“Seth material” search engine (Jane Roberts)

[...] Such a Speaker would have received the information largely in the dream state, and written it in a series both of treatises and fictionalized narrative.

(“Well then, will I be able to sell the science-fiction cover I’m working on?”)

[...] There is certain work that you could do that could be compared to Ruburt’s science fiction; that is, commercial in that it brings in money, and yet expresses an intuitive and creative part of the personality and is not, as you say, hack work.

In your field of art you could do better now than he is in science fiction, since you are more sure of how you get your effects, and he is still not. [...]

Oversoul Seven and Cyprus do exist, though in different terms than he may imagine them, and the whole episode allows him to work creatively with fiction, and creatively with his psychic abilities.

As a matter of fact, however, many futuristic books and novels fictionally contain elements of such future knowledge. [...]

[...] Both of you found it quite necessary to take a strong conscious, critical look at the material from the beginning, for your trainings told you, in the terms that you understood them, that the “subconscious” could be very misleading, though creative, and that therefore you must critically examine any intuitive productions that profess themselves to stand as truths rather than as creative fictions in your world.

[...] You merge what is seemingly fiction or fantasy with what is seemingly factual. [...]

Ruburt felt safe if his mother read his fiction, you see, for it was several steps removed from his inner life.

[...] “My science fiction novel that came out in Fantasy and Science Fiction years ago. [...]

[...] The author is basically too unsure of himself to call the book either fiction or nonfiction—thus he saves himself from answering many intelligent questions by saying this is conjecture, even while he takes shelter under the name of science. [...]

[...] In 1957, after Jane had sold her first few short stories, she was invited to a conference of science fiction writers at Milford, Pennsylvania. [...]

[...] In the operation of probabilities this has great significance, for this means that you change and affect all events, and that your books are a delightful fiction that tell you only your current ideas about the past.

[...] Often at your particular stage of development as a race, these appear first in your world as fiction, art, or so-called pure theory.

[...] Even science fiction was not large enough, imaginatively, to contain his abilities, and when those abilities did indeed flower he was afraid he was more of an outcast than ever.

[...] It’s a powerful story, although evidently written by Wallace in the contemporary genre of popular fiction these days. [...]

[...] “I feel like someone on that TV show,” she said, referring to a popular science fiction program we’d seen earlier this evening. [...]

Left alone, he never wrote conventional fiction. [...]

[...] Any work of fiction in which his abilities were at all fulfilled would have brought him to this point, and any endeavor such as the psychic work, which was adopted. [...]

[...] So, often when some personality from another station wants to help change the programming, he comes on in the form of a personality already known in fact or fiction. However, you must realize that that personality is larger than fact or fiction. [...]

(The data at the beginning of the session re unexpected word concerning a book reminded Jane of an amusing dream she had last night, and which she has written down per usual: She dreamed that her science-fiction novel, The Rebellers, was being made into a movie.