Frogs into Princes: Neuro Linguistic Programming

What is new in NLP is the ability to systematically analyze those exceptional people and experiences in such a way that they can become widely available to others. Milkmaids in England became immune to smallpox long before Jenner discovered cowpox and vaccination; now smallpox—which used to kill hundreds of thousands annually—is eliminated from human experience. In the same way, NLP can eliminate many of the difficulties and hazards of living that we now experience, and make learning and behavioral change much easier, more productive, and more exciting. We are on the threshold of a quantum jump in human experience and capability.

There is an old story of a boilermaker who was hired to fix a huge steamship boiler system that was not working well. After listening to the engineer's description of the problems and asking a few questions, he went to the boiler room. He looked at the maze of twisting pipes, listened to the thump of the boiler and the hiss of escaping steam for a few minutes, and felt some pipes with his hands. Then he hummed softly to himself, reached into his overalls and took out a small hammer, and tapped a bright red valve, once. Immediately the entire system began working perfectly, and the boilermaker went home. When the steamship owner received a bill for $1,000 he complained that the boilermaker had only been in the engine room for fifteen minutes, and requested an itemized bill. This is what the boilermaker sent him:

For tapping with hammer: .50

For knowing where to tap: $ 999.50

Total: $1,000.00

What is really new in NLP is knowing exactly what to do, and how to do it. This is an exciting book, and an exciting time.

Steve Andreas (formerly John O. Stevens)

A challenge to the reader

In mystery and spy novels, the reader can expect to be offered a series of written clues—fragmentary descriptions of earlier events. When these fragments are fitted together, they provide enough of a representation for the careful reader to reconstruct the earlier events, even to the point of understanding the specific actions and motivations of the people involved—or at least to reach the understanding that the author will offer at the conclusion of the novel. The more casual reader is simply entertained and arrives at a more personal understanding, of which s/he may or may not be conscious. The writer of such a novel has the obligation to provide enough fragments to make a reconstruction possible, but not obvious.

This book is also the written record of a mystery story of sorts. However, it differs from the traditional mystery in several important ways. This is the written record of a story that was told, and storytelling is a different skill than story-writing. The story-teller has the obligation to use feedback from the listener/watcher to determine how many clues s/he can offer. The kind of feedback s/he takes into account is of two types: (1) the verbal, deliberate conscious feedback— those signals the listener/watcher is aware that s/he is offering to the story-teller, and (2) the non-verbal, spontaneous, unconscious feedback: the glimpse, the startle, the labored recollection—those signals the listener/watcher offers the story-teller without being aware of them. An important skill in the art of story-telling is to use the unconscious feedback so as to provide just enough clues that the unconscious process of the listener/watcher arrives at the solution before the listener/watcher consciously appreciates it. From such artistry come the desirable experiences of surprise and delight—the discovery that we know much more than we think we do.

We delight in creating those kinds of experiences in our seminars. And while the record that follows may have contained enough clues for the participant in the seminar, only the more astute reader will succeed in fully reconstructing the earlier events. As we state explicitly in this book, the verbal component is the least interesting and least influential part of communication. Yet this is the only kind of clue offered the reader here.

The basic unit of analysis in face-to-face communication is the feedback loop. For example, if you were given the task of describing an interaction between a cat and a dog, you might make entries like: "Cat spits, ... dog bares teeth, ... cat arches back,... dog barks,... cat—" At least as important as the particular actions described is the sequence in which they occur. And to some extent, any particular behavior by the cat becomes understandable only in the context of the dog's behavior. If for some reason your observations were restricted to just the cat, you would be challenged by the task of reconstructing what the cat was interacting with. The cat's behavior is much more difficult to appreciate and understand in isolation.