“Seth material” search engine (Jane Roberts)

In a manner of speaking there is no Prentice, but a group of individuals in certain positions. The creator’s feeling toward his creative product—or hers—largely determines its development, its progress, its distribution, and so forth.

(Pause at 9:4l.) If, hypothetically, either of you believe that Prentice is trying to “screw you up,” and if you accept that statement, or belief, then invisibly you set out to prove it. The evidence comes in. In your society writers need publishing houses. Most publishers are businessmen. They rarely pretend to be themselves creative—yet all publishers, and people who work for them, are also intrigued by the products of creativity, and at least to some degree, being well reimbursed, they do indeed use their quite different abilities to distribute the creative products that they could not themselves initiate. To date, and in the long run, and despite quite legitimate gripes, considering the nature of our books, and your own joint characteristics, Prentice has been a good choice.

(9:56.) A note: Ruburt has felt oddly, since his body has been creatively changing, both the head and eye areas, neck and knees. The knees are beginning to work more properly, and slowly beginning to mimic and adopt a more natural walking posture. The steps he has taken without putting his full weight on the table, for example, are highly important. He should look for that impulse each time he walks with the table.

The entire body is really being worked upon, with resulting looseness of tensions that become more apparent at certain points. Both of you try—try (whispering) to disconnect your creative work from the practical considerations of contracts, and have Ruburt play with his own book. He will find the results of such play excellent.