“Seth material” search engine (Jane Roberts)

(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.

(9:19.) The artistic acts always directly involve strong direct interactions with Framework 2. In the production of our book we want, say, people we may not even know to come together in certain fashions to make certain decisions that will be in direct agreement with our own creative intent. They each have their own lives and their own interests and intents, their own problems. We cannot move them around like toy people on a game board. When you continue to think of events—and publishing is one—as multidimensional creativity, involving many people instead of one, then you have some leverage to help you understand. In Framework 2 each person is connected to each other person. I have given you a good deal of material explaining how information is communicated both on a cellular basis and on a mental one—how it is communicated through the dream state, and I have explained the importance of impulses as direct nudges from Framework 2.

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.

The session should help you understand that you are not a victim. There is much more, however, about the interactions of people in such events. I hope to make it all as clear as I can, because I want you to understand the nature of events, and your participation in them, and that of others.