“Seth material” search engine (Jane Roberts)

(Today Jane had been very upset because her control of time seemed so faulty that she wasn’t getting all the things done through the day that she wanted to accomplish—writing, exercises, seeing an occasional visitor, using the phone—whatever she might have wanted to do on any particular day. I’d had somewhat the same feelings today, having managed to “work” at painting for but a couple of hours this morning. The rest of my time had been devoted to chores, it seemed, and both of us felt the day had slipped by without our knowing it.

The physical act of writing itself takes time. Basically, however, creative acts, the acts of insight, intuition, of revelation, do not take time in the same fashion. They often appear suddenly. A moment’s insight, for example—a moment’s—might carry you in a flash where your intellect alone could not travel in years.

In the first place, your intuitions are of course always working. Regular working hours can give you a time framework you need, in which those ideas can appear, but the ideas themselves, and the insights, often come to you particularly when you are not thinking of work. When you are doing any of a number of other things, encounters with others that often appear as distractions, are instead springboards for insights that you may not have had otherwise.

Each physical moment is literally filled to the brim with the unceasing vitality of Framework 2. Regardless of what you are doing at any given time, the creative abilities are always active, and they seize upon the most mundane circumstances as well as the most profound, seeking to bring to the surface of consciousness the greater dimensions of awareness that are possible.

(10:12.) What I am saying, again, is quite apart from your having regular working hours, but you would do far better to choose another word than “work.” Your intuitive hours, perhaps, or your creative hours—even better—for in that kind of atmosphere the greatest works would result.

He did not remember this afternoon’s message. The reason he did not is also the reason why people often do not remember certain dreams. The real communication is not verbal. It is not, say, a simple declaration, but involves realizations and insights of vital import that are given purposefully in such a way that they will gradually be sifted into consciousness because consciousness, the consciousness, would not be able to interpret the meanings in usual terms. This is not a good analogy particularly, but it is as if you received an important communication, say, three paragraphs of great import, with all the individual letters appearing, but not in their proper sequences, and gradually the letters would float together to form the proper words, and then the words would float together to form the proper sentences, and so forth.

(10:27.) Give us a moment.... Now: Pocket Books did not know what to do with Seven. (See my question in session 842.) It was fiction, and yet they were aware of Ruburt’s psychic reputation. (Pause.) There were indeed problems within the firm, and the editor who liked the book was let go and unable to follow through as she would have liked.

The impact of the books is something else, again, and the steady sales and those steady sales will continue and accelerate. In terms of fiction, there are set categories, and Seven fits none of them. You are setting yourselves new categories. Enjoy the privilege, the ability, and the rewards, for the books do sell. People do listen.

The mass best-sellers, for example: would you want to have the beliefs of the authors or the readers? I do not believe so. I meant to answer your question earlier. Have Ruburt read this session well. Do you have questions?