“Seth material” search engine (Jane Roberts)

Now. (Pause.) Your questions about the operation of Framework 2 seem certainly to be simple, straight-forward questions, answerable in three or four or five pithy paragraphs (with humor)—and of course I will try to give you a straight-forward reply.

(Pause.) All of our analogies taken together, you see, only hint at the true picture, but if I cannot describe clearly to you in your terms the interaction between Framework 1 and 2, then we will have difficulty with other later material. So we will try again this way.

Now: We want to publish the book—and I will here continue, for our purposes, dealing with a book’s production rather than a painting’s. Still, however, we will keep the idea of a painting for a different reason. Now think of the book’s production and everything connected with it as being part of the same kind of creative activity, but in an arena where events as you think of them become the medium. It is as if—forgive the crossing analogies—the production of the book (pause) is transferred to another level. A living peoplescape in which each person who plays a part in that book’s production now joins the creative act at this secondary level as far as you are concerned.

(Pause.) This is still very difficult to verbalize. (Pause.) The main, driving, clear, emotional intent in such a project is the author’s. The book is his baby. Remember, we are dealing with emotional intensities—and it is because of emotional intensities that our books are in so many homes. That intensity has its own force and vitality.

You set a far more favorable group of probabilities into motion, a group that aids you and them as well, for they are also seeking creativity from their separate viewpoints. They are also fighting their own static. You do not have to contact them one by one in Framework 2. The book itself is like a magnet—any book. The same kinds of reactions, however, are involved in all activities, and it is sometimes frustrating for me that you cannot perceive the fascinating facets of any event. All group interactions of course are involved here. (Pause.) You still —and I do not simply mean you two alone—do not feel the unsurpassable force that thoughts have. You do not understand that they do form events, that to change events you must first change thoughts. You get what you concentrate upon. To brood or worry, or become resentful, is as regrettable as it would be if you, say, painted a big X over one of your paintings because you were dissatisfied with a detail or two. Over a period of time, resentments X out large areas of otherwise productive experience.

(Pause.) In a capsule, comparing yourself to what you think you should be, and largely because of troubles with communication. You wanted to communicate love of our work, and instead you felt that you could only communicate resentment at what you felt had been done to it. You felt like a victim.