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There are many types of inductions in the area of Conversational Hypnosis.  As you learn each of them you see that they are appropriate for different people at different stages of their lives.  Another of the many inductions we are learning about is the trance-voice induction. 

While the discovery of this type of induction was attributed to John Grinder and Richard Bandler, it was actually Milton Erickson who was the true discoverer of the trance-voice induction.  It was only when Grinder and Bandler, creators of NLP, studied and modeled Dr. Milton Erickson’s hypnosis that they “discovered” the trance-voice induction. 

Erickson’s discovery in this type of induction will be very helpful to you in your practices.  The trance-voice induction is powerful, interesting and shrouded by myth.  You know the myth that a certain tone of voice, usually monotone, would instantly cause people to fall into deep trances.  Another myth that surrounds the trance-voice is that there were some sort of magical powers involved that would cause a tone of voice to instantly send those around you into trance.

Well the truth about the trance-voice induction is that it will in a way fulfill the above myths but not to the degree in which they are usually regarded.  In a trance-voice induction the listener is conditioned over a period of time to respond hypnotically to your specific trance voice. 

This is specific to you and the person you have conditioned to go into trance when you use a certain tone of voice, not something anyone can do to everyone with a certain pitch of voice.  The trance-voice induction and its conditioning are similar to Pavlov and his dogs.  He conditioned the dogs to have the expectation of food when a bell was rung.  After a while whenever the dogs heard the bell they would begin to salivate whether food was presented or not.

There certainly is not magical happenings in this induction, there is actually work to be done.  You have to condition you subjects to respond hypnotically to your trance voice.   In order to do this you are still required to create the experiences in order to condition each new subject.    

There can be a big problem with this idea if you use your normal speaking voice for your trance voice.  You will be conditioning people to respond to you every time they hear you speak; this is not a good idea.  In order to avoid sending everyone you know into trance all the time you will want to develop a trance voice that is varied from your normal conversational speaking voice. 

This all ties into knowing when you should and should not be using hypnosis on a person.  There are appropriate times; in an office or park when there is no task other than hypnotism at hand.  There are times when it is inappropriate; in a car with someone who is driving.  These inappropriate times would be hard to control if you did not have at least two different voices; one for hypnosis and one for casual conversation.

Even Milton Erickson, the discoverer of trance-voice induction used many different voices for appropriate environments.

In order to set up your separate induction voice you need to learn to add different qualities to your speaking.  We have covered in past articles how to change the tone, rhythm and pitch so it is easily recognized by the unconscious to connect that voice with trance characteristics. You should also add pauses and make your voice soothing and comfortable; these will be things that are identified with your trance voice.

In the trance-voice induction you will need to keep in mind all the other aspects of inductions you have learned previously.  You will need to use all the skills you have learned; language skills, hypnotic gaze, piggy back inductions, yes sets and of course other indirect skill such as the ‘my friend John/Jane’ concept.

When you start to use this induction you will be incorporating two very different aspects into one, you will be speaking to both the conscious and unconscious at the same time with two different voices.  

The two voices will of course be varied so they can be picked up on by the conscious and unconscious.  How varied you would like to make them is up to you.  The more difference between your voices the more obvious and direct you will become, the slighter the difference the less obvious.

As time goes on you will develop many different trance voices, each one will accomplish different purposes.  Each purpose will depend on the subjects you are developing voices for but it is safe to say you will probably at some point have different voices for story telling, learning, relaxation and excitement.  They will all vary slightly to call to action either the conscious or unconscious. 

The different voices you create will be used to recall within your subject time when they experienced the thing you want them to do; the learning voice will talk about times they have learned.  As you do this you are attaching the experiences, their experiences to the act of learning.

 This activates the neurology in their brains that makes it easier for them to learn.  When that neurology is activated the setting is created for that activity to happen more efficiently and quickly; in our example learning.  As your listener activates all the learning experiences they have had inside their mind they will become more able to learn.

As Milton Erickson discovered through his excellent hypnosis the secret of the trance-voice induction is to essentially return the neurology in the brain to a certain experience through the conditioning to voice.  Once they start to respond to you in that way you will see they are in trance.

In the study of Conversational Hypnosis there are various inductions and tools you can use to help your subject’s to enter into an altered state of mind.  Hypnosis is just like any other profession or activity; there are steps to take to set up the environment and get people to respond to you in the ways that you want.

The trance-voice hypnotic induction is one of the tools that you will use to get hypnosis underway.  The trance-voice hypnotic induction is the skill of changing your voice into your hypnotic voice in order to induce a trance.  It is a very powerful way to condition people to enter an altered state of mind just by the tone of your voice.

In this induction you will spend time conditioning your subject to recognize and respond to the particular tone, rhythm and pitch of your voice.  Once they are conditioned correctly they will respond much like Pavlov’s dogs in that the response will come with little coaxing and the reward will not even have to be in sight.

Milton Erickson, however not credited with the discovery, was the great hypnotist to discover the power of trance-voice hypnosis.

The steps you must take for this induction are pretty simple once you are acquainted with them.  The first step to the trance-voice hypnotic induction is to compare the conscious and unconscious minds. 

This is as easy as making a list of things to do; instead you are going to recite a list of concepts.  The concepts you will include in this list are going to be comparisons between the conscious mind and unconscious mind’s activities. 

Conscious mind activities are going to include things that happen when you are awake, logical things, processes you work through on a daily basis.  These are things you choose to do, or you do on purpose. 

Unconscious mind activities are going to be the things that take place when you are dreaming like sleep and dreams themselves.  An unconscious activity is anything that you do automatically; you don’t choose to dream, breath, keep your heart beating or control the temperature of your blood.

As you do this list recital you will move on to step two; use a conscious voice and an unconscious voice to do this.  As you read each conscious mind’s activities you will use your conscious voice, like wise as you read the unconscious mind’s activities you will switch to using your unconscious voice.

The differences between these voices will be that your conscious voice is the same as your normal tone of voice.  Everything about this voice will be the same as your natural conversational voice.  You will use the same pitch, tone and rhythm that you would if you and your best friend were discussing the dates you had last night. 

Your unconscious voice however, will be different.  It will typically be slower and more comforting.  This is your hypnotic voice.  In the beginning of the inductions you will typically be using your normal or conscious voice more often. 

This is because you are still working in the conscious frame of mind, which is the activity that is really going on.  As you work through the induction a little way you will be using your unconscious slower voice more frequently.  This is really bringing us to the third step in this induction.

The third step to the trance-voice hypnotic induction is going to be going between the conscious and unconscious minds.  As you are primarily talking about the conscious activities in your conscious you will work in this step. 

This is going to be gently including an unconscious mind activity from time to time.  You will switch to your unconscious mind voice and with its slow and smooth tones include unconscious mind activities.

As you read before you will be primarily working with the conscious mind in the beginning of the induction.  As you begin to weave more and more unconscious mind activities into the conversation, always being sure to change your voice, you will eventually be only talking about unconscious mind activities.  In this you are conditioning the mind to respond hypnotically to your trance-voice.

The fourth step in this process is simply reversing the process at the end of the trance.  When you are ready for your listener to emerge out of their trance you will simply change the direction in which you were going previously. 

You will start with unconscious mind activities in your trance-voice and slowly integrate conscious mind activities back in with your normal voice.  Soon you will be speaking only of conscious mind activities in a normal voice which will bring your subject out of their altered state.

Now that you know the full process for the trance-voice hypnotic induction you can practice it, think about it and more fully grasp the different minds and their activities. 

Just remember as you do this that the conscious mind had a small capacity of 5 – 9 processes at once and is the planner, doer, and the analyzer. 

The unconscious mind has an enormous capacity of up to 2.3 billion process it can handle at a time.  It is the more holistic side of things and likes to take a look at the bigger picture of things, put the pieces together instead of separate them and be more spontaneous. 

These little facts will help you in deciding when to use which voice.  It is important that you not only know when to use which voice but that you also make a clear distinction between your voices so as to never confuse them or your listener. 

This is because when you start in on unconscious topics you unconscious mind will always be in the conversation more fully and start to respond, getting the voices confused or making them so unclear that your listener is confused can be an unfortunate event for both of you.

Improving your hypnosis will hopefully always be a goal of yours as you by nature should always want to be better at what you do.  As you use your various inductions in Conversational Hypnosis you will get better and better at them, but there are other ways to make your inductions more hypnotically compelling as well as more interesting.

One of these techniques is to include sensory rich descriptions and stories to your inductions.  Now you have already been introduced to this in the art of asking deep meaningful questions that compel you’re subject to dive further and further into the experience you are asking about. 

This is similar in the way that you are asking a question to get the person thinking about a certain thing, when you do this you are actually getting them to recreate that experience within them.  The same happens when you use sensory rich descriptions and stories.  At some level you are requesting that they access a similar state and really get into it to access those experiences.

For instance if you ask someone about a movie they watched, at some level in the mind they re-access the altered state of mind they were in while they were watching the movie.  This is an unconscious process that happens every time you are presented with a sensory rich description, asked to recall and event or told a story; it is simply just the manner in which the mind works.

Because the mind works this way you as a hypnotist can use it to your advantage in your inductions.  The easiest way to do this is to simply describe some kind of scene to your subject.  This can be a sensory description of anything from a vacation on the beach, meditation, a walk they took in nature or something as simple as driving their car.  Any experience that for them produced a hypnotic effect and these are many. 

Stories are going to be the way you carry these sensory descriptions to your listeners.  By using a story you are sending them the experience with sensory descriptions, those that apply to the senses, in a form that they cannot disagree with. 

If you tell a story of your relaxing vacation at the beach they cannot argue that it is not true because it is your own experience.  However that description will get the unconscious mind to recall times when they felt the same way and allow access to those experiences sub-consciously.

As you tell your story you will use many sensory rich descriptions that will evoke in them the same feelings that would go along with their experiences.  Those descriptions will also come into the person as suggestions as to how they should feel.  Remember your goal is to create an experience through the descriptions you are giving, go give good descriptions.

As you do this you will want to continually compare what you are doing to the 4 Stage Protocol to ensure you are matching up to the protocol to induce a trance.  As long as you are keeping within the context of the 4 Stage Protocol and describing a scene that your subject can relate to on a trance level, a time they experienced some sort of trance, you will have the start to altering their state of mind.

The descriptions and stories you tell need to be responsible for getting past the critical factor by putting critical thinking, conscious thinking, out of commission.  If you stick to the natural unconscious process you will get their unconscious involved automatically becoming more attractive to the unconscious and less to the conscious. 

Two sensory description techniques that will help you in this area are the ability to directly describe and experience and sharing your own experiences.  To directly describe an experience is to simply use your sensory rich words to describe the process and feelings of going into a trance. 

You can use any trance experience whether it be the way it feels in a formal induction or the way you feel when reading a good book.  It doesn’t matter as long as you include feeling, seeing and hearing to bring the experience to life.

The second way to improve your inductions is to share your experiences.  You can tell any story you like, and as you use your words to describe it entailing all the senses it will become a real experience for your listener. 

You can also do this by using likes and dislikes, these will usually be universal likes and dislikes that you listener will be able to relate to.  If you describe a scene of serenity and calm and tell how much you liked it and enjoyed it, this is something your listener will be able to envision themselves enjoying as well.

These two tips will help you to really envelope your listeners into the experience you want them to have.  In doing that you are absorbing their attention and bypassing the critical factor because you have gotten their attention with a story and you have made it unarguably true because it is your story. 

The unconscious response comes in that you are successfully inducing a trance and eventually you will be able to lead that trance to an action.  This is a successful induction by way of learning and practicing two simple steps that you probably already use in your day to day life.

Stories are ancient; ever since there has been someone alive to talk about the things that have happened, will happen and will never happen there have been stories. 

Stories are very powerful in Conversational Hypnosis, you have learned how to use stories to cover the 4 Stage Protocol and will continue to learn how stories can be more and more beneficial in the art of hypnosis. 

By now you should be a fairly good story teller.  You have had your whole life to practice as there isn’t a day that goes by when you don’t tell a story to someone.  You have also had a brief period of time in your study of hypnosis to learn how to start to mold your stories so they accomplish certain tasks. 

For instance you have learned to activate the conscious and unconscious thought processes specifically when you want with stories.  You have also learned to use stories to evoke emotions from people, get reactions, as well as to run parallel to the problems and situations of people’s lives.  All the skills you have learned are not listed here but the point is you have learned a lot and can use those skills in your hypnosis.

Now you need to learn how to perfect a story in the manner of getting exactly what you want from it and the person you are working with.  With the entire story telling experience you have you should be able to easily come up with stories whenever you need them. 

You should also be flexible enough in your story telling that you can shape them with specific needed themes, settings and characters.  You should be able to really make the stories you tell do what ever you want.  So now you have all these stories and ways to use them, you need to know how to really get what you want with them.

The first way to make a story truly hypnotic is to use it to deliver an embedded suggestion.  This is one of the easiest and strongest ways to plant or embed a suggestion in a listener, deliver it by way of story.  This was of course discovered by the great hypnotist Milton Erickson. 

He used embedded suggestion in many types of stories; he also used them in readings of what seemed like complete and utter nonsense.  The only reason they were not complete nonsense on the technical side was that there were embedded suggestions placed throughout. 

So you learn that if Erickson could use embedded suggestions within complete nonsense why can’t we use them within stories, and the answer is you can and you will.  In fact Milton Erickson did this as well with his famous tomato plant induction. 

Dr. Erickson was asked by the family of a dying cancer patient if he would see him and try to ease the unbearable amounts of pain the man was in, he was on many drugs and there was nothing else anyone could do for the man.

This man was a florist and when Erickson went to see him he decided to talk to the man at length about the kinds of plants Erickson himself knew a bit about.  Dr. Milton Erickson spent hours talking to the man about tomato plants, he talked about how they grew, and loved the rain, all the things tomato plants do.  As he did this he was embedding messages of hope, ease, comfort and growth. 

As the man’s family listened they were growing more and more impatient and wondered when he was going to start the hypnosis to make their ailing friend better.  They eventually decided enough was enough and went into the room to give Dr. Erickson a note about getting on with the reason they came. 

Upon entering the room they realized that their family member was actually so deep in trance he did not even notice they had entered the room.  After the hypnosis the man’s condition improved drastically. 

The moral of the story is that you like Dr. Erickson can embed ideas of any theme within the context of any story.  Dr. Erickson used a theme of tomato plants because his subject took an interest in plants, and he embedded themes of hope, growth, comfort and being at ease. 

He did this in a way that was not obvious to the subject and it certainly was not obvious to the man’s family either, so these themes and suggestions were well hidden with in the stories subject of tomato plants and all the need and do.

You can do this too.  It is fairly simple; the theme of your story really doesn’t even have to relate to the suggestion your theme of your suggestions.  It is in fact better if the two have no relationship at all because then the conscious mind will never know what was going on, it is not alerted and there for puts up no resistance.

The second way to use stories to get what you want is to install an emotional trigger in the story.  This is much like taking your listener on an emotional rollercoaster ride.  This idea is very powerful because people have no choice but to respond to their emotions in a powerful way. 

When you take a person and put them through an emotional ringer you are activating their unconscious to get a response.  This is a basic primal unconscious response.  If you recall the 4 Stage Protocol you will see that once you have activated an unconscious response you are already at stage three. 

You have learned how to absorb attention with a story and the story itself will often bypass the critical factor simply because it is a story.  So here you sit and you have triggered an emotion which is an unconscious response, the only thing left to do is get a reaction to that response and you have completed the 4 Stage Protocol.

Setting off the emotional rollercoaster within someone can not only get you where you want to be in a hypnosis stance it will ultimately help your listener as well.  By changing their emotional state you will influence the kind and quality of the decisions they make.   In doing this you are in essence influencing their behaviors. 

The biggest trick you want to be aware of in installing emotional triggers in stories is to be sure you are triggering the emotion you want.  This is of course very important, if you want your listener to be excited tell them a story to excite them not relax them. 

If you want relaxation and calm tell a story that will bring that emotion to light.  This is important as these emotions are going to very strong influence in you hypnosis once they are accessed.

Conversational Hypnosis is an art form in which you need to have access to the unconscious happening within a person.  Stories are a way to access this domain as stories evoke emotion and emotion is one of the key factors in activating the unconscious mind.  All your emotion is stored in your unconscious and by reaching an emotion through a story you are automatically accomplishing the first two steps in the 4 Stage Protocol.

When you tell a story you are automatically getting another person’s attention, if you tell a good story you are going to be able to absorb that attention fully.  Telling good stories is as easy as making it a topic the listeners can identify with on some level, and since we are all prone to similar experiences this should be an easy battle to conquer. 

Once the person’s attention is absorbed in a story you have probably already bypassed the critical factor simply because it is a story and it is unarguable.  People tend to not argue with another person’s experience, but they will identify with it on an unconscious level.

As they are identifying with the emotions and feelings the characters are experiencing in the story you are soliciting an unconscious response because emotion itself is an unconscious response.  Now you need to learn more ways to get what you want from that unconscious response as a result of how you tell that story.

One of these ways of getting what you want from a story is to offer metaphorical resolutions with in your stories.  These are often called isomorphic stories, which mean they take on the same structure or shape of something else. 

In the way of using these in hypnosis the story will be taking on some similar aspects you see in your listener.  You want to tell a story that mirrors indirectly the situation or problem of your client.   

A great and popular example of an isomorphic story is Goldilocks and the Three Bears.  In this example Goldilocks is simply unsatisfied with many of the things presented to her at the home of the Three Bears.  This is can be used as a mirror for a person who finds that nothing is good enough or just right no matter how many choices or how hard they try to make it so.

Isomorphic stories can be used to mirror almost any aspect of life from sex to fear.  The key is to find a completely unrelated topic and use it to show the suggested answers.  Someone who is unwilling to expand their sex life may need to hear a story about the many different type of food in different cultures.  How all those foods can be good and at least should be tried in order to really know if they like them or not.

Another example could be if a person wanted to quit smoking.  You could tell a story about how dangerous it is to be morbidly obese.  This is a dangerous way to live, it affects your heart and health and the other people around you negatively.  In these examples you should be able to see how two completely different subjects can be related by the themes that are involved in the suggestions.

The most important part of this type of story telling is to be sure it goes around and outside of critical thinking.  The person listening must not be able to tell consciously that the story is about their specific problem or situation.  This will bypass any and all resistance that would happen if the two were connected.
 
When you try to simply tell a person who has been smoking for years that they should consider quitting you are usually met with some type of resistance.  The same often happens when you tell them a story about someone who would not quit and died from it or became seriously ill; there is still a type of resistance.  This is where the unrelated part of isomorphic stories comes in handy.

When you use an isomorphic story you are able to give advice where it would normally be rejected, in this the unconscious has its own freedom to make associations and choose the experiences to attach those associations to.  If you have told a good isomorphic story the correct situation will be connected to it by the unconscious and a result will eventually occur simply because it is an unconscious process.

The next way you will learn to get what you want from stories is to prime the unconscious mind.  This is a lot like formatting or pre-teaching a concept to a person.  In using this concept you will use stories to set an expectation for the future through suggestion and experience. 

The best example of this in our daily lives is advertising.  Any ad you see will set an expectation, realistic or not, in your mind about what a certain product will do for you.  For example a certain type of car or truck will make you cooler with your children, or more popular with the opposite sex. 

Another way advertisements do this is to give testimonials.  This is when a person who has purchased the product somehow explains about their experience with the item.  Maybe they were apprehensive at first but purchased the item anyway.  Then how that purchase has affected them, usually the product is wonderful beyond belief and they do not know how they ever managed with out it in the first place.

This not only identifies with the new buyers reservation to spend money on an item but gives them a future expectation of the item.  It will change their life incredibly and they should not be without this product for one minute longer.  It also creates a bit of pressure in that if you don’t buy the product you may be offending the person with the great testimony, but this is beside the point for now.

These are great examples of how you can prime the unconscious mind.  There is a sort of formatting that goes on and brings the unconscious to a conclusion that not only benefits the person at the moment but looks into the future benefits of the situation. 

In this process the unconscious tends to account for many different variables that the conscious mind would not begin to grasp all at once.  Sometimes what would seem like an illogical decision is made but the future effects of it are astounding because of the frame work that was laid by the priming of the unconscious.

There are all types of different story telling methods and skills to incorporate in you inductions as a Conversational Hypnotist.  All of these methods are very powerful.  You can accomplish all four of the stages within the 4 Stage Protocol as well as use stories for many different aspects of hypnosis. 

Embedding suggestions and isomorphic stories are an indirect way to come to the conclusion you and your clients are looking for.  You can use your stories to relax and excite people in the types of trances you are inducing. 

To recall emotions and experiences through story telling is a powerful and useful skill in the art of hypnosis.  You have also learned how to construct certain aspects of your stories to extract the conclusions and outcomes that your are looking for so you attain the exact things you want from the sessions you hold with different subjects.

The next aspect you must learn to conquer is the art of nested loops.  The different ways to tell stories has taught you to accomplish the four stages in hypnosis and nested loops or nested stories will give you another way to do this.

When telling nested stories or nesting loops within a set of stories is to design a tale that will require more of the unconscious attention than a simple story would.  These aspects will make the unconscious concentrate more and work harder.  The other things these nested loops will do is to become less consciously detectable for your listener and are a more hypnotic route than the simple stories you have previously learned about.

The beauty of the nested loop when it comes to critical factor is that they tend to bypass the critical factor more efficiently in just the fact that there is more to concentrate on and confuse the conscious mind.

Nested loops are a combination of many different stories that in the end impact the unconscious even more fully than a simple story with one conclusion or suggestion.  In a nested loop you will have many conclusions and suggestions that will activate the unconscious to be more fully in action.
 
The way nested loops work is to have your three, four or five stories in mind.  As you tell each story you will come to the climax of the story and then switch to another story.  Each story you repeat the same method with tell the story all the way up to the greatest turning point and then switch to the next story again. 

As you do this telling and breaking into each new story you are pushing the unconscious into working overtime.  Because each story is left unfinished the unconscious is going to be working even harder to finish the details and attempt to figure out the end of all your stories.

When you are creating these stories and leaving them unfinished you are going to be accessing a special principal called the Zeigarnik Effect.  The Zeigarnik Effect is what happens when the unconscious assigns a higher level of importance to a matter, thought or story simply because it is left unfinished. 

The consequence of this is that the unfinished business becomes remembered more fully or done better simply because of the importance placed upon it to want to be finished.

If a thing is finished, let’s say a story or thought, the mind will shut down afterward because it now has all the answers it needs, there is no reason to probe further.  This can be a problem when there is new information discovered about the thing that the mind has shut off to.  Because the mind feels complete in that matter then the new information is harder to get across and accepted. 

If you use nested loops and always leave an open end or a sense of may be there is more to this then you will leave the door open for more or new information in the future.  You will also be activating the unconscious much more so it is remembered more fully and done with more precision. 

As you use this method you are creating multiple realities for the listener, you are confusing the conscious with many details and hence bypassing the critical factor. 

As you confuse the mind and bypass the critical factor you have the opportunity to slip in all the suggestions and emotional triggers you want.  You can also prime the unconscious with your many story lines and do this quite undetected as the conscious is too busy trying to keep all the details in order it will miss the opportunity to reject everything you are saying.

This is a very powerful way to use story telling and should be practiced in the right ways so you do not use it wrongly.  It requires a bit of finesse to confuse the mind this adequately and you will learn how exactly to do this as we go on.  For now think about how powerful this is and how you may be able to use it in your practices in the future.

It is vital to recognize that there is great power and importance in stories in Conversational Hypnosis.  It is essential that you have the ability to tell good stories that not only capture and absorb the attention of your listeners but also how to make those stories persuasive, metaphorical, and hypnotic as well as how to use your stories to prime the unconscious mind.

These are all very important skills to posses when it comes to refining and perfecting your stories and they ways in which you tell them.  You have also learned that there is a very powerful set of concepts involved in using nested loops to accentuate the power behind your stories.  In these skills you will require more of the unconscious mind to be interested in what it is you are saying simply by the design of the loops in your stories.

Nested loops make your stories more powerful, less noticeable to the conscious mind and require the unconscious mind to work harder at its task.  You are also aware that nested loops are a way of merging three or more stories together in order to create a bigger impact on the whole of the unconscious mind. 

In creating nested loops with in your stories you will be leaving your listener with an ‘open mind’.  By leaving questions about the unfinished stories you are creating the Zeigarnik effect, which is basically the effect of the mind on closing off because the story was finished.  The listener is left with a sense of wanting to know what will happen next.

You now have these things called nested loops running through your mind and how they work with your listener.  It is only fitting that you should learn step by step how to use a nested loop with in your stories.  You will start this process by learning how to use a basic nested loop.

This is the easiest of four different levels of nested loop and you will want to learn it completely and fully before moving on to the more difficult nested loops.

The basic nested loop consists of three or more stories.  You will probably want to start out with three to five and then go up from there after you have gotten the system down.  The most that you will probably have in this set of nested loops will be twelve stories, any more than that will be in excess for most circumstances.

To create a basic nested loop with three stories you will start out with your first story.  You will tell it as you usually would until you are at the climax of the story.  This is usually 80% through the story.  Once you reach this point you will create a soft or hard loop and start your second story.

A soft or hard loop is simply two different types of transition to go from one story to another.  A soft loop incorporates the beginning of the next story within it at the point of transition.  The soft loop creates a very smooth and somewhat flowing transition between the two stories.

A hard loop is a clean cut to a new story, there really is no transition except for the fact that you have switched stories.   This is a way to cut to a new story with no explanation, it sounds harsh and can seem so when you use it but it will assist you in creating a greater amount of amnesia through out your nested loops.  You will learn about amnesia soon, put that thought on hold for a moment.

So you tell your first story until you reach the climax, about 80% of the way through, then you use your soft or hard loop to transition to the second story which you do the same thing with.  You tell your second story just as the first stopping right as you reach climax and again use a soft or hard loop to cut to the third story.

Repeat these processes with the third story in that you will tell it until you reach the climatic point and then you have a space, what you will call the suggestion phase.  This is where you will have the opportunity to make a very direct suggestion to your listener. 

You can do this because they will already be in an altered state of mind through listening to your three story beginnings.  Since they are in trance you leave a direct suggestion such as ‘You can make much better decisions now’.  Very direct and to the point, almost simple. 

Then you close each of your stories that you had begun to tell before the suggestion.  When you start to close your stories, it is a simple process of just finishing each story.  The only catch to pay close attention to is that you do it in the reverse order of where you started.  You will first close story three, then two, then one.   After you close each story in reverse order you can continue speaking about the overall theme you started with.

The reason for closing your stories in the reverse order of starting has to do with that amnesia thing we put on hold awhile ago.  By closing in reverse you are creating a sort of amnesia.  

You are in essence creating a sound bridge with story one that will start and end all your stories this creates amnesia about the middle and makes things seem more complete.  You began with story one and you will end with story one creating a bridge over stories two and three as well as the suggestion you neatly nested in the middle of it all.

Now you may want to know why we want to tell two stories in the middle then end in a way that will make the listener sort of forget they were even told.  The idea is that they are not only forgetting the two stories in the middle but they are also creating amnesia about the suggestion you placed. 

This is good because then there is no time to stop and analyze it or resist it.  The stories and suggestion are still floating around in the unconscious and producing responses the amnesia effect is only masking it so there is no rejection of the suggestion.

This is a lot of information to take in, and although it may sound complicated once it is practiced and put to use you will see that it is not that difficult.  The only thing to really remember that we haven’t emphasized yet is to always remember to close your stories in reverse order. 

If you close them in the same order you started, meaning one, two and three you will defeat the structure of the nested loop and the amnesia and bridge will fail, causing the whole structure to fail.  So just practice the correct habits in this simple or basic nested loop and then you can move on once you are comfortable.

Creating nested loops using three stories is a very important skill for your Conversational Hypnosis.  Creating nested loops will deeply improve you skill as a Conversational Hypnotist.  It will create a smooth way to navigate you and your subject through the 4 Stage Protocol and leave you and open space to place your suggestion to improve lives.

There are other types of nested loops other than the basic; here you will learn how to create and intermediate level nested loop and all the refinements and skills to add to your basic nested loops in order to do this. 

First let’s review the basic nested loop just to get you in the right frame of mind before diving into the intermediate nested loop.  In a basic nested loop you are going to have three to twelve stories in mind, whatever the situation your listener is faced with requires.  As you start each story you will tell the beginning 80% of the story. 

After you come to the climax you will use a hard or soft loop and transition into the next story. You will repeat this process until you have told the beginning of each of your stories transitioning between each one. At the break of your last story you will add a direct suggestion and then complete each story starting with the last story first and work through the endings until you have completed the first story.

 Starting and ending with the same story will create a bridge over the other information and your listener will be left with a sort of amnesia about all that happened within the middle.

In an intermediate nested loop you will use all of these steps, same structure of the basic nested loop, only with added refinements to it.  The first refinement that you will make is to the basic structure of the stories you are telling. 

You will begin to use your skills in language and emotional triggers to add an emotional factor to each story you tell.  Your goal is to elicit an emotional state from your listener through each story you tell them. 

In order to accomplish this you will embed your emotionally evoking triggers and language with in the stories you are telling.   You can do this by dancing around themes and using your language skills to create experiences the listener can identify with on some level.

You can also use dramatic devices to help you instill emotion in your stories.  These are the different aspect you see Hollywood using to get you emotionally involved in their theatrics.  Anything from visuals, music and character composition to get your listener to get emotionally involved in the story you are telling. 

You want to be able to create a true experience for your listeners, play a movie inside their heads with your words, and include all the senses and feelings that would be portrayed if the story were a motion picture on the big screen. 

There are two different ways to tell a story, bland and exciting.  It does not really matter what the content of a story is you can make that content exciting or you can make it boring.  You want your stories to be as exciting in whatever emotion you are trying to arouse as possible. 

The best way to get good at this is to practice it with an audience.  If you practice alone you may be able to rehearse your stories better and memorize them but the point is to get a response out of another person.  The only way to know you are doing that is to tell them to other people and monitor their responses. 

You will be able to tell certain things from your audience like where to pause, where to talk faster, where to drop the tone of your voice and where to keep rhythm in your words.  These stories should be practiced to the point of people not minding hearing the same story twice because you are so good at evoking emotion when you tell it; it will always be a fascinating experience.

This is important because a nested loop will only be as good as the story you are putting it into.  If your stories are not strong enough to absorb attention then your loops will be equally as weak because you will fail to draw people into your stories world.  You don’t have to be the best story teller in the world just good enough to get responses out of those around you.

To recap, now you are telling three or more stories for your nested loop, each story is going to draw some type of emotional state in your listeners.  Each time you go through a story beginning you will get an emotion to come up, and then you will break it with a transition and start a new story with a new emotion.  You are creating a chain of emotional experiences within your stories.

This emotional rollercoaster you are creating with your stories is a complicated thing that is very useful in hypnosis.  You are beginning the practice of evoking a negative emotion and then changing it into a positive one through the stories you are telling. 

You are also functioning on multiple levels with your story telling.  You are telling a story, that story is telling a story, providing information and rendering a trance state all through the telling of stories.  This is a powerful process indeed.

This is where you will begin to work your stories much like the ancestors of our pasts.  They would tell the same stories over and over again each time the stories would be slightly different depending on the state of the tribe at that particular junction.  They would use the stock of ten to thirty stories to create a pattern of change within their lives, sound familiar? 

As you do the same thing, you will come up with a set of stories that you use often, you will be able to change those stories to fit the confines of each person you deal with and the situations they are in to elicit a change in their lives.  You will know how to change the stories by the types of reactions you are receiving from your listeners and a constant feedback loop is born. 

You tell the story, they listen, they react, and you observe said reaction and monitor where to take your story from there. 

The second thing you will add at the intermediate level of nesting loops is a trance process.  This will be given instead of just a simple suggestion at the suggestion phase of the nested loops.  The trance processes you will use will be very similar to the suggestions you have originally learned in the effect except it will entail more than a simple suggestion.  The trance processes are created to take the listener’s mind on an excursion, they are more sophisticated than just do this or feel that.

Trance processes can include any number of things from a set of instructions to following a simple trance process that you have read about or developed for your practice previously.  The point is to make it more of a set of things to do instead of a simple suggestion.

At this time you can opt to stay on the direct side of suggestions and review and add the trance processes later.  The point is now you have more to work with on a deeper level of trance that goes deeper into the art of nesting loops, a very valuable and powerful way to get the unconscious to respond to you.

It is important know about stories and how to tell them, you should be practicing this and becoming quite good at it as you do it daily without even thinking about it.  The telling of basic and intermediate nested loops and how to use them is also vital.  All these things are very valuable and powerful to your work as a Conversational Hypnotist.

The stories that you tell will help you to bring out emotion in people as well as absorb attention and bypass the critical factor.  This will help you to induce a state of hypnosis and drop in the suggestions that will eventually have positive life changing effects for the people you deal with.  Using your nested loops, basic and intermediate, will aid in this process by tying it all together into a nice process that is smooth and comfortable for you both.

The nested loops you have covered so far have taught you to use three to twelve stories with in a session.  They have taught you how to use the process in telling each story to its climax and then beginning the next.  They have shown you where to drop the suggestions, between all the beginnings and endings of the stories you are telling. 

These two types of nested loops have also taught you that you can create amnesia in order to safely seal your suggestions within the person you are working with.  This is done by the order in which you finish your stories from last to first, creating a bridge and smooth closure to all the stories with in the nested loops. 

And finally you have learned how to observe and use the constant feedback loop created from telling your stories and how to modify them to fit the situation of the person you are in session with.

Now you must learn the next step in nesting loops, the advanced and master level nested loops.  As with the first two types of nested loops you are going to be using the same structural processes and adding refinements to those processes. 

The first refinement you are going to make is to take the trance processes in intermediate nested loops a bit further.  In the intermediate nested loops you began to use trance processes in the suggestions you are giving at the suggestion phase.  Now you are going to take it a step further and use those same trances processes, any of them you have learned previously, and use them in the actual stories you are telling. 

You will take each story you tell and use it as a trance process all in itself.  This will create a much more powerful impact on your listener than simply using them in the suggestion phase.  In order to do this you will still be working within an emotional theme. This will keep your emotional rollercoaster ride going. 

However you can also use other tools such as metaphorical resolutions and pre-teaching within the stories you are telling.  When you use a metaphorical resolution you will use your stories to mirror a situation the listener is having, the suggestion or story itself will offer a type of resolution that will be set in their unconscious to be put into action later. 

If you decide to use pre-teaching you will have the ability to indirectly explain the processes that need to take place in order to insure success within the situation.  Either of these options, along with others you have learned, will set up a structural frame work that will help the entire nesting loop process to define a means at the end.  

Another plus of using pre-teaching as a trance process is that while it instructs their unconscious mind of what direction to take it also sets up intuitions that are unarguable by the critical factor.

This structural frame work you create in the trance processes of your stories and other tools will be the guide for the final outcome.  You won’t need to use only stories to do this but the stories can act as pieces to the puzzle that will be the final conclusion of the entire process.

The nest refinement you will add to the nested loops is going to be what is called post hypnotic suggestion protocol.  When you arrive at the point in your nested loops where you use the trance processes from the intermediate loops you will also incorporate post hypnotic suggestion protocol.  This is a very valuable tool for getting people to do a behavior when a specific cue is performed. 

This is a very powerful thing to incorporate in your nested loops.  The reason post hypnotic suggestion protocol is so powerful is that even when you are not around to influence the behavior as soon as they interpret the set cue they will execute a set behavior.  This is a concept we will cover in depth later on in these articles.

Finally the last thing you will add to your refinements of advanced nested loops is a new way of closing your loops.  Now as you have learned you will still close all your loops from end to beginning, you will still seal the amnesia within by incorporating emotional and complete stories.  But now as you close each loop you will begin to incorporate future memory processes.

Future memory processes are similar to pre-teaching in that you will guide your listener though an imaginary future where all the changes and suggestions have already taken place.  You will show them what these changes will do for them. You will be showing them how their lives will change by using their imagination and your stories as a tool to place those pictures in their head.

Your goal here in future memory process is to give your listener a realistic experience of what their world will look like once they have made the necessary changes.  This is a powerful way to use presupposition, give them a visual of what success looks like.  The other benefit of future processes is that it convinces the unconscious to assume success; this will cause it to do whatever is necessary to complete the tasks to get to that success because it is assumed.

Now the next step is the mastery level nested loop.  Again you will be making more refinements to the last three types of nested loops you have learned about.  You will use all the same structures and processes of the basic, intermediate and advanced level nested loops.  But you will be adding refinements that will create an even bigger impact and make your nested loops even more powerful.

The first thing you will do is add to your stories the conversation induction protocol.  These are the conversational hypnosis inductions that were very indirect, these can be put to use here in your stories as well. 

You can do this in two different ways; first you can simply create the structure of all the stories in a way that it follows one of those protocols.  The other way to use this is to use a different protocol for each story to create a very elaborate and elegant set of loops that will likely guarantee a very deep state of hypnosis in your listener.

The second refinement you will add to create a master level nested loop is to add embedded suggestions to your process.  This can be done in a variety of different ways.  You can use them very directly; ambiguity, quotes, stacked realities or any of the other ways you have learned to embed suggestions.  You can even use them within the emotional states you have been creating with your stories; this is a very powerful way to use embedded suggestions. 

As you are embedding these suggestions you will be embedding emotional triggers as well.  These triggers will be set to go off whenever you trigger them later on.  As you master all these concepts you will eventually learn to modify the rigid structure you have read about here and begin to create loops within loops.  All intertwining and weaving to tell stories within stories, all to improve the lives of your subjects.

Conversational Hypnosis is an art form that is based around the language you use to speak to others.  Part of that language is going to include stories, telling stories in Conversational Hypnosis will be very powerful especially when you learn to do it using nested loops.

Nested loops can be done at four different levels; all are very similar in structure they just get more advanced as you go from basic to intermediate to advanced and finally master level.  A nested loop is simply a way to tell stories that involves a variety of different stories that are told in series stopping at the climax of each story to start another. 

When you reach the end of your set number of stories, usually between three and twelve, you will stop to add a direct suggestion or trance process.  After that you will continue by finishing each of your stories in the reverse order so you begin the process and end the process with the same story.

When you use nested loops you will soon see that there will be a lot of things going on for both you and your listener.  Your listener will be giving you their undivided attention, through which you will bypass their critical factor make suggestions and then bring them back from an altered state of mind. 

You on the other hand have an overwhelming amount of work to do.  You must have a stock of stories to tell and be able to modify each one to the person you are working with.  You are also going to be using many of the past skills you have learned in order to make those stories the best stories you can. 

These include emotional triggers, metaphors, ambiguous stories, pre-teaching hypnotic trance processes, embedded suggestions, future memories, seeding and post hypnotic suggestion protocol.  All of these aspects will more than likely be included in the ways you tell your stories. 

So now that you know how the structures of nested loops work you should learn a fail safe way to design them so you are ready whenever you need to use them.  Just knowing the structure and what it is you need to have in the design is much different than actually creating a set of nested loops.

The first step in creating any of the nested loops is going to be that you will want to begin with the end in mind.  The unconscious mind does not work in a linear and logical way, even though the structure of nested loops may look that way, you will need to start where the unconscious is ready to start. 

The way you do this is to first realize what you want the conclusion of the situation to be.  Once you have figured out where you want your nested loop to get you then your unconscious mind will be much more obliged to take you there, you have given it directions to its destination.

The next thing you will want to do in creating nested loops is to really imagine your audience.  If you know who your story is intended for you will have a good idea of where they are starting from and what knowledge they do and don’t have.  Understanding your audience will clue you into the problems they are facing and what they want out of life. 

Nested loops are two fold they are created for a specific audience in mind and they are created to achieve set outcomes, these are things you need to remember as you go through this creative process.

To review the first two steps in this process you should now have a picture of your audience, a place to start, a purpose, a finishing place and end all in mind.  These are all accomplished in the first two steps in creating nested loops if you have missed any of these you should go back and reread the last few paragraphs, it is important to understand exactly how to do this because it is a powerful tool you will use often.

The third step is going to be to over come the hurdles.  Now that you have an outline of what you need to create you will also have a sense of what problems or hurdles you may face along the way.  Identifying those now will be very helpful.  Because you have your audience in mind and you know their problems, their dilemmas you can start to figure out ways to resolve those problems within your stories. 

You can use your stories to set up ways to resolve their problems through the suggestion stage, use your stories as resources to build to those stories.  You can think of your suggestions as the point of transformation, what do you want to do at this stage?  This is important because after all your stories are finished you will merge right into the desired outcome.

The fourth step in creating nested loops is going to be brainstorming.  This will be the processes of deciding in what order to tell your stories so they are most beneficial for your subject.  You don’t have to tell your stories in order or even the same order every time. 

Use your brainstorming phase to write down all the things and stories that come to mind that apply to the situation of the person you are working with.  Not all the things you brainstorm will actually end up in your stories but a good amount will and it will usually give you enough ideas to complete your processes. 

Remember that these are going to be your starting points for the rest of your structure.  As you create stories with these ideas you will let each idea evolve and grow with your story.  You should also be using these stories individually to test out on a variety of different people. 

The fifth step in your creation of nested loops is going to be starting in the middle.  This is not set in stone it simply means to find the story out of your set that inspires you most and start with that one.  This is very, very important inspiration will lead you to whatever story is best to begin with in your nested loops.

The starting story has to be inspiring to you, go first, if you are telling it because you have to that will come through in your sub-communications and create the wrong environment for your session.  The idea of using the inspirational story to start your nested loops will activate the creative processes in you unconscious and overall allow you more success in what you are doing.

Next you will fill in the blanks this is the sixth step.  So basically you start with whatever story inspires you in the first place, as you tell it you come to a point where the second story is appropriate to start.  When this time comes for your second story to start you will have formulated ideas for it through your inspirations from the first story. 

This sounds a little impossible but as you are telling each story you will be thinking of all your resources in your skills and things you want and need to express will come to mind.  This will fuel your stories and the themes you use with in them to help you resolve the problems at hand for your listener.

The seventh and final step in creating a nested loop is to actually use the creative loop.  In order to do this you will need time to let your unconscious mind formulate and work through the things you will want to incorporate in your loops.  If you don’t have time to sleep on this you can always use self hypnosis in order to clear your mind to make things come together easier.  The point is to allow your mind the time to get the creative processes going.

In this whole process of creating nested loops you will need to become a natural story teller.  This is important to be able to mold your set stock of stories, the ones you will use over and over again, and form them in different ways so they can be used in different ways for different things with different people.  Many of your stories will come to you by way of instant inspiration.

The way to become a natural story teller is simply to practice.  Practicing will help to condition the muscles in your mind to access the creative channels you need to be more at ease with this process.  The main thing to remember in this whole process is that it is a creative process and you will eventually discover your own ways of going about it all.  It is important that you take the time to figure out what works for you it will only make you stronger and your nested loops and hypnosis more powerful.