The Technique

1. First, imagine a big theatre, you re sitting in a seat near the middle, and on
the screen is a still, black & white photo in which you can see yourself in a s
ituation just before you had the phobic response.
2. Next, imagine you are floating out of your body in the movie theatre, and up
into the projection booth. From here in the projection booth, you can see the s
creen, and you can see yourself sitting down there in the seat in the middle of
the theatre. Notice what colour your shirt or blouse you are wearing down in tha
t seat.
3. Now, turn that still snapshot up on the screen into a black & white movie, a
nd watch it from the beginning, to just beyond the end of that unpleasant experi
ence. When you get to the end, I want you to stop it as a slide, and then jump i
nside and run the movie backwards. You will see everything happening in reversepeople will walk backwards, things will move backwards, just like rewinding a m
ovie, except you will be inside the movie. Run the movie in reverse in colour, a
nd take only one or two seconds to do it.
4. Now think about what is was that you had a phobia of, see what you would see
if you were actually there. How does it feel different?
5. Now you might wonder if this change will hold the next time you are really p
resented with the situation so go test it out. Use good common sense- if your pho
bia was of snakes, then go find a snake in a pet shop to play with, not a cobra
or rattler.
Agreement Frame
This pattern creates a common or joint outcome that both parties in a conflict
or negotiation can agree to:
Practice Example:
1. Specify a situation where you are negotiating between two people.
2. Ask each for their outcome and backtrack .
3. Find a common outcome that both can agree to.
4. Use CONDITIONAL CLOSE , below, to deliver.
5. If there are objections:
A. Ask each what their idea or objection is intended to accomplish. Go meta to
that ( and what will that get for you?) until you arrive at an outcome each can ag
ree on.
B. Ask each what will happen if they don t reach an agreement. Use this option if
the parties are being uncooperative or argumentative
Conditional Close
This frame helps you determine from the outset what issues need to be satisfied
before a solution can be finalized.
Practice Example:
1. A makes proposal to B .
2. B raises an objection.
3. A backtracks B s objection.
4. Make the conditional close:
If I can satisfy your objection, then you would agree to X , is that correct?
5. If no, go back to step 2 and ask for all objections, then follow through the
steps again.
? 6. If yes, have fun!
How To Work With Submodalities
SubModalities: like to dislike script
1. Can you think of something that you like but wish you did not? Good, what is
it? As you think about that, do you have a picture?? (Elicit the SubModalities.)
2. Can you think of something which is similar, but which you absolutely dislike
. For example, ice cream and yoghurt. (Elicit the SubModalities. The location sh
ould be different!)

3. Change the SubModalities of #1 into the SubModalities of #2.

TEST: Now, what about that thing you used to like?
How is it different?
SubModalities: belief change script
1. Can you think of a limiting belief about yourself that you wish you did not h
ave? Good, what is it? As you think about that belief, do you have a picture? (E
licit the SubModalities.)
2. Can you think of a belief which is no longer true. For example, perhaps you u
sed to be a smoker. Someone who was a smoker, used to believe they were a smoker
, but now they no longer believe that. Or someone who used to own a new 1985 car
, believed that they were a new car owner, but now they no longer do. Do you hav
e something like that which used to be true for you, but no longer is? Good, wha
t is it? As you think about that belief, do you have a picture?? (Elicit the Sub
Modalities.)
3. Change the SubModalities of #1 into #2.
TEST: Now, what do you think about that old belief?
4. Can you think of a belief which for you is absolutely true? Like, for example
, the belief that the sun is going to come up tomorrow. Do you believe that? (Or
, the belief that it s good to breathe.) Good, what is it? As you think about that
belief, do you have a picture? (Elicit the SubModalities.)
5. Can you think of a belief that you want to have, which is the opposite of the
belief in #1? Good, what is it? As you think about that belief, do you have a p
icture?
6. Change the SubModalities of #5 into #4.
TEST: Now, what do you believe? Why do you believe
you have this new belief?
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?

Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
Location
Size
Shape
Intensity
Steady
Movement/ Duration
Vibration
Pressure/Heat?
Weight
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
The Technique
1. First, imagine a big theatre, you re sitting in a seat near the middle, and on
the screen is a still, black & white photo in which you can see yourself in a s
ituation just before you had the phobic response.
2. Next, imagine you are floating out of your body in the movie theatre, and up
into the projection booth. From here in the projection booth, you can see the s
creen, and you can see yourself sitting down there in the seat in the middle of
the theatre. Notice what colour your shirt or blouse you are wearing down in tha
t seat.

3. Now, turn that still snapshot up on the screen into a black & white movie, a
nd watch it from the beginning, to just beyond the end of that unpleasant experi
ence. When you get to the end, I want you to stop it as a slide, and then jump i
nside and run the movie backwards. You will see everything happening in reversepeople will walk backwards, things will move backwards, just like rewinding a m
ovie, except you will be inside the movie. Run the movie in reverse in colour, a
nd take only one or two seconds to do it.
4. Now think about what is was that you had a phobia of, see what you would see
if you were actually there. How does it feel different?
5. Now you might wonder if this change will hold the next time you are really p
resented with the situation so go test it out. Use good common sense- if your pho
bia was of snakes, then go find a snake in a pet shop to play with, not a cobra
or rattler.
Agreement Frame
This pattern creates a common or joint outcome that both parties in a conflict
or negotiation can agree to:
Practice Example:
1. Specify a situation where you are negotiating between two people.
2. Ask each for their outcome and backtrack .
3. Find a common outcome that both can agree to.
4. Use CONDITIONAL CLOSE , below, to deliver.
5. If there are objections:
A. Ask each what their idea or objection is intended to accomplish. Go meta to
that ( and what will that get for you?) until you arrive at an outcome each can ag
ree on.
B. Ask each what will happen if they don t reach an agreement. Use this option if
the parties are being uncooperative or argumentative
Conditional Close
This frame helps you determine from the outset what issues need to be satisfied
before a solution can be finalized.
Practice Example:
1. A makes proposal to B .
2. B raises an objection.
3. A backtracks B s objection.
4. Make the conditional close:
If I can satisfy your objection, then you would agree to X , is that correct?
5. If no, go back to step 2 and ask for all objections, then follow through the
steps again.
? 6. If yes, have fun!
How To Work With Submodalities
SubModalities: like to dislike script
1. Can you think of something that you like but wish you did not? Good, what is
it? As you think about that, do you have a picture?? (Elicit the SubModalities.)
2. Can you think of something which is similar, but which you absolutely dislike
. For example, ice cream and yoghurt. (Elicit the SubModalities. The location sh
ould be different!)
3. Change the SubModalities of #1 into the SubModalities of #2.
TEST: Now, what about that thing you used to like?
How is it different?
SubModalities: belief change script
1. Can you think of a limiting belief about yourself that you wish you did not h

ave? Good, what is it? As you think about that belief, do you have a picture? (E
licit the SubModalities.)
2. Can you think of a belief which is no longer true. For example, perhaps you u
sed to be a smoker. Someone who was a smoker, used to believe they were a smoker
, but now they no longer believe that. Or someone who used to own a new 1985 car
, believed that they were a new car owner, but now they no longer do. Do you hav
e something like that which used to be true for you, but no longer is? Good, wha
t is it? As you think about that belief, do you have a picture?? (Elicit the Sub
Modalities.)
3. Change the SubModalities of #1 into #2.
TEST: Now, what do you think about that old belief?
4. Can you think of a belief which for you is absolutely true? Like, for example
, the belief that the sun is going to come up tomorrow. Do you believe that? (Or
, the belief that it s good to breathe.) Good, what is it? As you think about that
belief, do you have a picture? (Elicit the SubModalities.)
5. Can you think of a belief that you want to have, which is the opposite of the
belief in #1? Good, what is it? As you think about that belief, do you have a p
icture?
6. Change the SubModalities of #5 into #4.
TEST: Now, what do you believe? Why do you believe
you have this new belief?
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic

Location
Size
Shape
Intensity
Steady
Movement/ Duration
Vibration
Pressure/Heat?
Weight
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
The Technique
1. First, imagine a big theatre, you re sitting in a seat near the middle, and on
the screen is a still, black & white photo in which you can see yourself in a s
ituation just before you had the phobic response.
2. Next, imagine you are floating out of your body in the movie theatre, and up
into the projection booth. From here in the projection booth, you can see the s
creen, and you can see yourself sitting down there in the seat in the middle of
the theatre. Notice what colour your shirt or blouse you are wearing down in tha
t seat.
3. Now, turn that still snapshot up on the screen into a black & white movie, a
nd watch it from the beginning, to just beyond the end of that unpleasant experi
ence. When you get to the end, I want you to stop it as a slide, and then jump i
nside and run the movie backwards. You will see everything happening in reversepeople will walk backwards, things will move backwards, just like rewinding a m
ovie, except you will be inside the movie. Run the movie in reverse in colour, a
nd take only one or two seconds to do it.
4. Now think about what is was that you had a phobia of, see what you would see
if you were actually there. How does it feel different?

5. Now you might wonder if this change will hold the next time you are really p
resented with the situation so go test it out. Use good common sense- if your pho
bia was of snakes, then go find a snake in a pet shop to play with, not a cobra
or rattler.
Agreement Frame
This pattern creates a common or joint outcome that both parties in a conflict
or negotiation can agree to:
Practice Example:
1. Specify a situation where you are negotiating between two people.
2. Ask each for their outcome and backtrack .
3. Find a common outcome that both can agree to.
4. Use CONDITIONAL CLOSE , below, to deliver.
5. If there are objections:
A. Ask each what their idea or objection is intended to accomplish. Go meta to
that ( and what will that get for you?) until you arrive at an outcome each can ag
ree on.
B. Ask each what will happen if they don t reach an agreement. Use this option if
the parties are being uncooperative or argumentative
Conditional Close
This frame helps you determine from the outset what issues need to be satisfied
before a solution can be finalized.
Practice Example:
1. A makes proposal to B .
2. B raises an objection.
3. A backtracks B s objection.
4. Make the conditional close:
If I can satisfy your objection, then you would agree to X , is that correct?
5. If no, go back to step 2 and ask for all objections, then follow through the
steps again.
? 6. If yes, have fun!
How To Work With Submodalities
SubModalities: like to dislike script
1. Can you think of something that you like but wish you did not? Good, what is
it? As you think about that, do you have a picture?? (Elicit the SubModalities.)
2. Can you think of something which is similar, but which you absolutely dislike
. For example, ice cream and yoghurt. (Elicit the SubModalities. The location sh
ould be different!)
3. Change the SubModalities of #1 into the SubModalities of #2.
TEST: Now, what about that thing you used to like?
How is it different?
SubModalities: belief change script
1. Can you think of a limiting belief about yourself that you wish you did not h
ave? Good, what is it? As you think about that belief, do you have a picture? (E
licit the SubModalities.)
2. Can you think of a belief which is no longer true. For example, perhaps you u
sed to be a smoker. Someone who was a smoker, used to believe they were a smoker
, but now they no longer believe that. Or someone who used to own a new 1985 car
, believed that they were a new car owner, but now they no longer do. Do you hav
e something like that which used to be true for you, but no longer is? Good, wha
t is it? As you think about that belief, do you have a picture?? (Elicit the Sub

Modalities.)
3. Change the SubModalities of #1 into #2.
TEST: Now, what do you think about that old belief?
4. Can you think of a belief which for you is absolutely true? Like, for example
, the belief that the sun is going to come up tomorrow. Do you believe that? (Or
, the belief that it s good to breathe.) Good, what is it? As you think about that
belief, do you have a picture? (Elicit the SubModalities.)
5. Can you think of a belief that you want to have, which is the opposite of the
belief in #1? Good, what is it? As you think about that belief, do you have a p
icture?
6. Change the SubModalities of #5 into #4.
TEST: Now, what do you believe? Why do you believe
you have this new belief?
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
Location
Size
Shape
Intensity
Steady
Movement/ Duration
Vibration
Pressure/Heat?

Weight
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
The Technique
1. First, imagine a big theatre, you re sitting in a seat near the middle, and on
the screen is a still, black & white photo in which you can see yourself in a s
ituation just before you had the phobic response.
2. Next, imagine you are floating out of your body in the movie theatre, and up
into the projection booth. From here in the projection booth, you can see the s
creen, and you can see yourself sitting down there in the seat in the middle of
the theatre. Notice what colour your shirt or blouse you are wearing down in tha
t seat.
3. Now, turn that still snapshot up on the screen into a black & white movie, a
nd watch it from the beginning, to just beyond the end of that unpleasant experi
ence. When you get to the end, I want you to stop it as a slide, and then jump i
nside and run the movie backwards. You will see everything happening in reversepeople will walk backwards, things will move backwards, just like rewinding a m
ovie, except you will be inside the movie. Run the movie in reverse in colour, a
nd take only one or two seconds to do it.
4. Now think about what is was that you had a phobia of, see what you would see
if you were actually there. How does it feel different?
5. Now you might wonder if this change will hold the next time you are really p
resented with the situation so go test it out. Use good common sense- if your pho
bia was of snakes, then go find a snake in a pet shop to play with, not a cobra
or rattler.
Agreement Frame
This pattern creates a common or joint outcome that both parties in a conflict
or negotiation can agree to:
Practice Example:
1. Specify a situation where you are negotiating between two people.

2. Ask each for their outcome and backtrack .

3. Find a common outcome that both can agree to.
4. Use CONDITIONAL CLOSE , below, to deliver.
5. If there are objections:
A. Ask each what their idea or objection is intended to accomplish. Go meta to
that ( and what will that get for you?) until you arrive at an outcome each can ag
ree on.
B. Ask each what will happen if they don t reach an agreement. Use this option if
the parties are being uncooperative or argumentative
Conditional Close
This frame helps you determine from the outset what issues need to be satisfied
before a solution can be finalized.
Practice Example:
1. A makes proposal to B .
2. B raises an objection.
3. A backtracks B s objection.
4. Make the conditional close:
If I can satisfy your objection, then you would agree to X , is that correct?
5. If no, go back to step 2 and ask for all objections, then follow through the
steps again.
? 6. If yes, have fun!
How To Work With Submodalities
SubModalities: like to dislike script
1. Can you think of something that you like but wish you did not? Good, what is
it? As you think about that, do you have a picture?? (Elicit the SubModalities.)
2. Can you think of something which is similar, but which you absolutely dislike
. For example, ice cream and yoghurt. (Elicit the SubModalities. The location sh
ould be different!)
3. Change the SubModalities of #1 into the SubModalities of #2.
TEST: Now, what about that thing you used to like?
How is it different?
SubModalities: belief change script
1. Can you think of a limiting belief about yourself that you wish you did not h
ave? Good, what is it? As you think about that belief, do you have a picture? (E
licit the SubModalities.)
2. Can you think of a belief which is no longer true. For example, perhaps you u
sed to be a smoker. Someone who was a smoker, used to believe they were a smoker
, but now they no longer believe that. Or someone who used to own a new 1985 car
, believed that they were a new car owner, but now they no longer do. Do you hav
e something like that which used to be true for you, but no longer is? Good, wha
t is it? As you think about that belief, do you have a picture?? (Elicit the Sub
Modalities.)
3. Change the SubModalities of #1 into #2.
TEST: Now, what do you think about that old belief?
4. Can you think of a belief which for you is absolutely true? Like, for example
, the belief that the sun is going to come up tomorrow. Do you believe that? (Or
, the belief that it s good to breathe.) Good, what is it? As you think about that

belief, do you have a picture?

(Elicit the SubModalities.)

5. Can you think of a belief that you want to have, which is the opposite of the
belief in #1? Good, what is it? As you think about that belief, do you have a p
icture?
6. Change the SubModalities of #5 into #4.
TEST: Now, what do you believe? Why do you believe
you have this new belief?
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
Location
Size
Shape
Intensity
Steady
Movement/ Duration
Vibration
Pressure/Heat?
Weight
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour

Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
The Technique
1. First, imagine a big theatre, you re sitting in a seat near the middle, and on
the screen is a still, black & white photo in which you can see yourself in a s
ituation just before you had the phobic response.
2. Next, imagine you are floating out of your body in the movie theatre, and up
into the projection booth. From here in the projection booth, you can see the s
creen, and you can see yourself sitting down there in the seat in the middle of
the theatre. Notice what colour your shirt or blouse you are wearing down in tha
t seat.
3. Now, turn that still snapshot up on the screen into a black & white movie, a
nd watch it from the beginning, to just beyond the end of that unpleasant experi
ence. When you get to the end, I want you to stop it as a slide, and then jump i
nside and run the movie backwards. You will see everything happening in reversepeople will walk backwards, things will move backwards, just like rewinding a m
ovie, except you will be inside the movie. Run the movie in reverse in colour, a
nd take only one or two seconds to do it.
4. Now think about what is was that you had a phobia of, see what you would see
if you were actually there. How does it feel different?
5. Now you might wonder if this change will hold the next time you are really p
resented with the situation so go test it out. Use good common sense- if your pho
bia was of snakes, then go find a snake in a pet shop to play with, not a cobra
or rattler.
Agreement Frame
This pattern creates a common or joint outcome that both parties in a conflict
or negotiation can agree to:
Practice Example:
1. Specify a situation where you are negotiating between two people.
2. Ask each for their outcome and backtrack .
3. Find a common outcome that both can agree to.
4. Use CONDITIONAL CLOSE , below, to deliver.
5. If there are objections:
A. Ask each what their idea or objection is intended to accomplish. Go meta to
that ( and what will that get for you?) until you arrive at an outcome each can ag
ree on.
B. Ask each what will happen if they don t reach an agreement. Use this option if
the parties are being uncooperative or argumentative

Conditional Close
This frame helps you determine from the outset what issues need to be satisfied
before a solution can be finalized.
Practice Example:
1. A makes proposal to B .
2. B raises an objection.
3. A backtracks B s objection.
4. Make the conditional close:
If I can satisfy your objection, then you would agree to X , is that correct?
5. If no, go back to step 2 and ask for all objections, then follow through the
steps again.
? 6. If yes, have fun!
How To Work With Submodalities
SubModalities: like to dislike script
1. Can you think of something that you like but wish you did not? Good, what is
it? As you think about that, do you have a picture?? (Elicit the SubModalities.)
2. Can you think of something which is similar, but which you absolutely dislike
. For example, ice cream and yoghurt. (Elicit the SubModalities. The location sh
ould be different!)
3. Change the SubModalities of #1 into the SubModalities of #2.
TEST: Now, what about that thing you used to like?
How is it different?
SubModalities: belief change script
1. Can you think of a limiting belief about yourself that you wish you did not h
ave? Good, what is it? As you think about that belief, do you have a picture? (E
licit the SubModalities.)
2. Can you think of a belief which is no longer true. For example, perhaps you u
sed to be a smoker. Someone who was a smoker, used to believe they were a smoker
, but now they no longer believe that. Or someone who used to own a new 1985 car
, believed that they were a new car owner, but now they no longer do. Do you hav
e something like that which used to be true for you, but no longer is? Good, wha
t is it? As you think about that belief, do you have a picture?? (Elicit the Sub
Modalities.)
3. Change the SubModalities of #1 into #2.
TEST: Now, what do you think about that old belief?
4. Can you think of a belief which for you is absolutely true? Like, for example
, the belief that the sun is going to come up tomorrow. Do you believe that? (Or
, the belief that it s good to breathe.) Good, what is it? As you think about that
belief, do you have a picture? (Elicit the SubModalities.)
5. Can you think of a belief that you want to have, which is the opposite of the
belief in #1? Good, what is it? As you think about that belief, do you have a p
icture?
6. Change the SubModalities of #5 into #4.
TEST: Now, what do you believe? Why do you believe

you have this new belief?

Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
Location
Size
Shape
Intensity
Steady
Movement/ Duration
Vibration
Pressure/Heat?
Weight
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow

Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
The Technique
1. First, imagine a big theatre, you re sitting in a seat near the middle, and on
the screen is a still, black & white photo in which you can see yourself in a s
ituation just before you had the phobic response.
2. Next, imagine you are floating out of your body in the movie theatre, and up
into the projection booth. From here in the projection booth, you can see the s
creen, and you can see yourself sitting down there in the seat in the middle of
the theatre. Notice what colour your shirt or blouse you are wearing down in tha
t seat.
3. Now, turn that still snapshot up on the screen into a black & white movie, a
nd watch it from the beginning, to just beyond the end of that unpleasant experi
ence. When you get to the end, I want you to stop it as a slide, and then jump i
nside and run the movie backwards. You will see everything happening in reversepeople will walk backwards, things will move backwards, just like rewinding a m
ovie, except you will be inside the movie. Run the movie in reverse in colour, a
nd take only one or two seconds to do it.
4. Now think about what is was that you had a phobia of, see what you would see
if you were actually there. How does it feel different?
5. Now you might wonder if this change will hold the next time you are really p
resented with the situation so go test it out. Use good common sense- if your pho
bia was of snakes, then go find a snake in a pet shop to play with, not a cobra
or rattler.
Agreement Frame
This pattern creates a common or joint outcome that both parties in a conflict
or negotiation can agree to:
Practice Example:
1. Specify a situation where you are negotiating between two people.
2. Ask each for their outcome and backtrack .
3. Find a common outcome that both can agree to.
4. Use CONDITIONAL CLOSE , below, to deliver.
5. If there are objections:
A. Ask each what their idea or objection is intended to accomplish. Go meta to
that ( and what will that get for you?) until you arrive at an outcome each can ag
ree on.
B. Ask each what will happen if they don t reach an agreement. Use this option if
the parties are being uncooperative or argumentative
Conditional Close
This frame helps you determine from the outset what issues need to be satisfied
before a solution can be finalized.
Practice Example:
1. A makes proposal to B .
2. B raises an objection.
3. A backtracks B s objection.
4. Make the conditional close:

If I can satisfy your objection, then you would agree to X , is that correct?
5. If no, go back to step 2 and ask for all objections, then follow through the
steps again.
? 6. If yes, have fun!
How To Work With Submodalities
SubModalities: like to dislike script
1. Can you think of something that you like but wish you did not? Good, what is
it? As you think about that, do you have a picture?? (Elicit the SubModalities.)
2. Can you think of something which is similar, but which you absolutely dislike
. For example, ice cream and yoghurt. (Elicit the SubModalities. The location sh
ould be different!)
3. Change the SubModalities of #1 into the SubModalities of #2.
TEST: Now, what about that thing you used to like?
How is it different?
SubModalities: belief change script
1. Can you think of a limiting belief about yourself that you wish you did not h
ave? Good, what is it? As you think about that belief, do you have a picture? (E
licit the SubModalities.)
2. Can you think of a belief which is no longer true. For example, perhaps you u
sed to be a smoker. Someone who was a smoker, used to believe they were a smoker
, but now they no longer believe that. Or someone who used to own a new 1985 car
, believed that they were a new car owner, but now they no longer do. Do you hav
e something like that which used to be true for you, but no longer is? Good, wha
t is it? As you think about that belief, do you have a picture?? (Elicit the Sub
Modalities.)
3. Change the SubModalities of #1 into #2.
TEST: Now, what do you think about that old belief?
4. Can you think of a belief which for you is absolutely true? Like, for example
, the belief that the sun is going to come up tomorrow. Do you believe that? (Or
, the belief that it s good to breathe.) Good, what is it? As you think about that
belief, do you have a picture? (Elicit the SubModalities.)
5. Can you think of a belief that you want to have, which is the opposite of the
belief in #1? Good, what is it? As you think about that belief, do you have a p
icture?
6. Change the SubModalities of #5 into #4.
TEST: Now, what do you believe? Why do you believe
you have this new belief?
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour

Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
Location
Size
Shape
Intensity
Steady
Movement/ Duration
Vibration
Pressure/Heat?
Weight
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality

Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
The Technique
1. First, imagine a big theatre, you re sitting in a seat near the middle, and on
the screen is a still, black & white photo in which you can see yourself in a s
ituation just before you had the phobic response.
2. Next, imagine you are floating out of your body in the movie theatre, and up
into the projection booth. From here in the projection booth, you can see the s
creen, and you can see yourself sitting down there in the seat in the middle of
the theatre. Notice what colour your shirt or blouse you are wearing down in tha
t seat.
3. Now, turn that still snapshot up on the screen into a black & white movie, a
nd watch it from the beginning, to just beyond the end of that unpleasant experi
ence. When you get to the end, I want you to stop it as a slide, and then jump i
nside and run the movie backwards. You will see everything happening in reversepeople will walk backwards, things will move backwards, just like rewinding a m
ovie, except you will be inside the movie. Run the movie in reverse in colour, a
nd take only one or two seconds to do it.
4. Now think about what is was that you had a phobia of, see what you would see
if you were actually there. How does it feel different?
5. Now you might wonder if this change will hold the next time you are really p
resented with the situation so go test it out. Use good common sense- if your pho
bia was of snakes, then go find a snake in a pet shop to play with, not a cobra
or rattler.
Agreement Frame
This pattern creates a common or joint outcome that both parties in a conflict
or negotiation can agree to:
Practice Example:
1. Specify a situation where you are negotiating between two people.
2. Ask each for their outcome and backtrack .
3. Find a common outcome that both can agree to.
4. Use CONDITIONAL CLOSE , below, to deliver.
5. If there are objections:
A. Ask each what their idea or objection is intended to accomplish. Go meta to
that ( and what will that get for you?) until you arrive at an outcome each can ag
ree on.
B. Ask each what will happen if they don t reach an agreement. Use this option if
the parties are being uncooperative or argumentative
Conditional Close
This frame helps you determine from the outset what issues need to be satisfied
before a solution can be finalized.
Practice Example:
1. A makes proposal to B .
2. B raises an objection.
3. A backtracks B s objection.
4. Make the conditional close:
If I can satisfy your objection, then you would agree to X , is that correct?
5. If no, go back to step 2 and ask for all objections, then follow through the
steps again.
? 6. If yes, have fun!
How To Work With Submodalities
SubModalities: like to dislike script

1. Can you think of something that you like but wish you did not? Good, what is
it? As you think about that, do you have a picture?? (Elicit the SubModalities.)
2. Can you think of something which is similar, but which you absolutely dislike
. For example, ice cream and yoghurt. (Elicit the SubModalities. The location sh
ould be different!)
3. Change the SubModalities of #1 into the SubModalities of #2.
TEST: Now, what about that thing you used to like?
How is it different?
SubModalities: belief change script
1. Can you think of a limiting belief about yourself that you wish you did not h
ave? Good, what is it? As you think about that belief, do you have a picture? (E
licit the SubModalities.)
2. Can you think of a belief which is no longer true. For example, perhaps you u
sed to be a smoker. Someone who was a smoker, used to believe they were a smoker
, but now they no longer believe that. Or someone who used to own a new 1985 car
, believed that they were a new car owner, but now they no longer do. Do you hav
e something like that which used to be true for you, but no longer is? Good, wha
t is it? As you think about that belief, do you have a picture?? (Elicit the Sub
Modalities.)
3. Change the SubModalities of #1 into #2.
TEST: Now, what do you think about that old belief?
4. Can you think of a belief which for you is absolutely true? Like, for example
, the belief that the sun is going to come up tomorrow. Do you believe that? (Or
, the belief that it s good to breathe.) Good, what is it? As you think about that
belief, do you have a picture? (Elicit the SubModalities.)
5. Can you think of a belief that you want to have, which is the opposite of the
belief in #1? Good, what is it? As you think about that belief, do you have a p
icture?
6. Change the SubModalities of #5 into #4.
TEST: Now, what do you believe? Why do you believe
you have this new belief?
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow

Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
Location
Size
Shape
Intensity
Steady
Movement/ Duration
Vibration
Pressure/Heat?
Weight
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
The Technique
1. First, imagine a big theatre, you re sitting in a seat near the middle, and on
the screen is a still, black & white photo in which you can see yourself in a s

ituation just before you had the phobic response.

2. Next, imagine you are floating out of your body in the movie theatre, and up
into the projection booth. From here in the projection booth, you can see the s
creen, and you can see yourself sitting down there in the seat in the middle of
the theatre. Notice what colour your shirt or blouse you are wearing down in tha
t seat.
3. Now, turn that still snapshot up on the screen into a black & white movie, a
nd watch it from the beginning, to just beyond the end of that unpleasant experi
ence. When you get to the end, I want you to stop it as a slide, and then jump i
nside and run the movie backwards. You will see everything happening in reversepeople will walk backwards, things will move backwards, just like rewinding a m
ovie, except you will be inside the movie. Run the movie in reverse in colour, a
nd take only one or two seconds to do it.
4. Now think about what is was that you had a phobia of, see what you would see
if you were actually there. How does it feel different?
5. Now you might wonder if this change will hold the next time you are really p
resented with the situation so go test it out. Use good common sense- if your pho
bia was of snakes, then go find a snake in a pet shop to play with, not a cobra
or rattler.
Agreement Frame
This pattern creates a common or joint outcome that both parties in a conflict
or negotiation can agree to:
Practice Example:
1. Specify a situation where you are negotiating between two people.
2. Ask each for their outcome and backtrack .
3. Find a common outcome that both can agree to.
4. Use CONDITIONAL CLOSE , below, to deliver.
5. If there are objections:
A. Ask each what their idea or objection is intended to accomplish. Go meta to
that ( and what will that get for you?) until you arrive at an outcome each can ag
ree on.
B. Ask each what will happen if they don t reach an agreement. Use this option if
the parties are being uncooperative or argumentative
Conditional Close
This frame helps you determine from the outset what issues need to be satisfied
before a solution can be finalized.
Practice Example:
1. A makes proposal to B .
2. B raises an objection.
3. A backtracks B s objection.
4. Make the conditional close:
If I can satisfy your objection, then you would agree to X , is that correct?
5. If no, go back to step 2 and ask for all objections, then follow through the
steps again.
? 6. If yes, have fun!
How To Work With Submodalities
SubModalities: like to dislike script
1. Can you think of something that you like but wish you did not? Good, what is
it? As you think about that, do you have a picture?? (Elicit the SubModalities.)
2. Can you think of something which is similar, but which you absolutely dislike
. For example, ice cream and yoghurt. (Elicit the SubModalities. The location sh
ould be different!)
3. Change the SubModalities of #1 into the SubModalities of #2.

TEST: Now, what about that thing you used to like?

How is it different?
SubModalities: belief change script
1. Can you think of a limiting belief about yourself that you wish you did not h
ave? Good, what is it? As you think about that belief, do you have a picture? (E
licit the SubModalities.)
2. Can you think of a belief which is no longer true. For example, perhaps you u
sed to be a smoker. Someone who was a smoker, used to believe they were a smoker
, but now they no longer believe that. Or someone who used to own a new 1985 car
, believed that they were a new car owner, but now they no longer do. Do you hav
e something like that which used to be true for you, but no longer is? Good, wha
t is it? As you think about that belief, do you have a picture?? (Elicit the Sub
Modalities.)
3. Change the SubModalities of #1 into #2.
TEST: Now, what do you think about that old belief?
4. Can you think of a belief which for you is absolutely true? Like, for example
, the belief that the sun is going to come up tomorrow. Do you believe that? (Or
, the belief that it s good to breathe.) Good, what is it? As you think about that
belief, do you have a picture? (Elicit the SubModalities.)
5. Can you think of a belief that you want to have, which is the opposite of the
belief in #1? Good, what is it? As you think about that belief, do you have a p
icture?
6. Change the SubModalities of #5 into #4.
TEST: Now, what do you believe? Why do you believe
you have this new belief?
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality

Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
Location
Size
Shape
Intensity
Steady
Movement/ Duration
Vibration
Pressure/Heat?
Weight
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
The Technique
1. First, imagine a big theatre, you re sitting in a seat near the middle, and on
the screen is a still, black & white photo in which you can see yourself in a s
ituation just before you had the phobic response.
2. Next, imagine you are floating out of your body in the movie theatre, and up
into the projection booth. From here in the projection booth, you can see the s
creen, and you can see yourself sitting down there in the seat in the middle of
the theatre. Notice what colour your shirt or blouse you are wearing down in tha
t seat.
3. Now, turn that still snapshot up on the screen into a black & white movie, a
nd watch it from the beginning, to just beyond the end of that unpleasant experi
ence. When you get to the end, I want you to stop it as a slide, and then jump i

nside and run the movie backwards. You will see everything happening in reversepeople will walk backwards, things will move backwards, just like rewinding a m
ovie, except you will be inside the movie. Run the movie in reverse in colour, a
nd take only one or two seconds to do it.
4. Now think about what is was that you had a phobia of, see what you would see
if you were actually there. How does it feel different?
5. Now you might wonder if this change will hold the next time you are really p
resented with the situation so go test it out. Use good common sense- if your pho
bia was of snakes, then go find a snake in a pet shop to play with, not a cobra
or rattler.
Agreement Frame
This pattern creates a common or joint outcome that both parties in a conflict
or negotiation can agree to:
Practice Example:
1. Specify a situation where you are negotiating between two people.
2. Ask each for their outcome and backtrack .
3. Find a common outcome that both can agree to.
4. Use CONDITIONAL CLOSE , below, to deliver.
5. If there are objections:
A. Ask each what their idea or objection is intended to accomplish. Go meta to
that ( and what will that get for you?) until you arrive at an outcome each can ag
ree on.
B. Ask each what will happen if they don t reach an agreement. Use this option if
the parties are being uncooperative or argumentative
Conditional Close
This frame helps you determine from the outset what issues need to be satisfied
before a solution can be finalized.
Practice Example:
1. A makes proposal to B .
2. B raises an objection.
3. A backtracks B s objection.
4. Make the conditional close:
If I can satisfy your objection, then you would agree to X , is that correct?
5. If no, go back to step 2 and ask for all objections, then follow through the
steps again.
? 6. If yes, have fun!
How To Work With Submodalities
SubModalities: like to dislike script
1. Can you think of something that you like but wish you did not? Good, what is
it? As you think about that, do you have a picture?? (Elicit the SubModalities.)
2. Can you think of something which is similar, but which you absolutely dislike
. For example, ice cream and yoghurt. (Elicit the SubModalities. The location sh
ould be different!)
3. Change the SubModalities of #1 into the SubModalities of #2.
TEST: Now, what about that thing you used to like?
How is it different?
SubModalities: belief change script
1. Can you think of a limiting belief about yourself that you wish you did not h
ave? Good, what is it? As you think about that belief, do you have a picture? (E
licit the SubModalities.)

2. Can you think of a belief which is no longer true. For example, perhaps you u
sed to be a smoker. Someone who was a smoker, used to believe they were a smoker
, but now they no longer believe that. Or someone who used to own a new 1985 car
, believed that they were a new car owner, but now they no longer do. Do you hav
e something like that which used to be true for you, but no longer is? Good, wha
t is it? As you think about that belief, do you have a picture?? (Elicit the Sub
Modalities.)
3. Change the SubModalities of #1 into #2.
TEST: Now, what do you think about that old belief?
4. Can you think of a belief which for you is absolutely true? Like, for example
, the belief that the sun is going to come up tomorrow. Do you believe that? (Or
, the belief that it s good to breathe.) Good, what is it? As you think about that
belief, do you have a picture? (Elicit the SubModalities.)
5. Can you think of a belief that you want to have, which is the opposite of the
belief in #1? Good, what is it? As you think about that belief, do you have a p
icture?
6. Change the SubModalities of #5 into #4.
TEST: Now, what do you believe? Why do you believe
you have this new belief?
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
Location
Size

Shape
Intensity
Steady
Movement/ Duration
Vibration
Pressure/Heat?
Weight
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
The Technique
1. First, imagine a big theatre, you re sitting in a seat near the middle, and on
the screen is a still, black & white photo in which you can see yourself in a s
ituation just before you had the phobic response.
2. Next, imagine you are floating out of your body in the movie theatre, and up
into the projection booth. From here in the projection booth, you can see the s
creen, and you can see yourself sitting down there in the seat in the middle of
the theatre. Notice what colour your shirt or blouse you are wearing down in tha
t seat.
3. Now, turn that still snapshot up on the screen into a black & white movie, a
nd watch it from the beginning, to just beyond the end of that unpleasant experi
ence. When you get to the end, I want you to stop it as a slide, and then jump i
nside and run the movie backwards. You will see everything happening in reversepeople will walk backwards, things will move backwards, just like rewinding a m
ovie, except you will be inside the movie. Run the movie in reverse in colour, a
nd take only one or two seconds to do it.
4. Now think about what is was that you had a phobia of, see what you would see
if you were actually there. How does it feel different?
5. Now you might wonder if this change will hold the next time you are really p
resented with the situation so go test it out. Use good common sense- if your pho
bia was of snakes, then go find a snake in a pet shop to play with, not a cobra

or rattler.
Agreement Frame
This pattern creates a common or joint outcome that both parties in a conflict
or negotiation can agree to:
Practice Example:
1. Specify a situation where you are negotiating between two people.
2. Ask each for their outcome and backtrack .
3. Find a common outcome that both can agree to.
4. Use CONDITIONAL CLOSE , below, to deliver.
5. If there are objections:
A. Ask each what their idea or objection is intended to accomplish. Go meta to
that ( and what will that get for you?) until you arrive at an outcome each can ag
ree on.
B. Ask each what will happen if they don t reach an agreement. Use this option if
the parties are being uncooperative or argumentative
Conditional Close
This frame helps you determine from the outset what issues need to be satisfied
before a solution can be finalized.
Practice Example:
1. A makes proposal to B .
2. B raises an objection.
3. A backtracks B s objection.
4. Make the conditional close:
If I can satisfy your objection, then you would agree to X , is that correct?
5. If no, go back to step 2 and ask for all objections, then follow through the
steps again.
? 6. If yes, have fun!
How To Work With Submodalities
SubModalities: like to dislike script
1. Can you think of something that you like but wish you did not? Good, what is
it? As you think about that, do you have a picture?? (Elicit the SubModalities.)
2. Can you think of something which is similar, but which you absolutely dislike
. For example, ice cream and yoghurt. (Elicit the SubModalities. The location sh
ould be different!)
3. Change the SubModalities of #1 into the SubModalities of #2.
TEST: Now, what about that thing you used to like?
How is it different?
SubModalities: belief change script
1. Can you think of a limiting belief about yourself that you wish you did not h
ave? Good, what is it? As you think about that belief, do you have a picture? (E
licit the SubModalities.)
2. Can you think of a belief which is no longer true. For example, perhaps you u
sed to be a smoker. Someone who was a smoker, used to believe they were a smoker
, but now they no longer believe that. Or someone who used to own a new 1985 car
, believed that they were a new car owner, but now they no longer do. Do you hav
e something like that which used to be true for you, but no longer is? Good, wha
t is it? As you think about that belief, do you have a picture?? (Elicit the Sub
Modalities.)
3. Change the SubModalities of #1 into #2.

TEST: Now, what do you think about that old belief?

4. Can you think of a belief which for you is absolutely true? Like, for example
, the belief that the sun is going to come up tomorrow. Do you believe that? (Or
, the belief that it s good to breathe.) Good, what is it? As you think about that
belief, do you have a picture? (Elicit the SubModalities.)
5. Can you think of a belief that you want to have, which is the opposite of the
belief in #1? Good, what is it? As you think about that belief, do you have a p
icture?
6. Change the SubModalities of #5 into #4.
TEST: Now, what do you believe? Why do you believe
you have this new belief?
Submodalities checklist
Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic
Location
Size
Shape
Intensity
Steady
Movement/ Duration
Vibration
Pressure/Heat?
Weight
Submodalities checklist

Visual
1 2 3 4
Where is it (anchor)
Associated / Dissociated
Black/ White or Colour
Size of Picture?
Bright or Dim
3D or Flat?
Focused or Defocused?
Framed or Panoramic?
Movie or Still?
Movie-Fast/Normal/Slow
Auditory
Location
Direction
Internal or External?
Loud or Soft?
Fast or Slow?
High or Low? (Pitch)
Tonality
Timbre
Pauses
Tempo
Duration
Uniqueness of Sound
Kinaesthetic