How to Hypnotize

Steven Hall M.C.o.H.

(Cover Illustration has been removed to reduce download speed)

First published in Great Britain in 1995 by

Mindworks UK
PO Box 91
Nuneaton
CV10 7YR
Second edition published in Great Britain in 2001 by
Mindworks UK
PO Box 91
Nuneaton
CV10 7YR
All rights reserved
Copyright Steven Hall, 1995, 2001
IMPORTANT
Do not follow the induction techniques if you suffer from epilepsy or
clinical depression. The induction processes used in this publication
are not suitable for medical or psychiatric treatment.
Cover Illustration Copyright Steven Hall 2000
(Cover Illustration has been removed from PDF version to reduce download speed)

This book is sold subject to the condition that it shall not, by way of
trade or otherwise, be lent, resold, hired out or otherwise circulated
without the publishers prior written consent in any form of binding or
cover.
No part of this book may be reproduced by any process, nor may it
be stored in a retrieval system, transmitted or otherwise copied for
public or private use without the prior written permission of the
publisher.
Produced as PDF format in Great Britain, 2001. All rights reserved.

Introduction
Reading about hypnosis and actually performing it are two
very different things. Whilst I was learning to induce
trance I was unable to obtain a very important piece of
material.....an actual induction script. This is one of the
main reasons that I have written this book, it will put you
on the right track right from the beginning. It has been my
aim whilst writing this book that a reader with no former
knowledge of hypnosis will be able to induce trance on a
subject, know what to do while they are there and safely
bring the subject back to their original state. This I feel
I have accomplished and, with a little bit of practice, it
is very probable that you will soon be following the path
I have taken and be performing your own hypnotic public stage
shows.

How I first became interested in hypnosis

I have always had an interest in the subject of hypnosis.
However, it was not until the late 1980's that my curiosity
grew and I began to learn the subject for myself. Like many
people I believed that hypnosis was an art performed using
some mystical power. I had never thought it possible that I
would one day be able to perform the amazing feats which I
had once put down to miracles or myths.
I have many hobbies, one of which is juggling. To complete a
routine where I juggled with fire, I once wanted to be able
to perform the amazing fire walk. Of course I do not have
asbestos feet and therefore tried to find some kind of
explanation as to how I was to perform such an impressive
act. The only method which seemed remotely feasible was mind
over matter. I looked into the subject a little closer, and
whilst browsing through what, if my memory serves me
correctly, I think was an Arthur C. Clarke book, an
illustration of a man levitating caught my eye. I read the
text and one of the possible explanations given was that the
guy had actually hypnotised a group of onlookers into
believing that he was floating when he was standing on a
support they had been told they could not see. This set a
train of thought off in my mind. I began to think about the
subject all of the time. I decided that I wanted to be able
to hypnotise people and began my research, gathering as much
information on hypnosis as I could find. This proved to be
the beginning of a fruitful career which has now become a
way of life.

My theories as to what hypnosis is and why it works

Before I begin to tell you what hypnosis is, I must first
tell you what it is not. One of the most common
misconceptions about hypnosis is that it is sleep. Although
an hypnotised subject does appear to take on the
characteristics of somebody sleeping they are actually quite
alert. Hypnosis is very difficult to describe as nobody
actually knows what is going on inside the mind of a
subject. What we do know is that whilst in the trance state
the subject becomes very suggestible. A subjects attention,
whilst they are going into trance, is narrowed down
gradually. Firstly, the sense of sight is lost as the
subject is requested to close their eyes. After a little
while it is not uncommon for the subject to lose complete
awareness of their body. Although one by one the senses are
slowly slipping away, one sense is greatly amplified by the
induction process. This is the sense of hearing. A
hypnotised subject can often hear distant sounds that
they would not be able to hear in the normal waking state.
This, of course, means that throughout the whole process
the subject is able to hear everything that the hypnotist
might say. When you begin to induce trance in people you
will often find that upon awakening the subject they will
believe they could not have been hypnotised as they could
still hear your voice. The misconception that they will not
be able to hear your voice often comes from those people who
believe hypnosis to be the same as sleep.
As I have mentioned, a person in the state of hypnosis is
very suggestible. One of the reasons for this is that whilst
in the trance state, you are only able to concentrate on
one thing at a time. For example, if I were to tell you that
you are a dainty ballerina, you would immediately compare
this suggestion with what you already know to be true,
and, unless of course you are a ballerina, you would tell
me I am talking nonsense. The hypnotised subject however
is not able to entertain the thought that they might not
be what I have suggested, as there limited concentration is
taken up by the very thought that they are actually a dainty
5

ballerina. The result, as desired, ends in the subject

leaping to their feet to perform a series of pirouettes
across the stage.
The human mind is spilt into two very different sections.
Firstly, you have the conscious segment which is responsible
for all our conscious thoughts and decisions. It is this
section which you often find yourself talking to. Secondly,
is the subconscious segment of your mind. The mind can be
best thought of as a computer. The subconscious as the
processor and the conscious as the monitor and keyboard. Our
subconscious mind is a kind of guardian, it looks after our
bodies and helps us to survive. You can not normally
directly communicate with your subconscious mind and it can
not directly communicate with you. When your subconscious
mind wants to tell you something it will often come across
in a dream, of course, to confuse matters, the message
will be far from clear and very difficult to understand. It
is as though your subconscious speaks a different language
and communication from it appears in the form of cryptic
clues or metaphors. Your subconscious also conveys messages
through gut feeling.
Although your subconscious can do many a task which
consciously would be impossible, it also has one very basic
characteristic. Somewhere between your two minds is what we
call the critical factor. This is probably best described as
a door, at which is a guardian. Your subconscious mind will
process anything that enters it no matter how bizarre. So,
as long as you can get a suggestion through the door it will
be obeyed. The purpose of the guardian is to protect us. If
there was no such function the world would be absolute
chaos. There are only a few things that can relieve the
guard of his duties, and, of course, one of these is
hypnosis. The door to the subconscious mind does sometimes
open when it would be best kept closed. An overload of
stress upon the conscious mind can cause it to close down
and allow the subconscious to take over. The critical
factor door swings open and before you know it, a ridiculous
suggestion is willingly accepted, sorted and planted deep in
6

the subconscious. This often results in some deep seated

emotional problem in the subject. This process is usually
the cause of many phobias and because they are planted
inside your subconscious it is absolutely useless to try and
overcome these problems consciously. They will remain until
another, conflicting suggestion replaces them. This is where
the hypnotist comes in. The guardians door can also be
carelessly opened whilst we are deeply relaxed. Although
this would appear a danger, it is this very process that the
"progressive relaxation" technique relies upon for its
success. Suggestion can also enter your subconscious through
shock, confusion, day dreaming, authority figures, emotion
and rules. As you will see later these facts play an
important role in the more dramatic instant induction
methods. The door to the subconscious is also left open in
children until around the onset of puberty. This allows them
to gather information on which they will base their adult
life. It is probably the main reason while most people will
vote the same as their parents after hearing many a biased
remark whilst in their childhood. It is also the reason that
children believe in Santa Claus and the tooth fairies.
Thoughts can also enter the subconscious mind through
repetition, advertisers are very aware of this fact and
exploit it to try and push the sales of their products. This
can also be seen in the child who no longer believes in
Santa. Who has ever heard of anybody having to go to a
hypnotherapist to rid themselves of such childhood beliefs.

My first hypnotic experience.

After reading a great deal on hypnosis I became confident
that I would have the ability to induce trance in a
subject. The first induction that I attempted was also my
first success, this gave me a massive confidence boost.
Although the first induction I gave was a success I did
leave plenty of room for failures. I often practiced my new
found skill of friends, sometimes the inductions were
successful and sometimes they were not. At the time it was a
little disheartening when the subject did not 'go under' but
as you begin to practice your new skills bare in mind that
there will be some failures in the beginning.
The first trance I induced was not pre-meditated. I was
reading a book on the subject and a friend of my sisters
happened to notice. He was curious about hypnosis and was
keen to experience the trance state, he asked if I were
able to hypnotise people and, although I had never
previously actually hypnotised anybody, I knew that in
theory I could, so, I told him I had been doing it for
months. I used a trance induction method called
"progressive relaxation" which I will go into in more detail
later. Although I kept the trance state short I was able to
create the effects of both unbearable heat and unbearable
cold. I was probably more amazed than anybody when he began
to sweat in a matter of seconds of my suggestion and then
just as quickly he was shivering, his teeth were chattering
and the small hairs on his arms stood on end. To see a
physical reactions resulting solely from my suggestion was
a very encouraging sight.
The simplicity of the suggestions I gave to Mark were
probably the key to the success of that first induction. I
very much doubt that the results would have been so
favourable if I was to have suggested that he perform a
striptease routine. Mark was probably in a very light
trance during the whole process. To get a subject to perform
an act of a more complex nature would have required a much
deeper state. One of the keys to remember when you first
8

begin to induce trance in people is to keep it very simple.

Although the sight of somebody happily munching away on a
raw onion would with no doubt impress your audience, you
would be wise to steer clear of this kind of routine until
you have confidence in your craft. You would be much greater
advised to see yourself steadily progress and build that
confidence slowly but securely performing simple routines
successfully, and gradually becoming more and more complex
with your suggestions as your confidence increases.

The dangers of hypnosis in the wrong hands

Hypnosis is a very powerful tool and must be used with the
utmost caution and treated with the utmost respect. A
hypnotist is able to make a subject do absolutely anything
if it is put across in the correct manner. It is a common
belief that the hypnotised subject will not do anything
against their morals. I believe that you could not get much
further away from your morals than to kill a loved one. But,
if a hypnotist was to suggest to a married man that he was
playing cowboys and indians, he was the cowboy with his
pretend cap gun and his wife the big chief. The man would
willingly pull the trigger because in the mind of the man
it is a game. He cannot see the real gun, to him it will
look like a toy. He would also see a full headdress on his
wife and he would actually believe that they are both
playing a childs game. Of course, by the time the truth is
realised it is too late.
It is not only deliberate abuse which is a danger, but
accidental suggestion can also result in disaster. There has
been a case where a subject went to a hypnotherapist to
boost his confidence. The hypnotherapist put the subject
into a trance then, as usual, began his therapy, during
the therapy the hypnotist told the subject that he had so
much confidence that he could do anything he wanted. Then
came the drastic mistake, "...why, you could even rob a bank
if you wanted to." For days after the therapy the subject
could not get this thought out of his head. Then, as you
have no doubt guessed, he did actually attempt to rob a
bank.
Mistakes such as the one above are very rare. A mistake like
this can easily end your career before it has even begun,
they could result in a prison sentence or perhaps even
worse.
As a stage hypnotist there are a few routines you should
avoid if you want to stay in business. Only a few weeks ago
a hypnotist was being sued by one of his volunteers because
10

during a routine were the whole of the audience appeared to

be mice, a subject tried to run out of the venue, tripped
off the stage and broke his ankle in the process. The
hypnotist was completely unaware at the time that the
subject has got a phobia about mice. This is not very
common, but, something which does cause a lot of problems
is the catalepsy demonstration. Catalepsy in the stiffening
of all the subjects muscles so that they become stiff and
rigid, like a plank of wood. The hypnotist will then support
the rigid subject between two chairs. Often, as if this
isn't enough, the hypnotist will they ask a larger member of
the audience to sit upon the subject. This routine can be
very dangerous to the subject and can cause complicated
problems, especially if the subject has stomach or back
trouble. All the routine will achieve is an ego boost for
the hypnotist, "Look at what I can do. I am big and clever."
,yeah, and remarkably stupid! Catalepsy does look impressive
to the audience, but so does eating a raw onion, yet the
only side effect to the latter is a touch of bad breath. You
are well advised to avoid catalepsy in this manner all
together, I have done many shows and never needed such a
ridiculous stunt to impress my audience.
Another common danger, which often happens to the beginner,
is the use of ill-educated hypnotherapy. Once you have read
this book you will be able to hypnotise a subject and rid
them of a painful headache with ease, but DON'T. It is very
tempting to show off your new skill by curing your friends
ailments, you must resist this temptation as it is all to
easy to cause your subject a lot more suffering and, even
death. Imagine a friend had been complaining about a
migraine. Naturally, as you don't like to see your friend
suffer, you hypnotise him and rid him of that headache. All
seems fine and he goes home singing your praises. Later in
the week you hear that your friend has in fact died as a
result of a brain tumour. As you go to console his wife she
tells you that the doctors said they would have been able
to save him if they had known about it even just days
before. It suddenly dawns on you that if you hadn't cured
his headache he would have gone to the doctors and the
11

tumour would have been discovered and removed. Next thing

you know, you are standing in court facing a charge of
manslaughter. So, because you wanted to impress you friend
by showing of your new skill, you have in fact killed him,
ruined his families life, landed yourself in prison and all
the more importantly lost a very good future subject. O.K.
I agree that this may be a little over the top but I'm sure
you see the point. If you do want to practice hypnotherapy
go to a professional college and learn the art first. And
remember that you are not a doctor and therefore you can
not diagnose any ailment your subject complains of no
matter how obvious or simple it might seem.
If you are interested in the dangers of hypnosis and would
like to find out more then you probably couldn't do better
than to obtain a copy of 'Open to suggestion - the uses and
abuses of hypnosis' by Robert Temple.

12

Suggestibility tests
A suggestibility test is exactly what you would expect it
to be, a test to show the suggestibility of a subject.
Everybody who is of sound mind can be hypnotised. But, not
everybody can be hypnotised at the speeds which are
necessary for the entertainment value of the stage show.
This is where the suggestibility test comes in. We use the
tests on the whole of the group at the beginning of the show
just after your volunteers have seated themselves and
listened to your introduction. At this time you normally
have more volunteers than you need, so, it is simply a case
of rejecting those which would be of little entertainment
value and keeping the rest.
The suggestibility test that are most commonly used are
listed below, as you gain experience you may very well find
that you begin to devise your own suggestibility test but,
whilst you are still new to hypnosis, stick with these.
Hand magnets test
Tell the subject to put their arms out in front of them with
their palms facing each other. Demonstrate this position as
you tell them. Then continue with the following dialogue,
"In the next few moments, when I count to three, I want you
to imagine that one of your hands is a piece of metal and
one of your hands is a magnet. Each time I count to three
you will feel a irresistible force pulling your hands
together, each time you feel this force it will get stronger
and stronger and should you try to resist it, the more you
try the stronger the pull will become.......1-2-3.. you can
feel the force as the power of the magnet begins to MOVE
YOUR HANDS TOGETHER, stronger and stronger. Closer and
closer. 1-2-3, that force getting so strong now that the
more you try in vane to resist it the stronger it will
become. 1-2-3,......" continue with these kind of
suggestions until almost every volunteers hands are locked
together. Those who do not respond at all can be rejected.

13

Use a very authoritative tone of voice for the application

of the suggestibility test and as you count the numbers
1-2-3 speed up your voice and command that the hands will
come together rather than ask. Also raise the volume of your
voice so that you sound very domineering over the subjects.
The section of the dialogue which is written in UPPER CASE
must be emphasised, this is to form a subliminal message,
we will go into subliminals in greater detail later in the
book.
I always start my suggestibility tests with the hand magnet
as it not only tells you in order which subjects are the
most suggestible, (those whos hands touch first are of
greater suggestibility) but it also leads rather neatly onto
the next test. The next test is the hand locking test, if
you do wish to flow through from the hand magnet then tell
the subject to interlace their fingers together as their
palms touch.
The hand locking test
Get all the subjects to put their hands out in front of them
with their fingers interlaced and their palms pressing
against each other. It doesn't matter if their eyes are
open or closed on this test, but if they are open get them
to fixate their gaze on their hands. Now continue with the
following dialogue, "As you sit with your hands held
together I want you to squeeze those hands, squeeze them
tighter and tighter together, you are squeezing them so
tightly that they are becoming one. Your hands are stuck
tightly together now, tighter and tighter together. If you
should try to release your hands you will find that the more
you try to pull them apart the stronger they become stuck
together. Stronger and stronger stuck, getting tighter and
tighter. some of you can even feel glue oozing out from
your hands as they become stuck completely together as one.
When I count to three I want you to try and release your
hands but the more you try the harder it will get and the
tighter they will become. When I count to three I want you
all to repeat over and over again in your head, " my hands
14

are tightly glued together" 1-2-3.. try in vane to release

those hands but them simply get stuck tighter and tighter
together, the more you try the tighter that bond becomes...
........O.K. relax now and stop trying to release your
hands and let them rest on your lap."
Not many people will be able to release their hands but,
rather than showing you who to use and who not to use in
your show, this suggestibility test is showing you who will
be the star of your show. Look out for those who are over
the top at trying to release their hands, these people are
the exhibitionist and it is these people that will finally
become your star subjects.
The hand locking dialogue should be read in the same manner
as the hand magnet dialogue. Don't let the subjects try to
release their hands for too long and once you have conducted
the test make sure that you release the subjects hands for
them.
The next test, which is most commonly used, is the eye
catalepsy test. This is very similar to the hand stick test
as you use pretty much the same dialogue but substituting
the hands for eyelids. I will not give you the dialogue for
this test here as I have included it in the induction script
later in the book.
The arm-rotating test
Get all of your volunteers to put their left arm out in front
of them with their hand open and their palm facing down.
Place a coin on the back of each hand and instruct them
to concentrate on this coin. As they do this begin
suggestion that their arm is beginning to rotate, "Your arm
is unsteady and it will begin to rotate, firstly, you will
feel this in your shoulder and your shoulder will cause your
arm to rotate and as it does your hand will start to rotate
and the more you try to resist this the more your hand
turns..." continue with these kind of suggestion until the
coin falls off the subjects hand. As the coin drops the look
15

on the faces of the subjects is a mixture of surprise and

bafflement.
As with the hand magnet test, the order in which the coins
drop will tell you who is of greater suggestibility. If
after a few minutes of your suggestions there are still a
couple of people who are not responding thank them for
volunteering and ask them to go back to their seats as you
have more than enough volunteers already.
The fall back test
This is the most impressive and useful of all the
suggestibility tests as you can use it to lead the subject
straight into trance.
Stand behind your subject and get them to close their eyes.
Now put your hands on the shoulders of the subject and
gently rock them to and fro and as you do , tell the subject
that in the next few moments they will begin to feel a
magnetic force acting on their shoulders where you are
touching them and this will pull them back towards you. Next
you must install confidence in your subject. Do this by
reassuring them that you are directly behind them and you
will not allow them to fall. Tell them that as they begin
to fall you will catch them and stand them upright again.
Then continue with the following dialogue, "That magnetic
force is beginning to act on your shoulders now, it is
pulling you back towards me, back, back, back towards the
sound of my voice. You can not resist this force and the
more you try to resist the stronger the force will become.
Pulling you back and you are safe as you fall as I am right
here and I will catch you, pulling you back, back, back,
back, back......" as before continue with these kind of
suggestions until the subject falls back into you, as
they do catch them and stand them back up again.

16

How to induce the hypnotic state

The actual trance induction is a lot easier than people
imagine. There are many ways to produce the desired outcome,
some easier to administer than others, some more reliable
and some more impressive. The best way to go about learning
any new subject is to learn each step to the process piece
by piece. This is never truer than in the process of
becoming a confident and successful hypnotist. Although,
following my instruction, you will be able to induce the
trance state right from the beginning, you will gradually,
through practice of the individual components of the
induction sequence, begin to reach the desired state at
greater speeds and with an ever increasing success rate.
The "progressive relaxation" technique
The first induction process that we are going to look at is
the "progressive relaxation" technique. As its name suggests
this technique relies on the subject progressively relaxing
until such a time when they allow you access through there
critical factor into the subconscious mind. The basic
procedure is very simple. You simply help the subject to
relax by direct instruction. The method of "progressive
relaxation" can become more successful with the use of
subliminals and by gaining rapport with the subject and
actually letting them follow you into trance. I will go into
the more complex relaxation techniques later, but, for the
time being we are going to concentrate on the basic script
of this particular induction process.
I am going to avoid, at this stage, actually giving you the
induction script and simply tell you the basic principles.
Later in the chapter I have included an induction script
word for word which you are well advised to use for your
first few inductions. However, at this stage it is best to
familiarise yourself with each ingredient at a time.

17

"You've got to hand it to those hypnotists. What they are

doing is a psychological breakthrough. Trance is a very
uplifting experience and so far we are just scratching the
surface. Who knows where this might lead."
Hypnotic language structures to aid the induction
The basic goal of the hypnotic induction is to get the
subject to relax. To simply say, "Relax your body", is not
descriptive enough. Many people have forgotten how to relax
and your job is to re-educate them. To relax the body as a
whole is a very difficult thing to do. The easiest way to
overcome this problem is to start at one end of the body
and slowly work you way along it. It doesn't matter if you
start at the head or the feet, the basic principle to both
is exactly the same. I tend to favour starting at the top of
the body as it seems, to me, a little more logical to
progress from asking a subject to, "Close your eyes", to
then suggest that they, "Relax the tiny muscles around your
eyes.", as opposed to, "Now relax each and every toe!"
I always begin a "progressive relaxation" induction by
asking the subject to take three deep breathes. This alone
can relieve a great deal of tension in the subject. After
this you go on to suggest that the subject is getting,
"more and more sleepy." The words alone will receive some
response from the subject, but, it is the way that you say
the words that is the real magic. Whenever you induce a
trance use a confident, authoritative and reassuring tone
of voice also try to speak a little slower
than you normally do. It is very effective to start
the induction at your normal talking speed and to gradually
reduce the speed at which you say your words. I am quite a
fast talker and as a result of this I am often asked to
repeat myself. When I start the induction I speak slightly
slower than usual so not to cause confusion or
misunderstanding. By the time I have reached the end of the
induction I find that I am talking much slower than usual
and friends often compare my tones to that of, "a slowed
18

down version of Lloyd Grossman" Whilst inducing the trance

state it is also effective to emphasise your words. Whenever
you are going to say, for example, "as you go deeper into
trance." the key word here is deeper. So, what could be
more effective than to put a great deal more emphasis on
this word. You can emphasise a word in many ways, firstly
don't simply say, "deeper into trance," say, deeper and
deeper into trance." this alone is a lot more powerful. But
it doesn't end there, if you split words slightly so that
the "deep" and the "per" become separated and say the "per"
section in a slightly deeper tone the subjects relaxation
will follow this fall and the result will be an even deeper
state. Another trick is to draaaaaag out the word you wish
to emphasise, although very simple this tiny factor will
produce a much greater response. You would also aid a
successful induction be making the second "deeper" even
deep--per and loongeeeer than the first. As you can see it
doesn't take much imagination to improve your skills. All
this my have seemed a little obvious but it doesn't end
there. The sentence I have used for this example harbours a
very important message. Although, when viewed as a whole,
the message is lost, when you break the sentence down it
suddenly becomes blatantly obvious, "as you GO deeper INTO
TRANCE" quite obviously is containing the instruction to
"go into trance" if you can pick this out with your voice
tonality you are creating a subliminal message the passage
you read at the beginning of this chapter contains a
subliminal message which will produce the desire to scratch
ones nose (The message is picked out in a slightly larger text size).
Look over it again and it suddenly becomes all
too obvious. This is one of the main characteristics of the
subliminal message, they must go unnoticed to be successful.
You may very well be thinking "How can something so vague
produce any such response." The reason this works is down
to your subconscious mind. Have you ever been in a room
with many people all holding different conversations at the
same time? If you have then you will probably have noticed
that if someone is to say your name you instantly home your
concentration in on what it is they are saying. If you tried
to consciously listen to each conversation at once waiting
19

for someone to mention something of interest it would prove

an impossible task. However, such a feat is not only
possible for your subconscious mind it is a continuous
occurrence. Your subconscious was in fact listening to each
and every conversation going on and as soon as your name was
mentioned it alerted you to pay attention as it was
obviously going to be something of your concern. The point
here is that your subconscious mind hears everything, so as
it hears the sentence "as you go deeper into trance" with
emphasis made on the words, "go" and, "into trance" it will
link these words together to form a new sentence which will
not need to be accepted by the guardian and evaluated before
it is either allowed into the brains processor or dismissed,
as it is the processor which has in fact created the
instruction in the first place. So the processing section
of the brain will do all it can to obey the command "go into
trance" Of course this alone will not induce the trance
state, the mind is not a simple as that. It is not a case
of black or white, where white is the normal waking state
and black is the state of hypnosis. It is more a vast grey
scale with one end sitting just behind that door and the
other end deeply seated in the subconscious mind. The
further down that scale your suggestions reach the more
impact they have. With this in mind do not dismiss subtle
suggestions, as they are often much more powerful than one
would first believe. Sometimes the effects are not visible
but you can think of your suggestion as planting seeds in
the mind. At first nothing seems to happen but before you
know it the suggestion will flourish.
The power of subliminal messages vary according to the
suggestibility of each subject. I am sure you have heard
of cases where youngsters have been reported to have
sacrificed their lives to the devil at the suggestion
put to them in a satanic message recorded backwards behind
the cover of a heavy metal recording. If you want to see the
effects of subliminal messages yourself on a much safer
scale then think back to that passage at the beginning of
this chapter. Did you scratch your nose? You can experiment
using subliminals on other people, read that passage to them
20

and note their reaction. Sometimes it is almost immediate,

often it takes a few seconds before they begin to scratch.
Not many people will last more than a minute or so and I
have never known anybody to resist. When they do scratch
their nose they will believe it was from their own choice
and not yours. They are half right as the message you have
given them will come to their conscious mind in exactly the
same way that any other thought would. If they try and tell
you they often scratch their nose it's worth noting how long
it was that they last scratched their nose before your
suggestion.
A subliminal message can be marked out in various ways. If
your subject is looking at you simply raise your eyebrows or
use hand gestures on each word of the message to allow their
subconscious to pick it out from the rest of the sentence.
If the subject has their eyes closed you will need to change
your voice tonality. Don't let the change be too obvious,
remember that it is subtlety which produces power. I simply
turn my head to one side on each word I wish to be picked
out. Consciously no difference can be noticed but the
subconscious mind is easily able to pick out where my voice
is coming from in the room and the message is accepted.
So, putting the points that you have learnt so far together
you will notice a remarkable difference between the two
statements, "as you go deeper into trance" and, "as you"
turn your head to one side, "go" turn and face the subject,
"deeep-peer and DEEEEP--PEEER" turn to one side, "into
trance." This is a very simple, but very important point to
remember. I have witnessed many demonstrations of hypnosis,
and you will often find a hypnotist who does not employ
these methods has a great deal of trouble reaching the
desired depth of trance, and even then, it is clear that
some subjects are in fact faking. Although a faking subject
will probably not mind pretending to be a chicken, they
certainly will mind munching on a raw onion.
Whilst you are learning the basic principles of the hypnotic
language much fun can be had by practicing your new skill on
21

those people around you. Whilst I was learning to become a

hypnotist I often practiced using subliminal messages to get
what I desired. You will find the subtle art of the
subliminal message very useful. I often indirectly suggested
that people buy me a drink or perhaps do a mundane chore for
me. As long as you do not exploit people, practicing each
component of the hypnotic language in this manner is very
useful as they quickly become part of your every day
language and, naturally, this leaves you to be able to
concentrate on more important things whilst you are inducing
a trance. Just remember that at this stage yours subjects
are also your friends, if you make them buy you a drink make
sure you offer to buy them one back later. You might very
well become the greatest hypnotist that ever lived but it
wouldn't be a great deal of fun if you lost all your friends
in the process of getting there.

22

Linguistic bridges
Linguistic basically means language. A linguistic bridge is
a word that we use to link our language together. Examples
of linguistic bridges are words like: and, makes, causes,
as, etc.. If we use a linguistic bridge to link two
statements together we can increase the power of the second
of these messages. When linguistic bridges are used, the
first of the two statements is usually something that the
subject can immediately identify with. By doing this you
can increase your rapport with the subject (we will go into
rapport in greater depth later in this chapter) for example,
"You can feel the weight of your hands in your lap." This
statement is something that the subject is experiencing now.
If you use a linguistic bridge to link this statement to an
effect that you desire, for example, "Relax deeper" the
second of these statements suddenly becomes very powerful.
It's simply a case of this is what you are doing and this is
what I want you to do.
Linguistic bridges come in three main strengths. The weakest
of the bridges are words like "and" for example, "You are
reading this sentence AND suddenly become strikingly aware
of your left foot." On the next level are words such as
"as, when, during and while" for example, "As you read this
sentence you can't help but think of a pink elephant." The
strongest level of linguistic bridge contains words like,
"makes, forces, causes, and requires" for example, "The fact
that you are reading this sentence MAKES you think of school
and getting to the end of this sentence CAUSES you to
reminisce over a particular experience you had at school."
Linguistic bridges are not only useful at aiding the
induction process but they are also very easy to administer.
When you are inducing trance the whole process seems to work
a lot better if you use the weakest level of linguistic
bridge at the beginning of the trance induction and as your
subject slowly drifts into trance switch to the second
level. As the trance deepens also deepen the strength of the
linguistic bridge by switching to the third and most
23

powerful level. You may very well be wondering why you don't
use the more powerful linguistic bridges all the way
through. This would seem to be a lot more logical I agree,
but practice of both methods has taught me that a slow
increase in strength is a lot more powerful than strength
all the way through. Although I don't know why this is my
guess is that the subject, whilst slightly still aware, is
subconsciously conflicting the suggestion as they don't like
being ordered around. This is quite possible but whatever
the reason is, research has shown me that one method does
work better than the other so, in my opinion, it is best to
stick to the method which seems to help with the the
induction process the most.

24

Biofeedback loops
A method of aiding the induction process is to create a
biofeedback loop with the subject. To do this you must
first carefully observe the state of the subject. lets say,
for example, that you are giving a stage performance and
you have just done some preliminary tests on your subjects
and you now wish to begin the trance induction. You can
pretty much assume that your subjects will be curious about
what is about to happen and you know that they all sitting
in a chair. You can use this kind of knowledge to feedback
to the subject exactly what it is they are experiencing,
then, using what you have learnt in the section on
linguistic bridges, suggest somewhere for the subject to go,
(usually deeper into trance) Once you have done this again
observe the subjects state, relate that to them and once
again make a suggestion of where they should go. You can
continue with this process until you have directed all of
your subjects into the trance state. What you have done is
a very simple process making good use of linguistic bridges
to further aid the induction process.
If you have an outside distraction whilst you are inducing
the trance state do not ignore it hoping that the subject
has not noticed. Remember that the subjects hearing is
probably a lot more sensitive than yours at this point.
If you do ignore such a situation your subject will continue
to think about it and as a result will be disturbed from the
trance state. I am often performing in noisy venues and such
incidents crop up regularly. The best way to overcome them
is to use them in a biofeedback loop to actually make the
subject go deeper into trance. For example, if someone bangs
a glass onto the bar you can use this by saying, "As you
hear the sound of the glass on the bar this causes you to
go deeper into trance." This method makes good use of what
would otherwise be a disaster.

25

Presumptions
To make an accurate presumption of the subject and relate
that to them can often gain you a great deal of credibility.
To the un-knowledgeable subject this procedure can be
mistaken for mind reading. If a subject thinks that you are
able to tell what is going on in their mind, they tend to
believe that you have some kind of mystical and magical
power over them. Although this is ridiculous, the
subconscious mind of the subject will respond to the
feeling that you hold some kind of power and whenever you
look them in the eyes the thought of, "He is doing something
to me!" will race through their mind. The result is that
they actually "do something" to themselves. The mere
expectation that something is about to happen is often
enough for the subject to make that expectation a reality,
and, of course, what the subject is expecting to happen is
that they will go into trance.
A few examples of presumptions that you can use are listed
below:
As stated in the section of biofeedback loops it is pretty
safe to presume that the subject is curious as to what is
about to happen to them.
It is also safe to take about heat. Common sense tells us
that were the subjects hands touch their legs they will
experience a sense of warmth.
Still on the subject of heat, if you hold a breath in for
a second, when you exhale it will be slightly warmer than
when you inhaled it. So, it would be pretty safe to get a
subject to hold a breath for a second, then, as they exhale
say something like, "As you exhale, all the tension in your
body is released and you can feel the warmth as that tension
passes out through your lips." The observant amongst you
will have noticed that the sentence I have used also makes
good use of another little trick. You know the subject will
feel the warmth and by related this to the thought of
26

tension leaving their body they will believe that any

tension that they were experiencing is actually leaving
their body by means of them simply exhaling it. An added
bonus here is that you do actually relieve tension as you
exhale. So, with the physical sensation of the tension being
released and the mental image of the tension flowing out
from their body with each breath creates a very relaxing
sensation for the subject. And it doesn't end there. A good
subject will create a relationship between the process of
exhaling and the sensation of becoming less tense (or
rather more relaxed) The result of this is that the subject
will continue to relax deeper and deeper every time that
they exhale.
As you can see, much benefit is to be gained by thinking
about what you are going to say before you say it, and
structuring your sentences in such a way that you are in
control of your subjects sensations. Your induction can
benefit greatly by simply including sentences like the one
we have just discussed. This all may seem a little to much
to remember all at once and I agree that it probably is.
This was the problem that faced me as I learnt to induce
trance. So, to overcome this problem you will notice a word
for word induction script has been included at the end of
this chapter. Of course I can not foretell what your subject
is going to be experiencing so I have obviously not been
able to include any biofeedback loops which mention the
environment. Here you will need to ad lib. I don't mind in
the slightest if you wish to continue using my induction
script throughout your whole career as a hypnotist but, it
would do you a great deal more benefit if you were to
develop your own induction using the principles I have laid
down in this book.

27

Metaphors
One of the points, that you have probably noticed, which
will help to get a suggestion accepted is the subtlety at
which it is introduced. It is often that the very vague
messages that we receive are the ones that we will obey.
With this knowledge you can develop your language to
optimise the power of your suggestion. One of the ways you
can do this is to use a metaphor. Although metaphors don't
play a great part in the induction of the trance and they
are rarely required on the stage I feel they should be
mentioned at this point, whilst discussing the hypnotic
language, as they do play a very important role in
hypnotherapy. I do not suggest that you go out and try to
cure everybodys ailments with your new found skill. I would
leave this until you have at least taken some professional
tuition in hypnotherapy. But I feel that you should at least
be aware of the process for, if nothing else, future
reference.
Metaphors can be very powerful if they are used carefully.
If this subject interest you it is worth looking at the
work of Milton H. Erickson. Erickson was a genius at using
metaphors during his therapy. He would often tell his
subjects a story, seemingly not related to their condition
and probably viewed as an old man being lonely and friendly.
The story, however innocent it seemed, always carried a
strong message for his clients and the therapy was readily
accepted before people even realised it had been
administered.

28

A final word on hypnotic language

Not so long ago it was a common belief that to hypnotise a
subject you must talk in a slow monotone dull voice. This
does work but the onset of trance is probably due to
boredom rather than to the hypnotist suggestions. This
method also takes a great deal of time so it is not very
useful for the world of stage hypnosis. (Remember your task
is to entertain your audience not send them to sleep!) It is
far more successful if you vary the speed and tone of your
voice depending on what you are saying. Also, you must
remember that the subconscious is easy to confuse. It may be
able to perform dramatic feats at lightning speed all over
your body but, when it comes to processing a hypnotists
instruction it takes on the characteristics of an infant.
You must always keep your language very simple. To help you
do this think of the induction through the ears of a child.
Make it so that that child can understand and you will not
have many problems. Another point of concern about the
hypnotic language is the tone of voice that you should use.
I have touched on this subject at the beginning of this
chapter. A useful tonality to adopt is that of a parent
talking to their child. Don't go over the top. You do not
want to patronise your subject. Try to alter your tone, get
excited if the induction script sounds exciting, build up
speed at a tense moment, slow down as your subject goes
deeper. Think of your induction as a movie, at times it is
slow and at times it tends to speed up a little as
excitement builds. Overall you should keep your speed very
slow, however, during deepening a increase of speed can
produce an overwhelming feeling of excitement for the
subjects and greatly aid the whole process. You will find
that the subject is more inclined to allow themselves to
let go of reality if they are interested and completely
absorbed in what it is you are saying. The induction script
is not a test of your English skills, you are not out to
impress the subject, you are out to hypnotise them and to do
this you should make good use of anything that will aid the
success and speed of the induction.

29

Physical means of aiding the "progressive relaxation"

induction
Using "rapport" to aid the induction
As I mentioned earlier in this chapter the "progressive
relaxation" method of induction can be greatly assisted by
use of "rapport". Those who have studied psychology will be
familiar with the term "rapport" and can skip this section
if they so desire.
To gain rapport with the subject is very easy. All you need
to do is subtly copy a few of their actions. This sounds
rather simple, and it is but it is also very effective. The
key point, as with the subliminal message, is to be as
subtle as possible. Do not mimic your subject as they
will quickly become offended. For example if your subject
takes a sip of a drink, don't mimic their every movement by
suddenly taking a sip of your own drink but rather lift your
hand as if to scratch your chin. as they lower their drink
keep the rapport by lowering your hand. If you are trying
to gain rapport with somebody without them becoming aware
make sure there is no possibility of them noticing that you
are watching them. Gaining rapport with people is a very
effective way of meeting people and making friends. When
you have successfully gained rapport with somebody they
subconsciously notice that you are a very similar person.
Their mind seems to come up with the suggestion that,
"That person is so like me. I must know them" They don't
come up with this suggestion by themselves and not all of
the suggestion actually gets through into their conscious
awareness. In fact the only part that does is, "I know that
person." eventually they come over and try to recall why
they think they know you. How many times as somebody come
up to you in a night club and said, "Don't I know you from
somewhere?" at the time I'll bet you thought it was a cheap
chat up line, but perhaps they did actually believe that
they did really know you. I can hear you saying now that
this may have happened but, at the time, you were not out
to gain rapport with this person, youd probably not even
30

heard of rapport. This may be the case. Rapport is a natural

part of the mating game, we use it all the time to gain
someones respect or admiration. In fact we are naturally so
good at gaining report already that we ourselves are often
unaware that we are doing it. Next time you go to a club
watch the people who are dancing, you will easily be able
to pick out who is trying to wins whos heart. It can be
quite entertaining to stand and watch as people follow
each other around the dance floor copying each others dance.
So, now you know what rapport is, you need to be able to use
it to your advantage whenever you induce trance. Of course,
you can always stay at the clubs and at a lot of fun
practising gaining report on a more social level, but,
unfortunately this is not so financially rewarding as
performing an hypnotic show.
The kind of rapport that is priceless to the hypnotist is
to copy someones breathing. This is very simple and very
effective. You do not need to match your own breathing to
theirs to achieve this, as you could simply match your
voice pattern. Everybodys voice tone naturally goes up and
down as they speak. All you need to do is match your voice
tonality to the subjects breathing. If you find this
difficult you could simply raise and lower the fingers of
one hand slightly to much the same effect. You may have
noticed that you would have a great deal of trouble trying
to match the breathing of several subjects all breathing at
their own pace. This is another reason why I start my
induction with the request that the subjects all take three
deep breathes. This is usually enough to match everybodys
breathing pattern. You are probably baffled at this point
as to why you need to make the subject feel as though they
must know you. The simple answer to that is that you don't.
So, why is rapport so important? Well on it's own it is not
really all that important at all. It's only function is to
create a kind of bond between the subject and yourself. This
makes the subject trust you more and are therefore more
likely to be able to relax and of course more likely to do
what you request. This, although not essential, is however
quite useful, and it's best to take advantage of any means
31

possible of ensuring a quick and successful induction. The

real beauty of rapport is that once you have created that
bond with the subject they suddenly become your follower.
You can create rapport and then, using a process we call
pacing and leading, you can take your subject to any state
you desire. This is priceless to the hypnotist and I am sure
you have already realised that you are able to first gain
rapport with your subject then, once you have matched your
breathing you can deepen your own breath and they will
shortly follow. This obviously is a great aid to inducing
trance. A method which I will go into in a little more
detail later, explains how you first gain rapport with your
subject then slowly begin to hypnotise yourself and watch as
they follow, as they enter the trance state you bring
yourself out and simply give them suggestions to go deeper.
Before we move on to the next ingredient in the hypnotic
sequence I would like to tell you of a personal incident
where I have used rapport, perhaps it will give you a few
ideas of how to practice this skill yourself.
This was a few years back, when I first started to learn
hypnosis myself, I was eighteen years old and very fond of
the night club scene. I was always the one that dragged
people on to the dance floor. I liked to dance but not on
my own. A friend (by the name of Craig) and I had gone to
a club and found it full. This was a bit of a disappointment
but nether the less we continued on to the next club. Craig
had preconceived ideas about the club we ended up at. He
doesn't like it and this put him in to a very unsociable
mood. He wanted to go. I wanted to make the most of it. I
hadn't long known about rapport but I thought I would give
it a go. I matched his body posture, his breathing and his
lack of energy. I also began to speak of the club the way he
was. I had instantly gained rapport and in a space of only
about five maybe ten minutes I had gradually increased my
energy level and posture. He readily followed me and, for a
change, it was him dragging me on to the dance floor rather
than the other way round. This was a dramatic change of
attitude in a very short space of time. I would have got
absolutely nowhere by simply telling him to, cheer up"
32

If you want to practice gaining rapport with people then a

very useful exercise is to sit next to someone and match
their breathing. After a while deepen your breathing and
wait to see if they follow. If they don't simply go back to
pacing them again create a stronger bond and remember to
keep the changes gradually and sure enough in no time it
will become second nature and you will soon be able to lead
anybody into any state you desire.

33

Fixation of attention
One of the main ingredients to a successful induction is
fixation of attention. Previously it was thought that the
best way to obtain fixation of attention in a subject was to
get them to stare at an object. Ancient shamanistic tribes
often entered altered states whilst gazing at the flames of
a fire. In more recent years the hypnotist has preferred to
use such items as a candle flame, an electric light or,
perhaps more famously, a swinging pocket watch. In fact it
was by pure chance that fixation of attention lead to the
discovering on hypnosis as we know it today. Hypnosis was
previously know as magnetism. Although the outcome was
pretty much the same as it is today the induction process
was very different. Subjects wishing to be magnetised would
be lay down and a series of passes would be made over their
body using magnets. The process did work, although it took a
ridiculously long time to do so. This method of induction
was used for many years until, upon entering his surgery, a
practitioner of magnetism by the name of James Braid,
noticed that one of his patients, whilst waiting in his
waiting room, had become transfixed on an old lamp. His
appearance was similar to that which is brought about by the
onset of the altered state. His eyes were glazed and his
breathing deep. Through curiosity Braid try a few
experiments with simple suggestions and the results were
very encouraging. What Braid had discovered was to change
the face of magnetism as it was known.
These days Braids discovery plays an important part in the
onset of trance. To create fixation of attention quickly in
your subjects get them to focus their vision on a point on
the ceiling. This not only limits their attention, so
guiding them towards trance, but it also does another very
useful thing. When we fix our vision on a point above the
normal eye level our eyes quickly become fatigued and as a
results of this we have a desire to close our eyes. This is
very useful to the hypnotist as when the eyes close it
serves as a signal to the subject that the trance process is
beginning to work. Once the eyes are closed you can get your
34

subject to fixate their attention of a thought, this is

usually the task of counting backwards in their minds. You
can also suggest that the further back they count the deeper
into trance this will take them. Fixation of attention can
be upon something as simple as the subjects own breathing
and by combining this train of thought with suggestions to
relax using linguistic bridges you are able to produce a
very powerful induction script.

35

Hypnotic induction script

On the next few pages is an induction script that I have
used with success many times in the past. I don't use a
script anymore, I simply make the induction up as I go
along. I have included this script so that you can make good
use of it as you begin to experiment with hypnosis. It is
written exactly how it should be read, word for word and
with no interruption. read through the script several times
and see if you can pick out the individual components that
we have previously discussed.
After the script you will find a complete explanation as to
what each sentence will achieve with notes on voice tonality
and speed of speech. Familiarise yourself with the basics of
the script and at the end of this chapter you will find
instruction on how to develop your own induction.

36

The "progressive relaxation" induction script

(This script is written as though you are inducing trance in
a group of people rather than on the individual, it will
work equally well with one subject, however, you will need
to use your common sense to adjust parts of the script to
suit)
(Throughout the induction you will notice the word crowd or
subject in brackets this is simply referring to whether you
should be addressing the crowd or the subjects)
"Firstly I would like to thank the subjects I have for
volunteering tonight.(crowd) You are about to witness the
trance induction. A very rare and privileged sight to be
able to see. The sensation which the subjects will go
through is even more fascinating for the volunteer than the
spectacle it produces is for you, the audience. Entering the
hypnotic state is a very relaxing and pleasurable sensation
that few people ever get to experience.(subject) You have
all come up here tonight with one intention in mind, to be
hypnotised. Now, I don't know if you will go into trance
quickly or take a little longer to enjoy all the pleasant
experiences that trance has to offer. Trance is a very
natural phenomena. Everyday each and everyone of us goes
into trance at least twice. You enter the hypnotic state as
you are awakening and again at the end of the night as you
go to sleep. You also go into trance throughout the day. How
many times have you drove home and completely forgotten
which route you took. This is a mild level of trance which
we all regularly experience. The only difference between
when you go into trance naturally and when you go into
trance with the aid of a hypnotist is that you don't usually
have someone giving you a direction to follow, so you
normally just wake up.
Now, before we begin I would just like you to spread your
seats out a little, ensure that you are not touching anyone
that is next to you, that's fine. Also if anybody is
wearing a tight belt or has their shoe laces done up tight
37

just loosen those a little as, when you go into trance your
body will relax and a tight belt or shoes would feel
uncomfortable. That's great.
Now, before we begin the induction process I would like to
make a couple of points clear. Firstly I am not going to
make anyone to do a striptease routine so throughout the
whole show you will all remain fully clothed and secondly
if any of you have a fear that you might not awaken, you
need not worry about this at all as to awaken a hypnotised
subject is as easy as counting to three and saying wide
awake. If anything should happen to me whilst you are
hypnotised you will either wake spontaneously, get bored of
what you are doing and awaken or drift into a natural sleep
and awaken in the usual manner.
So, as you sit in your chair with your hands resting on your
lap you are wondering how it is that you are going to go
into trance. I would like you all to rest your feet flat on
the floor, don't cross your legs and unless I say otherwise
keep you hands resting in your lap. That's fine.
Now, as an exercise we are all going to relax our bodies. I
will help you to do this and to begin I would like you to
close your eyes. Now all take three deep breathes. Breathe
in hold it for a second now breathe out and as you do
allow all your tension to flow out of your body, and again.
Breathe in...hold it for a second now breathe out and as
that warm breath leaves your mouth you can feel the tension
flowing away from you. Now, once more. Breathe in...hold it
for a second now breathe out allowing your shoulders to
drop a little as you do.
That's fine, now, I want you to draw your attention to your
eyes, imagine your eyes closing down again and as you do so
your eye lids are getting heavier and heavier. Your eyes are
closing down tighter and tighter and should you try in vain
to open your eyes they will remain tightly glued shut. I
don't want you to try and open your eyes yet simply feel
them getting tighter and tighter as it starts to get darker
38

your eyes are sealing shut tight, stuck down tight. Some of
you can feel glue holding your eyelids tightly closed, your
eyes are stuck now, stuck hard tighter and tighter. When I
count to three I want you to try in vane to open your eyes,
the more you try the harder it gets, stuck down tightly now
when I count to three I want you all to repeat, "my eyes are
tightly glued shut, my eyes are tightly glued shut." as you
attempt to open them. 1 - 2 - 3...try in vane to open your
eyes, but the harder you try the tighter they become tighter
and tighter stuck closed. O.K. relax and stop trying to open
your eyes, the glue has all gone and your eyes are
comfortable.
We are going to begin to slow everything right down now and
as you LISTEN TO THE SOUND OF MY VOICE you can allow
yourself to GO INTO TRANCE. Relax the tiny muscles around
your eyes and imagine them closing again. Now, feel that
wonderful relaxing sensation spread down your face and relax
the tiny muscles at the sides of your mouth, that's fine.
Check to make sure that your jaw is not clamped up shut,
relax your jaw and allow your mouth to fall freely and
comfortably open. As you relax the tiny muscles around your
mouth, you can feel your whole face ease a little. Now, you
can imagine this feeling of relaxation as a colour that is
slowly spreading over your face. you can see this colour
in your mind as it begins to soak into your cheek bones and
your jaw. Bringing a wonderful relaxing sensation with it as
it does. Now, visualise that colour as the sensation begins
to creep into your neck. You can feel the wonderful colour
soaking into your neck. Now it begins to spread down to your
shoulders, you can drop your shoulders a little more with
each out breath and as you do this allows you to BREATHE
A LITTLE MORE DEEPLY than you normally do do. That's fine,
TAKING YOU deeper and deeper INTO TRANCE as that colour
slowly creeps down your arms taking that wonderful sensation
of warmth and relaxation with it. Creeping down your arms
now and slowly being absorbed by every muscles in your arms
soaking into the bones as you GO INTO TRANCE. Now that
colour has reached you hands and here we can RELAX YOUR
HANDS, that's fine and now the first trick in physical
39

relaxation is to RELAX EACH AND EVERY FINGER, cause if YOUR

FINGERS ARE RELAXED your arms must be. So, as I pause for
the first time just imagine that wonderful relaxing colour
spreading down to the tip of each and every finger.......
that's fine...........
Now your arms are completely relaxed and once again you can
draw your attention to your shoulders, feel the tension
released as you drop your shoulders a little with each deep,
relaxing and warm out breath until they feel quite free.
Now, that sensation, that colour, that relaxing experience
is beginning to DRIFT DOWN your body. FLOWing DOWN through
you chest DOWN DEEPer and deeper and as it soaks into you
you can allow your body to SIMPLY DRIFT OFF. DRIFTing DOWN
now into a nice comfortable relaxing state, that's fine. Now
as that colour begins to soak into your stomach you can
feel as your stomach RELAX and listening only to the sound
of my voice YOU know that their ARE no embarrassment between
us now and SAFE in this knowledge you allow your stomach to
RELAX COMPLETELY as we approach the second trick in the
relaxation process. Because if your stomach is relaxed then
your torso must be. So as I pause for the second time allow
your stomach to RELAX COMPLETELY...........that's fine.....
Now as that wonderful sensation begins to spread down into
your legs you can visualise that colour as to begins to soak
deeper and deeper into your body, FLOWing DOWN into your
legs now and as it does you can allow your thighs to RELAX,
as though you've been running and now you can REST and as
you REST you can visualise that colour soaking deep into
your bones and taking that wonderful warm RELAXing sensation
with it allowing you to DRIFT DOWN deeper and deeper INTO
TRANCE. That colour now slowly soaking into your calf
muscles as it begins to spread down towards your feet you
can feel that relaxing sensation follow and the colour is
now soaking into your feet and your feet are BECOMing MORE
and more RELAXED and as this sensation SITs AT THE very
BOTTOM of your person your whole body is relaxed and your
mind can RELAX too. Your body is completely RELAXed I don't
want you to LOSE AWARENESS OF YOUR BODY just yet, simply
40

bathe in this wonderful relaxing experienced that we call

the hypnotic state.
Now, I would like you to focus your attention on your feet,
look at your feet in your minds eye and, as you do so this
causes the colour of relaxation to slowly begin to glow out
from your feet, this colour is beginning to get brighter and
brighter and as it glows outwards in a magical haze it also
soaks inwards increasing that sensation of relaxation as it
does glowing brighter and brighter now and as I count from
one to ten it will race up your body, a pulsating glow of
bright sensual colour racing up your body as I count, taking
with it all the relaxation that you have ever experience.
one.. that colour is spreading into your legs engulfing your
calf muscles as it does, two.. pushing its way up now
entering your thigh and bringing with it the most
sensational experience of relaxation that you have ever
experienced, three.. rushing into your stomach now, four..
racing up towards your torso, five.. bursting into your
chest as that glow gets brighter and brighter, six..
engulfing your shoulders now in an wonderful exciting
sensation, seven.. rushing down your arms and taking that
sensation all the way past your elbows, eight.. filling
each and every finger now from the skin to the bone glowing
from your finger tips, nine.. as that sensation spreads into
your neck and sends a wonderful experience up into the back
of your skull, and ten.. the colour finally races around
each side of you head and as it crashes together at the
front of your face it encapsulates your whole body. Now, it
is getting brighter and brighter and the glow gets bigger
and bigger and begins to race out from your body. Bursting
out and racing across the room, filling the whole room with
that wonderful colour. The colour is all around you it is
soaking into you and glowing out of you, you are breathing it
in and you are breathing it out.
When I count to three in the next few moments all that
colour that has burst out and filled the room and beyond
will race back into your body and as your body absorbs every
last drop of this fantastic experience it takes you to a
41

level higher and further than you have ever experience

before. 1 - 2 - 3 that colour is rushing back into your body
now and bringing with it a sensational sensation. All that
colour is now deep within your sole and as I count down from
three to one it will cause your body to relax deeper than
it has every relaxed before. 3, getting deeper 2, and deeper
1, and deeper down, down, down, deeper and deeper into
trance, deeper and deeper into trance, that's fine.
Now, as you listen to the sound of my voice it will take you
into trance and as you hear the words that I am saying I
want you to imagine that you are standing at the top of a
beautiful flight of stairs, that' fine. I want you to look
down the stairs now in your minds eyes, you can keep your
eyes closed as you do this. Look down those stairs, there
are ten stairs to this stair case and a I slowly count down
from ten to one you will slowly walk down the staircase,
taking another step each time I say another number. This
staircase is the staircase of relaxation and each step down
that you take causes you to go deeper and deeper into
trance. Look down that stair case now and you will notice
that on the right hand side is a banister, as you walk
down the staircase I want you to hold that banister, you
will find that you can do this mentally and imagine your
hand holding that banister or you can actually reach out and
grab hold of it. now as I begin to count you will begin to
slowly walk down the staircase of relaxation. 10 that's
fine, take your first step down the staircase of relaxation,
9 another step down and you can feel yourself going deeper
and deeper, 8 deeper and deeper down the staircase of
relaxation, 7 and as you take another step you become aware
of the temperature of this staircase, 6 deeper and deeper
down causing you to go deeper and deeper into trance, 5 you
are half way down the staircase now and at the bottom you
can see that a relaxing white mist is beginning to form, 4
as the mist at the bottom of the stairs gets thicker this
cause you to go deeper and deeper into trance, 3 you can
notice the feeling of the stairs beneath your feet and this
takes you deeper and deeper into trance, 2 as that cloud of
relaxing sensual mist at the bottom of the stairs continues
42

to grow it causes you to go deeper and deeper into trance

and 1 you are at the bottom of the stairs now and all around
you is a wonderful mist, although you can not see it yet
in front of you is a door and in a moment you are going to go
through this door. When I count to three I want you to take
a deep breath and breathe in all that relaxing colour, 1 2 - 3..breathe in ......that's fine.. and hold it for a
second now breathe out an as you do that colour all drifts
out of your body and floats away taking any tension that you
still had with it and leaving the area where you are
standing clear and pure. In front of you is a door, I want
you to go to this door now......that's fine....And when I
count to three you will reach out and grasp the handle and
open this door and once you have you will walk inside and
close the door behind you. As soon as you get inside this
room you will see a bright white spot light shinning
straight into your eyes, it will make you squint down hard
and you will protect your eyes from this bright light by
covering them with your hands. 1 - 2 - 3 reach out and open
that door and go inside and you can see that bright shinning
spot light glaring into your eyes, squint down hard as you
try to protect yourself from the blinding light by covering
your eyes with your hands. When I click my fingers the light
will go off and it will go dark again and you will leave the
room and close the door behind you. 1 - 2 - 3 (click your
fingers) All gone now, it's O.K. leave the room and close
the door and as you do you will go twice as deep into
trance...."
At this point your subjects will all be deep in trance and
you can commence with your show. However it is best to keep
on the safe side and do a couple of simple routines before
you go for the more dramatic ones. Later in the book you
will find a list of routines which you can use and these are
all categorised to help you put your show together
successfully.
Once you have completed your routines you must then awaken
the subject. Awakening someone from trance is as easy as
saying, " 1, 2, 3, eyes open wide awake" but it is always
43

best to awaken your subject on a high. To do this you can

use an affirmation (affirmations are explained later in the
book) Later, I will also go into the problems which might
result on awakening your subject and tell you how to
overcome or even prevent these altogether.

44

Explanation of the "progressive relaxation" induction

The first thing worth mentioning about the script you have
just read is the basic structure. It starts of with a brief
explanation of trance, then comes a simple waking test (the
locked eyes test) this is followed by the actual induction
process and then comes two forms of deepening the trance.
Firstly the rush of colour up the body and secondly the
staircase of relaxation. The section right at the end of the
induction about the bright light in the room is actually the
first routine of the show. I often start with this routine
as most people respond to it and it also deepens the trance.
The very beginning of the script holds a great deal of
suggestion in the form of subliminal messages. I will run
through parts of the script again now and any words written
in UPPER CASE are to be emphasised as you read the script as
these are the subliminal messages. I will point out the rest
of the scripts components using notes throughout. Each
component of the induction will be explained in full and if
a section of the script holds no such component or
subliminal message I will simply leave it out.
The speech that I gave at the beginning of the script, (the
one that is directed at the audience) serves a great purpose
in making the subjects want to experience the trance state.
Because it is not directed at the subjects they will not
notice it as a message to them and due to this will be all
the more willing to comply.
Next comes the sentence, "I don't know if you will GO INTO
TRANCE QUICKLY or take a little longer to enjoy all the
pleasant experiences that trance has to offer." As well as
the subliminal message this statement also implies that
trance is a pleasant experience, again, making the subject
want to experience it.
The following section which goes on to explain how we all
enter trance at least twice daily and that trance is
completely natural has the phrase, "GO INTO TRANCE" included
45

in it four times all of these need to be emphasised. It also

has the phase, "....at the end of the night as you GO TO
SLEEP." This subliminal message relies on the belief that
trance is similar to, if not the same as, sleep. This
section also reassures the subjects that what they are about
to do is nothing to worry them as they have been going in
and out of trance for the whole of their life.
The next step, where I tell everybody to spread their seats
out and loosen their belts and shoes, serves the purpose of
getting their subconscious mind used to accepting orders
from me and obeying them.
The next section which explains that I am not going to make
anybody strip and also mentions the awakening is solely
their to re-assure the subject and allows them to let go a
little. The subject will also be more willing to trust
themselves in my hands after this point. The sentence,
"...to awaken a hypnotised subject...." also presumes that
they are all going to be hypnotised subjects. Making you
look more confident and giving the volunteers a greater
belief that you can actually do it.
The next section establishes rapport with the subject with
the statements, "...sitting in your chair.." and, "...hands
resting in your lap.." It also contains a presumption,
"...wondering how it is that you are going to GO INTO
TRANCE.." this is recognised as mind reading by the subject,
gaining you credibility. As well as the obvious subliminal
message the statement also assumes that the subject is going
to go into trance, the only question is how. Next in this
paragraph is the instruction to not fold their arms and to
keep their feet flat on the floor. This is also an order,
which serves the same principle as the moving of the chairs.
As well as this a subject with their legs and/or arms
crossed is a very negative sign and in this position their
arms and legs act as a barrier to protect them form you
and as a result they are less open to suggestion. The
reason the feet are to be kept flat on the floor is simply
because it is impossible to cross them in this position. At
46

the end of this paragraph you will notice the words, "That's
fine." this crops up regularly throughout the whole of the
induction, (as I am sure that you noticed) its purpose is to
let the subjects know that they are doing well. If used
after a suggestion to go deeper it often makes the subjects
realise that I am pleased with their progress and that they
are doing well and results in them going even deeper than
had it not been included.
The next section is the breathing exercise. As I have
already mentioned I always include this at an early stage
of my inductions as deep breathing alone, even without
suggestion, can greatly relax your body.
The next section, about the eyes being stuck shut, is there
to show the volunteers that you do in fact know what you are
doing. They will believe at this point that you have some
kind of control over them. It is in fact a very simple
demonstration which most people, especially those about to
be hypnotised, will comply to. However, don't let them try
to open their eyes for too long. This section is riddled
with 'clever' language which makes the feat of opening your
eyes almost impossible. You will notice excessive use of the
word, "try" ,try implements failure so if the subject is
asked to TRY and open their eyes they will subconsciously
have been told that they will fail. The phrases including,
"...try in vane..." also carry that same message, only more
powerful. It is simply impossible to try in vane and
succeed. Telling the subject to repeat the sentence, "My
eyes are tightly glued shut." will practically guarantee
that all the subjects eyes will remain stuck closed as they
first have to think subconsciously, "I can open my eyes."
before they will be able to. Making them repeat, "My eyes
are tightly glued shut." will not allow the thought that
they might be able to open them into their mind. If anybody
does manage to open their eyes then you can discard them
saying you have more than enough volunteers already. Don't
take this as a reflection on yourself, some people are more
responsive to waking suggestions than others. You will find
that the people who did manage to open their eyes were not
47

following your instruction and did not concentrate on the

task. This kind of person must be discarded as they would be
impossible to hypnotise whilst in a un-cooperative frame of
mind. As you do the eye sticking exercise speak in a fast,
authoritative tone of voice and demand rather than ask.
The next section is the beginning of the trance induction.
As you say the words, "slow everything right down.." lower
the tone of your voice and use this point to reduce the
speed at which you are
talking. I have
included all the subliminals to this section in the script
by the use of UPPER CASE text so that the explanation is not
too long winded. At regular intervals whilst reading this
section slow down the speed at which you are speaking and
keep dropping the tone of your voice. By the time you reach
the next section you should be speaking in a soft, low,
quiet voice. Remember what I said my friends say about my
voice, "A slowed down version of Lloyd Grossman" well this
is how you should sound at this point. When you get to the
stomach you will notice that I again asked that the
subjects listen only to the sound of my voice and I stated
that there are no embarrassments between us. The reason
behind this is that when our stomach relaxes our digestive
system will begin to operate and the subjects stomach will
begin to rumble. Listen out for this as it is a good
indicator that the subject is relaxing deeply. However do
not incorporate it in to a biofeedback loop, the way you
would if a glass was banged onto the bar, as this will only
serve as to embarrass the subject. Of course the subject can
here their stomach but rather than wondering why you have not
mentioned it they will be hoping that you have not noticed.
At this stage the subjects are all in a very light trance.
The next step in the induction process is to deepen that
trance state. The way you do this is by overloading the
subjects mind with a particular thought pattern, in this
case the colour rushing back up their body. This section
should be read with an ever increasing volume, speed and
tone in your voice. You must sound excited as you race
though the text as the colour races up their body. As you
48

mention each part of the body look out for muscle twitches
in that area as this will serve as an indicator of the kind
of response you are getting from your subjects, the more
twitches the more involved, the more involved the deeper in
trance they are. Build this up so that as the colour reaches
their face it is like a verbal explosion of excitement.
This is a very involving, exciting and powerful deepening
procedure and it prepares the subject for the more tranquil
deepening process which is to follow. If you relax your body
you can feel some change, however if you first tense every
muscle in your body as hard as you can and then relax, the
difference is unbelievable....try it. This is the same
principle in action but, rather than working on the body, it
is working on the mind.
What follows is the final deepening process. This process is
probably used to deepen the trance more than any other. Its
basic content must be of the thought or action of
descending, in this case down a flight of stairs. If you
prefer you can use anything which goes down (lifts,
escalators and ladders are all great examples) The basic
idea is to link the image of physically going down with the
thought of mentally going deeper (into trance) This is a
very successful way of substantially deepening the state
which your subjects have reached during the trance
induction. The image is enhanced in the subjects mind by
asking them to notice things about the environment around
them (temperature, feel of the stairs etc..) this will make
the whole situation seem more and more real for the subject
and as they become more absorbed in what they are thinking
and less aware of their actual surroundings they slip deeper
and deeper into trance. This section must be read as slowly
as possible, dragging out the words and using a relaxing
soft tone.
The last section of the induction is also the first part of
the routine it is simply there to check the different depths
of trance people are in and yet again take them all that
little bit deeper.
49

Now you know the break down of the induction script practice
using it as often as possible. The basic layout of the
induction is very simple and, as long as you stick to the
basic layout, you are able to change the script content as
you wish and devise your own method of induction.
The "progressive relaxation" induction process is one of the
most reliable ways that you will learn to induce trance.
However, as you gain credibility as a stage hypnotist you
will find that you will begin to use the more impressive
instant methods of induction more and more often. We will go
into these methods in the next section.

50

How to administer instant hypnosis

As we have previously discussed, hypnosis can be brought
about in many ways. The "progressive relaxation" induction
makes use of the increased suggestibility of a relaxing
subject. The more instant methods of induction, however,
make use of different techniques, such as shock, confusion
or interruption. We will go into these in a moment, but
first a word of warning.
The success of the instant induction is dependent on a
number of things, firstly, the suggestibility of the
subject. Some subjects are what we call somnambulistic,
this simply means that they are capable of reaching very
deep levels of trance and usually very quickly. Secondly, is
the subjects belief in the ability of the hypnotist, this is
very a very important thing to remember as you begin to
induce the trance state. If a subject doubts your ability
then they are not very likely to go into trance. It is for
this reason that you are best advised to stick with the
"progressive relaxation" induction process until you have
managed to make a name for yourself and people actually know
that you have the ability to hypnotise somebody. An ideal
way to over come the ability problem is by creating hype
for yourself and below are a few suggestions as to how to
do this best.

51

Creating hype
In the early days hype before a hypnotic show would begin
to appear weeks and sometimes months before the show with
daunting posters billed all over town showing the hypnotist
glaring down with piercing eyes. The caption would usually
challenge, "Dare you look into his eyes and not obey his
every command?" This method of creating hype proved very
successful in the early days and as the show grew closer,
excitement would build and people would dare one another to
be put under the hypnotists spell.
Then, on the night of the show, everybody would be seated
in the theatre and, as the lights went down, a mixture of
fear and excitement would engulf the audien1ce. Suddenly, in
the eerie silence a single spot light would appear at the
edge of the stage. The hypnotist would stride to the centre
of the stage and turn to the audience. With arms
outstretched the hypnotist would sweep the entire theatre,
electrifying the onlookers with his power.
The hypnotist would stand on the stage dominating the whole
of the audience with his intimidating glare. He would stand
tall and dressed from head to toe in mysterious black, his
menacing face would come to a point at his chin as his
'goatee' style beard echoed that of the devil. His hair
slicked back ready for business allowed full access to those
piercing eyes and as he passed his hands back over the
audience an explosive whisper could be heard through out the
whole theatre. "He's doing something to me, He's doing
something to me." would be the cry of the vulnerable, and as
the hypnotist preyed on his reluctant, but brave, victims
the fear of what was about to be was nearly enough in itself
to produce trance in even the least suggestible of people.
This method of creating hype worked wonders for the
hypnotist of its time. However, such a demonstration would
be useless today. People are beginning to accept that
hypnosis is a natural phenomena now and, probably due to
television coverage, people are becoming more knowledgeable
52

on the whole subject. This is not a problem for the

hypnotist as the fact that hypnosis is commonly used in the
medical profession gives the whole subject more credibility
so the need for hype is not so important. This, however, is
not the case when we are dealing with instant hypnosis.
Instant hypnosis does depend, to a certain degree, on the
use of hype. You can begin to create hype as you sell
tickets for your shows. People are fascinated by the subject
of hypnosis and always want to know what the secret to
hypnotising somebody is. You can play on this curiosity by
suggesting that it is a secret power that you are not
permitted to expose. Suggest that the subject volunteers to
be 'put under your spell' and experiences this power at work
first hand.
The few moments you have before a stage show also help to
create more hype. Stand on the stage looking out over your
audience for a few seconds without saying anything. Then at
the click of the fingers arrange for the house lights to go
down. If all the lights go off command, "A single light
somewhere please." Then in the dim light you can begin your
show.
Glare out over the audience and make eye contact with as
many people has you can. Take a deep breath and with a sweep
of your arms begin your introduction. "You are all about to
witness the phenomena that we call hypnosis, some of you,"
make eye contact and point to individuals as you again sweep
over the crowd, "....are about to experience it."
You can continue here to ask for your volunteers and as they
come up on to the stage thank them for volunteering and
commence with the pre hypnotic talk and tests.

53

The instant induction

The so called "instant induction method" is not actually as
instant as it might seem. The hypnotist will first give
indirect suggestion that the subjects "go into trance" with
the use of subliminal messages. To do this is very simple,
go back to the beginning of the "progressive relaxation"
induction script and read the introduction. Although to the
volunteers this seems very innocent it is actually full of
suggestion and it is by using such an introduction that you
can line your volunteers up for the instant induction.
Make sure that you take a good look at your volunteers as
they come up to the stage, as it is at this point that you
will need to decide which of your volunteers will be more
likely to respond to the instant method of inducing the
trance state than others. Once you have picked a couple of
likely candidates out you can then proceed with the
induction. The reason that you try to pick out the best
subjects first is that once the rest of your volunteers
have seen one person "go under" that are a lot more likely
to respond to your suggestion to "go into trance"
themselves. This works just the same in reverse, if your
first subject does not "go under" then on seeing this the
rest of your volunteers will have doubt in your ability and
as a result are a lot less likely to "go under". I hope this
will help to illustrate that it is best for you to learn
your craft thoroughly before risking losing all your
credibility as a hypnotist and, inevitable, all your
bookings.
Once you become more experienced you will be able to pick
out the people who are most likely to respond to the
instant induction method simply by looking out over your
audience and noticing those who are already en-tranced by
your introduction.
Having picked out the lightly candidates you can seemingly induce
instant hypnosis on these by following the steps below.

54

Instant induction one: Induction by interruption

As your subject comes on to the stage reach out as if to
shake their hand and as they grasp your hand lift theirs up
in front of their face and command that they concentrate on
their hand. As they do describe what they can see to them
and tell them to, "go into trance only as slowly as your arm
begins to drift down to your side" At this they will begin
to lower their arm and as they do, because they are staring
at their hand, their eyes will also begin to close. As their
arm continues to drift down suggest to them that, "as your
hand touches against your leg you will instantly go deep
into trance, deeper and deeper into trance" As soon as they
have done this tell them to only pay attention to the sound
of your voice and continue with a deepening script such as
the one which included in the "progressive relaxation"
method.
Instant induction two: Induction by shock
Again, as in the first method, reach out as if you are going
to shake the subjects right hand, put your left hand onto
their shoulder. As you grasp their hand to shake, rather
than lifting it up in front of the subjects face, jerk their
arm sharply downward. This will cause them to lunge forward,
and, as they do put your left hand onto the back of their
head and begin to roll it from side to side. This will
disorientate the subject and open them to accept your
suggestions that they are getting more and more sleepy.
Continue as before with the deepening process.
Instant induction three: Induction by fall back test
This method looks a lot more slick on the stage and follows
through from the suggestibility test really well. Stand
behind the subject and tell them that they are about to feel
an irresistible magnetic force pulling them backwards
towards you. Tell them that you will not allow them to fall
as you are right behind them and as they begin to topple
backwards you will catch them. If anybody seems to be
55

resisting your suggestion add that the more they try to

resist, the stronger this force will become.
As soon as the subject falls back into you, put your finger
onto their fore head and pull their head back onto your
shoulder and, with your mouth now next to their ear,
suggest that they go into trance. Stand them back up and
continue with the trance deepening.
As an alternative to standing the subject back up in the
fall back method, if you have enough room, as they begin
to fall put your finger on their fore head and command,
"SLEEP!" as you tilt their head backwards. At this point
their legs will give way so be prepared to have to catch
them. Then lower the subject as quickly as you can, without
causing them any pain, directly backwards to the floor and
once again command them to sleep and continue as before with
the trance deepening .
By using the fall back method with a number of people on a
large stage you are able to work very quickly along a line
of subjects, dropping them, like flies, to the floor. This
looks very dramatic and will gain you a great deal of
credibility as a professional hypnotist with any audience.

56

Practicing instant inductions

When you practice an instant induction it is essential that
your subject is aware that they are going to be hypnotised.
I am sure you can imagine the response if you walked up to a
stranger in the street and attempted the arm jerk induction.
As we have mentioned a failure could jeopardise a show. So,
it is essential that you practice before hand. When you are
ready to begin practicing the instant methods of induction
arrange for a few friends to come to your house and tell
them that you are going to hypnotise them the moment they
walk through your door. This will help to create a little
bit of hype in your friends.
Make sure they all arrive at your house at different times
and as each person arrives reach out as if to shake their
hand and thank them for helping you with your studies and as
they respond by giving you their hand continue with the arm
jerk or raised hand methods of induction. Whether your
friend goes into trance or not seat him/her quietly to one
side so that when your next guest arrives they will think
that the person quietly seated is in trance and as a result
they are far more likely to go into trance themselves.
A safe way to begin the introduction of instant hypnosis
into your stage shows is to use the fall back test before
the induction. Quietly give the instruction to, "go into
trance" so that the subject you are working with is the
only one that can hear you. The benefit of using this method
is that, if the subject does not respond, no one else will
know what you were doing and will assume that your
experiment was to make the subject fall backwards, which
they did. If, however, the subject does respond it will
look very dramatic and you will gain credibility from both
the audience and the volunteers.

57

How the instant induction methods work

The instant induction method of inducing trance is probably
the most mysterious and admired induction method available.
It is very different to the "progressive relaxation" method
as it makes use of the natural triggers that can instantly
hand control over to the subconscious mind. In the earlier
days of instant hypnosis it was recognised that shock, fear
and stress combined with confusion were an excellent recipe
to access the subconscious. This discovery lead to an
American stage hypnotist coming up with the most extreme
methods of induction. He would collar the most sheepish
looking subject from his volunteers and bombard him with
deliberate and threatening commands to sleep. "Sleep! What
d'ye mean? What d'ye mean I say? Sleep I tell ye, Sleep!
What d'ye mean? What d'ye mean?"
This extraordinary question, asked in such a forceful manner
often resulted in the subject instantly flipping straight
into the trance state. I am not suggesting that you use
these kind of tactics, if you did then I doubt if you would
ever get somebody to volunteer again.
The methods that we have discussed will be more than
adequate in inducing trance in your subjects.
Both of the hand shaking methods use the same principle to
aid the induction of trance. This is the method of
interruption. Everybody knows how to shake hands and it is a
single process for them. They reach up shake and let go all
in the one action. However, when the action is interrupted,
the subject is at a loss as to where they should go next.
So, as they stand their in a state of confusion you come to
their rescue by suggesting a direction for them to follow...
into trance. The hand raising method then makes use of
fixation of attention to guide the subject towards trance.
Where as the arm jerk method will make more direct use of
the shock and confusion techniques. You should use the arm
jerk method on people that you think may be a little more
difficult to 'put under' and save the hand raise method for
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those which you think may object to having their arm jerked
down.
The fall back method makes use of confusion as a means to
acquire the hypnotic state. It is at the point when you tip
the head back that the confusion is greatest and you make
good use of this by delivering your order to sleep just as
the subject is at their most venerable.
The fall back method will become the method that you will
use most often. It has a great advantage over all the other
methods of induction in that if at first the subject does
not respond you can pass it off as a pre hypnotic test as
discussed earlier and continue with the more conventional
"progressive relaxation" method. The fall back induction is
also one of the most aesthetically pleasing methods to
witness from the point of the audience.

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Awakening the subject

Getting stuck in trance is what most volunteers fear more
than anything else. It is for this reason that you must put
the volunteers mind at ease by telling them how simple the
awakening procedure is. You will have noticed that I went
into the awakening procedure a little at the beginning of
the hypnotic induction script. Everything that I said at
that point is very true, however, I did not mention the very
rare possibility of the subject actually staying in trance
after you have given them instruction to awaken.
Every so often you will come across a subject who will
refuse to awaken. The reason behind this is that if a
persons life is very dull they will enjoy the trance state
so much that they will want to stay in it. It's like going
to sleep and having a wonderful dream and not wanting to
wake from the experience. If you find yourself faced with
such a subject all you need to do is gradually bring them
round in the same kind of fashion that you would gradually
'put them under'. You can do this in several ways. If you
are particularly good at gaining rapport and pacing and
leading a subject you can use this method by simply gaining
rapport and then slowly getting the subject to follow you
out of trance. Another, and a lot simpler method, is to tell
the subject that you are going to count up from one to ten
and when you reach ten they will be wide awake. Then proceed
to start counting and as you do interlace the numbers with
suggestions of becoming more and more alert. Using this
method you will often find that the subject is wide awake
and back to their normal state before you can get as far as
the number five. If you are still having problems then you
can use shock tactics. Simply turn to another volunteer and
request that they go and fetch you a bucket of water as you
are having problems getting one of the volunteers to wake.
The hypnotised subject will hear this request and will
instantly awaken so as to avoid a soaking.
When you awaken the volunteers, except in the case just
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discussed, never use shock. Always make sure that you awaken
the volunteers gradually and in a good mood. To do this you
can use an affirmation on the subject prior to the
awakening.
An affirmation can be as simple as telling the subjects that
when they awaken they will look and feel better than they
have ever felt in their entire lives. Be careful with your
language here as the hypnotised subjects mind is very
literal. I'm sure you can imagine the difference between
metaphorically feeling and looking a thousand dollars and
actually believing that you do feel like and look like a
thousand dollars.
When you are putting your affirmations together you must
always speak in a positive context and in the present tense.
What you are basically trying to do with the affirmation is
make the subject feel wonderful upon awakening. You can
achieve this in many ways. If you like, tell the subject
that they have just had a relaxing and refreshing five hours
sleep and upon awakening they will feel refreshed, relaxed
and alert. If you prefer, then tell them they are beautiful
or amazing or whatever. As long as you remember to keep the
affirmation positive and in the present tense you really
can't go wrong.

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The different trance phenomena

Once your subject is in the state of hypnosis you can
perform almost any routine you like. The options are
endless. What we are going to discuss here are the six
main categories of deep trance phenomena. This will help you
to keep your shows varied. The phenomena are listed below
with a brief explanation of how you might use each of them
and what they are.
1 Regression:
To regress is to remember or relive a past experience.
Regression is often used on the stage, usually in the form
of the subject being regressed to childhood and being
naughty at school, or perhaps an early birthday.
Regression is not limited to your life time and people are
often regressed, during hypnotherapy, to cure psychosomatic
illnesses
2 Progression:
This is the opposite to regression. People are progressed in
therapy to help them see how their life will turn out, and,
if necessary, make changes to make their future a better
one.
On the stage progression is used for such routine as a one
hundredth birthday party.
3 Post hypnotic suggestion:
Post hypnotic suggestion is essential for the
stage hypnotist. It is exactly as its name suggests, a
hypnotic suggestion which is to be carried out after the
termination of the trance state. It is used in almost every
routine that you will come across and, more importantly, it
is used to keep the subject in trance. An example of a post
hypnotic suggestion which you will use more than any other
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is, "When I click my fingers and say the word 'sleep' you
will instantly go back into trance."
Post hypnotic suggestions are also widely used in the field
of hypnotherapy. Suggestions such as, "From this moment
onwards, whenever somebody offers you a cigarette you will
instantly reply, 'no thank you, I am a non smoker'"
It is worth noting at this point that a post hypnotic
suggestion will stay inside someones mind forever. So, lets,
for example, imagine that you are performing a show and you
turn to a subject and tell them that when they hear the
music they will instantly jump to their feet and start
performing for the audience. Unless you later delete this
suggestion whenever that person hears music playing and
where ever they are they will instantly jump to their feet
and start performing to the crowd. It is for this reason
that you are advised to prefix any post hypnotic suggestion
that you give with the sentence, "For the rest of the
evening......"
4 Amnesia:
Amnesia is simply forgetting. Most people suffer from
spontaneous amnesia on awakening from the hypnotic state.
You will see this as at the end of your shows when your
volunteers leave the stage and run to their friends to ask
them what they were doing.
You can use amnesia in a routine by making somebody forget a
number and try to count, or perhaps forget their name and
try to introduce themselves.
5 Positive hallucination:
This is simply seeing, hearing or feeling
something which is not really there. This can be very
amusing on the stage if, for example, you were to tell a
subject that their hair was growing at a rate of ten
centimeters per second and under no circumstances are they
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to let it touch the floor. I'm sure you can imagine the
pantomime as the subject tries to hold arm fulls of
sprouting hair desperately trying to keep it off the floor.
6 Negative hallucination:
This is the opposite to the above and is a god
send to stage hypnotist. Imagine the look on the subjects
faces as things start to float around the stage, seemingly
on their own, but with the help of the invisible hypnotist.

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Putting on a show
You should by now be able to induce the trance state in a
subject. The next step to learn is what to do once the
subject is hypnotised and you have deepened the trance.
A successful hypnotic show must be thought about in the same
manner that a choreographer would consider the steps to a
new dance routine. It is no good to simply induce the trance
and then begin some routine off the top of your head, You
must pre-plan the whole of the show baring the following
points in mind.
Firstly, think about the way that the show will look from
the audiences point of view. Remember that the whole purpose
of your show is to entertain. So you will want to make it
interesting and exciting for the audience. Don't drag the
show out for too long otherwise the audience will loose
interest. It is much better to leave them wanting more as
this will inevitably lead to more bookings. Always plan your
show so that the first routine grabs the attention of the
audience, make it something so bizarre that it is funny,
then proceed to demonstrate various different trance
phenomena always keeping the visual entertainment value as
great as possible. End the show with a dramatic grand
finale, don't let it slip away otherwise your audience will
lose interest.
The second thing that you should consider is the depth of
trance that the volunteers are likely to be in. Avoid the
more demanding routines at the beginning of the show and try
to stick to those routines which actually deepen the trance
state.
I have included a vast selection of routines that you can
use in the appendix at the end of this book. To help you
put your shows together these routines have been categorised
into different sections as to whether they are to be used to
deepen the trance, on awakening the subject, as a post
hypnotic suggestion, on a single subject or with the whole
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group.
The appendix at the end of this book will help you to
structure the content of your show, but, how do you put it
all together? The list below is to help you make your shows
successful.
1. The equipment.
The first thing you must bare in mind is, 'has the venue
where you are performing got the necessary equipment?'
Basically you will need a microphone, an amplifier, a
speaker and for certain routines a means of playing music.
You will find that most venues are equipped to cope with
your performance but it is always best to check beforehand.
If a venue does not have their own equipment find out if
there is a D.J. on the night of your show. As, if there is,
you may be able to use their system. It is also worth
investing in a quality microphone as most pub/club
microphone are sub standard.
2. Your appearance.
You must be of a presentable appearance, make sure your hair
is well groomed and decide on what you are going to wear for
your shows and try to stick to the same outfit. This will
help you to get known as you begin your shows. Try to make
your outfit a little different so that you stand out from
your volunteers.
3. Setting the stage.
Before the show ask the owner/manager for about fifteen to
twenty chairs depending on the size of the stage. Arrange
these in a semi-circle across the stage facing the audience.

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4. The introduction.
If the venue where you are working does not have a compare
then you will need someone to introduce you. If you can't
persuade a friend to do this consider recording an
introduction to yourself which can be played over the venues
music system. Make it dramatic and use music to build you up.
5. The entrance.
If you intend using instant hypnosis then you are advised to
make your entrance as dramatic as possible. If you are
sticking with progressive relaxation then this is not so
important. Greet the crowd and tell them who you are and
what you are going to do.
6. Asking for volunteers.
Never pick on anybody when you call for your volunteers. It
should be completely their decision. Of course, you can
persuade them with the use of subliminals in your entrance
speech.
7. The pre-hypnotic talk.
Once your volunteers are all seated proceed to explain a
little about what they are to expect. This will help to
relax the volunteers and get rid of any false
pre-conceptions which they might have about trance. It is
also a very easy way to bombard your subjects with
subliminal messages to go into trance before the induction
has even begun.
8. The suggestibility test.
Conduct the suggestibility test on all of the volunteers to
help you decide which are going to be kept for the show and
which you will discard.
9. The induction.
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You must now induce the trance state. This is usually a very
nerve racking experience for the beginner as the thought of
failure would tarnish your reputation. Don't worry about the
induction at all. If you have followed all the steps
correctly you will have no problem in putting people into
the trance state. Whether you use the progressive relaxation
method of induction or one of the more dramatic instant
induction really doesn't matter.
10. Deepening the trance.
You must now deepen the trance by using the deepening
procedure which is detailed in the trance induction script
earlier in the book. A very easy and useful method of
deepening the trance further is to tell your subjects that
when you tap them on the forehead they will instantly go
twice as deep into trance. Then proceed to tap each
volunteer twice on the forehead in quick succession.
11. The hypnotic routines.
This section is the main part of your show. Think about it
carefully and bare the points in mind which are discussed at
the beginning of this chapter. The actual performance should
last about half an hour to an hour depending on the crowd
and the volunteers. Try to get into a habit of performing to
the audience as it is all too easy to forget they are there
and concentrate on the subjects. Although sometimes it is
unavoidable, try not to speed too much time with your back
to the audience and make sure that you move around a lot so
that you are not blocking anybodies view.
12. Awakening the subject.
At the end of the show awaken the subject and return them to
their normal self. You must make sure that you have not left
any post hypnotic suggestions in your subjects, as discussed
in the section on different trance phenomena. However you
could leave some post hypnotic suggestions in the form of
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affirmations. Never make any substantial changes to the

subject, even if they ask you to (for example to give up
smoking) rather than risk dabbling in a subject of which you
probably have little knowledge, refer them to a qualified
hypnotherapist. (You will be able to find one in your area
in the yellow pages)
13. Thanking the volunteers.
At the end of each show make sure that you thank the
volunteers and get the audience to give them all a big
round of applause acknowledging them as the true stars of
the show. This is also a great opportunity to ask a few of
the volunteers what they thought about the hypnotic
experience. The responses you get are always positive and
they will help you to get more volunteers the next time you
are asked to perform at the same venue.
After that hand control back to the D.J. if there is one and
leave the stage after acknowledging your applause. You
should always stay in a venue for a least an hour after the
performance just in case there are any problems with any of
your volunteers. (There never is but it is better to be safe
than sorry)

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The volunteers
Although you do not have a great deal of say in who does
volunteer for your show and who does not, you do have the
last word in deciding who you keep for the whole of the show
and who you discard after suggestibility tests. The obvious
decision is to discard all of those who do not respond very
well. Before you do this you must first consider who you
will be left with. Look though the list below and this will
help you to decide upon which subjects to keep and which to
drop when there is only little difference on the tests.
1. Different sexes
It is best to keep a good selection of different sexes as
some routines are best for one sex and some for the other.
2. Children
If a child volunteers send them back straight away as you
should never hypnotise anybody under the age of eighteen.
You should make this clear at the start of the show before
you call for your volunteers. If you were to hypnotise a
child, apart from the parents being concerned about what you
are doing, the child would probably upstage you.
3. Old age pensioners
Avoid old people at all cost. I would be very surprised if
an old age pensioner was to volunteer, but, if they do, turn
them down gracefully. Your audience will not see the funny
side of your routine if you have a pensioner making a fool
of themselves up on stage. There are also a lot of risks
with the health of an old person and should anything happen
you would be the first to blame.

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4. The attractive.
Attractive people help to keep the audiences interest and
spice up the show.
5. Pregnant women.
Although hypnosis would not harm a pregnant women, if the
baby was lost people would start to point the finger in
your direction. This is something that you could really do
without so avoid the possibility by not hypnotising anybody
who is pregnant in the first place.
6. Epileptics
Do not hypnotise anybody who suffers from epilepsy. Make it
clear before you call for your volunteers that you can not
hypnotise epileptic people and they are not to volunteer for
the show.
7. Schizophrenics
Again, as with epilepsy sufferers, do not hypnotise anybody
that is schizophrenic. Make it clear at the beginning of the
show that you are not able to hypnotise schizophrenics and
they are not to volunteer.
I hope this list will be of some use to you when you are
picking out your subjects. It is also worth baring in mind
what you get the subjects to do. Remember that the subjects
friends are in the crowd. I'm sure that you can imagine the
reaction you would get from the rather large boyfriend after
the whole pub has witnessed his girl friend performing a
striptease routine on the stage. It is for reasons like this
that you must carefully consider every routine in your show.
One last point to bare in mind is the name of the stage
hypnotist at the moment. It is due to the actions of a few
thoughtless individuals that the name of stage hypnosis has
been tarnished lately. I make a point of keeping all my
routines in good humour, I never get anybody to strip and I
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never embarrass or humiliate any of my volunteers. I also

try to use routines where the audience are laughing with
the volunteers rather than at them. If all stage hypnotist
did this then the craft would be widely accepted and
appreciated as a means of entertainment. This is what I am
aiming towards and I hope that you follow the advise I have
given you in this book and aim for the same.

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Getting work.
It will not be long before you are ready to put on your
first show. This is often a very nerve raking experience
for the beginner but it needn't be if you go about it in
the correct way.
You should learn your craft thoroughly by practicing on
friends. This will prepare you for your next step towards
stardom.
Get invited to as many parties as possible and offer to put
on a hypnotic show for the guests. People are interested in
hypnosis so they will usually say yes. This will help you to
get used to performing in front of an audience and, because
of the informality (and the fact that you are not getting
paid) it won't matter if you make a few mistakes.
The next step is the big one. You need to actually perform
to the paying public on stage in a public place. Sounds
daunting doesn't it. Well look at it from this point of view
and it's not. Your first paying show could be performed at a
works party or perhaps your local where nearly all of the
people there will be your friends and you have probably
hypnotised them hundreds of times before.
Also don't worry about stage fright. I never would have been
able to get on the stage in front of a crowd before I learnt
hypnosis. But, when the time of your first show comes you
will probably find that, like I was, you will be far to
worried about the actual content of the show looking good
for the audience to even think about stage fright. After
your first show you can't wait to do your second and it
gives you a buzz when people start to recognise you in the
street.
A logical progression from the pub/club scene is to go on
to bigger and better things (and usually bigger and better
pay) like the local night club. And once you feel that the
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night club scene is small fry, go for the theatre.

Great profits can be made if you consider the possibility of
television. If you want to venture in to this side of things
you are well advised to get yourself an agent. Another tip
which will help you get onto the box is to approach a local
cable channel and see if you can do a show for them. You
probably won't get paid for it but it will look excellent in
your c.v. and the experience you will acquire, and the
contacts you will meet, will prove invaluable.
Make sure that potential venues know your are available.
Remember they will not come to you, you will have to go to
them. Phone venues and speak to the manager about the
possibility of you performing at their establishment. If
they need to consult a partner tell them you will phone back
for their decision rather than leaving your number. As it is
all to easy for them to forget about you. You won't get
unless you ask and don't be shy to ask, and ask again.
What to charge
When you begin to perform publicly you will need to decide
upon what you are going to charge. This greatly depends upon
whereabouts in the country you live as prices are far
greater in the south than in the north. Never under charge,
ask for what you feel you can get. If you do start by
undercharging you will find that people will begin to take
advantage of you and your earning potential will be greatly
reduced. As a rough guide, I live in the Midlands (UK) and I
charged 60 for my first show in a pub, and 120 for my
first show in a night club. (This was some time ago, it is a good
idea to look through a phone directory for other hypnotists in your
area, ask what they are charging and base your fees on that.)

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Conclusion
If you apply all of the instructions I have given you in
this book, with a little bit of practice you will very
shortly be earning a substantial income. I have told you all
I can, and it is now up to you. I can not make you go out
and practice hypnosis but that is what I urge you to do. My
long term aim in the hypnotic field is to establish a
hypnotherapy clinic giving free treatment to its patients,
funded through stage hypnosis. I thank you for helping me
get one step closer to this goal by purchasing this book. It
is only through the safe and proper use of hypnosis on the
stage that we will be able to clear the name of the stage
hypnotist and gain acceptance in both the field of
entertainment and, through its help, the medical profession.
Remember that as long as you practice, you must have respect
for those which make your show, and ultimately make your
money, the volunteer.

75

Appendix one
Hypnotic routines
Trance deepening routines for the whole group.
Bikers
All the subjects are seated. Tell them they are all hell's
angels astride their brand new Harley. Get them to rev their
bikes and pull a horrible biker face to the biker to their
right. Make them all race and tell them they must make the
sound of their bike as they do.
Horse race
Tell the subjects they are on their race horse at the grand
national. Make them put their helmets on. Grab the reigns
because their under starters orders and their off.
Commentate the race as they come up to each jump and them
and then the final battle to the finish line.
Freezing cold
Tell the subjects they are getting colder and colder and
they will start to shiver. Tell them it is getting colder
still and they must huggle together to keep warm.
Funniest thing
Tell the subjects that when you count to three they will
see the funniest thing they have ever seen and they will be
rolling with laughter, and the more bizarre they laugh the
funnier it will get. Tell them they will feel the laughter
coming as you begin to count but they are not allowed to
laugh until you reach three...one...two...two and a quarter
...two and a half...two and three quarters...three.
Sun bathe
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Tell the subjects they are lying on a hot beach and the sun
is blazing down. They don't want to get burnt so they will
have to put some of their imaginary sun tan lotion on.
This will give you an idea of a few routines to use at the
beginning of your show. Through out the routines described
above the subjects eyes should remain closed, tell them this
at the beginning to avoid confusion.
Post hypnotic suggestions
Naked vision
Tell the subject that when he awakens, whenever he tries the
pair of glasses on that you are about to give him all the
female members of the audience will appear completely naked.
Awaken him tell him you have an experimental pair of glasses
that you would like him to try. Let him put the glasses on
and watch his face. You can sell him the glasses then, at
the end of the show give him his money back telling him he
has been a great sport.
Apples and onions
Tell the subjects that when they awaken you are going to
give them an apple to eat and they will find it tasty and
delicious. Wake the subject and give them a raw spanish
onion. They will proceed to munch away quite happily.
Face cream
Tell your subjects that when they awaken they will believe
they are on a T.V. commercial demonstrating a new face
cream. Wake the subject and hand them a pot of jam. Stand
back and watch the fun as the subject happily smears the
jam onto their face.
Flour wash
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Follow the face cream by telling your subjects that when

they awaken they will realise what they have done and want
to wash the jam off in the bowl of water that is in front of
them. wake the subjects and hand them a bowl of flour. They
will all quite happily proceed to wash their faces in the
flour. (It is worth being careful when deciding who you are
going to make a mess of, young lads are usually the best as
they are game for anything.)
I'm sure you can use your imagination to come up with many
more post hypnotic suggestion that you can perform. These
are here to simply help you to get started.
Grand finales
Big brass band
A classic favourite grand finale is to get all of your
subjects to become individual members of a big band. Get
them to start tuning their instruments and start the music.
Let them play for a couple of minutes and then, as you fade
the music away tell the audience that you have come to the
end of the show.
Dance
Music is excellent for the final routine as you can use it
to play yourself out. Get all of the volunteers up and put
on a tune with a well known dance, Y.M.C.A. by the village
people is excellent for this purpose. Tell the crowd that it
has come to the end of the show as the volunteers dance you
out to the music.
I hope that this section has put your brain into overdrive
and you are already coming up with countless routines that
you will soon be performing to the public.
All it leaves me to say now is GOOD LUCK as you embark on a
journey that is going to change your life.
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Questions or comments?
If you have any questions or comments drop me a line. I would be
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