Scribd
Upload
123 views

Submodalities: © Michael Carroll, NLP Academy, 199/2000

Uploaded by

Jonathan
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
123 views

Submodalities: © Michael Carroll, NLP Academy, 199/2000

Uploaded by

Jonathan
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 7

THREE: Submodalities

C~
SUBMODALITIES
Submodalities are the finer distinctions of our internal pictures, sounds and
feelings.

Submodalities are how we encode our internal pictures, sounds and feelings to
create meaning.

Visual Submodalities
Location of the picture, the size of the picture, colour or black and white, bright or
dim, associated or dissociated, framed or panoramic, degree of focus, degree of
contrast.

Auditory Submodalities
Volume, location, tone, pauses, tempo, rhythm, direction, duration

Kinesthdic Submodalities
Location, shape, temperature, movement, intensity, duration

Problems and solutions are presented to us in the form of internal representations


i.e. pictures, sounds, feelings and self-talk. In NLP we pay more attention to the
context, structure and process of the internal representations than the content of the
representations Submodalities are the building blocks that create the structure of
internal representations. By changing the submodalities you change the structure of
an internal representation. If you change the structure the meaning of that
representation changes for the client..
c~
Submodality interventions are very powerful are an excellent way for you to be
able to help the people you work with to create more choice in their lives.

© Michael Carroll, NLP Academy, 199/2000


THREE: Submodalities 2

c
SUBMODALITIES LIST
Visual
Location
Associated/dissociated
Framed or panoramic
Colour or black & white
Size of picture
Bright or dim
F ocussed or defocused
Movie or still
Amount of contrast
3D or flat
Angle viewed from
No of pictures
Auditory
Location
Internal or external
Fast or slow
Loud or soft
Tonality
Timbre
Pauses
Duration
o Uniqueness
Kinesthetic
Location
Shape
Size
Moverrtent
Telnperature
Weight
Pressure
Vibration
Texture
Intensity
c Internal or External

© Michae1 Can"oll, NLP Academy, 199/2000


THREE: Submodalities 3

c
MAP ACROSS

Confusion to Understanding

1. Elicit submodalities of something your pminer is confused about.

2. Elicit submodalities of something your partner understands.

3. Notice the sublTIodalities that are different for each state.

4. Have client access confusion and change each submodality one by one by
increasing and then decreasing the analogue distinctions. Notice which one(s)
have the most effect. After you change each one, change it back again before
you move on to the next. The purpose of this is to discover the critical
subnlOdalities i.e. the ones that when changed will have the lTIOst effect.

5. Map across. Client accesses confusion state and change the submodalities
(structure) of confusion to the critical submodalities of understanding. You are
getting the content of confusion and putting it into the structure of
understanding.

6. Condition your work

7. Test your work

© Michael Carroll, NLP Academy, 199/2000


THREE: Submodalities 4

o
SUBMODALITY' BELIEF CHANGE
1. "Can you think of a limiting belief about yourself that you wish you did not
have? Good, what is it? As you think about that belief tell me about what you are
seeing. (Elicit the submodalities.)
Break s1tate

2. "Can you think of a belief which is no longer true. (Elicit Submodalities)


Break sltate

3. J\1ap across. Get picture # 1 and change the submodalities one by one to
those of#2. The content of the "limiting belief' will be presented to the mind in
the form. of "belief that is no longer true."
o TEST: Now, what do you think about that old belief?

Break state

3. Can you think of a belief that you want to have, which is the opposite of the
belief in # I? Good, what is it? As you think about that belief, what are you
seeing?" Elicit Submodalities

Break state

4. ";Can you think of a belief which for you represents certainty?' For example,
the belief that the sun is going to come up tomorrow. Do you believe that? (Or, the
belief that it's good to breathe.) Good, what is it? As you think about that belief,
o how do you know, what are you seeing?" Elicit the Submodalities.

Break state
6. ]VIap across. Get picture #3 and change the submodalities one by one to
those of#4. The content of the new belief will be presented to the mind in the form
of "belief that represents certainty?'

r--
~ _
TEST: Now, what do you believe? How do you know?
_ _ _ _- - - - - - - 1

Limiting Belief no New Belief Certainty


Belief Longer Tme

© Michael Carroll, NLP Academy, 199/2000


THREE: Submodalities 5

SUBMODALITIES
Running Your Own. Brain

1. Elicit submodalities of motivation.

2. Test each submodality and establish the driver.

3. Elicit a context where client is not motivated.

4. Change just the driver.


o How many states can you think of that you could easily map across to create more
choice?

to

to

to

to

to

C) to

to

to

to

c
© Michael Carron, NLP Academy, 199/2000
THREE: Submodalities 6

THE SWISH PATTERN

1. Identify context of pIroblem


""'\Then and where do you experience the problem?"
""'\Then and where do you want to be different?"

2. Identify cue picture Make Picture


Have client associate to problem Associated
"How do you know it's time to do - - - - -?"
"""What are you doing just before you ?"
(Break State)

3. Crealte compelling outcome picture


"'What qualities would you have if you had already
m.ade the change?" (Go for qualities rather than specific
behaviours) Make Picture
N[ake as compelling as you can by adjusting Disassociated
submodalities
(Break State)

4. Swisb
"Get back the cue picture. Put the outcome picture way out on the horizon so
it's small, dark in the middle. Now simultaneously swish the outcome picture
so it zooms up and replaces space where the old problem picture was, while
the old picture zooms out to the horizon." New picture remains disassociated.
Condition 5 - 7 times or until client can't get the old problem picture back.

•
5. Test your work.
So as you think about your old problem can you notice what happens when
you try to picture it?·

© Michael Carroll, NLP Academy, 199/2000


THREE: Submodalities 7

SUBMODALITIES

The critical submodalities of the swish explained in this manual are location, size,
brightness, and distance. As your develop your NLP skills you will be able to create
designer swishes to suit your client's drivers. The swishes in the early days ofNLP
used to put the outcome picture into the lower left corner and swish upwards. The
critical submodalities for this swish are size, brightness and location.

r
-~-./

© Michael Carroll, NLP Academy, 199/2000

You might also like

pFad - Phonifier reborn

Pfad - The Proxy pFad of © 2024 Garber Painting. All rights reserved.

Note: This service is not intended for secure transactions such as banking, social media, email, or purchasing. Use at your own risk. We assume no liability whatsoever for broken pages.


Alternative Proxies:

Alternative Proxy

pFad Proxy

pFad v3 Proxy

pFad v4 Proxy