This video begins with a suggestion that any noises will serve to send the clien

t deeper into trance, and includes a safeguard to ensure that the client will aw
aken immediately if they hear any sounds that may indicate an emergency.
This simple instruction should be used at the beginning of all inductions as it
really helps to prevent unexpected noises becoming distracting to the client.
At about 1min, you will hear the instruction to take a few deep breaths. This in
struction helps to relax the client. Many people hold tension in their jaw and o
ften have their teeth clamped up shut, by instructing the client to breathe out
through the mouth, they will automatically relax tension held in the jaw.
The induction continues with a progressive relaxation script. Notice the shift i
n voice tonality and tempo as I move into the relaxation script at around 2mins.
This down shift helps to relax the client just as much as, if not more than, th
e actual words used. It is here that many people slip up when learning hypnosis
using printed material alone.
You need to adjust the tempo of your voice to suit the client. You will notice t
hat I begin the induction speaking very quickly; this is because Natalie is pred
ominantly a visual thinker and also speaks rather quickly herself. With a differ
ent client I would start the induction more slowly as required.
At 2.40, Natalie adjusts herself to get more comfortable. You will already have
noticed that I gave the suggestion that it is OK to move if required. Many clien
ts do not want to move as they feel it will disturb the trance state. Make sure
your client knows that they can move if they need to, this includes scratching a
n itch. The client will always be able to relax deeper after they have dealt wit
h a distracting itch or moved to a more comfortable position. As you relax your
muscles relax and your body shape changes, so it is not uncommon that your origi
nal position is no longer as comfortable as it once was.
The progressive relaxation script gives you ample opportunity to include imbedde
d commands and subliminal messages, such as go into trance relax deeper etc. You wil
l notice these throughout the induction; they are often picked out from the rest
of the script with a slight shift in voice tonality. It is a great idea to prac
tise sentences that include imbedded commands and use these during your inductio
n as this will sound natural. At 2.50 you will notice I use the imbedded command
to go into trance quickly but hide it in a more innocent sounding statement. This
is quickly followed by a suggestion that Natalie will enjoy the trance state.
Sticking with the embedded commands at 2.50 for a moment, you will also notice t
he use of presumption. Natalie is given two choices of how she might go into tra
nce, quickly, or not so quickly. The presumption is that she will go into trance
, as the option of this not happening isn t presented.
The relaxation script used here is a very quick once over, you would normally sp
end more time relaxing each muscle group. However, during previous inductions Na
talie has reported that it felt too long and became tedious and boring for her.
This information allows me to suit the script to her requirements and as a resul
t achieve a more efficient induction and deeper trance state. You should always
listen to the feedback your client gives, and adjust your technique to suit.
As already mentioned Natalie is a predominantly visual thinker, so I want to shi
ft to visual relaxation techniques quickly. The progressive relaxation induction
is much more suited to kinaesthetic thinkers, so, at 4.00 I begin a short relax

ation exercise where I ask her to imagine herself and notice how relaxed she loo
ks, and how she might look if she was ten times more deeply relaxed. This is a v
ery easy a fast way of increasing the state of relaxation and it works particula
rly well for visual people.
The forehead tap is a classic deepener that instantly lowers the trance state. M
any people say that the tap jolts them into a deeper trance. It s very easy and qu
ick to use and can be added to any induction.
At 5.00 I begin the deepening using the idea of an escalator. I like this induct
ion as most client can relate to it easily and it is much easier to imagine than
the stairs technique, which is also very commonly used. The advantage of the es
calator is that it requires no conscious effort on the clients part, the escalat
or does all the work. You can relate this to the way you fall asleep at night, n
ot having to do anything and just letting it happen. This analogy gives you plen
ty of scope for imbedded commands so play around with it.
At 7.50 we reach the end of the count from 10 to 1, but progress onto zero, this
additional count comes after the client thinks that we have reached the bottom.
Some clients will be resisting entering a deep state and will have a guard up d
uring the deepener; this additional number catches them off guard and really hel
ps to increase the trance depth. That said, if your client is resisting trance y
ou would need to address this issue in your pre-induction talk.
At 8.00 I use the magical bed script. I like this as the idea as it gives you plen
ty of opportunity to include imbedded commands. I always loop the bed script aro
und a couple of times, telling the client they are dreaming what they have just
experienced. This also helps to bring about a state of confusion, which encourag
es their conscious mind to hand over control to the subconscious. On the third l
oop I begin as before then interrupt the repetition with the idea of an opening
in the floor leading down to a deeper level. This is a metaphor of the conscious
and subconscious mind. The dream, magic bed and sleep references used just prio
r to this are all moments of transition. Together this process encourages the cl
ient to shift into a much deeper trance as their conscious awareness takes a bac
k seat to their subconscious mind. The transition is complete as the client make
s their way down into the lower room, and this is the point where you are able t
o begin the therapy.
The control room is one of the easiest ways to change any behaviour. It allows y
ou to leave all of the details to the clients subconscious mind. Here I use it to
boost the Natalie s confidence. Notice how I give her a reason that she can accep
t as why she has struggled with confidence before, by suggesting that the dial w
as locked. This will give her a reason for her previous failed attempts at incre
asing her confidence level on her own. It also enables you to unlock and adjust
the dial, then lock it again o that it doesn t slip back.
You can use the control room for practically everything. The really beauty of th
is technique is that the clients subconscious does all the work. I use it a lot
during weight loss sessions. As you are probably aware, there seems to be as man
y diets as there are people, so not everything works for everybody. By leaving t
he details up to the clients subconscious mind you are creating therapy that is t
ailor suited to their requirements.
At 11.35 you will notice a shift in tonality. As I talk about becoming confident
I want to sound confident! It helps e to use body language to do this. Natalie
obviously can t see my clenching fists and upright posture, but it does affect my
tonality so it s important.
The energy movement is a Richard Bandler technique, and can be used with any emo
tion. If you can create an emotion it is usually possible to notice that emotion

as a feeling somewhere in your body, and that feeling usually has movement. By
manipulating that movement you can enhance or destroy the emotion. This techniqu
e is incredibly useful for pre-stage nerves. Just notice where you feel it, and
notice its movement, then change the movement, have it spin in the other directi
on and play with the size too. You can even whoosh the entire sensation out of y
our body, and as you do you will probably realise that your pre-stage nerves hav
e vanished! Play with these techniques yourself so you can feel how different vi
sualisation affect the emotion.
At 13.30 I use an NLP swish pattern with the aid of a TV visualisation. This all
ows very easy manipulation of the Submodalities (these are the qualities of the
experience, like volume, colour, brightness, size etc.) of the experience as peo
ple are used to seeing changes on TV, such as lowering the volume or having the
image in black and white. At 13.50 you will notice I disassociate Natalie from t
he experience of lacking confidence by saying she can see herself on the TV scre
en over there . By disassociating in this way you remove the emotion of the experie
nce. I want her to strongly associate with feelings of confidence, and switching
channels on the TV set allows this to be done very easily.
It is important to ensure that you say the changes are in the present, rather th
an the future, make the client believe that the changes have already been made.
I want you to listen to the description at 14.26 and then get up and walk around
the room imagining the cape on your shoulders etc. just as described. This tech
nique is an adaptation of an Anthony Robbins technique and it really does make y
ou feel extremely confident! Try it yourself, as this will help you to use it on
your client.
At 15.20 I expand the TV image so that Natalie becomes completely associated wit
h the confident image of herself. The process of stepping inside somebody (in th
is case the other, more confident version of Natalie) is a basic NLP technique c
alled modelling. You can step inside anybody that is doing something that you wa
nt to learn, and it doesn t even have to be a real person! You can even step insid
e a cartoon character if you want to! This technique is often used to help peopl
e improve at sports, but it is equally useful for anything you want to learn.
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The anchor at 16.20 that creates an association with confidence and breathing se
rves as a hypnotic trigger, allowing the client to breathe in confidence wheneve
r required.
At 17.00 I go back to the TV to demonstrate numerous situations where Natalie is
confident. This flicking through the channels gives the impression that the old
non-confident version of Natalie is no longer available.
At 18.30 I begin a series of basic suggestions of confidence. These are done in
the first person and Natalie is encouraged to hear them in her own voice. Many p
eople that lack confidence continually tell themselves how and why they are a fa
ilure, using depressing internal dialogue that criticises everything they do. Th
is technique will allow your client to begin using that inner voice productively
to really help boost their confidence level.
The suggestion at 19.00 gives the idea that confidence is natural, but has been
previously stifled, now it has broken free. The suggestion that it would be impo
ssible to impression it again makes it easier to be confident. The subconscious
mind will naturally move towards anything that appears easier, so this really he
lps to keep the client confident.

At 21.00 a post hypnotic suggestion is used to enable the client to access incre
ased confidence whenever required.
The following suggestions, of the contract with the subconscious mind, help to c
reate an acceptance of the therapy. This contract method is very useful when usi
ng hypnosis for change and you will no doubt find yourself using this technique
often.
The trance is then terminated with a simple wake up script. However, Natalie doe
sn t wake as expected. This is not uncommon, especially if the client is really en
joying the trance state. I leave a few moments and watch to see if she decides t
o open her eyes, and when she doesn t I simply run through the wake-up script agai
n.
It is impossible to become stuck in hypnosis so if this happens to you don t worry
about it at all. Just run through the script again a little more enthusiastical
ly. On occasion your client will have actually fallen asleep, so you may need to
give them a gentle shake to wake them.