“Seth material” search engine (Jane Roberts)

(While we’ve been busy with our endeavors, the shortening, brilliantly colored and often warm days of October passed into November and turned progressively colder through the month; we’ve already had more than a little snow since Thanksgiving; and now in a few days [about December 22] winter will officially arrive. I’ve raked leaves, stacked wood in the garage, installed storm windows, and made sure our hill house is otherwise all set for cold weather.

Dictation. I do not want to shock you, but dictation — continuation of our last chapter (2: “Mass Meditations,” etc.).

Now somewhere there is a program director, who must take care of the entire programming. Shows must be done on time, actors assigned their roles. Our hypothetical director will know which actors are free, which actors prefer character roles, which ones are heroes or heroines, and which smiling Don Juan always gets the girl — and in general who plays the good guys and the bad guys.

Actors visit casting agencies so that they know what plays need their services. In your dreams you visit “casting agencies.” You are aware of the various plays being considered for physical production. In the dream state, then, often you familiarize yourself with dramas that are of a probable nature. If enough interest is shown, if enough actors apply, if enough resources are accumulated, the play will go on. When you are in other than your normally conscious state, you visit that creative inner agency in which all physical productions must have their beginning. You meet with others, who for their own reasons are interested in the same kind of drama. Following our analogy, the technicians, the actors, the writers all assemble — only in this case the result will be a live event rather than a televised one. There are disaster films being planned, educational programs, religious dramas. All of these will be encountered in full-blown physical reality.

I will try to begin work on our book in a more predictable fashion, while still maintaining our own discussions, and answering any questions you may have. I do want to use our Framework 2 material, however, in a more general fashion for the book.³ You may use any of our [other] material you want, but the book itself will not rely upon that information.

1. The basic simultaneity of time is the most fascinating of all of Seth’s ideas, I think. That “spacious present” holds all events side by side, ready to be interpreted in cause-and-effect fashion by the organizational abilities of our more limited physical senses. I wrote about reconstructing the past, simultaneous time, and dreams early in Note 2 for Session 801. Also see the material on Seth and his simultaneous time in the opening notes for the 806th session.

My piece is naturally tailored to my own beliefs and needs, of course, and some of its implications may become clearer to readers as Seth continues with his framework material in Mass Events. But I’m presenting my effort as close as possible to its time of conception so that each interested person can keep it in mind, and eventually write his or her own version of it for personal use. Jane has done this; we find that a daily casual reading of our respective “credos” concerning Frameworks 1 and 2 is valuable indeed. I wrote on October 26: