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Hypnotic Language Patterns Eventually ... Eventually everything comes to pass.

Eventually what I want to direct your attention to will probably come to pass as well. Eventually you will develop a deep understanding of these difficult events in your life, and you will find some hidden value in them. Eventually, indirect language patterns will become second nature to you. Imagine that. I don't know if _____. I don't know if you're going to like this game better than any other learning game you've ever played. I don't know what things in particular you will enjoy the most. I really don't know if this experience is going go change your life. Don't ask me, I don't know. Maybe you'll ____. aybe you'll direct some unusual embedded commands to your friends while you play !ebu. aybe you'll dream of new ways to say things tonight. aybe you'll spot the embedded commands in these sentences. It's easy to _____, is it not Is it not is another one of those endings that softens a statement into a "uestion. #nd it's a bit confusing to disagree with, is it not$ It's easy to go into trance, is it not$ It's easy to discover something special deep inside, is it not$ #nd if I say that something is easy, you probably try doing it to see if I'm right. Maybe you !aven't ..., yet. aybe you haven't, maybe you have, who knows, I'm just making an observation, but when that yet comes along, there's a strong implication that sooner or later you're going to% aybe you haven't decided to buy copies of !ebu for all of your friends ... yet. &ho knows$ 'here's still time ... It's just an observation. www.deeptrance.now.com

"LP #nd $onality Patterns By Gloria Hamilten Article Word Count: 452

Tonality in your conversation is actually worth 38% of the content of your messa e! and has a si nificant influence on the meanin of your communication and the reactions you will et. "t mar#edly affects how others will respond to your words and to your messa e. $hat you desire! is that the response will %e the one you want! isn&t it' But there is no uarantee of that %ecause people hear what they hear %ased on their past e(periences. They are selective of what they want to hear. Tonality patterns are a very effective way for you to match the tonality of the sentences you use with the other person. )ne of the thin s we will loo# at later is how to match and mirror another person in rapport %uildin . *ow! o%vious as it will %e once you read this! it is the awareness of what tools you use at any particular time that empowers you in the conversation. There are three tonality patterns+ ,. -uestion 2. .tatement 3. /ommand 0et&s put this into practice+ )ur template sentence will %e the sentence+ 12lease shut the door on your way out.1

Harmless little sentence! isn&t it' But loo# what we can do with it when we chan e out tonality. 1. The tonality in a 3uestion oes up at the end of a sentence..ay the sentence now as thou h it were a 3uestion.12lease shut the door on your way out'1Because you need to raise your voice at the end of that sentence! there is a certain e(tra emphasis on the underlined words a%ove. There is also a %it of irony in your voice with that raisin ! isn&t there' 2. "n a statement! the modulation of the voice is rather even4 there are no emphases at the end. .o! we will say that same sentence a ain! with no modulation. 12lease shut the door on your way out.1 5ach word has e3ual importance and stren th in the sentence. "t doesn&t raise a reaction of any sort! does it' 3. *ow the third one! the command tonality. Here the voice oes down at the end. 0et&s have a o doin that. 12lease shut the door on your way out.1 The underlined words! when you lower your voice! him to &%oom& at you! as it should in a command. There is the added emphasis on the word &door&! isn&t there' .o in summary+ o "n the 3uestion! the voice oes up at the end. o "n a statement! the voice stays plateaued. o "n a command! the voice oes down at the end. 6a#e up your own sentences and have fun e(perimentin with these three tonality patterns. " can uarantee a lot of lau hin doin these. Gloria 6 Hamilten is a reco ni7ed authority in disciplines within 2ersonal 8evelopment

and 2eople .#ills for Business 2rofessionals! such as Time 6ana ement! *e otiation .#ills! 8evelopin Hi h92erformance Teams! :ssertion .#ills! Buildin "nternational ;apport! /onflict 6ana ement and ;esolution! 2resentation and 2latform .#ills. Her studies in *euro90in uistic 2ro rammin and 2sycholo y have lead to her researchin %rain disorders such as :89H8 and its relations. .he has her own trainin %usiness! and conducts courses for /orporate )r ani7ations! .portin roups and Tertiary 5ducational "nstitutions in :ustralia. Her professional e(perience covers over 3< years of study! research! one9on9one coachin ! roup coachin ! presentations and wor#shops. Her clientele includes children as well as adults. Gloria Hamilten has authored the eBoo#+ 1.uccessful .elf9Hypnosis1 and many ;eports and online articles. Her we%sites provide a wealth of informative articles and resources on everythin within these enres.

Tonality Exercises For Hypnotists The Basics 6ay ,=th! 2<,< > :uthor+ dou slater

(racticing your tonality is very important for anyone who wishes to become a master hypnotist. &hether you wish to become a clinical hypnotherapist, stage hypnotist or someone who uses covert hypnosis if your voice isn)t pleasant to listen to then people aren)t going to take your suggestions on board. (erfecting your tonality means that that your use of techni"ues such as embedded commands and pacing becomes all the more effective. *ome people naturally seem to have great control over the tonality of their voice, however most need to perform exercises and practice to get it just right. 'here are a number of exercises you can perform which is why this article is part one of a two part series. In this part we will look at some of the basic tonality exercises including posture, posture stretches and breathing. Posture +our posture has a direct affect on the tonality of your voice. +ou can hear this for yourself right now. *tand up in a slumped position, head down and say ,-ello, my name is .../ out loud. 0ow remain standing but straighten up your back, stick your chest out and lift your head up. 1epeat the same sentence you said earlier. 0otice how much more authoritative you sound. &ith a few exceptions 2such as when you wish to play on a weakness3 you want to both look and sound like you are in command. 'his will make people listen to what you have to say. Posture %tretc!es If you find it hard to maintain good posture as a result of bad habits then there are a few exercises you can perform to remedy this. *tand up with your legs slightly bent at the knee, about shoulder width apart. #llow your arms to go limp and twist your hips to the left so that your hands gently slap on your lower back. 4eep doing this from left to right about fifty times. &hat this does is realign your spine, making proper posture more natural.

+ou may also have tension in you shoulders that causes you to hold them higher than you should. 'o alleviate this shrug your shoulders as high up as you can towards your ears and hold them there for five seconds. 'hen roll your shoulders right back and s"uee5e them together for another five seconds. 0ow allow your shoulders to drop, you should find that your shoulders drop back to where they should be. &reat!ing 'o have that commanding voice you need you must also breath properly as well as having the correct posture. 'his means breathing in a slow, deep and calm manner. 'his will give your voice more power and resonance. It is also necessary to breath from the diaphragm rather than the chest like most people do. *tand up and place your hand over your stomach. 6reathe in slowly and deeply, allow your stomach rather than your chest to expand. #s you breathe out let out a soft sigh ,ahhhh/ and repeat this process over and over. 'his is an exercise you may have to do each day for a few weeks until breathing from your diaphragm becomes natural and instinctive. I hope you have enjoyed these tonality exercises. I hope to have part two up some time next week. Advanced Tonality Exercises For Hypnotists ?une ,st! 2<,< > :uthor+ dou slater

In my last article here on 07( -ypnosis *ecrets I taught you a few simple exercises to improve your control over the tonality of your voice. I hope you)ve been practicing as we will now be moving onto a set of more advanced tonality exercises. &hether you)re a hypnotist or just someone who wishes to sound more like a leader, these exercises are sure to help you. Inflection 8ontrolling your inflection is important because it defines what you say as being either a "uestion, command or statement. # "uestion ends in an upward inflection, a command ends in a downward inflection and a statement is flat.

'ry saying the sentence below as a "uestion, then a command and finally as a statement. ,9eel yourself becoming more and more relaxed./ 4eep cycling through each inflection until it becomes instinctive and natural. 4now that your choice of inflection has a profound affect on the person you are hypnoti5ing. 1arely will you be asking "uestions and most of the time you should be using a commanding inflection. E'otion :ne problem many hypnotists have in their early stages of development is a lack of emotion in their voice. 6ecause they are consciously focusing on talking slowly in a ,hypnotic/ manner they end up sounding more robotic than hypnotic. 8ertain words bring about emotional responses, and when you say them in your everyday life you will unconsciously say them in an emotional manner. 9or example, if you were telling a friend about a shot you hit on the golf course you might say ,I hit the most ama5ing shot the other day%/. 'ry saying that sentence out loud and you will hear that you actually say ama5ing in an excited manner. 'he same holds true for many other words. 6elow are a few for you to practice. 9antastic Imagine 9ast &hisper (owerful Driven *mooth 8areful *oothing 1elax -ectic 8ra5y Down Incredible 1ocket 0ow try adding some of these words 2or ones of your own into a hypnotic sentence3 and speak it out loud, adding these emotional inflections. ,Imagine yourself floating on a soft, comfortable cloud./ Pausing (ausing is one of the most powerful tools in communication. It can build suspense and anticipation, and it can also allow your words to really resonate before you carry on with your message.

any people have a tendency to talk to "uickly, as if they are trying to fit in as much information in a small gap as possible. -owever this often makes them sound anxious and unsure of themselves. &hen you tend to talk in a hypnotic manner you want to leave clear pauses between sentences. It may be helpful to imagine that at the end of every sentence you speak there is an ellipses;#llow a couple of seconds to pass before starting the next sentence. +ou may also want to leave a short pause after a certain word which you want to put added emphasis on. 'he best way to practice this is with a dictaphone or microphone hooked up to your computer so you can record yourself. +ou can ready literally anything out loud whether it)s a hypnosis script, a novel, a maga5ine;anything. 1ecord yourself for a minute or two and then listen back to it. #re you leaving ade"uate gaps between commas, sentences and paragraphs or does everything just run together into one big block$ 4eep practicing until you get it just right. I hope these tonality exercises will help raise your hypnotic abilities to a new level. 1elated posts< &hen you improve your tone of voice, you will discover how easy it is to get people to respond to you in a positive and accommodating fashion. It's one of the most important skills for getting on in life. Exercise 1: Moving your voice around (ress your hand on your nose and say =nose=. 8oncentrate on your nose as you repeat the word until you can feel your nose vibrating. 0ow do the same exercise with your hand on your throat saying =throat=. #nd finally on your chest saying =chest=.

4eep practicing until you can really feel the vibration in each place. 0otice how different each one sounds. Exercise 2: Using your range *tarting from a high note say 'ar' 2as in the letter r3 keeping your mouth open allow the note to drop down until your breath runs out. 1epeat this ten times. *tarting from a low note say 'ou' 2#s in you without the y3, allowing the note to rise until you cannot support the sound. 'his sound may remind the 6ritish reader of 9rankie -oward. 1epeat this ten times. Exercise : !esonate 'o use your voice correctly it must resonate in the 'mask'. 'his is the facial area surrounding the nose and mouth. 'here are two ways to do this<

-um at whatever pitch is most comfortable for you. :nce you have found your pitch then hum 'umm' followed immediately by the word 'ready'. Do this a few times, then try the words 'now', 'one', 'two', 'three'. -um and then allow your lips to vibrate. +ou are attempting to sound like a dove. #llow the pitch to rise and fall. 'his is very difficult if there is any tension in the jaw or face. Done correctly for a few minutes, your face will start to feel numb.

#fter a couple of minutes using these methods you should notice that your voice sounds crisper and the sound has better attack. 'he best way to improve is to spend about > minutes a day going through these exercises. If you drive to work on your own then there is no excuse not to improve your tone daily

NLP, Mirror and Matching; the basis of Modeling

By John James Santangelo C.Ht., See all articles by John James Santangelo See John James Santangelo's expert page Average: 4.5 Your rating: None Average: 4.5 ( votes! Share " #apport is the $oun%ation $or any meaning$ul interaction bet&een t&o or more people ' rapport is about establishing an environment o$ trust an% un%erstan%ing( to respect an% honor the other person)s &orl%. *hich gives a person the $ree%om to $ully express their i%eas an% concerns an% to +no& that they &ill be respecte% by the other person(s!. #apport creates the space $or the person to $eel listene% to( an% hear% an% it %oesn)t mean that they have to agree &ith &hat the other person says or %oes. ,ach person appreciates the other)s vie&point an% respects their mo%el o$ the &orl%. *hen you are in rapport &ith another person( you have the opportunity to enter their &orl% an% see things $rom their perspective( $eel the &ay they %o( get a better un%erstan%ing o$ &here they are coming $rom- an% as a result( enhance the &hole relationship. A ./01 stu%y con%ucte% at the 2niversity o$ 3ennsylvania by 4r. #ay 5ir%&histle conclu%e% that /67 o$ our communication transpires non'verbally an%

unconscious. N83 rapport s+ills teach us ho& to communicate at that unconscious level. 9irroring( matching( pacing an% lea%ing s+ills &ill enable you to become :li+e: the other person. Anthony #obbins state%: ;3eople &ho li+e each other ten% to be li+e each other.< N83 teaches ho& to mirror an% match physiology( tonality an% pre%icates (process &or%s!. #esearchers at the 5oston 2niversity 9e%ical School stu%ie% $ilms o$ people having conversations. =he researchers notice% that the people tal+ing began (unconsciously! to co'or%inate their movements (inclu%ing $inger movements( eye blin+s an% hea% no%s.! *hen they &ere monitore% using electroencephalographs( it &as $oun% that some o$ their brain &aves &ere spi+ing at the same moment too. As the conversations progresse%( these people &ere getting into rapport &ith each other. =he +ey to establishing rapport is an ability to enter another person)s &orl% by assuming a similar state o$ min%. =he $irst thing to %o is to become more li+e the other person by matching an% mirroring the person)s behaviors '' bo%y language( voice( &or%s etc. 9atching an% mirroring is a po&er$ul &ay o$ getting an appreciation o$ ho& the other person is seeing>experiencing the &orl% ?or &or%s( match pre%icates. @$ your partner is using mainly visual &or%s( you shoul% also use mainly visual &or%s an% similarly $or au%itory( +inesthetic an% au%itory %igital &or%s. =o the extent possible( you shoul% also use the same &or%s as the other person. ?or example( @ may say something is Aa&esome). @n your mo%el o$ the &orl%( you may interpret Aa&esome) as Aoutstan%ing) an% use this &or% &hen spea+ing to me. ?or me Aoutstan%ing) may have a %i$$erent meaning or evo+e a %i$$erent $eeling than Aa&esome). @n this case( you &oul% not be matching but mismatching my &or%s. Some people $in% the i%ea o$ matching another person uncom$ortable an% they $eel that they are trying to $ool or ta+e a%vantage o$ the other person. =o overcome this uneasiness( realiBe that matching is a natural part o$ the rapport buil%ing process an% that you are %oing it unconsciously every %ay &ith your close $amily an% $rien%s. ,ach %ay gra%ually increase your conscious use o$ matching at a pace that is com$ortable an% ethical $or you. 9atching %one &ith integrity an% respect creates positive $eelings an% responses in you an% others. #apport is the ability to enter someone else)s &orl%( to ma+e him $eel you un%erstan% him( an% that there is a strong connection bet&een the t&o o$ you. =he purpose o$ the $ollo&ing exercises is to provi%e some experience &ith the basic processes an% proce%ures o$ mo%eling. =hey primarily $ocus on the in$ormation gathering phase o$ the mo%eling process( an% cover a range o$ mo%eling s+ills( inclu%ing :implicit: an% :explicit: mo%eling $ormats( an% the use o$

multiple perceptual positions to gather %i$$erent types an% levels o$ in$ormation about a particular per$ormance. 9irroring ,xercise 9irroring is a metho% o$ buil%ing a strong :secon% position: &ith someone else. @t is a $un%amental s+ill $or mo%eling another person an% $or %eveloping intuitions about the person's internal experience. =o get a sense o$ the in$luence an% e$$ects o$ mirroring( try out the $ollo&ing exercise. .. Choose a partner( or person to converse &ith. 4o not tell the person initially that you &ill be mirroring him or her %uring the conversation. . ,nter into a conversation &ith the person( as+ing $or his or her opinions about various subDects. 6. As you are conversing( begin to subtly mirror the other person's physiology (inclu%ing voice tone an% tempo!. EFint: =his can be most easily %one in the context o$ 'active listening'- that is( re$lecting bac+ statements the person has ma%e( by commenting( :So &hat you are saying is....:( an% then stating your un%erstan%ing o$ the person's opinion.G 4. *hen you are $ully mirroring( you &ill be sitting in the same posture( using the same types o$ gestures( spea+ing at a similar spee% an% volume( an% in a similar voice tone range( as the other person. @$ you are completely mirroring the other person( you &ill even be breathing at the same rate an% in the same part o$ the chest cavity as the other. Notice &hat it $eels li+e &hen you have reache% this level o$ rapport. 5. Hne &ay to test your %egree o$ rapport is by :secon% guessing: the other person's opinion on a couple o$ subDects that you have not yet %iscusse%. H$ten mirroring &ill give you access to in$ormation that is being unconsciously communicate% an% receive%( an% you &ill :pic+ up: in$ormation about the other person &ithout being consciously a&are o$ ho& you got it. =his is &hy mirroring is such a po&er$ul tool $or mo%eling. I. =o get another sense o$ the in$luence o$ mirroring on your interaction( you can try out &hat it is li+e to abruptly mismatch the other person in posture( gestures( voice tone an% breathing. 5oth you an% your partner shoul% experience Juite a Dolt i$ you %o this( an% $eel as i$ your Juality o$ rapport has change% %ramatically. 0. 5e$ore conclu%ing your conversation an% letting your partner in on &hat you &ere %oing( ma+e sure you have reestablishe% rapport by once again physically mirroring your partner. Hne &ay to help rapport to %evelop is to mirror the micro'behaviors o$ those &e &ish to in$luence. Any observable behavior can be mirrore%( $or example: 5o%y posture Spinal alignment Fan% gestures Fea% tilt

5lin+ rate ?acial expression ,nergy level 5reathing rate Kocal Jualities (volume( tonality( rhythm! Ley phrases Anything else that you can observeM ,xercise . 3ractice mirroring the micro'behaviors o$ people on television (chat sho&s N intervie&s are i%eal.! You may be surprise% at ho& Juic+ly you can become com$ortable as you subtly mirror the behaviors o$ others. 3acing an% lea%ing is one o$ the +eys to in$luencing people. @t re$ers to meeting them at their map o$ the &orl% (pacing! an% then ta+ing them &here you &ant them to go (lea%ing.! #apport is a basic( behavioral signal that you have met someone at their map o$ the &orl%. =he simplest( most e$$ective test $or rapport is :i$ you lea%( they $ollo&.: ,xercise Choose a sa$e situation to practice mirroring an element o$ someone else's behavior. *hen you have mirrore% them $or a &hile( an% thin+ you are in rapport &ith the person( scratch your nose. @$ they li$t their han% to their $ace &ithin the next minute or so( congratulate yoursel$ ' you have le% their behaviorO S+ille% communicators have a &i%e range o$ behaviors they can mirror to buil% rapport. You can $in% a &ay to mirror virtually anything you can observe. ,xercise 6 @ncrease the range o$ behaviors that you can mirror( an% intro%uce %eliberate rapport'buil%ing into situations &here it &ill bene$it you an% others (nb. 2se your common sense an% choose lo&'ris+ situations to practice in.! 9any people (especially in the area o$ sales! are $amiliar &ith rapport'buil%ing techniJues an% are particularly a&are o$ bo%y posture mirroring. Cross'over matching involves matching another person's behavior &ith a %i$$erent behavior o$ your o&n (eg. matching their breathing rate to your hea% tilt( or their eye blin+s to your $oot'taps.! =his is a &ay o$ buil%ing rapport that is very %i$$icult to %etect( an% still highly e$$ective. ,xercise 4 4uring a conversation &ith another person- choose one o$ their behaviors (eg. breathing rate! to cross'over match &ith one o$ your behaviors (eg. spea+ing rate.! Notice ho& Juic+ly the sense o$ connection %evelopsO =o mirror another person( merely select the behavior or Juality you &ish to mirror( an% then %o that behavior. @$ you choose to mirror hea% tilt( &hen the person moves their hea%( &ait a $e& moments( then move yours to the same

angle. =he e$$ect shoul% be as though the other person is loo+ing in a mirror. *hen this is %one elegantly( it is out o$ consciousness $or the other person. Fo&ever( a $e& notes o$ caution are appropriate: 9irroring is not the same as mimicry. @t shoul% be subtle an% respect$ul. 9irroring can lea% to you sharing the other person's experience. Avoi% mirroring people &ho are in %istress or &ho have severe mental issues. 9irroring can buil% a %eep sense o$ trust Juic+ly( a responsibility to use it ethically. 9irroring is as i$ you &ere loo+ing into a mirror. =o mirror a person &ho has raise% his right han%( you &oul% raise your le$t han% (i.e. mirror image!. =o match this same person( you &oul% raise your right'han% (%oing exactly the same as the other person!. Some practitioners see a time %i$$erence bet&een mirroring an% matching. ?or example( i$ someone ma+es han% gestures &hile they are spea+ing( you &oul% &ait until it &as your turn to spea+ be$ore ma+ing similar (matching! han% gestures. =he $act that you've rea% this $ar means that you can see the bene$its o$ increasing your rapport s+ills. #ea%ing is sa%ly not enough ' practice is the +ey to buil%ing s+ill( so %o the exercises. *hen you $irst start the practice o$ mirroring( you may have to pay some conscious attention to &hat you're %oing. A$ter a &hile( ho&ever( you &ill start to catch yoursel$ %oing it unconsciously. =his is &here you really begin to buil% rapport elegantlyO An% at times &hen a gesture is i%iosyncratic to that person or other&ise to obvious( you can %o crossover matching. 9eaning( i$ they a%Dust their glasses( an% you %on't &ear any( then Dust move your $oot. *hen you crossover match>mirror( you match>mirror a portion o$ the other person's bo%y( &ith a %i$$erent portion o$ your o&n bo%y. =his is best to %o &hen you are matching someone's rate o$ breathing. You can use your $inger to pace the rhythm o$ their breath. *hen matching or mirroring someone's voice( %o that &ith their tonality( volume( an% the rate at &hich they spea+. An% remember you %on't have to %o all o$ these things( Dust one or t&o &ill be enough to create rapport in most cases. 3ractice You may &ish to start &ith $amily members an% begin to match %i$$erent aspects o$ their posture( gestures( voice an% &or%s. Fave $un &ith it an% see i$ they notice &hat you are %oing. At &or+ or socially( start by matching one speci$ic behavior an% once you are com$ortable %oing that( an% then match another. ?or $rien%s &ith &hom you really $eel com$ortable( notice ho& o$ten you naturally match their postures( gestures tone o$ voice or &or%s. 9atching comes naturally( &hat you nee% to %o is learn ho& to %o it &ith everyone( then matching &ill become automatic &henever you &ish to %eepen your rapport &ith someone.

5ac+trac+ing is another excellent s+ill to learn in or%er to maintain an% %eepen rapport. *hen you are in conversation &ith another person &hether it is business or personal ta+e the opportunity to give bac+ to the person the in$ormation you are receiving. =his lets the person +no& that you &ere listening an% that you un%erstan% &ithout Du%gment. @t also gives you a chance to ensure your o&n un%erstan%ing an%>or as+ $or clari$ication. @$ you &ere matching posture( breathing( +ey &or%s an% gestures( voice characteristics an% %i% not attempt to bac+trac+ your rapport &oul% eventually slip through the crac+s. =he bac+trac+ is the threa% that tightens the rapport. 5ac+trac+ing is saying bac+ the essence( not verbatim( o$ &hat the person ha% Dust sai%. =here are times &hen you bac+trac+ an% the other person a%%s on or corrects you. 5eing correcte% can strengthen rapport because then you bac+trac+ again an% the person really $eels you un%erstan%. =here is also the possibility that being correcte% &ill cause you to lose rapport. Fo&ever losing rapport is li+e losing your balance. You $all( recover( an% get bac+ up again. *hen you lose rapport you have to $in% a &ay to regain it. Some o$ the &ays to regain rapport are to bac+trac+ accurately( mirror posture( breathing( +ey &or%s an% gestures an% voice characteristics. =here may be times that you &ant to be :out: o$ rapport &ith someone. ?or example i$ it isn't healthy $or you to be aroun% certain people( you are hel% hostage at a coc+tail party or you are %oing it $or e$$ect. =ypically people thin+ the &ay to brea+ rapport is to be %emeaning or %isagree. Although that may &or+ @ recommen% mismatching. =his means intentionally mismatch posture( breathing( +ey &or%s>gestures( an% voice Juality. #ely on mismatching the nonverbal communication an% you &ill be out o$ rapport. ?or those o$ you &ho li+e experiments try this: 4isagree strongly an% maintain rapport. Agree completely &hile brea+ing rapport. All experimenting shoul% be %one in a non'critical environment. =he +ey element &ithin establishing( buil%ing( %eepening an% maintaining rapport is the ability to pay attention to the responses you are getting. =he response &ill let you +no& i$ you are in or out o$ rapport. *hen you are :in: continue %oing your mirroring an% bac+trac+ing s+ills. *hen you are :out: utiliBe your $lexibility an% change &hat you are %oing until you are bac+ on trac+. 5ehin% any techniJue there must be an authenticity o$ caring an% real concern $or the other person. (See :=echnicians Nee% Not Apply(:Anchor 3oint ./P0.! #apport is such a people oriente% process yet @ am %escribing practical techniJues to establish( maintain an% %eepen rapport. @t can an% %oes $eel mechanicalO Fo&ever a$ter a &hile they become streamline% in your behavior. @$ you practice these s+ills an% have no real interest in the other person the rapport &ill not %evelop. @$ you %on't pay attention to the other person it %oesn't matter ho& pro$icient you become in your N83 techniJues. @t is the responses that you get an% your o&n $lexibility that hol% the ultimate po&er in establishing( maintaining an% %eepening rapport.