Creative Scripts For Hypnotherapy

Marlene E. Hunter

• Publisher: Routledge
• Year: 2013
• eBook ISBN: 9781135888916
• Topic: Psychology
• Subtopic: Mental Health in Psychology
• Index: Psychology

First published in 1994, this book provides a selection of time-tested hypnotherapy scripts which aim to ease a variety of problems such as in the workplace, concerning pain relief, psychometric disorders, fears and phobias, self-discovery, memory retrieval, habit disorders, ego strengthening and sexual difficulties. The volume also intends to assist with such problems of childhood as enuresis, learning disabilities, fears, night terrors and asthma while also suggesting a variety of induction and self-hypnosis techniques. Hunter offers an insightful commentary alongside each script which exhibits state-of-the-art research as well as an expanded reference section and annotated bibliography. Its spacious format enables therapists to take notes as required and alter the script to meet the varying personal needs of their patients. Case histories and in-depth information as to how and when to use a particular script is also included.

PART I

THE BASIC BASICS

Induction Techniques

Self-Hypnosis Techniques

“Homework”

Literature and Commentary

1

Induction Techniques

There are surely as many induction techniques in hypnosis as there are people who practice hypnosis —indeed, many times that number, for almost everyone has several — and it would obviously be impossible even to describe all the main categories. I am going to give examples in this chapter of only three types —Basic Technique, Visual Imagery and Eye-Fixation — and then some hints for reducing resistance, to get you started if you are just beginning or to offer some new verbiage if you feel yours is getting stale or boring (even to yourself!!).

Just as important as WHAT you say is HOW you say it. I think that most of us fall into a sort of low drone, when we are doing inductions, which may or may not be the best way to lead someone into hypnosis. Probably, we do best when we are ourselves comfortable with how softly we are speaking, and with the cadence of our words, whatever those might be. I knew one highly successful hypnotherapist whose words ran together into a sort of staccato gobbledegook, with scarely a pause for breath, that one would have thought would discourage the most dedicated subject; yet it worked well for him, simply because he presumed that it would. And that master of hypnosis, Milton Erickson, was very hard to understand in the last few months (or even years) of his life, and yet his success with patients was inevitable both because HE was confident and because he inspired that confidence in all who came to him.

However, I do think there are a few basic “rules” that help to smooth the way. One is to make sure that your words and the tone of your voice are compatible. Inviting someone to go deeper and deeper and deeper will be less effective than making sure that your voice falls with each repetition of the word “deeper.” The subconscious implication, the nonverbal message, is always more imperative than mere words.

Another important point is to avoid, at all costs, phrasing your suggestions in the negative mode. “You will not feel panicky” will almost surely invite panic. “You can feel very comfortable” or “… very much at ease” has a much greater chance of success. Even the most experienced of us tend to forget, at times, that the language of the subconscious is imagery (words and logic belong to the language of the conscious mind) and it is very, very difficult to have a negative image. Please do not think of a pink elephant. Right?

Use permissive, comfortable words; we are inviting people into hypnosis. “Let yourself feel as relaxed as you wish to feel at this time…,” “You may find it interesting to go exploring. …”

Eschew —vigorously —that most sabotaging word in the English language: TRY. “Trying” always allows, in the back of the mind, for the possibility of failure. There are many things one can do rather than “try.” One can search, learn, discover, find out more about, explore (I like that one best) —and all of these have a much more positive connotation than “trying,” which all too often makes one weary just thinking about it. (Or, of course, one can just DO it, which is the best one of all.)

Remember that there is nothing wrong with a few minutes of silence every now and then, or a gentle, reassuring murmur: “Um-hum, Um-hum” or “That’s right.” My friend Dr. Claire Frederick calls these “comforting noises.” I use them all the time, as you will discover throughout this book.

We must also pay attention, when appropriate, to culture. In general, the approach to hypnosis in North America is very permissive. This is not necessarily so in other cultures: the Europeans may tend to be more formal, more authoritarian, and hypnosis as it is practiced in African or other cultures very different from ours will include many allusions and perhaps even rituals which seem alien to us. We must be very aware of these differences, for “trying” to lead someone into hypnosis will be an exercise in futility for all concerned if we ignore such fundamental issues. This also applies to working with North American native Indians, who are very proud of their heritage. It is easy, and it will not be taken amiss, to ask, “What type of entry into hypnosis will be most comfortable for you?”

For that matter, many practitioners do not use formal inductions any more. They may not even specify that they prefer their patients/clients to close their eyes. Instead, phrases such as “Just settle down comfortably —that’s right,” with or without some comment about listening or letting the conscious mind go off to do its own thing, is all the “induction” there is.

Personally, I usually still use a simple induction, especially if the person is a novice. It is comforting, and makes him/her feel taken care of, setting the scene and meeting the client’s expectations.

A word about hypnotizability. There are several well-known Scales of Hypnotizability — the Spiegel (described in Trance and Treatment, 1987), Stanford (Weitzenhoffer & Hilgard, 1962) and Harvard (Shor & Orne, 1962) scales are the best known. There is one area where the use of such scales is important: research. In research, one wants to narrow the variables as much as possible. One way to achieve the most consistent results is to choose participants who fit into a certain level of hypnotizability as defined by these various measuring techniques.

Clinically, however, I am of the opinion that MOTIVATION is the most important factor, while the ability to go more or less deeply into hypnosis is secondary. There is a great deal of anecdotal material in the literature about this. Especially interesting is a seminal article by Barber (1977) about the use of hypnotic pain relief techniques in “unhypnotizable” subjects. Those of us who have been practicing hypnosis for several years all have our own experiences in this regard.

However, many practitioners feel more comfortable using the hypnotizability criteria; for them, that is, of course, the best thing to do.

When all is said and done, I come right back to my earlier comments: be comfortable yourself, and you will have a more comfortable subject.

BASIC INDUCTION TECHNIQUE

Settle yourself down into a very comfortable position. That’s right. Remember, you can always move or shift your position any time, to make yourself more comfortable. Make sure your back and head are supported, and everything feels just right.	reassuring that the subject has control physical comfort is important
Now let your eyes find something pleasant and convenient to focus on and just keep looking at that, whatever it might be, for a little time.
By and by you may find your eyes getting just a little heavier and it seems as if it would be nice to let them close for a little while. Find out how it feels to let them close for a few seconds and then open them again — then close open one more time and close — that’s right. You may notice that there is a gentle flickering in your eyelids. That can be a cue for you, that you are entering some delightful space in your mind where time loses its usual meaning and you are able to perceive so many things in a different way.	less intimidating than the suggestion to close them — period — especially in an inexperienced subject if you watch carefully, you will see the eyes glaze just before they flicker— a good time to mention it!
Imagine yourself in some very nice place, where everything is just the way it would be if you could order it specially for yourself. And as you spend a little time there, gradually the tightness eases away and you become even more comfortable.	makes it personal acknowledges the tightness (i.e., tension) which most inexperienced subjects have
Fill in all the details of your daydream: what you might see in your mind’s eye, and what you might hear with your inward ear; how your body feels with whatever it is doing in your imagination. If you are lying on a tropical beach, feel the warm sun, feel the sand, feel the movement in your body as it snuggles down into a comfortable position in the sand. If you are swimming in that tropical lagoon, feel the movement in your body as it glides through the water, feel the water as it slips coolly over your skin. Find out how your body feels.	“inward” differentiated from “outward” invoke all the senses: visual, auditory, kinesthetic, touch, smell, taste, warmth/coolness
There may be things in your daydream that you want to reach out and touch, or taste. There may be aromas that are associated with that. Find out what the colors are like, whether it is warm or cool, if there’s anyone else there — all the details that add color and richness and enjoyment to our daydreaming.	implying comfortably that we all daydream and this is so similar
And while you are doing that, your inner mind will be taking you to your own best level of comfortable hypnosis, whatever is just right for you, to achieve what you are going to achieve today.	whatever YOU (the subject) do, is right

VISUAL IMAGERY

(Remember that many people do not visualize and this technique would be frustrating rather than enjoyable)

Settle back very comfortably in your chair, let your eyes close, and imagine your favorite big white fluffy cloud settling down beside you — so close that you can climb on to that cloud and embark on a wonderful fantasy.	the invitation
Feel the fluffiness and soft supportiveness of that cloud, as it gently envelops you and begins to lift you up, so that you are floating, floating up into the sky completely protected, comfortably supported, absolutely safe.	kinesthetic awareness added to visual imagery essential to feel SAFE
As the cloud drifts easily through the sky, an inquisitive bird swoops down and lands beside you on the cloud. It looks at you questioningly as if to say, “Come, play tag with me!”	(you may wish to make sure that there are no bird phobias)
Then it spreads its wings and takes off again, dipping and swooping and soaring around the cloud, getting caught on a warm updraught of air, wafted on a soft breeze, completely free.
Your cloud seems to want to follow the bird, and you, too, are wondering where it might lead you. Below, you can see the tops of the trees and yet amazingly, from your place on the cloud, you can also see every branch and leaf outlined in delicate tracery; the green and yellow fields of grain have wind-waves skittering across them and there is the silver ribbon of a little river winding its way through the valley.	be inquisitive
And then you glimpse, off in the ...

Table of contents

• Cover Page
• Half-Title Page
• Title Page
• Copyright Page
• Dedication
• Table of Contents
• Preface
• Acknowledgments
• Part I: The Basic Basics
• Part II: Getting Past Roadblocks
• Part III: Pain Relief
• Part IV: Psychosomatic Disorders
• Part V: Journeys Of Self-Discovery
• Part VI: Children
• Part VII: Habit Disorders
• Part VIII: Sexuality
• Part IX: Rehabilitation
• Reasearch and References
• Bibliography