“Seth material” search engine (Jane Roberts)

(For the moment I’d forgotten the notes I wrote concluding the last session, deleted for November 12, having to do with Seth suggesting we throw our hassles with Prentice and foreign publishers into Framework 2; I’d written that I didn’t know whether or not I was capable of doing that at this time. But the questions I’d posed in those notes furnished the background for tonight’s session, somewhat to my surprise.

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).

(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.

They do not then move as faithfully as your fingers, following your own intent, not theirs, but everyone involved cooperatively agrees to aid that creative venture—not only because you want it, you see, but because for their own reasons they are involved in book publishing and want to play a part in that kind of activity.