant perceptual modality is AUDITORY:
1. Start with the Tree Exercise thats described in Chapter Six. Imagine the sounds involved
in what is described. Talk to yourself about what youve heard (and seen or felt). If you
follow along with the instructions, you should find that pretty easy to do.
For example:

I first heard the rustling of the leaves of the tree. Then I heard my person chuckling as I
asked them to climb up onto the lowest branch, followed by some grunting and the sounds
of their shoes slipping on the bark. Then my person said, Well, youve got me up here.
Now what do you want me to do
3. Now, on that same paper, record what you perceived in terms of visual and kinesthetic
experiences.
For example:
I couldnt really see anything. Well, actually, I got fleeting glimpses of elements of
scenes but they were like tired black and white photos. I didnt really feel anything, nor
did I experience any movement. I just heard what was going on and what my person said.
4. Write a description of the visual and kinesthetic experiences you would like to have had.
For example:
I want to see whats going on in vivid color. I want to be able to look at parts of my
Imaginary Experience and focus in on the visual details. I want to feel what its like to
stand on top of the tree and do all of those interesting activities.
of you.
perceptually full and easily created Imaginary Experience of the Tree Exercise.


start with the auditory aspects, talking about them to yourself, and then Tune-Up to bring in the
visual and kinesthetic.
Heres the Process for Kinesthetics

For those of you whose dominant perceptual modality is KINESTHETIC:
1. Start with the Tree Exercise thats described in Chapter Six. Feel what is described, how
things would feel if you touched them, how the environment feels and the feeling of any
movements. If you follow along with the instructions, you should find that pretty easy to
do.
For example:
It was easy to experience roughness of the deeply grooved bark of my tree and the
feeling of the bark scraping against my persons legs as they moved around on the branch.
I felt what it was like to magically rise from that branch to the top of the tree and the
solidness of the platform that magically appeared to stand on. What a neat experience,
holding onto the rail surrounding the platform while twirling my leg, waving my arm and
feeling the little bird so very gently landing on my head
3. Now, on that same paper, record what you perceived in terms of visual and auditory
experiences.
For example:
I couldnt really see anything. Well, actually, I got fleeting glimpses of elements of
scenes but they were like tired black and white photos. I could only hear very muted

sounds and I didnt really feel anything, nor did I experience any movement. I just clicked
from one picture to the next.
4. Write a description of the auditory and kinesthetic experiences you would like to have
had.
For example:
I want to see whats going on in vivid color. I want to be able to look at parts of my
Imaginary Experience and focus in on the visual details. I want to hear the sound of the
leaves rustling in a gentle breeze. I want to hear the birds chirping and singing their songs.
I want to hear the sound of the hoops twirling around.
of you.
perceptually full and easily created Imaginary Experience of the Tree Exercise.


start with the kinesthetic aspects and then Tune-Up to bring in the others.
Be Aware
While doing this process, be aware that there are lots of words that are neutral as far as the V, A,
K categories. For example: the, and, with, car, man, dog, house, book, computer, hammer, dollar
bill, rug, picture frame, calendar, etc.
The Tune-Up Process

Steps 11 through 14 constitute the complete Tune-Up Process.
By the process of repeatedly giving your unconscious feedback on your experience, telling it how
that differs from what you want and asking it to try again (in ways that are for the highest good of
you and of all concerned), you guide your unconscious in creating the Imaginary Experience that
you want.
The Tune-Up Process is a simple but very effective and often-used MAJOR component of the
Super Achievement processes.
Start with the Familiar, Modify in Familiar Ways and Build an Unfamiliar
Result
Reflect on anything youve ever learned. Youll probably remember one of two experiences:
You immediately understood. It was a blinding flash of the obvious to you.
You had to struggle to understand and make sense of it. Finally, you had the experience that
This is like that (something you already knew) but different in a particular way (something
else you already knew.
In the first case, you already knew what was being taught. The learning process was simply a
process of re-labeling what you already knew.
In the second case, you struggled until you had an insight or brainstorm (courtesy of your
unconscious) that said, for example, if we replace a horse with a gasoline engine, both can pull a

farmers plow. Thats the insight that Henry Ford had that led to the development of the Model T
car. The farmers car. (Of course over 80% of the citizens of the U.S. lived on farms at that time.)
Henry Ford knew about farms and the backbreaking labor involved because he grew up on a farm.
He was familiar with horses pulling plows. He was familiar with gasoline engines because he ran
away from the farm and apprenticed to a blacksmith who became involved in developing gasoline
engines. He was familiar with rudimentary motorcars because hes seen them.
But he was absolutely the first person to modify these knowings in ways that were familiar to him
and to then put all of them together.
Learning anything, inventing anything or creating an effective Imaginary Experience involves the
same three steps.
1. Start with something very familiar or some things.

2. Modify that something or those somethings in familiar ways.
3. Put together the results into something new.
Thats what you did in the Tree Process.
You started with a familiar face.
Here are some of the other familiar things involved:
A familiar tree
A familiar circus trick (spinning a hoop)
A familiar flag
A familiar bird
A familiar song
Another familiar song
A familiar way of descending from a high place to a lower one
And so on.
And you modified some of those familiar things, perhaps in the following ways:
You put a railed platform on top of the tree to make your person comfortable.
You chose the colors of the hoops.
You chose the flags colors and configurations.
You chose the way the songs sounded, the way the birds voices sounded.
You chose the way you modified the process of coming down.
The result was a very unfamiliar one.

And thats how you build effective Imaginary Experiences.
Start with the familiar.

Modify the familiar in familiar ways.
Combine the modified familiars to produce an unfamiliar result.
And, of course, you build the perceptual richness and clarity in the ways previously described.
This is what you will do in the Target Process.
The Identifying Your Dominant Modality Form

The form that I want you to use when working with your partner to determine yours and their
dominant perceptual modality is on the next three pages.
Print out a copy of this form to use each time you are the listener.

Identifying Your
Dominant
Modality
Form
Please print this form and fill it out by hand with pencil or pen while
listening to your partner describe their experience of the Tree Process.
Your Name __________________________________________
Your Partners Name __________________________________________
Date ____________
In the first part of the form, youll find lists of Visual, Auditory and
Kinesthetic words to assist you in identifying those types of words as your
partner describes their Imaginary Experience during the Tree Process.
In the lower part of the form, record the relevant words that your partner
uses to describe their Imaginary Experience during the Tree Process in
the appropriate column (Visual, Auditory, Kinesthetic).

VISUAL AUDITORY KINESTHETIC

Appear, Blind, Bright, Announce, Argue, Bark, Balance, Bounce, Brush,
Brilliant, Clear, Color, Boom, Buzz, Call, Crash, Calm, Connect, Crush, Cut,
Colorful, Clear, Dazzle, Echo, Harmony, Hear, Drive, Fast, Feel, Feverish,
Draw, Enlighten, Focus, Hear, Jingle, Listen, Loud, Grab, Grasp , Handle,
Glance, Glow, Illustrate, Noise, Quiet, Rave, Handle, Hard, Heavy, Hit,
Image, Insight, Light, Look, Resonate, Ring, Roar, Hold, Hot, Lift, Loose,
Lucid, Notice, Opaque, Rumble, Say, Scream, Massage, Numb, Peaceful,
Outlook, Photo, Picture, Shout, Silence, Sing, Prick , Reach, Rough, Rub,
Reveal, See, Shadow, Shine, Sound, Speak, Speak, Scratch, Solid, Stir, Stroke,
Show, Sketch, Stare, Vivid, Talk, Tell, Tune in, Tape, Touch, Touch,
Watch. Whisper, Whistle, Yell. Tranquil, Walk
I see what you mean. I recall what he said. It feels right to me.
Looks good to me. I hear you. Hang in there.
I get the picture. Whistling in the dark. That feels right.
I dont see your point. It rings a bell. I cant grasp the point.
Take a look at this. That clicks. I catch you drift.
Heres how it looks to me. Sounds good to me. Youre not going fast
Heres the way I see it. Listen to me closely. enough.
We need some insight into What did I just say? I need to get a handle on it.
the problem. Can you hear me? I feel great today.
Look at her glow. Tell me your perception. Its hot.
Get out of the shade. Whats that sound like to Thats too hard.
I see red when you? Youre just a softy.
Is that clear? Hear that? Ill just touch on the high
See what I mean? Stop yelling at me. points.
Show me the money. You tuned me out. What a pointed comment.
Look at that! I just heard a car go by. Turn that around.
Let me illustrate my point. My neighbors make too Ill have to shake him up a
Point it out. much noise. little.
These words and phrases are merely examples, a far from exhaustive list. They are
presented to give you a reference point for categorizing the words that your partner
users.
Record those words on the next page in the appropriate column.
Be aware that there are lots of words that are neutral as far as the V, A, K categories.
For example: the, and, with, car, man, dog, house, book, computer, hammer, dollar bill,
rug, picture frame, calendar, etc.

VISUAL AUDITORY KINESTHETIC
TOTAL NUMBER: TOTAL NUMBER: TOTAL NUMBER:
Total the number of Visual words and record that total by Total Number. Do the same
with the Auditory and Kinesthetic Words.
Then review your results with your partner. Listen carefully. Your lists may be influenced
by your own dominant and weaker modalities. From this process, learn to listen. If your
partner tells you they used certain words you missed, strongly consider adding them to
your list and modifying your totals if you can then remember them doing so.

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Special Bonus #5

Copyright 2003 by Stuart Lichtman

All rights reserved. Reproduction and distribution are forbidden.

2003 Stuart A. Lichtman, Santa Barbara, CA Page 1 of 19

Creating Effective Imaginary Experiences

Ill address each of these aspects in this Special Bonus, in turn.

Whats This About Dominant Perceptual Modalities?

visually (seeing, drawing/painting, visualizing).

auditorily (hearing, speaking, expressing their perceptions by talking to themselves).

kinesthetically (feeling/touching, physically creating/moving things, expressing their

In this Special Bonus, Ill tell you how to:

Discover your dominant (strongest) perceptual modality.

2003 Stuart A. Lichtman, Santa Barbara, CA Page 2 of 19

vivid inner and outer experience.

Discovering Your Dominant Perceptual Modality

Words and Phrases Associated with the Various Modalities

Some words indicating a visual perceptual style include:

2003 Stuart A. Lichtman, Santa Barbara, CA Page 3 of 19

Some phrases indicating a visual perceptual style include:

I see what you mean.

Some words indicating an auditory perceptual style include:

2003 Stuart A. Lichtman, Santa Barbara, CA Page 4 of 19

Some phrases indicating an auditory perceptual style include:

I recall what he said.

Some words indicating a kinesthetic perceptual style include:

2003 Stuart A. Lichtman, Santa Barbara, CA Page 5 of 19

Some phrases indicating a kinesthetic perceptual style include:

Get a grip on yourself.

2003 Stuart A. Lichtman, Santa Barbara, CA Page 6 of 19

Ill have to shake him up a little.

A Couple of Important Notes

The Process of Discovering Another Persons Dominant Perceptual Modality

4. Tell your partner your totals. Ask them to record them.

For example, if the scores were:

2003 Stuart A. Lichtman, Santa Barbara, CA Page 7 of 19

If, however, the scores were:

So What Do I Do With This Information?

Well, thats what youre going to learn to do.

Have you ever heard of building on your strengths?

2003 Stuart A. Lichtman, Santa Barbara, CA Page 8 of 19

Heres the Process for Visuals

2. On a clean piece of paper, write a description of your experience.

2003 Stuart A. Lichtman, Santa Barbara, CA Page 9 of 19

9. Write a statement of something youd like to achieve. It could be a Perfect Alternative

Heres the Process for Auditories

2. On a clean piece of paper, write a description of your experience.

2003 Stuart A. Lichtman, Santa Barbara, CA Page 10 of 19

9. Write a statement of something youd like to achieve. It could be a Perfect Alternative

2003 Stuart A. Lichtman, Santa Barbara, CA Page 11 of 19

Heres the Process for Kinesthetics

2. On a clean piece of paper, write a description of your experience.

2003 Stuart A. Lichtman, Santa Barbara, CA Page 12 of 19

9. Write a statement of something youd like to achieve. It could be a Perfect Alternative

2003 Stuart A. Lichtman, Santa Barbara, CA Page 13 of 19

The Tune-Up Process

You immediately understood. It was a blinding flash of the obvious to you.

2003 Stuart A. Lichtman, Santa Barbara, CA Page 14 of 19

1. Start with something very familiar or some things.

Thats what you did in the Tree Process.

You started with a familiar face.

Here are some of the other familiar things involved:

The result was a very unfamiliar one.

2003 Stuart A. Lichtman, Santa Barbara, CA Page 15 of 19