In this episode I outline the 3 most powerful reality creation techniques. These are things that we don’t talk about a lot, you do not have to meditate. If you do these 3 steps together I have personally seen the most fantastic transformations using these three techniques.
These techniques are not usually discussed as primary techniques for law of attraction and reality creation.
Each of these I have provided some unique techniques that you may not have heard of, using the Stanislavski method to learn about how to act, the creativity challenge to increase your creativity and using your imagination to script out your reality with Dodson’s scripting technique.
With permission I read a portion of chapter 2 of Frederick Dodson’s book Reality Creation and Manifestation on scripting.
The music is incredible
#lawofattraction #realitycreation #manifestation #acting #creating #imagination #loatechniques #nevillegoddard #realitytransurfing #creativity
The music is mind blowing. 6 tracks by Mettaverse were used for this video.
-Sea of Samsara Karmic clearing 174HZ
-“solstice” revitalizing ambient music return to the light
– Into the Omniverse, 963hz Pineal activation meditation
– Through the haze Ambient blade runner tribute meditation 582hz
– First Source Awaken the Energetic Heart 111hz and subsuquent octaves for 10 minutes
-528HZ DNA integrity and 787HZ (Universal Remedy
Music by Mettaverse
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Contact us at firstname.lastname@example.orgWelcome to the reality revolution. This is your host, Brian Scott. And today I want to discuss a very powerful lesson. If you listen to any of my lessons, this may be the most powerful, three most powerful steps to travel into another parallel reality. I’m not talking about a little tiny change where you receive a letter in the mail. I’m talking about huge, massive science-fiction level changes in your reality. I’ve been doing a lot of work on this. I’ve been studying this and it kind of came together and I wanted to discuss these three most powerful steps guaranteed to move you into radically incredible parallel realities. It’s three simple steps, but there’s some depth to it. And once I discuss it, I you’ll get a little better feel for, for these three steps. And this is evolved even over a conversation online. And Damien work put, uh, had a nice note about the joker and we started discussing what was the power of acting in creating realities. And then that funneled into, and I, and I also had a video recently about imagination with Neville garter. And so the question is and the intention is how do we check? How do we move into a parallel reality consciously, quickly and easily? What is the most effective techniques that we can use to move to a parallel reality? We’re talking incredibly high level manifestation technique. We’re talking about highly advanced law of attraction reality, trans surfing. These techniques are completely consistent, but I’m telling you this is the secret. If you want to move into a parallel reality, the first is the best coach. The best coach that you can find to get in learning how to shift into parallel realities is an acting coach, not not some psychologist or some guru. The the coach that’s going to allow you to move into a parallel reality is going to be somebody that’s going to teach you how to act. This is similar to identity shift. There’s some really good coaches out there that are teaching identity shifting Frederick Dotson and quasi Joe here and the reason they’re so effective is is this particular principle. Understand the thesis behind these three steps is that there are infinite parallel realities all around us. For every decision that we make. There is a multiverse of probabilities. There’s either two possibilities, but they’re at one of the two is absolutely the truth and one of them is that there’s just an information field that some call the of variations, dr Joe Dispenza calls the quantum field and in in this field carries the complete infinite possibility of every thing that can happen for matter in a space in your life and your lifeline and through movement and everything. And it’s very interesting to analyze, check out a recent episode where I narrated an audio book on psycho Mancy, which is what I’m trying to get at is ways to read the space of variations or the quantum field to get information from, and that is a great book. That was, it’s Harry’s long, long wisdom from long ago on how to check into the wisdom of this, but just getting the information is not enough. In my interview with the channel entity, Oprah, I asked how you two and when we move into another reality, if I could get information, and they said, no, you can only become what you want. You don’t acquire the information, but, but how do we find a way to get the very best reality that you can get in your life? Imagine all the possibilities and it’s nice that we can shift into parallel realities, but how do we find a way to get into the very best, something that is really incredible and, and, and for it to really work and, and be successful, not all talk. What are the techniques that we can use? So there’s three things and three simple things that you need to develop as a skill. Just like somebody in the martial arts would learn how to do a certain move or technique to precision and perfection. And in some martial arts it could be just some, several moves that are enough to allow you to defend yourself and to physically conduct yourself. And so what is it we can practice? What is it we can do in order to really create realities? Now I want you to go and look at people in the history of time and right now who are the greatest manifestors? Who are the people that are manifesting phenomenal realities, world shadowing, incredible realities that are just beyond anything you could imagine. It’s creative people. The creators are the manifestors, and how much do you really create? Have you ever created a piece of art done a sculpture sowed something, created a new way of cooking, something planted it? The planting to me is creativity because you’re planting a seed. Just drawing a stick figure is creating. So on top of that you need to be able to create. You need to have a tally of creation. You also need to have that mentality becoming the reality that you want from the wish fulfilled in the feeling and identifying with the reality. And once you live in the moment now where you become the reality of what you want, which everybody says over and over. Neville Goddard, Abraham reality, trans surfing. They’re all saying that one fundamental thing is what is in common with all of them is that you have to feel the feeling is the secret. They all say it a little bit different, but you need to be able to feel and identify with the feeling of a reality that you want. And so how can you create feelings [inaudible] and how can you use this process? Well, it’s easier to say, but then how do you do it? And look at what actors can do. You’ve seen phenomenal actors do incredible things, and these actors oftentimes end up being effected by their roles. Why is it that actors fall in love because they’re entering reality or they are in love with that person? So of course they’re going to fall in love with that person if they’re in a rural white actors when they’re in a movie together, more often than not end up together, right? Look at what’s happened with actors such as Jim Carrey. After he played Andy Kaufman at man on the moon, completely shifted his reality. 100% Heath ledger when he played the joker. Probably never recovered. And so I did some research. And so they’re the most accurate assessment acting wise is the Stanislavski technique. And so we’re going to talk about acting techniques that actors use to become characters. We don’t need become the joker. We can become something positive and power that powerful. And then we need to change the way our mind thinks and we need to create, we need to learn what is inhibiting our creation. And we need to conduct simple exercises to develop our creative ability because once we shift into becoming a creator instead of a reactor, then you start to have control and you can mold your own the reality as you go and you start to become aware of how you can create the realities on multiple levels and the freedom and joy and faith that this gives you. This feedback loop of seeing the results of this is so amazing. And so I want it for you and I’ve kind of tried to hold back on some of my teachings, but these are the techniques that have worked for me and that I use with my coaching clients that can help you in to achieving incredible things. So let’s begin. And we’re first of all, talk about acting. Have you ever acted in a play or acted in a certain way? Neville Goddard would say that everything is States. Even the Bible, every character is a state that we become going through. We become a state of Abraham. Everything is a state. Acting is going through States of reality, but there is a precision level to it. So the best I could find is method acting, which is the Stanislavski method system. There is a form of acting system that is used that I think the techniques they’re using in these, if you work on these techniques, you can become better. When you start to act. And what you’re going to do is you’re going to slowly start to create a reality, create a reality, and this is a feedback loop. All three of these steps that you’re going to do are going to slowly begin to create your reality. You’re going to be doing all three of them at the same time. They’re not steps as in one, two, three there, and do these three things. Okay. So what we’re doing on this first thing is I’m gonna, I wanted to give you some tips of what I read about the Stanislavski tech system. The Stanislavski method is a quick guide to the Stanislavski system basics and what is standard Stanislavski method act. And he was this acting teacher born in 1863 and he was a Russian actor and a theater director. And his principles of directing in his collective theories on acting were very influential in the late 19th century and are still used. Their words, the kind of the beginning of us learning about this. And they even saw results back then where they would do crazy roles and here he’d had to teach them how to shake off roles. And so part of this technique is learning to shake off role. If you have a role that you’re playing, we need to learn how to shake that roll off. But these [inaudible], these techniques were developed in the early 19 hundreds and they’ve been used ever since to help actors create believable emotions and actions in the characters that they portray. So Stanislavski method acting is basically seven steps. These techniques were developed to help actors to build believable characters. And these are one who am, I forget who you are right now. Imagine the reality. You want to create an ask yourself the question, who am I just like saying I am? You’re asking the question, who am I? So the next question that an actor will ask to become the character is where am I? Because where affects who you are and the all building in together. So where are you? And the third question is, when is it so have an idea of a time and a timestamp. When is it? And what is it that you want is the fourth step. What do you want as this character? The fifth step is why? Why do you want this? And ask as the character, not yourself, because you are, say that you are a billionaire and you ask yourself, who am I? Am a billion, where am I? Well, I’m on the top story of this building that I own. I, it’s a loft. That’s beautiful. When is it? It can be 2025 and what do I want? I want the freedom to be able to live and do what I want when I want, where I want. And why do you want it? That’s the question, Mike. My answer is this. This will allow me to help more and more people, billions of people. Why not? Why? Just why not help? Hundreds, but why not help billions. The more resources I have, the more that I can expand my spiritual knowledge and I can pay service back with the knowledge that I gained. How will I get it? That’s the question that the actor asks. Now the question of how it’s going to happen is irrelevant. So there’s a distinction we’re asking how will you get it? So if you want to become a doctor, you need to go to school and then you need to pass the tests and then you need to go and do all the steps. That’s what how you will get it. There’s usually a general step when you look at anybody that’s become and done anything. You can look at the steps that they went through as an example that literally tones you into that turn tunes you into that vibration of what happened and then what do you need to overcome and don’t. I would say for reality creation expert, you don’t want to focus on this. As in these problems can’t be overcome. Just assume they will be overcome. So what is it that you need to overcome because that guides your motivations. And then in, I would add on using this, I would add onto that is assume what it feels like when they’re overcome. So using this technique and with this little modulation, I think we have a good working way of creating a character. Number eight would be what does it feel like when you overcome it? That’s all. So here’s a quick guide that I found on how you can use the Stanislavski system or method. Read the script carefully of whatever it is. So you’re, we’re going to talk about scripting in a second. And that’s going to be part of our third step, which is imagination. So using this, they would tell the actor to read the scripts to get a good understanding of the characters, motivation, needs and desires. So when we, when we scripted the end, we’re going to script this in the same way as if we’re reading the script. We’re going to create the script. That’s why this next step creation is important. Actors using [inaudible] using this method are becoming the, the role. But I want you to be able to create your role. So the next step is working out how the character would behave in situations and how they would react. So whatever it is that you want to create, those two questions, how would you behave and how should they react? Your character’s objective is what they want. And obstacles are the things that stand in their way of achieving their objective. And also how far they will go to achieve their objective. Break the script down into beats or bits. So take the script when we’re, when we do this at the end, you’re going to take the script and you’re going to break it down into parts. And these are the individual objectives of your character. And maybe as simple as going into a room, then determine your characters motivation for this action. Why would they go into the room? This in turn helps you to portray the emotions that the characters experienced whilst you complete the objective. It’s that question of the magic question of if, if an actor’s job according to Stanislavski, is to be believable in unbelievable surroundings. And so you need to learn how to become, to imagine unbelievable surroundings that are wonderful and make them believable to yourself to help achieve this. Stanislavski created the magic. If, what would I do if I found myself in the circumstance? So out there, there is a reality for you that exists right now. It may be physical, but it has energy. It is a real thing. Mm. And if you take a moment and you ask yourself if and your imagination starts to create scenarios, that is where the power begins. What would I do if I found myself in this circumstance? The magic gift simply involves an actor putting him or herself in the characters shoes within a certain scenario and asking the question, how would I react if this happened to me? So start going into momentary bits and pieces of whatever it is you’re wanting to create and start to ask yourself, how would I react? This simple question and actor can understand the thoughts and feelings that they need to portray for each scene or beat. So what you need to do is you need to tune in to how you would react in the reality that you want fulfilled. [inaudible]. The next part of this is that the exercises for the magic if and and, and he had many exercises to test this and these exercises may be helpful as as tools to to learn how to manifest in the same way as practicing in a martial art where you would go through the motions that practicing builds up that creation muscle, that muscle that opens up the fabric of space moving you in two delicious realities beyond anything that you can imagine, as I like to say in every episode beyond anything that you can imagine. So what they would do is the students would form a circle if they were together and choose an everyday line of dialog. Do you fancy going out for dinner tonight and pass the dialogue around from one to another in the first person must be as natural and as real as possible. As it passes around the circle, it should become more unrealistic then change the line and reverse the process. This exercise highlights the difference between natural delivery and exaggerated and untruthful delivery. So I would take from this particular exercise that you should figure out what would it, by determining what is not realistic in how you would respond, you will then be able to figure out what is realistic in how you would react to something. Um, and another thing, an exercise as you were walking through, you use your memory to create these senses. Walk around the space as if he’s talking about walking around and walking through, um, as a physical things to, as, as a exercises techniques in this ex acting exercise. So walk around as space as if you’re walking through water, literally get up and if you are walking through water, how would you walk? This is a good exercise. And then once you would get a chance to tune into how would you walk, there is a way that you would walk in this new reality. You need to tune into that. So learn how to differentiate your walk. So another exercise I’ll walk around as if you’re walking through fog or walk around is if you’re walking through mud, walking on ice or walking with a sprained ankle, that those are some interesting techniques to work on acting. Now, you don’t want to do the sprained ankle for too long because this stuff is powerful, so act out, you’re getting ready to go. Go to a party and you’re in a hurry. What would you do if the power is suddenly cut? That’s a scenario that the he have his techniques to practice or you’re at the checkout with weeks worth of shopping. What would you do if you realize you have no money, what would you do if you realized that the person in front of you didn’t have money? What if you do? What would you do if you realized you had enough money to pay for both? You can turn up for dinner with a friend you haven’t seen for ages. What would you do if you discover she’s engaged to your ex who you’re still in love with, or if you’re, imagine being engaged to that person. One of the things that you can learn by exploring realities is the feeling of realities that you don’t want. If you’re able to do it playfully lightly, you can just kind of go through the scenarios and you can figure out what is best and so you, it will help you to act out what it is that you want and so there’s different ways that you can do this and the benefits of finding out the obstacles is also talked about in the Stanislaus Wiki technique, but the point is understand your intentions. Now the next step I would say in acting beyond this is your identity, your identity, who you are, defines your every action. It defines what time you wake up, what time you go to sleep, what you read, what you do, what you eat, who you worship, every single thing that you do, your identity does, and you need to learn to play and become elastic with these identities going beyond just acting, but learning how to change your identity, what is the idea identity that you want to take on? That’s the question. What is the identity that you want to take on these techniques might help you to act out the role. The point is, once we go through the next two steps that you want to do more than just think about this stuff. You don’t want to do more than just script out this stuff. You have to act it out. You have to act it out. Look at the examples of these great actors. You don’t need to be an actor, but you need to learn how to act the world of the reality that you want to live. So the next step that I want to talk about is creativity. And there’s some incredible things that you can do with creativity. It’s amazing what happened to me, and I’ll give you a little story that ties up the first two I wanted to paint and it was a tough time. My father had passed and I wanted to paint. I made it a simple intention. And while I was sleeping, I had a dream and I think you might be able to create intentional dreams, but I had a dream that I had already been a painter for 30 or 40 years and I had tried every technique and I’d gone to the process. I felt the joy and the pains of creation and going through it and, and the energy that I would spend on it. And I was, this was something that I did every day. It was a part of me. It, I was part of my breath. It was the same as a bowel movement when I woke up. And so I then began to paint and my first paintings weren’t that great, but I quickly learned and adjusted and moved in. And the more I focused on painting, I began to be able to paint faces and stars in galaxies. And I began to take chances and paint stuff that didn’t make sense and abstract stuff and go through the process of painting. And then I just found the joy in creation. The joy. When you have something that you create and you can put it up on the wall, it doesn’t matter how perfect it is, but you created it. And that’s the thing that some entities wish they could have. They may be all knowing and all powerful out there, but the thing that we can do right now, living in this moment, breathing this breath as humans in this dimension, is that we can create and you can create right now, and I want you to open up your mind to become a creator, to become somebody that creates your reality, that projects your reality instead of reacting to it. One of my favorite books, the a whack on the side of the head gives 10 steps on how to open up and be more creative. And so I wanted to go over some of these steps. The 10 steps in order or the right answer, that’s not logical. Follow the rules. Be practical. Play is frivolous. That’s not my area. Don’t be foolish. Avoid ambiguity to error is wrong, and I’m not creative. That’s the names of the sides. So if the first one is the right answer, and so the key is life can be like a big noisy party with people talking, music, playing, glasses clinking. But even with all of this noise, it’s possible for us to understand the person across from us or the one 30 feet away. That’s because our intention is selective. We can tune into certain things and tune out others. So see for yourself, take a look around where you’re sitting and find four things that have red in them with a red mindset. You’ll find that red jumps right out at you, a red telephone book, red in the blister on your index finger, read in the wallpaper and so on. Similarly, when you learn a new word, you hear it eight times in the next three days. And like fashion, you’ve probably noticed that after you get a new car you see that makes everywhere [inaudible] that’s because people find what they’re looking for. If we look for beauty, we’ll find beauty. So if you look for creativity, you can find creativity. Just like if we look for conspiracies, we’ll find conspiracies. It’s all a matter of setting our mental channel. So I want with this recording, I’m activating that creative channel with the guidance I’m giving you. By the time that you’re done listening to this episode, you’re going to be more creative. I’ve built it into the music that we’re playing. I’ve built it into the message that I’m giving you and you’re going to feel yourself changing and how you think because what you focus on, you get more of and you can focus on creativity and I’m going to give you an exercise at the end that is so powerful that I love that I’ve used and did I, I’ll take the challenge and I’ll start with this one if we can all take the challenge and the question is can you take the creativity challenge? Where do we learn how to set our mental channels? You know, one important sources are formal education and a lot of times our education takes away our edgy or our creativity. It’s there that we learn what’s appropriate and what’s not. We learn many of the questions we use to probe our surroundings. We learn where to search for information, which ideas to pay attention to and how to think about these ideas. Our education training gives us many of the concepts we use to order and understand the world [inaudible] so the question is sometimes the right answer can bring you the wrong result. What you think is the right answer, what you programmed into yourself as the right answer. We’ll be bringing the wrong result. There’s, there’s a story of count Basie who was playing piano and it was broken. He said, I’m not coming back until you fix it. And a month later he gets called and he says, we fixed the piano. And so he shows up and is still out of tune itself. Songs terrible. And he’s like, you said you fixed it. And he was very rate and the person said I did. I got it painted. Not understanding that the problem with the tuning of the piano and so the practice of looking for the right answer can have serious consequences in the way we think about and deal with problems. Most people don’t like problems and when they encounter them they usually react by taking the first way out. They can find even if they solve the wrong problem like the nightclub owner in this story [inaudible] this can be dangerous if you have only one idea, you have only one course of action open to you and this is quite risky in a world where flexibility is a requirement for survival. That’s why creativity is so important in idea. It’s like a musical note in the same way that a musical note can only be understood in relation to other notes either as a part of a melody or core and idea is best understood in the context of other ideas. If you have only one idea, you don’t have anything to compare it to, you don’t know its strength and weaknesses. Nothing is more dangerous than idea when it’s the only one we have, so we need to open ourselves to multiple ideas. We can’t get stuck in the same way of thinking and see things outside of our focus. The second thing is the second right answer. One person I was talking to that ran a company that was having problems. He had a group. Whenever they would come together with an idea, they would only bring him one idea and so the question is that he was asking me is how do you go and take, take away this one idea tendency. It’s often the truth. That second right answer, which although offbeat or unusual is exactly what you need to solve a problem in an innovative way. I guarantee you companies like Google and Amazon have think tanks to create multiple ideas when they go through this and so it’s, it’s one of those things that you need to consider to expand your creativity. [inaudible] one technique for finding the second right answer is to change the questions you use to probe a problem. For example, how many times have you heard someone say, what is the answer or what is the meaning of this or what is the result? These people are looking for the answer and the meaning and the result. That’s all they’ll find. Just one. If you train yourself to ask questions that solicit plural answers like answers or meanings or results, you will find that people will think a little more deeply and offer more than one idea. What are the ways you can create your value? Not, not. What’s the way? What are the different avenues? The best way to get a good idea is to get a lot of ideas, so you need to go through a phase in reality creation where you come up with a lot of ideas for your, for your future. You need to feel this in your heart so your heart can communicate with your mind. Your mind can give the heart more opportunities in the heart will better feel out what those opportunities are. You can work in unison. Once you have that coherence that is going to be amazing. The heart is the creative part, the one that’s genuine creativity. That is powerful. The best way to get a good idea is to get a lot of ideas in venture. Ray Dolby has a similar philosophy. He says, inventing is a skill that some people have and some people don’t, but you can learn how to invent. You have to have the will not to jump at the first solution because the really elegant solution might be around the corner and inventor is someone who says, yes, that’s the way to do it, but it doesn’t seem to be the optimum solution. Then he keeps on thinking. When you look for more than one right answer, you allow your imagination to open up. For example, how do you keep a fish from smelling? Cook it. As soon as you catch it, freeze it, wrap it in paper, leave it in the water, switched to chicken, keep a cat around, burn incense, cutouts, cut it snows off. One tink technique for finding more answers is to change the wording in your questions. If an architect looks into opening between two rooms and things, what type of door should I use to connect these rooms? That’s what she’ll design a door, but if she thinks passageway, should I put here, she may designed something different like a hallway or a tunnel or perhaps a courtyard. Different words, bring in different assumptions and lead your thinking in different directions. The next thing is to forget your assumptions. How often do you interact with people on Facebook that come to you already knowing that the truth, what the is they don’t have any inquisitiveness there. They come to you having this idea that they believe they understand the world completely and they use these assumptions to define their reality. In five 46 BC, Croesus their last rule of the Lydian empire consulted the Delphic Oracle for ideas on how to deal with the Persians. He received this process prophecy. If you attack a great empire, will be destroyed. Croesus took this as a positive sign and led his army against the Persians, assuming that he destroyed their empire. Instead, he was soundly defeated and it was his empire that was lost. He assumed he assumed the great empire would be destroyed, but it was his own. Be careful of how you read signs and what the S your assumptions are. Be open to the possibilities. Putler puzzle makers dilute would be puzzle solvers with confusing clues and politicians lead their constituents astray with ambiguous pronounces. We get misled in our interpretations of these situations because our own assumptions work so well for us. One way to work around our assumptions is to ignore or forget your initial right answers that come to mind when we’re faced with a problem we’ve seen before. We can then seek out other right answers. As the novelists Henry Miller put it, my forgetters has been just as important to my success as my memory. A similar approach that you can use employed by Paul round. When ever he was working on a design that didn’t feel quite right to him, Moran would remove his favorite part of the design. Sometimes that would improve the design. Sometimes the design would fall apart, but ran felt the strategy. Give him an opportunity to consider alternatives. Taking away the assumption that you think you know in this metaphor, the sun represents the dominant feature of a situation. Some examples, a noise that drowns out other sounds. A player who out shines his teammates. A strong spice that overwhelms the others flavors in a dish or an activity that leaves no time to do anything. The evening stars represents the less obvious aspects of that situation. We don’t see them because the sun is so bright, but when there is no sun, these stars become visible and we become aware of other sounds. Other players, other flavors and other activities. This same sun and stars pattern applies to how we think about problems. If we have a strong set of assumptions about a situation, we’re less likely to think of alternatives. So what’s happening is our assumptions become like looking at sky when the sun is up and we can’t see those stars. It’s that powerful. So be careful of your assumptions even when you know they’re right and I’m going to do the same. There’s a story about the Sufi judge for the right answer. Two men had an argument to settle the matter. They went to a soupy judge for arbitrator. The plaintiff made his case. He was very persuasive in his reasoning. When he finished, the judge nodded an approval. That’s right on hearing this, the defendant jumped up and said, wait a second, judge, you haven’t seen or heard my side of the case yet. So the judge told the defendant to state his case. He too was very persuasive. When he finished, the judge said, that’s right. Then the clerk of the court heard this. He jumped up and said, judge, they can’t both be right. The judge looked at the clerk and said, that’s a right. The truth is all around you. What matters is where you place your focus [inaudible] the next thing to know is is logic and that is what can limit your creative abilities. Sometimes you take what you believe to be logic and that limits your creative juices and possibilities that are available to you there in the creative process, there is the imagination and you need to let go of the logic. Yes, you need to have practical thinking, but there’s an a phase that you should have the imagination phase and we generate and play with ideas and in this practical phase we evaluate and execute them to use a gardening metaphor. The imaginative phase, sprouts, the new ideas and the practical phase cultivates and harvest them. So you can have both, but you need to have this phase [inaudible]. The next thing is rules of the game and if you, sometimes you apply rules and the rules that you use to create patterns that end up affecting your own creativity. Challenge the rules. If somebody says, this is not how it should be, this music shouldn’t sound like this, this, these, this art shouldn’t look like this. You hear that and that is just limiting your creativity. If you want to go do watercolor and a certain way and somebody says, that’s not how watercolor works, that is the most ridiculous thing that you can do. There are no rules for what you create. You can create anything that you want. There are no rules. [inaudible] that is the thing that I see is that when we go through the process creation, we, we think that we are supposed to do it a certain way. I’m not advocating that you do anything illegal or moral. Most of the rules you follow however, aren’t written down in some manual or book of statutes. In other words, they’re unwritten rules such as the way you go to work, who cuts your hair, the type style you use, how is your business forms are designed, what you say to people in the elevators where you buy groceries unless you challenge them, you won’t be more creative. The rules that tell you about your habits on a daily basis and there’s always that sacred thing that you, that you have that you don’t want to talk about or that limits what you do or talk about. Maybe it’s a topic or subjection. Take a risk and forget about what other people think and slay it. Those rules. The only rules is the rules you have for yourself. The next thing is the idea that you have to be practical exercise. What would happen if gravity stopped for one second everyday? What would things be like [inaudible] what would land surfaces look like? How about oceans and rivers? How about life? How would life have developed under such conditions? Human beings occupy a special niche in the order of things because we have the ability to symbolize our experience. Our thinking is not limited to the real and the present. This capability empowers our thinking in two major ways. First, it enables us to anticipate the future. We are able to ask ourselves. Suppose it rains tomorrow, what would happen to our picnic? What alternative arrangements should be made by simulating such possibilities, we can plan for the future. Second, since our thinking is not bound by real world constraints, we can generate ideas that have no correlate in the world of experience. Just like I said with that exercise and gravity, the realms of possible our imaginative CBET. There are many good ways to cultivate this. Ask the question. What if ask it go through a scenario and you want to see what happens in a meditative state. Ask what if simply ask what if and then finish the question was some contrary to fact condition. Idea. Answer the question. Go through [inaudible]. What if people had edible clothing? [inaudible] what if the earth had no moon? [inaudible] what if human beings always told the truth? The what if question can be whatever you wish. The nice thing about what a thing is that it allows us to suspend a few assumptions and get into an imaginative frame of mind. What if we elected our officials by lottery or what if human life expectancy were 200 years? What if people carried their homes and property on their backs like turtles? What if when you looked in the mirror there became two of you? What if animals became more intelligent than human beings? What if the price of a barrel of freshwater and barrel of petroleum were the same? What if we had seven fingers on each hand? These questions all develop are, are that imaginative part of us where we’re imagining worlds that don’t really exist that are outside of the rules. These what if questions. Imagine how other people would do it once you know their identities. How would George Clooney say this? How had been Affleck say this? How would Tom cruise say this or Churchill or Machiavelli or DaVinci or mother Teresa or Jesus of Nazareth or wonder woman, the godfather, Homer Simpson, Sigmund Freud. Imagine all the different identities go through how others would do something. For example, let’s suppose you’re the principal of a high school. What if someone with a mindset like Walt Disney hide your job? How would he approach it? What things would change? For one thing, there might be more emphasis on graphics and visual learning. Students would learn through experience. They might study the civil war by making scenes of different battles. They would learn history by pretending they were the characters they were studying. Imagine the playground students would learn physics and engineering from building rides for the school. The motto would be, if you don’t take risks, you won’t achieve what you want. [inaudible] imagine your idea. Another technique is to imagine the idea that you’re trying to develop. For example, suppose you’re trying to improve the design of a toaster. What would you like actually be a toaster? How would you receive the bread? What would it be like when you are heating? Element goes on. What happens? The twin seeds fall to the bottom. What’s it like to cool down? If you wanted to change the parking meter, how would you change it? It’s fun to speculate on things like that. The what if question becomes a stepping stone. They may not produce ideas and they’d be and thus it may be necessary to use another thinking tool, the stepping stone, the stepping stone or simply provocative ideas that stimulate us to think about other ideas. Stepping stones may be impractical or improbable, but their value consists not in how practical they are, but in where they lead our thinking. In the imaginative phase of the creative process, it sometimes happens. That impractical idea leads to a practical creative one. The following story is a good example. Several years ago and engineer at a large chemical company asked the following question, what if we put gunpowder in our house? Paint. The people around him were somewhat taken aback, but the engineer continued. Have you ever noticed that? What happens to paint after it’s been on a house for five or six years? It chips and cracks and it’s very difficult to remove. There has to be a better way to get it off. If we put gun powder in our house paint, we blow it off. The house engineer, he had an interesting idea but it had one drop back. It wasn’t very practical. The people who were listening to this however, did something very much. To their credit, they didn’t evaluate its idea on the basis of practical merits. On the contrary, they approached it as a stepping stone which might lead them to a practical creative solution and they thought what other ways are there to create a chemical reaction that would remove the old house paint and this question opened up thinking and eventually led to the idea of putting additives in the house. Paint these attitudes would be an earth until another solution containing the other additives or apply to the old paint at a later date. At this point, a reaction would take place that would cause the paint to strip right off the company went on to make such a process a reality. The next thing to learn about creativity is play. Learn how to play plays. What you do that is how you go through the process of creativity. That’s how you imagine events during what kinds of activities and situation do you get your ideas? Isn’t it? During play, for example, doing routine work as a response to questions during physical exercise late at night, driving in the company, the the, the ideas that you get when you play play a game play anything is amazing and the results of it are pretty awesome. Play. If necessity is the mother of invention than plays, the father use it to fertilize your thinking the next time you have a problem, play with it. If you don’t have a problem, take time to play anyway. You may find some new ideas. Try adding a constraint or to play around with these ideas. Another thing about creativity is to take breaks. By relaxing, you stimulate another side of your mind which allows for ideas to come through. Meditation and breaks are very powerful. A lot of what happens is, another thing to think about is the idea of that’s not my area and that is that some people say they’re an engineer, but they, they can see a solution to something that’s outside of engineering and so they don’t go further because they say that’s, you know, that’s not what I do. That’s not what I do. That’s not my area. You can’t take a situation and ever claim that anything is not your area because you have infinite capabilities and possibilities to access whatever you want and want. Some of the coolest things that have ever happened is when two different things get crossed together. I in a great exercises, take two completely unrelated songs and put them together or take two completely unrelated story ideas and try to put them together. When you get things that are unrelated and through the process of trying to put them together, some incredible things end up being happened. Ended up happening. Another thing is exploration. Explore things. Be willing to be led astray. Look for the obvious. Allow yourself to be led astray. If you discover something anomalous or unusual, use it as a stepping stone to something unexpected. See the obvious when you’re looking for ideas, information in rescues, be sure to take a note of what’s right in front of you. The King sent for Wiseman hall to find a rhyme of for w when they had thought for a good long time but could not think of a single rhyme. I’m sorry. He said he to trouble you. It’s okay. In the process of creativity, if you’re foolish, if you make mistakes, be aware of conformity. Be aware of nonconforming in the benefits of conforming group thing and the way that that works, and understanding it. Be aware of the way the pendulums are effecting your own creativity. Pendulums do not want to you to be creative. They want your creativity to come from them. They will put you in the creative mindset through them. So be aware of thought structures of more than one person. A pendulum is a thought structure or more than one person. Be aware of these of groups of people that have expectations or ideas for you. Laugh at it, find humor in it. [inaudible] don’t be afraid of ambiguity or paradox. Listen to your dreams. It’s okay to make errors. And the biggest thing about creativity is that remember when you, when you get an a, you can still be wrong on 10% of what you do. Understand that that educational process allowed us, started us to think that we couldn’t, couldn’t be wrong or couldn’t miss. Think about baseball where where they’re successful only 30% of the time there’s going to be hits and misses with your ideas and you can’t be afraid of failure. Failure is not bad. Every failure is going to lead you to a greater idea. Failure and fear of failure can restrict your creative abilities, never become a self fulfilling prophecy. The final thing, the 10th thing is never to convince yourself that you’re not creative. I’m not creative. Those words ever come out of your mouth. You need to question that. I’ve heard somebody say, Hey, I’m not creative. That’s just don’t ever say that you are creative. You created yourself. You’re a pretty incredible creator, but that becomes a self fulfilling prophecy and don’t create those self fulfilling. Discover your own creative style. Don’t evaluate other people and how they create. Just make it your intention to create and what I’m going to do is give you this, this exercise and I want you to, I’m going to challenge you. If you can do this, then it’s going to change your life and that is create something for the next 30 days. And if you skip a day, you have to start over. And it can be literally, if you draw a line on a piece of paper or make a stick figure, you intentionally created something. If you put three rocks together, whatever it is, you make a recipe. If you look at something and you’ll, you’ll realize when you create something, when you’re, when you switch that mode on, it’s going to be amazing. Cause I, I ended up painting doing this process, some incredible paintings that I really didn’t worry about what anybody else thought in it. And it was very fun and I was able to do some writing and some credible things. It leads to like a wave of fortune where you build and move into these larger chem, these larger waves of creativity. And these waves of creativity will open up new possibilities for your realities that you didn’t even think possible or even imagine or that you didn’t consider. And so for 30 days, just create something everyday, get into a creative mode and find blessing and joy in each creation. So take a moment with each one and really find some pleasure in it. Get into a mode where you are looking for the pleasure of creativity because creativity can bring you vast and incredible pleasure and it costs nothing. Tune into this pleasure and once you get into it, it will last for a lifetime. And so the final thing I wanted to talk about of these three steps is the imagination. Now I talk a little bit about how to use the imagination by Neville Goddard in a previous episode. I definitely look for the links in this, in the notes of this, and you’ll find that or just look at my channel and imagination is you’re not really imagining that something in many ways you’re tuning into a reality that’s possible and you’re seeing it in your mind’s eye, but using this concept of imagination, I wanted to give you a technique that Frederick Dotson uses that is just amazing and I want it to read some passages from him. I did ask him for permission if I could read something because I believe that that Frederick Dotson’s technique for imagination in combination with creativity in combination with acting, we use these things. Remember I said at the beginning that you had to look at the script and the way you break broke down the script? Well, there is a power in actually creating your own script for your life. If you read the book to 50 of the priestess by bottom Zeeland, he talks about that we are all have a choice of an eternal number of scripts and that there’s a library of scripts before us. We accessed that point in our reality. We can load up an entirely new scripts, but I’m going to tell you something that’s just as powerful in that scripting. You can see mention of it by several big time law of attraction gurus on several different channels. Jake doosey set claims that it’s the reason for his success and more and more I’m seeing that as the reason for mine and I have not even put in the time that they have. As Frederick Dotson says in his book, reality creation and manifestation, a terrific book, the power of scripting and Fred Dotson says, one of my favorite most effective reality creation techniques of the years has been scripting the term scripting or originates with the law of attraction teacher Abraham Hicks. My personal version of the technique, which somehow differs from others, works like this. You write about or script as seen from your desired end result or wish fulfilled in the past tense as it has already happened. You write until you feel much better about whatever it is you were thinking about. Scripting is essentially written imagination. It’s written imagination. Its purpose is to improve your emotional state in the now and to modulate your thoughts, to become more magnetic to experiences you’d prefer. You can script anything you would like to experience and by doing so you will start to draw that experience into your reality. Dotson goes on to say, I will ride on a topic I want to create for 10 to 15 minutes a day. I will do so until it manifest or is obviously in the process of manifesting. The main idea is to relocate your consciousness to the place in which the thing you want has already come true. If you would like to have a certain amount of money, you might write a scene from your dream job or about assigning a special deal or about purchasing specific things or you might describe your new house or state of being when you have that money. If you would like to have a certain conversation outcome with a person, you would script that conversation in detail the way you want it to occur. In the case of scripting conversations or desired emails, using the present tense instead of the past tense is better because it more clearly reflects what the manifest reality will sound like. If you want a specific relationship, you would write out in detail scenes from that relationship. If you want improved health, you would describe your life and body in its perfect state of health. The more detail you put into your script, the more you feel it’s reality. You should script it every day until it’s easy for you to think and feel in those new. Some people ask me or Dotson says how long it takes before something manifested in this way. If you understand that once you get into an emotional state and the mood of the wish already manifest, such questions don’t matter. Some things have taken one or two scripting sessions. My longest scripting session took seven months. It was a rather difficult reality to manifest, so I wrote about it for seven months, almost every day, taking a few days break now and then until it began to materialize in my life. If you enjoy the process of shifting your emotions and training or imagination, the question of how long it takes does not really arise. Being bothered that something is not yet manifest merely indicates that you have more writing to do because you weren’t not yet properly aligned with the wish. Fulfilled your faith in the reality you want to create may wane sometimes throughout the process, but that again is just an indicator to do some more writing on it. A true reality creator sticks with the process until what he is focusing on comes true. Some people have asked me whether there should be a letting go phase during the scripting process. My experience has been that the letting go part arises naturally as a consequence of you being full of whatever it is you focused on. You feel the reality is so manifest and real that you no longer feel the need to focus on it that much. In other words, if you already had the million dollars and truly felt that you would no longer be foes focusing, that hard scripting should be done in a playful, non rigid manner. The state of the wish already fulfilled is liked not rigid and over-focused. Moreover, if you script about a goal for 15 minutes a day, the rest of the day already constitutes the letting go part of manifesting while wait riding. You totally immerse yourself into the end result for the rest of the day. You let it go and it’s not important is what he’s saying. He’s there really is no limit how long you can or should script you, slight exaggeration in your script so that you can actually feel the joy you would be feeling if the scene were already true. That’s a passage from chapter two of Fredrick Dotson’s, reality creation and manifestation, and it’s a wonderful book and I recommend that you check it out, but the idea of your imagination and living in the wish fulfilled is one thing, but oftentimes it’s difficult if I ask you to sit and meditate on that. Sometimes there’s some distance between these things and so Frederick Dotson’s lesson in this book on on scripting, which other people have talked about as he says Abraham Hicks, but I thought the way he described it was incredibly helpful. Create a script for what you want and then using what we learned in creativity, create multiple scripts and try to feel what is the best one. Maybe the next script is better. Get into this habit of analyzing and becoming up with new ideas and script out and you will move into an incredible reality. The other thing I would recommend on top of what Frederick Dotson said, using the lesson that I learned from that, from that teaching by Naval garter about how to use your imagination, is that at night he would go to bed and then say, rescript your day. So go back for the day and script out your day as if you wish it had been. So if you got something in the mail that you want, didn’t want, somebody said something that, that you didn’t want, just rescript the day out like you, like it didn’t happen. So what I’m saying is write it out. Write out a script of something that happened so that it happened opposite. Feel it, move into it. So go into a process of rescripting your past and scripting your future and then try to go through an elaborate process of becoming creative and then use these processes to act in what you want using the Stanislavski method, using the techniques we learned on how to act. If you combine these three things, you have lightning in a bottle to create realities. This gives you all the tools and ways to focus in on realities that are available to you. The only way you can access this information if you want to just access the information and check out my the episode on cycle Nancy. But if you want to experience these realities, then you have to act as if and you need to learn to become an actor using the method of acting and look at the different motivations of acting. And then you need to become creative. There may be aspects of that acting that you don’t know about or aspects of realities that you want to create that you’re just learning or solutions to your problems or whatever. Become creative. Look at these blocks and things that we’ve discussed so far and be aware that you can change everything. So let’s summarize this, what we’ve learned and so that we can apply this using what we learned from the science Lawsky method. You want to go and learn how to act, how to physically act out using different situation. But these are the questions to start. Who am I? Where am I? When is it? What do I want? Why do I want it? How will I get it? What do I need to overcome and how does it feel to overcome that? Those are the things that I want you to go through when it comes to creativity. I want you to try creativity, test, become creative every day. Intentionally creative. Remember these teachings that the first right answer isn’t always the best answer, that you don’t have to use logic. You don’t have to follow the rules. You don’t have to be practical. You can play with these ideas. Don’t limit your your knowledge and expertise by saying it’s not your area. Don’t be afraid to be foolish. Don’t be afraid of what other people think. Don’t worry about being ambiguous and it’s okay to make mistakes and never tell yourself that you’re not creative. You are the most creative. You are the creator, and you can create any route reality that you want right now, not 10 years in the future right now. And if you apply these techniques and you create an identity using these techniques and you shift it and work on it and scripted out every day by using your imagination, you will move into a reality that you have imagined. That is so wonderful and so incredible and you’re going to remember that you’ve listened to this episode and that’s where it all began because right now I’m giving you the key. If you follow these lessons, you can access any reality. It is the key to accessing parallel realities. You will see your reality shift in a way that is beyond anything that you can imagine. The best thing I can tell you is to just try it. What if I’m telling the truth? I thank you for joining me in this lesson. I am really glad I got this into an episode. I’ve always wanted to talk about these three topics together and I really do want to explore more ways of learning how to act. I want to expand on ways of learning how to be creative and I want to expand on ways of how to use and script and expand our imagination. In the way that we’ve talked about. Scripting is the technique to do that, and there are other techniques that we will explore for all episodes of the reality revolution. You can go to the reality revolution.com for coaching. Please check out advanced success institute.com thanks to metaverse for the awesome music and welcome to the reality