“Seth material” search engine (Jane Roberts)

In the last few sentences there is an intuitive “definition” of probable and reincarnational selves, and counterparts, in relationship to the self that you know. In your case, however, you can change your own pacing, add variations, or even begin an entirely new composition if you choose to. Now many people have done this in very simple, mundane ways by suddenly deciding to use abilities they had earlier ignored. A man of letters, for instance, at the age of 40 suddenly remembers his old love of carpentry, reads do-it-yourself manuals, and begins his own home repairs. After disdaining such activities as beneath him for years, he suddenly discovers an intimate relationship with earth and its goods, and this appreciation adds to words that before may have been as dry as ash.

He picks, or she picks, victims as intuitively as the victim seeks out the slayer. On the other hand, Mary’s experiences in life may make her change her mind, so to speak, so that at 17 she encounters a severe illness instead, from which she victoriously recovers. Or she might narrowly miss being murdered when a bullet from the killer’s gun hits the person next to her. On an entirely different level and in a different way, she might have no such experiences but be a writer of murder mysteries, or a nurse in surgery. The particular variations that one person might play are endless. You cannot consciously begin to alter the framework of your life, however, unless you realize first of all that you form it. The melody is your own. It is not inevitable, nor is it the only tune that you can play.