ESA TeleSeminar Transcript

Real NLP Skills For The Real World

NLP TIMES

Tele-Seminar Transcript

NLP Times ‐Enhanced Sensory Acuity Transcript

Tom: Good evening, everybody. Tom, here. Welcome to tonight’s Enhanced

Sensory Acuity Teleseminar with Master Trainer Michael Breen. We have

something very special in store. It’s a topic that many people pass over, I think, on

their way up in terms of learning. It’s one of the key areas that any long‐term

practitioner of NLP needs to get a firm grip on.

Thanks to everyone who submitted questions already.

How the evening is going to work, just so you are aware, is that I’m going to ask

12 questions that I’ve organized based on the input that the people have

submitted to us, and Michael is going to share his answers that are very insightful

and practical. That’s really all I want to say. Let’s begin.

Michael, welcome.

Michael: How are you doing, Tom?

Tom: Good. I’m really looking forward to this teleseminar.

Michael: So am I. This is a really important topic and it’s one that people really

get their knickers in a twist over it, as we say in the U.K. And, it’s a lot more

straightforward. It’s a lot easier to develop the skills than a lot of people have

imagined. So, hopefully we can clear things up a bit tonight.

Tom: Okay. So, let’s start off with high‐level overview? What exactly is sensory

acuity and what really are we trying to do when we’re saying we want to enhance

it?

Michael: Basically, when we’re talking about sensory acuity in terms of NLP as

opposed to any other domain, what we’re attempting to do is to refine our ability

to detect patterns within the communication from people that we’re working

with, whether that’s one person or a group. We’re trying to refine our sensory

abilities and our perceptual abilities from them. In other words, the ability to

know what it is that we’re detecting so that we can do things. Very, very simple.

Tom: In terms of, for those that are new who might not know this, Michael, you
teach NLP as an integrated model. So where, overall, in the process does this

NLP Times ‐Enhanced Sensory Acuity Transcript

acuity fit within NLP and what purpose does it have in terms of once you’re really

good at it.

Michael: Sensory acuity is that word which we’ve introduced into the handouts in

the Platinum Audio News Club recently – the word is ubiquitous. That word

means that it arcs over everything. It is always present in every piece of work that

we do. Why? It’s because with the toolset in NLP, we are using what we see from

people’s communication and we’re using that to then select and refine our own

communications to them, essentially feeding back to them portions of their own

communication, but with refinements and differences and twists. And this is the

first place where people get things wrong. The whole image of magic, the whole

image of being able to do things with people, puts the shoe on the wrong foot first

because it creates the image that it’s all about you first and it’s all about what

you’re doing rather than about what the client or the individual that you’re

working with is doing.

When we study NLP and how to work with the tools – this something that the

Platinum Audio News Club people will be aware of – what we’re studying and

when we’re paying attention to others, is we’re paying attention to the effect of

someone else’s communication on themselves. In other words, we’re paying

attention to how their own outputs are affecting them. That’s where we get our

cues from. We pattern, then, what we see there and make our selections onwards

from there.

We don’t have to “understand” what’s going on in somebody else’s life and all the

different bits and pieces. Nor do we have to make them fit our way of thinking or

map or model of the world or beliefs. We pattern what is there and then we can

draw from many different areas of experience. For example, we can draw from

excellent performance in one area or another, extracting various aspects, skills,

strategies, etc. We can take what’s worked before. We can recraft what someone is

presenting us in such away that is presenting problems that we can get it to work

better for them. But primarily what we’re doing is we’re paying attention to the

effect of their communication on themselves.

Secondly, then, what we’re doing is we’re paying exquisite attention to the effect

that our communication is having on creating change in them. Change being

NLP Times ‐Enhanced Sensory Acuity Transcript

behavioural, observable shifts from one state to another. So sensory acuity within

that context is the fundamental skill that allows us to do what we do when we’re

doing it well.

Tom: How about in terms of sensory communication? Being aware of one’s own

frame of reference then doing sensory perception work. What relevance does that

have?

Michael: Well this is also the big pay‐off. I’m going to take a side step and then

come back and answer your question.

In the early part of my training – this was in my late teens/early twenties – I was

in a movement in dance class with these two very weird Dutch people. It was

dance and movement for performance, but there wasn’t a lot of dance to it. And

the movement wasn’t really what you thought of as performance stuff. There was

a lot of making big noises and making big gestures and responding to what other

people were saying. But, what came back to me was that every morning – and this

went on for two years – we would start the classes by taking on a kind of stance

that looked like a Chi Kun or Tai Chi kind of a stance. The arms were low and

balanced on two feet and breathing softly and being relaxed and staring straight

ahead. Now, I’ve been a big chap all my life, and the thing that I remember about

those classes is that even though I was a big chap and even though those classes
went on for a couple of hours, I never left those classes feeling exhausted or tired

or even winded, even when we were running around.

Now, just recently, I actually found out what that stance was and it’s a stance

called Zhan Zhuan, which is part of a martial art called I Chuon, which is kind of an

essentialization of the soft combat arts and that Zhan Zhuan is a posture which

both allows for bouncing of the muscles, relaxing the mind, really getting more in

control of your resources. And I went, “Oh! I recognize this. I did this a long time

ago. Yeah, it was pretty cool.”

Following that tiny little thread, I read some comments from the founder of I

Chuon and a few other articles and one of the things that caught my attention was

the Chinese teachers of martial arts are often surprised at how poor the

awareness of Westerns students is of their own internal condition and their own

internal states.

NLP Times ‐Enhanced Sensory Acuity Transcript

There is something about the way that we live our lives and are encouraged to go

about our days, which stops us from going inside and checking how we’re doing,

what kind of states we’re in. Literally, what the condition is of our form, etc. So a

lot of those exercises that they do in Zhan Zhuan and I Chuon is very, very

important stage and people go on doing this practice pretty much for the rest of
their martial arts career, which teaches you that very fine awareness of the

condition or state that you’re in, because it’s from that condition that everything

else is going to come. It’s the same thing any other area of life, even outside NLP.

Any other form of communication or intervention work you might do with people,

it comes out from yourself. So you need to be aware of what you are bringing to

the party. You have a different kind of a day if you’re an exerciser and you do your

exercises in the morning and you have a decent breakfast and you get out the

door and you’re on time compared to those kinds of days where, perhaps, you

were constipated or hung over. Those physiological difficulties are going to

impact how you do what you do.

Bringing it to NLP, the physical condition we’re in, the emotional condition we’re

in, the mental conditions are going to impact how well we’re able to devote our

energies and attention to whatever tasks we’ve got in front of us, including paying

attention to what’s going on with individuals we’re working with, groups, etc.

That self‐awareness and in learning to relinquish, to release, to relax around your

neuroses, around “need to be right”, around whatever it is, whatever the story is

and place our attention fully and calmly on the situation and know what’s going

on within it is paramount.

Tom: Excellent. For those who are joining in on the call, there are a lot of

questions about what are the core skills one needs to develop. You already talked

in depth in terms of the kind of states that one could be in.

Michael: I’m going to bring this across to sensory acuity and drawing sensory

distinctions. One of the problems people bring to me around sensory acuity,

typically somebody will have watched Darren Brown, or another NLP training

video of somebody or watched “Lie to Me”, the television show with Tim Ross and,

with that as their frame of reference, with that in mind, they’ll say, “When I look at

somebody else, I can’t see the things that they’re talking about on those shows.

NLP Times ‐Enhanced Sensory Acuity Transcript

How do you see the micromuscle movements?” And that’s in itself is asking the

wrong question. It’s the wrong way around.

For micromuscle expressions, which do give us information, the thing about those

micromuscle expressions is that without the context of the communication,

without what’s going on, the broader context, those micromuscle expressions are

meaningless. They don’t have any significance. It’s not like there is a single

dictionary or lexicon somewhere where you can look up, “Ah, well. There’s a flare

of the right nostril and a right eyebrow hair twitched. That means they’re toilet

training was too severe.” It doesn’t work that way. “Ah, look at that. He raised his

eyebrow a quarter of a millimetre that means he’s thinking about sex.” It doesn’t

work that way. You need the context.

In the same way that any other skill that utilizes looking and listening and refining

those abilities – for example, painting or music or martial arts – and each one is a

great example in terms of learning to refine sensory awareness because one of the

things in how they work, although they later on in their training process teach

blocks and kicks and those kinds of things, when they’re actually putting those

things into practice, they don’t practice set patterns of reaction. They go into free

sparring and responsiveness pretty much from the beginning. They start with a

process that’s common in Tai Chi called “pushing hands” which is where you place

the back of your hands on the back of another person’s hands. They move and the

thing is you want to get the hands to stick together as these movements occur and

the object is to move the person and knock them off balance and push them out of

the boundary. But it’s in becoming more responsive to what’s going on in the
overall that constitutes the Martial act over there.

In painting, when you’re learning how to paint, it’s not just a matter of how to

accurate reproduce tiny details. What a painting does is it creates through the

media, through the oil paints, the watercolours, the chalks, whatever it is that’s

being used. It uses the representations in order to create an impression. That’s

what gives style to the paintings. When you learn how to paint, what you’re

actually learning how to do is see. It’s not just moving the brush around. I’ve told

people who have heard me speak before about how I learned to enjoy going to art

galleries. I’ll put the bottom line on it instead of telling the whole story, but,

basically, even though at university I have been through a year of art appreciation,

NLP Times ‐Enhanced Sensory Acuity Transcript

which I called sleep, and I had a partner at the time who had a degree in art

history, as I was driven around to art galleries, I didn’t get what was going on. It

really wasn’t that interesting, wasn’t that fascinating, until I watched a program of

somebody teaching how to paint. And what he showed in terms of how he went

through and how he painted those pictures, he showed that there was a hierarchy
of importance in terms of how the paint goes on to the canvas. Big block colours

in the background go first. Shapes – big shapes – go in first. So it’s foreground,

background, and the size of the shapes. Then adding another bit. Then adding

another bit. Then adding another bit.

When I watched that program, I then happened to be in an art gallery killing some

time while waiting for an appointment and suddenly I could see what was going

on in the paintings. It was because I had stopped for long enough and been shown

there are some things that are more important than others. And in learning what

was important, and learning how to see it, the art gallery experience became
something different. It’s not the question of it’s all the same for everybody. It’s

not. Somebody who learns how to see. And somebody who learns how to put

things into context will be able to detect more than the man or woman on the

street.

Same thing with music. I had a music education, as well. They tried to teach us

completely the wrong way. I found out that music educators have discovered that

there is actually a sequence within which if you teach the distinctions that you

have to acquire around music through the sequence that more people can become

musical than had been previously expected. I had a musical training of 10 years
and I still can’t sight read on the instruments. And the reason why is not because I

didn’t put the time in for practicing, but I wasn’t shown the strategy for how to do

the sequencing. I’m now rectifying that now that I know what the strategy is. I’m

so pissed off about it, as well, even though this is 30+ years ago. I’m still pissed off

about it. I’m not going to let the fact that I had poor teachers deter me from my

right.

Anyway, it’s the same in music. You have learn how to hear distinctions before

you can go ahead and reproduce them. It’s the same for learning a language. For

the people in the Platinum Audio News Club, the most recent editions where I

reported on helping a chap who is moving to Japan, married a Japanese woman

NLP Times ‐Enhanced Sensory Acuity Transcript

who it pregnant and wants to move home to be closer to her family, and who

hasn’t learned any Japanese. I organized some learning resources for him, some

language learning resources, some strategies together, helped him plan the thing

out and what happened in the process of doing that, in the process of organizing

those resources, I found myself saying, as I was doing the work side of it, “Hmm.
This is pretty straightforward. I could do that. Wow. That’s pretty cool. Yep. I

could do this.” And after saying this 10, 20, 30 times just before Christmas I

decided, “Hey, I’m going to learn Japanese. Why not? I’ve organized the resources.

They’re all there.” So setting in and setting up to learn was a very straightforward

matter, but here’s the thing. There are distinctions that no basic course in

Japanese course on tape actually teaches, as far as I’m aware. And there are some

fundamental problems with Westerners and non‐native speakers learning to

acquire Japanese. Fact is, according to surveys they’ve done in Japan, most

foreigners who learn to speak Japanese are very hard if not impossible to

understand. The reason for that is Japanese doesn’t have the same kind of

emphasis, the same kind of word orders, ways that you give information that we

have in the West and particularly in English, and what happens is that a lot of

Westerners who learn Japanese try to put Japanese language through a Western

cognitive framework. It doesn’t work. But then because of the emphasis patterns
that are so deeply embedded in English, for example, where we use volume and

intensity to give inflection to things, in Japan you don’t do that.

All the syllables are equal. It’s what’s called Morda, a pitch accent, which means

that certain words will have a slight change in pitch. So a word like “asa” will be

either “a‐sa” or “a‐sa”. And at first hearing it you might think, “What? They’re the

same.” No they’re not. One has a high‐to‐low. The other has a flat one.

The other thing is some of the words are differentiated not by the volume, but by

the length of time that you hold a vowel. So there is one word that is “eyeh” and

another word, which is “eeeyeh”. “Eyeh”. “Eeeyeh”. There’s a length of time

difference. Here’s the thing. Here’s the trick. Here’s the sensory acuity bit. Unless

you listen to enough Japanese, unless you actually hear how it’s spoken and unless

you learn to detect within ordinary conversation how things should sound, the

Japanese that one speaks is going to be twisted and difficult to understand. It’s

further complicated in terms of sensory detection by the fact that there are

NLP Times ‐Enhanced Sensory Acuity Transcript

definite gender use differences in terms of the types of words that women will

tend to use and the kinds of modifiers that they’ll put into sentences. So, most of

the language tapes and most language approaches in English have female

demonstrators and they teach the polite but also feminine form. There’s a joke in

Japan about Western guys who learn Japanese, but they sound like transvestites
and that’s because when they were doing the listen and repeat technique, which is

someone says a phrase you repeat it back, they were following the pitch accent

and the inflection patterns of a female demonstrator. Now it’s those little things

around what kind of training has to be accomplished to pick up the skill that

makes the difference when you’re developing your sensory acuity.

I divide my time up in practice sessions and spend one‐third of that time listening

to native Japanese speakers. I’ve chosen the state television HK because the

newsreaders there speak in standard Japanese in Tokyo dialect. So I’ve been

listening to them to acclimate, but then as I’m learning the bits, the pieces, the
phrases, the basic grammar, I’m learning to pick those out from those

newscasters, from those interviewers and commentators, etc. And I’m learning to

hear the different little bits of language in what they’re saying. And what that

means is that I’m going at a ridiculously fast clip because I can actually hear how

it’s used in practice. The same challenge faces anyone who wants to learn NLP.

If you start by trying to notice left nostril flickers and right eyebrow hair twitches,

you’re going to be lost, you won’t get it. There is an order in which things occur.

And, for basic training, and for basic development skills, you need to start at the

context of communication and add things like the expression of emotion. So, for
example, one of the things I’ll do in my trainings is that rather than trying to get

people to do eye access cues right off the bat, and keeping in mind that the eyes

are connected to the head, which is connected to the body, which is connected

whatever furniture the body is sitting in – yes, the furniture they’re sitting in

affects how they use their bodies – instead we start with people thinking about

stuff that they really like and enjoy and stuff that they don’t like. So I will get

people to develop sensory acuity by paying attention to differences in very strong

states. Rather than telling them what to look for we elicit from them what it is that

they’re paying attention to that lets them draw differences.

NLP Times ‐Enhanced Sensory Acuity Transcript

You see, we have the ability to notice these changes in emotional states. It’s built

into the architecture of the brain. You look at work of Paul Eckman who was the

Doyenne of research into lying and the recognizing of emotions, and what Eckman

found in his studies is that there are certain emotions that we can recognize in

other people going across cultures, and when you learn how to recognize and
detect the differences between those basic emotions, it also refines your ability to

notice other cues, which leads to the deeper aspects of Eckman’s work. It was Paul

Eckman’s work, in fact, that lied to me, that television show with Tim Ross is

based on.

Eventually, Eckman came up with something that he called the “Facial Action

Coding System”. The Facial Action Coding System is dozens of these very small

cues. But the way that they’re taught and the way that they’re built up is in chunks

and you start from the big chunks first. You start with the big, obvious emotional

chunks before working down towards finer and finer chunks, and quicker and
quicker expressions. There’s a phenomenon that Eckman reported on called

“micro‐emotions”, which are flashes of emotion, but you don’t go looking for those

first. The tendency is not to be able to see them. You train first in being able to

recognize the emotions.

So, we have to get the distinctions in the right order. Big emotional differences

first. Yes and No. These kinds of big obvious states. And from there, then, we can

start to refine that down into finer and finer changes of state. It’s only when we’ve

got the change of state, and people are able to detect those, that we start going

into systems for organizing how you recognize what it is that you’re seeing and
that includes things like accessing cues and voice and sound accessing cues, etc.

Does that answer your question?

Tom: It does. I’m just curious, you mentioned, in terms of when you’re working

with people and not getting them straight into early accessing cues, are you first

getting them to calibrate to their own sensory experience in their own body as a
ground‐term emotion?

Michael: If you make awareness of your own state into an exercise and you teach

it at that level the tendency will be for people to only check their state as some

sort of technique. This is on the training design process I talked about. There is an

NLP Times ‐Enhanced Sensory Acuity Transcript

eternal – not paradox – it’s more like a dilemma, more of a balance that has to be

struck between teaching concepts and principles, and teaching through examples.

There’s tons of research on this.

Basically, the more tightly you specify what someone should do and how they

should do it in the learning process, the harder and less likely it is for them to be

able to generalize what they’ve learned. The more you emphasize the concept and

the principles, without tying it down to specifics, the trickier it is for people to

actually pick up the skill in the first place. So, in the balance between them, I don’t

separate out that awareness of self into, “here is the technique for it”. There are

many ways to enhance it. And so we make that an ongoing test and an ongoing

developmental matter.

When you give a technique it also creates a sense of false closure in the sense that,

“Ah, I’ve done my sensory acuity work for the day. I’ve done my awareness work

for the day and now I can learn something different.” Because we’re talking about

a skill that’s ubiquitous and goes across every other skill area, that has to be

brought into and highlighted and commented on and variations offered all the

way through the process. How someone gets going in the first instance outside of

a direct tuition or direct tutorial situation. There are lots of different ways to do it.

One of those ways is an old‐fashioned sense check. Every once in a while you take

a very quick break and you notice what’s going on in terms of your senses on an

internal basis. You notice the relative tension in your muscles. You notice your

emotional state. You notice anything unusual that’s going on.

And, in making those sensory checks, some people like to turn it into an inventory,

turn it into a technique. First, I’m going to check the tension in my face, then my

shoulders, then my body, then my breath. Then I’m going to notice what it is that I

was thinking about and how I’m feeling in relation to it, etc. But in developing that

and in making those checks on a regular basis, you could set a timer if you wanted

to, but also then gives you the ability to insert a choice point and making a

decision about what you want to do.

Very good idea, regardless if you’re doing NLP or not, is if you’re going to check

senses is to release any excess tension that you’re holding on to in your body. And

that’s tension in excess of the requirements of what you’re doing. Even sitting

NLP Times ‐Enhanced Sensory Acuity Transcript

requires as certain type of tension in the body in order to do it efficiently, to do it

without stress.

But plenty of systems for developing and refining one’s ability to detect what’s

going on inside. The Falcon Crest method. For anyone who is involved in NLP and

wants to do it long‐term or if you’re a master practitioner I strongly recommend

that you do at least a few of the one‐to‐ones – they’re called functional integration

lessons – and do a few awareness through movement lessons as well, the group

work just to experience that flow, that influence that Falcon Crest had into NLP.

There are lots of different ways that you can enhance that, but the main thing is to

start paying attention to what it is that you’re doing.

Tom: Very good. Where I’m leading from that Michael is that in NLP we talk a lot

about state, you even spoke quite a bit about it this evening. Again, it’s about

identifying in terms of in others, states. Some people they’re all about the micro

movements. Obviously you’re coming from a different angle. Can you talk about a

bit about…

Michael: Let’s start with, everybody wants to be able to do magic. Let’s just talk

about magic for a bit. Conjuring, card tricks, coin tricks all of that. There is a vast

market for easy‐to‐do self‐working miracles. Card tricks without skill. Anybody

who’s ever looked at a magic set or picked up a book on card magic or bought
some DVDs or tricks on online knows that what you get is you get a little routine,

you usually get some gimmicks to play with and then a basic way to present it. But

here’s the thing, they almost never tell you that the magic is not in what you do,

per se. The magic is in the effect that you create in the minds of other people. And

that’s done through how you present it, through the storytelling, through how you

relate with other people.

The trick, the actual effect itself, is only a little part of it. The relationship and how

you work with it is all the rest. Even the self‐working card trick needs those

relational skills. When we’re talking about the magic stuff, it’s learning how to
relate with people in such a way that when they have their emotional reactions

and their thoughts that they come out clearly. Listen to me closely, Tom, in the

initial stages, if the microexpression of emotion is the flicker of an eyelash, the

only thing behind that flicker of an eyelash is enough brain activity to create a

NLP Times ‐Enhanced Sensory Acuity Transcript

flicker of an eyelash. In other words, what the other person is thinking, is not

having a big effect on them. It’s not a huge effect. In the initial stages when we’re

working with other people – in the initial stages – what I teach people to do is to

elicit bigger responses from others. That way they’re sure to see.

That really is the magic secret to learning how to do this stuff easily. Build better

relations, warmer relations. Make yourself more trustworthy and easier to

respond to and then people’s response become richer, fuller, and easier. If you

approach somebody with the attitude that you going to detect their micromuscle

movements or something that’s going to influence your state and how you

approach them. Part of the reason why people want to do micro muscle detection

right away fail. Because they create the state within themselves that creates the

impression to another person that what’s going to happen is going to be like a

tooth extraction through the rectum. It’s the relational aspect and eliciting

stronger states. It’s the magic of anchoring. When people fail, it’s because they
haven’t spent enough time developing their skills at eliciting strong states.

Anchors work beautifully and they can be done indetectibly. Invisibly. Covertly.

When you learn to get people into very strong states. In the first instance, you’re

looking to notice and detect what patterns go along with the very strong states

that you elicit. In other words it becomes obvious.

When I’m sitting with a group, one of the things that happens is that, the penny

usually drops in the business master practitioner class where instead of bringing

somebody up to do a demo, I’ll leave them there in the room and I’ll ask people to

just turn in their chairs and notice, and as we’re having a conversation about

whatever the problem is and we’re looking to find out the desired state and start

qualifying the resources to set up a tote and those, while we’re going the way I’m

asking the questions, the way I’m interacting with the person amplifies how they

talk about whatever the resources are.

The micro muscle cues, as it were, can be read from 20 feet away across the room.
There is no mystery in it at that point. Detecting incongruities becomes a non‐

question because the states have been amplified so strongly. It’s actually easier to

try to work that way instead of looking for that little flicker – at first – until you

know the hierarchy. Until you know what’s foreground and what’s background.

NLP Times ‐Enhanced Sensory Acuity Transcript

The pieces that are most over‐arcing are ubiquitous and those that show up

occasionally. How to track through a session, etc. The revelation that comes from

micro muscles expressions comes from being able to first of all to track the

changes in state at the big level, and then as you draw finer and finer distinctions

within that, all kinds of things will reveal themselves, including Eckman’s micro‐
emotion things, which he’s got a big long training program to teach. But when you

do it through tracking changes in state and then going layer by layer through it,

those micro‐emotions that flash for a second become like neon signs. The subtle

colour changes are not subtle. The micro‐muscle moves are not micro. But that’s

because what they are sits in a context that’s explicit and clear because you’ve

developed sequentially and in stages.

Does that answer your question?

Tom: It does. And leads into something you and I talked about before offline and

that is that sometimes people talk about states and being, for example, authentic

and integral, and some words that we put on states aren’t necessarily states in the

physiological sense, but that we’ve abstracted and made words about states and

how that messes people up when they’re trying to detect somebody being in a

state.

Michael: That’s right. For example, the word integrity. Integrity is a very silly
word because it’s an evaluation about somebody’s state of congruence with

reference to a particular set of propositions and I kind of stopped listening to

arguments about integrity and whether they’re incongruent in their integrity

because people who are talking that way don’t know what they’re talking about

and aren’t referring to anybody at a sensory level. Basically, they’re just trying to

get a way to make people feel bad or another way to be right about stuff.

Integrity is not a state. Integrity is an evaluation of whether somebody has come

congruent with regards to a particular set of propositions and that at its biggest

level, everything has integrity, if it maintains its unity as a being over time. In
other word, if you tend to persist in time and space, you have integrity as a being.

There is no point in talking about these abstractions. There are fundamental

emotions and then there are the reactions that people have to what they think or

what they perceive. I’m as much interested in, for example, when a client says to

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me, “I’ve lost my sense of integrity about this.” It doesn’t matter what I think

about what integrity means. What matters is how they draw the distinction. So it’s

quite natural and simple to ask, if you were having that integrity that you’ve said

you’ve lost, what would be the differences that I’d notice? What would you be

doing differently? How would you be thinking differently? How would you be
treating other people differently? Essentially, getting that client or individual to

specify more of what’s in their map or model.

But what I think about it – irrelevant.

Tom: Ongoing comparison, Michael, you know, in terms of key roles and getting

to know the state changes, you’ve given some examples already. But in terms of
specific skills to help people develop sharpness, and beginning to notice and take

snapshots in their mind…

Michael: The difference is fundamental. It’s the fundamental action of perception.

The whole inheritance we got from psychophysics. The notion that there is a just

noticeable difference between one item or aspect within a sensory system

compared to another. The difference between the two creates our ability to

perceive it. In many cases, what is obvious to one person might be completely

invisible to another because the differences are too small initially for them to

notice. So the training method and the training approaches that can help you build
the ability to notice these changes have already given the clues.

You start from bigger emotions. You start from learning to track the differences

between like and love, dislike and hate. An important skill, for example, in terms

of tracking – and what tracking means is being able to capture and hold

representations of states over time – is doing things like learning to take pictures

in your mind of somebody’s performance or what somebody is saying. Just as with

anchoring the notion is that we want to wait just before the peak of the state you

start to be able to predict that once you start paying attention to how people’s

states change. Learning to take a picture when they go into a particularly strong
state and holding that in your mind so that when you see it again later on you can

recognize that it’s happening. That’s one way to practice.

Great place for this is in meetings. If I’m working with a client or organization and

I’ve been there for sometime, it’s pretty much guaranteed that I’m going to be

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dragged into pointless meetings. Status meetings where people are going to be

reporting the same old stuff that they’ve been reporting forever, but it’s during

the off moments and the unexpected answers people give that people suddenly

become more aware. And it’s at that moment that – really to keep my mind alive

and keep me from losing the will to live – I’ll do things like I’ll notice the state
changes and I’ll take pictures. I’ll notice what they’re doing. And it might involve

at the bigger level, actual orientation changes in their chair. They’ll sit in one

direction in one state and then at 45 degrees turn to another direction for another

state. It can sometimes be that obvious.

You’ll notice in some cases they fiddle in one state – fiddle with a pen or

something on the table – but don’t fiddle in another. They become very still.

Sometimes you’ll notice things like when people will change how they listen. One

person will face directly to the person who is speaking, there will be very little

movement in their face, very little movement in their eyes. They’ll fix almost like a

cat fixes on a prey as they listen. But then, at another point in the meeting they’re

listening to someone else and you notice that there’s a slight movement going on.

And learning to take these pictures and then noticing when they’re happening

again can form the basis for refining your sensory abilities.

In your loved ones, if you were in a committed relationship with someone, I would
say it’s more than your obligation, it’s in your best interests to learn to track and

detect the changes in their emotional states. Guys, blokes, we don’t pay attention

to that kind of thing usually until you know it can save your life or create a life of

misery for you. There are signs there. There are clear signs when things are

heading in the right direction and when there’s going to be trouble.

Some of you will have heard me talk about the spousal defence shield, which is,

you see that look in their face and you know that there’s going to be trouble. So

you take evasive action, usually in the form of avoidance, distraction, whatever

the tactic is. It’s pulling these little moments from life and making them habitual
and listen and playing with them, the best way to increase your sensory acuity

with regard to communication is to get playful with this. So in taking the pictures

throughout the conversation and noticing when somebody is going back to a

particular set of gestures or listening to a tone of voice, I’ve noticed that if we’re

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talking about a weakness for many people, it’s often in being able to hear

differences in tones of voice, but there are very clear differences. Listening to

somebody talk about something that they like and what they enjoy, compared to

something that’s just work‐a‐day or that they’re given responsibility for.

I love working in organizations because people acquire a professional veneer.

They have to appear professional and look professional. But in a very short space

of time, you can start to detect that it’s not just a question of it’s a veneer, it’s a

blind. They’re not there. They’re organizing their shopping lists and thinking

about all kinds of other things. But this comes from playing with the notions.

You’ve heard your boss when your boss gets excited or angry about something.

Compared to when they’re communicating tasks or information from higher up.

Another place, a glorious and easy place to collect this stuff from, is YouTube.

There is tons of stuff on YouTube. Somebody sent me a little Q&A with Ricky

Gervais and it’s telegraphed, it’s semaphore accessing cues. He’s just looking in

every direction while he’s talking about looking at it this way and thinking about

it that way. There’s tons and tons of material. You watch television. You watch

interview shows and political programs. If you watch a political program today

you can pretty much guarantee they’re going to be lying. But you watch when

somebody’s caught by a question and they’re slightly unawares from it. You notice

the progressive and slow change of state in a politician.

There’s just loads of opportunities through the day to develop and refine that

ability.

As it is important to pay attention to what other people are doing, it’s also

important to learn to modify and moderate your own state. And it’s in this matter

that taking that awareness and developing that awareness that we were talking

about and then applying it to changing your own state. Because it’s that control –

which isn’t control, it’s actually learning how to release – when you get into a

particular state that leads to the fabled, legendary requisite variety in terms of
behaviour. Requisite variety is not just an item on a list of NLP prepositions. It’s

fundamental as a suggestion for how to develop your skill at NLP.

I had a conversation with Richard Bandler once, we were talking about requisite

variety and I quoted from Ross Ashmee’s book on requisite variety and how the

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node and element within a system that has the greatest possibility of states tends

to control. And he corrected me and said, “Not ‘tend’. Definitely controls.’ ” Same

thing in groups. Same thing with other people. The person with the greatest range

of possibilities for choice in terms of state, determines, controls the outcome.

Think about it.

What’s one state that most people don’t like to witness? Anger. Most people, they

tend to shut down, or go into defensive mode, they get a little bit fearful when

somebody else gets afraid. There are people who have learned to use anger as a

way to control others. They may not even be consciously aware of it. All they

know is that when they get angry, people start listening. When you learn how to

deal with anger and address anger inside yourself, somebody else’s anger no

longer controls you. I bring it back to the martial arts. Basically, the first person to

get angry loses. And the reason why is because anger is a very absorbing and

intensive state to break out of.

The notion of requisite variety is not just an idea. And this ability to control and

modify your own state leads to changes in your behaviour, which leads to changes

in how you go about communicating with someone. It is the means whereby in

using that toolset at NLP. So it’s a two‐way street. A two‐way street. Extend your

skill and paying attention to and modifying and relaxing your own state. And also

learning to track the changes in state of others. Best way forward.

Tom: Excellent. Let’s bring in another letter we haven’t specifically spoken about

and it’s what we called in the Platinum Audio News Club and that’s the role of

conversatational sub‐modalities and beginning to notice them in body language in

terms of how they show up when they’re in the sub‐modality…

Michael: This is going to be a bridge too far for some people and I’m going to

make you aware of that up front. In other words, they haven’t yet had the

experiences, they haven’t yet had the references, which is what I’m suggesting

people go and collect. Basically, until you collect the reference experiences, the
distinctions won’t matter. But, here’s how it works. What tends to happen when

people are talking about something that’s going on inside, is that they will tend to

use their facial muscles and their body muscles almost beginning in a similar way

to how they would use them if it were happening on the outside.

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So, for example, if somebody is looking at a picture and representation and is at a

great depth within the image, or the image is actually physically far away from

them, they will tend to squint a bit and pull their head back. You’ve already seen it

many times you just haven’t paid attention to it. It’s a finer example of exactly the

same thing with regard to eye access and cues. I do not believe that Richard
Bandler was the first human being on the planet to notice that when you ask some

people questions they look in different directions. This has been going on for tens

of thousands of years. Everybody has seen it. Everybody has seen it, it’s a question

of what to do with it.

Same thing when we’re talking about sub‐modalities. That the way that people

use those muscles around their eyes and around the rest of their bodies, tends to

be similar as on the inside as on the outside. You can get some really easy, really

good clues just by noticing what would have to be happening – and this is the key

phrase, what would have to be happening – on the outside in order for them to be
using their eyes, their body – fill in the blank – in the way that you’re noticing.

A great place to begin collecting references and experiences of this, is in the verb

tenses and how people use verb tenses. When someone is talking about

something that their either excited about or that they want to do, those who are

on the Platnium Audio News Club and have heard me speak before, we’re going to

talk about state structure content. What they’re interested in, desirous of,

motivated by, start paying attention to the verb tenses that they’re using. And

then from the verb tenses, then you can look at what they’re doing with their

body. As you ask questions, if you use the same verb tense, they will tend to do
more of the same that they’re doing already. If you change the verb tense then

you’ll notice that there’s a change in their state.

In the most recent Platinum Audio News Club I did a little demonstration. Tom,

you will recall, for those that weren’t on the Platinum Audio News Club, all I did

was ask Tom a question, using slightly different verb tenses and some time and

space predicate changes and basically took what he wanted to do and moved

them away in time and space and made them less possible for a little while and

the look on his face, he got just taken away his favourite toy. That can be amended

by, again, changing the verb tenses so that things were moved more towards the

way they were before and intensified them even further. But just by working with

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the verb tenses. It’s a very easy way of getting into the noticing of the impact of

those modalities on micro expression and non‐verbal behaviour.

Tom: Great. Well as we approach the hour, Michael, I’ll finish with the last official

question and then we move on with any of the questions people have submitted.

You have trained tens of thousands of people and told them what we look at, and

how ones sensory skills need to be used, developed. How good they need to be to

track audiences’ state changes. Any practical actions you can recommend for

trainers or welcome group contexts?

Michael: Yes, absolutely. If you are not watchable and if you not interesting you

will not have the ability to collect up people’s awareness in the first instance and
then develop what’s called “response attentiveness”. Response attentiveness is

when you ask people a question or when they ask you to do something they do it.

Have you heard of response attentiveness before, Tom?

Tom: Yes, many times.

Michael: That’s an example of response attentiveness. With one person it’s very

easy to get. With a group, and with larger groups you have to first of take and hold

their attention and then make it possible so that they are willing to do what you

have asked them to do. That’s how you set the baseline in terms of state and then

you track from there. You track the changes from there. Is that clear?

Tom: Very clear.

Michael: I’ll take it a step further. That is the foundation. That’s the fundamental.

You’ve got to be able to hold the attention and then get them to a point where

they will do what you ask them to do. Then, as you progress – when you’re

speaking with a group, it’s not just the matter of spouting data or information off

into the air. For many trainers and public speakers and presenters, they don’t

understand the function of having a person there. It certainly isn’t the content.

The content in most cases could be better and more efficiently delivered in a short

memo. Content, in terms of skill development, is the least important part and the

reason why is because there is loads of information on almost every skill

imaginable. Dozens to hundreds to thousands of books on any skill you would

care to name. And those books do nothing to make people more skilful. They may

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act as inspiration to get someone to take action. They may offer someone who had

experience already additional distinctions that they can add. There is a number of

different things they can do, but the content itself does not create skill. And it

doesn’t instantiate the skill.

The people who are able to learn to books, they are bringing additional strategies

to the active reading. But at the content level, most publicly communicated

information could be done by a memo. The reason why you have a person there

and the reason why – we’ll talk about training with the interactive skills in a

minute – the reason why you have a human being there is to create a relationship

between the audience and the content. Not just data, but a relationship. An

emotional, responsive, feeling relationship with the content. That’s why there is a

person there.

Now, when you’ve got and can hold attention and develop response attentiveness,

then what the presenter, the public speaker, the trainer, the whatever is doing is

following a number of layers of outcome or output that they’re looking for with

regard to that event. One of them being a very strong, positive state response.

Another one being that people go through the sequence of states to be able to use

the information. There, the process is connecting between whatever the

principles or the ideas that are being talked about and the people’s own personal

experience and emotional experience. Logically the process is called instantiation.

That only occurs if people are willing to follow the speak on whatever journey

you’re going to take them.

The difference between really great speakers and really great trainers and

everybody else is those really great trainers you just want to watch them. Those

really great speakers they just create an experience that you want to go in and

have it for a little while. It’s all done through state. The content provides features,

but it’s the state and the strategies that they take you through with that creates

the experience.

Now, on to sensory acuity. What you’re paying attention when you’re working

with groups is, first of all, because with a group you don’t have time to match

every single person in the group’s preferred strategies, you have to get them to

follow you. So the first order of business is you’re looking to see how well they’re

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following you. When you ask for a response, do you get one? Now that can be an

overt response. Put your hands up how many of you… To a nod or a head shaking

for no or I don’t know. Or it could be the emotional response they’re presenting is

appropriate for whatever it is that you’ve put forward for them.

But then cruel things happen in large groups. Like, for example, for one reason or

another sometimes you’ll notice that there’s a mixed response from the group.

Some are sprinkled throughout the audience if you ask for an indication of

acknowledge or agreement. Some respond. Others don’t. Sometimes it’ll be a

geographic location in the room. Three‐quarters of the room everything is fine.

Over in the corner there, there is something not quite working. It gets to the point

where it’s like watching a graphic display, a kind of abstract representation where

you see either this whole and undivided representation occurring or a

fractionated…sometimes you get colour changes. This is really funny. You get

colour changes in one part of the room, but not in the other.

I did a keynote once and it was an angle about thirty degree angle going off to my

left in a slight arc going out from me. Everybody there was going red. And they

were responding to what I was saying and the rest of the group wasn’t. I almost

laughed out loud. So weird. But you start to be able to notice then these kinds of

interesting and varied approaches. The game is just like the shepherd, when

people go straying you’ve got to bring them back. And so you use your sensory

acuity to detect who’s staying with you and who’s running away.

Tom: Excellent. So we’ve come to the end of the official Q&A part of the

teleseminar. I’m just going to read through the questions I have. There are three

that you haven’t answered in one way or another in terms of quite specific. The

first is from Kari in Finland and he or she would like to know: What do you

consider the most useful strategy for making use of what you notice to developing

sensory acuity. So this is the application. Once you notice something, what’s the

next step? What do you do? How do you use it?

Michael: Kari, I don’t know what kind of NLP experience you have, but when

we’re using the NLP toolset, we’re always using it in relation to a fairly fully

specified set of behavioural outputs. In other words, the differences that we want

to see when we’re done with a particular process or after a particular period of

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time compared to when we begin. So all the stuff that people bring in and all the

concerns and ideas and frames of references you call them are going to be the

filters on the activities that you perform in order to attempt to create the

behavioural outputs.

Basically, what the sensory acuity does is it allows us to know when we’re

following that specified tote, we call it, which is a particular way of setting up

where we are, how we know whether we’re getting there or not and the process

we’re working on. What sensory acuity allows us to know is where we are in the

process. Secondly, it allows us to know if anything extraordinary, anything out of

the ordinary, anything unexpected is happening. A lot of times as I’m tracking, I’ll

notice if I’m talking with somebody that an unusual response come out that I

haven’t seen in them before and I’ll just make a note of it. The content they were

speaking about, the state that they’re in, etc. And I’ll see if anything else comes up

that matches or belongs with that particular response. Typically it will if it’s
important enough for somebody to have that response and reaction and it’s big

enough there will be information forthcoming. What I will do is I will draw an

inference from those two or three bits of information, kind of like a hypothesis,

and I’ll ask a question, a question that I may be wrong about or a question I may

be right about. But more often than not I will be able to hit on something that

hasn’t been articulated. Something that they may not be aware of or they may be

aware of. But it is something that will look like it’s mindreading. When it’s really

only paying careful attention.

Most importantly, what those sensory acuity skills do is they let you know when
you’ve accomplished the task. Because we’re not just doing stuff and we’re also

not just running procedures on people, relationship. It’s dynamic. It’s changing.

It’s surprising. It’s alive. And what that sensory acuity allows us to do is to be

responsive to the moment in that it’s happening, but to also know when we’re off

track. At the top level – and again I don’t know what your skill level is in terms of

NLP – the first and best use for it is if you have decided on what direction you’re

heading in and what the criteria are for success, it’s checking. Am I there yet? Am I

there yet? How do I know? That’s the test part of a tote in NLP terms. So I hope

that goes someway to helping you with that question.

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Tom: I think that would be very useful. David Keyed from Hartfordshire in the

U.K. asks, “Thanks for sharing, Michael. Could you please share some examples of

the verb tenses you used to change the internal representations of a client?”

Michael: It’s not just the way that I use verb tenses. And I’m not talking about a

magic technique. I’m talking about the verb tenses in English. So, David, let me

give you an example. If you think about something that you want to do, some

desire that you have or some goal that you have, you might put it in the form of “I

would like to…” “I am going to…” Each of those variations of future tense. If you’re

talking about what you’re doing now you use the present tense. “I read.” “I am

reading.” Something that you’ve done before or something that you’ve done

previously. “I did.” “I have done.” Etcetera. The ordinary verb tenses in English

create and constrain the sub‐modalities that people use when they’re thinking

about things.

For example, if you think about something that you might do later on in the year,

even if it’s something that’s kind of common and everyday, it might be if you

brush your teeth every day, you could think about doing it in November. Or think

about a holiday they’re going to take a number of months into the future. And you

think about that for a moment, “I’m going to go to Rome.” Okay, I’m thinking about

that, and notice how you present that to yourself. “I am going to Rome.” “I am

definitely going to Rome.” And I’ve just made a representation of a particular

square. There’s a fantastic café there. There are some restaurants. It’s open‐air.

It’s gorgeous. The picture is about 4 feet in front of me, about 2 feet across. It’s a

still image. It’s a bright day, etc.

I’ve been to Rome before and if I think about the last time I was in Rome, which

was two years ago, “I was in Rome.” “When I was in Rome…” What just popped up

is a picture of the hotel I stayed in. It’s a much smaller representation, maybe two

or three inches. The entrance was quite dark. I wasn’t very fond of the place. It

was an unusual room. Everything else was booked up because there was some

kind of holiday going on so I got this place at the last moment, etc. And what

comes up is a whole sequence of incidents and events and little pieces. But where

they come from when I feel into it, when I think about when I was in Rome, first of

all, it feels like it’s behind me. Somewhere off behind me and when it pops up, up

from below. If you learn to track how these verb tenses affect you, you will also

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notice how tenses affect other people. Sometimes in different ways. But there is a

general pattern around how the future works. It’s either out front or off to one

side. The past is either on the other side from the future, if it’s both in front, or

past is behind. And, as you start to refine your abilities with language, that’s what

I find with other things we’ve been concentrating on the Platinum Audio News
Club now, it’s learning that there are very subtle changes.

For example, if you think about that thing you’re going to do in the future, let’s say

it’s a holiday. And, let’s just think about the holiday and focus on it for a moment.

It’s there in front of you the things that have to be done. All these little additional

words that add to the verb tense, tend to affect how somebody represents

whatever it is that they’re thinking about. This is the art. This is the discipline. It

takes work, but it can be done and it can be accomplished and what you can do

with it seems often like magic.

Tom: Wonderful. Thanks, Michael. We have Andre from Brazil asking, “How do I

anchor in non‐preferential communication channels?

Michael: How do you anchor in non‐preferential communication channels?

Somebody’s been reading books or websites. Creating distinctions that actually

don’t make that much of a difference. Here is the thing. When you are having a

conversation with someone, and if you manage to elicit a state from them either
by getting them to talk more about it – you know the basic intensification of a

state technique is get them to tell you more. The more people talk about

whatever it is that they’re thinking about, the further into the state they’ll tend to

go. That’s really simple. Here’s the thing. While people are intensifying they’re

states they will tend to have changes occur within how they gesture. I’m not

talking about micro‐behaviours. I’m not talking about a flutter of an eyelash or the

wiggle of a nostril. I’m talking about how they use their hands. I’m talking about

how they use their body. I’m talking about their tone of voice. The easiest way for

you to create anchors within “non‐preferential systems” or just to create anchors

in general, is that when somebody is demonstrating to you a behaviour that

accompanies a change in state, intensification of a state in a way that is useful to

you, use whatever they’re gesture is, whatever that change is, whether it’s tone of

voice, gesture, etc. Act to them. That’s the time for mirroring. Not compulsive

reflection of every little thing that goes on. That gesture, that movement, that

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change in tone has signal value within their nervous system. They usually don’t

even recognize it.

It’s kind of like sending an unconscious message back to somebody. I got it. That’s

what you’re talking about. Very potent. Very powerful and one of the most natural

ways to anchor in common conversational context.

Tom: Great. Andy from London just asked, “So, once you’ve noticed that

somebody in your audience is not responding, how do you get them to respond.”

Michael: Your ability to change what you can do and that’s why I said, if you’re

going to be a presenter, if you’re going to be a public speaker, you need some

training in how to play. Maybe that’s a workshop in clowning. I send the most

solemn of people suffer from chronic solemnity. That’s people who have taken

seriousness too far. If people are chronically solemn, I’ll typically send them to a

clowning workshop and that’s circus clowning. The thing about circus clowning is

what a circus clown does is a one‐down position with relation to everyone and

everything else. In other words, they have to drop the act, drop the face, drop the

front to create their effect. It’s in being willing to change that direction, being

willing to go off‐beat, being willing to change from the relentless drive for

whatever it was you were going for before and going with something different.

That creates that change.

An improvisation workshop. Learning how to do improvisation work theatrically

is another way to do it. Improving your storytelling skills. Learning how to

interrupt stories, this is something for the trainers when we’re training them how

to do nesting. We teach people how to drop a story right in the middle and change

directions. That sort of thing. But it’s about becoming not only flexible

behaviourally, but being willing to change the direction that you’re heading in.

Curiously enough that’s the hard one. You’ve got your direction. This is my

content. This is how I’m going to deliver it. I have suffered to learn how to do this

and now it’s their turn and they’re going to take it. It’s being willing to go off in a
different direction that starts it.

I hope that gives you an idea. This is the kind of stuff that is easier to cover face‐

to‐face and I can get my hands on people. Stop right there! And change the

direction.

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Tom: I think he gets a good idea from that. Last question, Michael, is from Aaron

in Indiana, USA, and his question is, basically, how can I avoid getting overloaded

when trying to pay attention to too many things at once and thus losing my focus.

Michael: Aaron, you actually have the answer within the question. You’re trying

to do too much you don’t have integrated into a bigger picture. In other words,

whatever you’ve acquired in terms of what you think you have to pay attention to,

you’ve got it in the wrong order. What I would do, is I would dump for the

moment most of this stuff that you think you have to track. You don’t have to track

everything.

Here’s another magic secret, if you work on how you relate with other people,
making it so you remove from your communication all the stuff that tends to get

in the way, and there are so many different possibilities on that account to make a

specific recommendation on that, but becoming easier to talk to. This one will

help. When you’re listening to what other people are saying and you want them to

intensify a particular state, let’s say they’re talking about something that’s

interesting to them and that you think will be useful later on, restrain and restrict

your nodding or acknowledgement or sending a sign back. I know some people

have been told you have to nod your head all the time or go, “Mm, hm. Mm, hm.

Mm, hm” during a conversation to let somebody else know that you’re listening.

That’s wrong. Here’s why. Nodding is ambiguous as a sign or as a signal because it

can mean many different things. It can mean, yes, I agree. It can mean, yes, I

understand. It can mean, yes, I’m simulating consciousness here until I can say

something. Somebody said, “My life is just shit.” And you nod your head and go,
“Mm, hm.” Most likely, you’re not sending the message, “I agree.”

Because that signal is ambiguous you want to save it for the times when it will be

useful. The times when it’s useful are if somebody is already heading a direction

that you think is good or useful. When they’re talking about something they’re

interested in. When you notice that they’re heading in that direction, they’re

talking about something, that’s the moment when you want to allow yourself to be

moved by what it is that they’re saying and nod your head and smile. So practice,

first of all, to amplify states. Secondly, what that will give you the opportunity to

do is to recalibrate, but at the big picture level. Because the cool thing about this is

when you recalibrate at that big picture level, the whole thing in one go, all the

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details there on reflection are things to think about, but you won’t get caught in

trying to see what it was you never detected before. Go for the big states first.

When there’s a change then in what they’re talking about – if they’re talking about

something cool that’s going on and they’re talking about planning, you will notice

there will be a discrete change in how they make gestures.

Let’s say they were talking about this really cool thing and the head’s going up a

lot and they’re using their hands a lot and suddenly they talk about, “but next

week…”. The tone of voice drops and then you notice they start making chopping

motions in front of them. Talking about getting things in order, etc. Start paying

attention at that level what’s there to notice, there’s a lot more going on there, but

that you don’t have to address everything.

So, take a step back from all the detailed track and just notice amplification of

state and noticing what goes along with that and that should help you out a bit. I

hope that was helpful.

That’s wonderful. Thanks, Michael. On behalf of everybody, thanks. I know people

listening got a tremendous amount of it and on behalf of Michael and myself

thanks for listening.

NLP Times ‐Enhanced Sensory Acuity Transcript

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http://www.nlptimes.com/content/nlp‐story‐telling‐secrets‐volume‐1

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Tom

NLP Times,

Real NLP Skills For The Real World

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