“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.

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.

He creates impediments then as in the other area he creates success. To a lesser extent this applies to your own approach also. Creativity is involved. Let us look then at the third area, for at one time you both also to some extent imagined impediments, changed your approach, and found new results. That area is the financial one, that indeed does now seem to come with an almost magical ease.

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.

He felt that your needs and desires would be fairly reasonable; that is, he approved of them. He did not think you would suddenly become ostentatious, for example. Again: Frameworks 1 and 2 merged, and the beneficial results began with a change of ideas and intents in Framework 2.

Framework 1 deals with predictable behavior, predictable results, and dislikes surprises. In all other areas of your lives you have prided yourselves on the unpredictability, the creative ground-breaking concepts. You forgot ideas of being practical in terms of Framework 1, and as a result of course your creativity became highly practical, and in the most profound terms.

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.

He has been trying too hard to some extent in Framework 1, where the spontaneity of motion in Framework 2 will allow for the more or less spontaneous accomplishment of detailed motion in Framework 1. I want to emphasize the importance of the improvements that are taking place in Framework 1. These sessions, however, will result in an acceleration and ease, if the sessions are put to use.

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.