“Seth material” search engine (Jane Roberts)

Before, earlier, there was a third concern—a financial one, but he did not come across those journals this evening. The two main concerns then instantly caught his attention. He did not see, however, the difference in his approach to those concerns—and in that difference lies the difference in results.

Oftentimes he was not sure what his next book would be, but overall he never doubted there would be a next book. He did not imagine impediments that might rise to prevent a next book being written—nor did he doubt his ability to write one, or any number of books. At times he might think of writing in one area or another, but his imagination did not set up barriers: it was always receptive to new ideas, casting about for new experiences, consciously involved in the process of creativity.

To Ruburt that is taken for granted—for there he operates extraordinarily well, mixing and merging the realities of Frameworks 1 and 2. The practical results of course appear in Framework 1, while the real creativity takes place in Framework 2. Understand that I make these divisions for simplicity’s sake, for the realities are merged. In “trying to get better,” Ruburt has taken impediments for granted, not only generally but specifically. In his books he lives in and with the present. Manuscripts that did not jell are simply forgotten, so he is supported in those terms by a background of success.

You changed your approaches indirectly, and Ruburt was always stronger in the financial regard than you, as far as his beliefs that artistic creations could bring financial rewards. You believed that commercial art could give financial results, but not necessarily good writing, or good art.

There were other issues that have been mentioned, concerning you and the marketplace, but Ruburt’s creativity straddled poor beliefs finally. He stopped looking for financial impediments. He did not worry about money. Just not worrying about it immediately began to give you some financial gain, for in Framework 2 conditions were reversed, and the imagined impediments were not projected into the future. Finally, in Framework 1 those gains began to show: the evidence, in other words. (Amused:) Then, in Framework 1, you had some success to bank upon.

You are both doing very well. This information is meant to accelerate that progress through clear understanding, and help you grasp hold of your creativity in this area as well. You can continue, and Ruburt’s improvement will continue in Framework 1, but you can also accelerate even further, and grab hold of the threshold in Framework 2, which in your terms will let Ruburt improve as easily as now your money comes.

In a manner of speaking, then, supernatural help is available, but only when your own beliefs are clear enough so that the help is not blocked. By supernatural I mean the source from which nature springs, and Framework 2 represents the medium in which the natural and the source of the natural merge in a creative gestalt. That gestalt forms your physical being. Nature, without nature’s source, would not last a moment.

In Ruburt’s dream last night, he was dancing. His physical body carries that memory. The actual muscles involved were rehearsing. The dream in Framework 2 is as much a definite plan for a normally walking body as any Oversoul Seven that did result in the book. The original Seven did come from a dream, from a drama occurring in Framework 2—but there were no negative beliefs to block it, no habits of erecting impediments. Other dreams of Ruburt’s health did not materialize because their creativity was blocked by an insistence upon following, in that regard, the most limiting of Framework 1’s premises.

There is, incidentally, a Framework 3 and a Framework 4, in the terms of our discussion—but all such labels are, again, only for the sake of explanation. The realities are merged. A brief point (with some humor): When you moved here you wanted to make “a fashion statement” as per your television commercials, where the gentlemen only cut hair. You are more knowledgeable now, but at the time Ruburt did restrict his abilities, pull in his horns, and to some extent with your implied consent. Those in the neighborhood would know you were not to be bothered. You did not go out to parties. You were, generally speaking, to be left alone.

In between, Frank’s help was quite necessary. His assurances were important, and quite valid. They helped Ruburt considerably. To some extent, however, they limited improvement in that area. Ruburt must now take the lead. Frank’s knowledge can still be helpful, but it should not be allowed, now, to curtail improvements, or limit them, by conventional knowledge of what muscles and joints can or cannot do, or by projecting any particular procedure—as, for example, Ruburt will do this or that, before this or that.

Probabilities are valid time terminals. Ruburt’s accelerated state at that “time” led him to a threshold of experience that could be translated into Framework 1, but could not be sustained here in terms of ordinary behavior. The bridge personality was a psychological result, appearing in time, yet apart from it. Framework 2, however, is quite familiar to you, as stated, in your creative work, and most other areas of your lives, including your own physical experience of your body.