“Seth material” search engine (Jane Roberts)

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.

This is their primary level, however, for it is when they enter the picture. Certain things at this point are already set, say: you already have a publishing house, and particular people are involved whether or not you know them. Again, I am fitting the discussion to your specifications (with an amused whisper).

Ideally that force is to a large extent self-protecting. It is also perceived to whatever degree possible (underlined) by all those at Prentice who are involved. At Framework-2 levels those people want to produce an excellent book. Their desire is not as vigorous as yours. It is watered down by far more Framework 1 activity. There is much “static” at that level.

(9:38.) First of all, you clear your wires by trying to clear your mind, and simply by trying to understand how Framework 2 works. You think of, say, any event in a book’s production, distribution, translation or whatever, as the kind of multidimensional creative effort and event I have tried to explain. All of those other people are connected to that event in Framework 2 on a nonphysical level, as they are connected on a physical level. Framework 2’s communication system is at once simpler and more complex that Framework 1’s. Just as, say, your intent to paint a picture automatically has your fingers all moving in the proper directions, and your body manipulating properly, so that the desired painting results, so in a larger fashion your clear intent is communicated to each of the people involved—at a level without static—yours or theirs.