“Seth material” search engine (Jane Roberts)

[...] Surely this sense suddenly came into operation during my experience with “cosmic consciousness” and was partially responsible for my “Idea Construction” manuscript. [...]

[...] It is one thing, for example, for a physical writer to produce a manuscript—and even that kind of creativity involves vast and hidden psychological maneuvers that never appear in the manuscript itself.

[...] Although the manuscript does not yet exist in a physical book, the book itself, the ideas and words, are in the most important fashions quite real now. [...]

[...] There was work involved in the typing of manuscripts, hours spent, but the success itself was the result of your individual and joint intuitive creativity, curiosity, your sense of challenge and more adventure.

[...] Measured work of that nature is very difficult for Ruburt—hence the typing, for example of manuscripts, such as mine, that he cannot change as he goes along, is very difficult. [...]

[...] He can then type an hour on a manuscript. [...]

Let him take a certain part of the day to type his manuscript, another part in which his creative time is free. [...]

[...] I want him then to work on his manuscript for two-and-a-half hours, and then to allow himself at least one-and-a-half hours of creative psychic and writing freedom.

[...] have but a few sessions left to check on the copy-edited manuscript for Mass Events. Then I can start correlating it with the first carbon [which we keep], before mailing the manuscript back to Prentice-Hall, probably late this week, for printing. [...]

[...] There are many manuscripts still not discovered, from old monasteries particularly in Spain, that tell of underground groups within religious orders who kept these secrets alive when other monks were copying old Latin manuscripts.

(“Could you give a copy of one of those Speaker manuscripts in dictation?”)

(Before Seth finished dictating Chapter Two, Jane got from him mentally the heading for Chapter One, and inserted it into this manuscript.)

[...] In February 1977 we received from Prentice-Hall the copyedited manuscript for Volume 1 of “Unknown” Reality. (Copyediting is one of the earlier editorial stages a book goes through on its way to publication, and is meant to study all of the work that Jane and I and her editor, Tam Mossman, have already done on the manuscript: Before it’s set into type, a reader who works independently of the publishing firm carefully checks the manuscript for grammar, contradictions, facts, consistency, and so forth, and makes suggestions for whatever changes he or she thinks are desirable. Jane and I are free, of course, to reject any alterations we don’t agree with.) In March we checked the copyedited manuscript for Cézanne. [...]

(Jane had started doing some typing on the final manuscript for Seth’s The Nature of the Psyche: Its Human Expression a couple of days ago. [...]

Note that even though Seth finished dictating Volume 1 of “Unknown” Reality almost three years ago (in June 1974), and I completed my own notes and appendixes for it six months ago, we’re just now coming to the end of the long, complicated process involved in following the manuscript through the editorial and production stages necessary to get the book out into the marketplace. [...]

[...] I finished typing the manuscript for Volume 1 late in November, spent December checking it, and mailed it to Prentice-Hall early in January 1977.

(“Number eleven: In Chapter Seventeen you said it would require more training on Jane’s part before she could deliver a Speaker manuscript, and that even then the work involved could take five years. [...]

I was speaking specifically of what you would term an ancient Speaker’s manuscript, and I thought that was what you were referring to.

[...] We speak of manuscripts, yet most of these were not written down.

[...] The object, sealed in the usual double envelope, was the insurance slip for the two manuscripts Jane mailed to her publisher on February 10,1966. [...]

[...] The object is the insurance slip for the manuscripts of Jane’s poetry book, and the first section of the Seth material, mailed to her publisher on February 10,1966. [...]

[...] Jane said this probably referred to the tape recording that was mailed along with the manuscripts. [...]

[...] It involved her efforts in getting the tape made, and the two manuscripts in question, ready for the mail. [...]

[...] Since then, Seth has delivered a continuing manuscript that now totals over six thousand typewritten pages. [...]

[...] Two weeks after it was finished, however, Seth dictated the outline for this present manuscript, in which he would be free to state his ideas in his own way, in book form.

[...] Generally speaking, I put his work out of my mind, and didn’t even see the manuscript for months at a time.

[...] I can only state my own feelings and emphasize that Seth’s book, and the whole six-thousand-page manuscript of Seth material, don’t take care of my own creative expression or responsibility. [...]

4. I had just finished typing the manuscript for Jane/Seth’s The Individual and the Nature of Mass Events, and Jane had just finished typing the manuscript for her own God of Jane. [...]

[...] This may work when manuscripts are being typed, and so much physical labor is involved, but overall you are using the “wrong” approach to time, particularly for any creative artist. [...]

(Jane’s dream book manuscript does not show in the sketch; at the moment I made the sketch the manuscript was invisible beyond her right side. [...]

[...] She wanted to go over the manuscript for her dream book, without interruptions. [...]

[...] Or—could this refer to the book Jane had with her, or the manuscript of her dream book, also with her?

Timothy Mossman was subconsciously aware that he would meet me when he read Ruburt’s manuscript. [...] Had he simply rejected the manuscript and not written the letter that he did, the meeting would not have taken place; and he knew this also.

[...] All of this was scribbled down so fast—and I still have that manuscript. [...]

Here are a few quotes from that manuscript:

[...] The manuscript finally consisted of about a hundred pages, including new definitions of old terms. [...]

I think that this experience and the manuscript were extensions of the creative subconscious processes that are behind each creative act: normal creativity suddenly “turned on” or stepped up to an almost incredible degree. [...]

The Speaker manuscripts are in your future, and will involve as I told you considerable work—a labor of love. [...]

(Today Jane received the galley proofs of her ESP book, along with the original manuscript, from her publisher by special delivery. [...]

[...] She announced also that she was cooperating in case Seth wanted to say anything about the notes on her ESP manuscript.

[...] The man whose writing appears on Ruburt’s original manuscript.

[...] Earlier in the evening we had noted a similarity in some of the comments on her manuscript with J.B. Priestley’s ideas on time. [...]

[...] Now this is his projection, and one he only realized at break: he felt that any incomplete manuscripts were indications of a waste of time, and that you thought he should publish everything he wrote, and that an unpublished manuscript was a blot of sorts. [...]

[...] Ruburt was quite surprised, since Eleanor had not suggested before that a manuscript not be sent to Prentice.

(In Note 1 for the 817th session, which was held on January 30, I wrote that Sue Watkins had recently delivered the last of the typed manuscript for Seth’s The Nature of the Psyche. Actually, she had converted my original typed sessions making up Psyche into standard manuscript form for the publisher; I still have to do many of the notes for the book after I finish my work on Volume 2 of “Unknown” Reality several months from now.

(On the other hand, with the copyedited manuscript for James and the concluding chapters of Emir mailed to Prentice-Hall earlier this month, Jane found herself with some unexpected free time. [...]

[...] (Jane has been told that everyone at Prentice-Hall, her publishing house, “just loves” Emir.) A couple of weeks ago Sue Watkins delivered the last two chapters of the manuscript for Psyche that she’s been typing for us; we still have to check that book and finish the notes for it. Then yesterday Jane received from her publisher the copyedited manuscript for James, so during the next week or so we’ll be very carefully going over that work, too.