“Seth material” search engine (Jane Roberts)

The idea, then, of the novel came from past and future events, though you were to catch up with those future events very quickly. Your mind intuitively organized all of that material, and put it together in a completely new fashion. Sometimes when such events occur, the precognitive trigger is not even recognized when it is encountered physically, because it happens too far ahead of time. (To me:) You organize mental and physical events in a creative manner. In this case a novel was involved because the concept, while strongly involving images, carried a time span that would make narrative necessary.

(Just before we sat for the session Jane finished reading my account of my “light of the universe” experience of last Sunday evening, September 21, and my account of the experience involving … clairvoyance … precognition … that I’d had at naptime today, involving my idea for a novel and an article in tonight’s Star-Gazette, Elmira’s daily newspaper. I describe both of these events in my dream notebook.

If you had first read the article of which you have been speaking, and then in a semi-dozing state created your idea of a novel, replete with the characterization of the mother, then you would say that cause and effect were involved.

Science might admit that the novel idea itself was highly creative, an example of the mind at play as it used experience as a creative raw product — but of course you had your experience before you read the article. And when that kind of thing happens science then proclaims that the two events are not connected to each other at all, but are instead the result of coincidental patterns.

[...] Later he tried straight novels, but when he let himself go his natural fiction fell into the form of fantasy, outside of the novel’s conventions into science fiction’s form—and at that time further away from the mainstream. [...]

(9:32.) Again, his natural abilities kept leading him, so it seemed, away from the straight novel framework into the science fiction format, where at that time he discovered that science fiction was not given any particular honor in the literary field. [...] Again he tried some straight novels. [...]

[...] Publishers don’t put disclaimers on novels or poetry, I said. [...]

[...] Had one of his straight novels been accepted at that time, the story might be different somewhat. [...]

[...] The 15 three-ring binders containing her poems, all neatly typed, for example; her essays and journals; other blocks of unpublished Seth material, one of which I mentioned in the Introduction; an unfinished autobiography that perhaps I could put into publishable shape; likewise, passages from an unfinished fourth Oversoul Seven novel, in which Jane dealt with Seven’s childhood; a book of her paintings, with commentary; several early novels that I still believe merit publishing. [...]

(“Will Continental accept her novel, Enemies and Beloved Ones?”)

(“Well, when will Jane get word about the novel?”)

[...] Jane had felt that I was disappointed by the publication of her novel, The Rebellers — and correctly so. Both of us had been upset at the poor-looking, cheap, double-novel presentation.

[...] The “acclaim” (in quotes) of a tour helped revive him initially, and he began ideas of a novel.

[...] Before all of this, as the very first symptoms began, before the ESP book, he was already deeply frightened by the novel rejections, the Playboy rejections after they raised his hopes, the poetry book acceptance that fell through with Continental, and what he felt to be your joint deteriorating relationship.

[...] To refuse a psychic book that was definite, to try for another novel with no assurances, seemed foolhardy. [...]

As a writer for example, alone, he does not feel a responsibility (underlined) to write every kind of book possible: gothics, mysteries, science fiction, poetry, essays, straight novels. [...]

It is no coincidence that he also began working upon a novel idea, and no coincidence that further insights appeared to him this evening, and that the physical organism was almost immediately relieved. [...]

[...] On the other hand the moving of the bookcase to divide the work area showed even before his novel idea that his spontaneity was emerging fully within his work again, and that the work area was therefore to be separated from social activities.

[...] The Seven books are considered novels, yet they are not science fiction. [...]

[...] The impact of all of our books goes far beyond, for example, the numbers sold, and it is in both of your natures (with amused irony) to send forth into your worlds books that are in exuberant opposition to its mass beliefs—(much deeper) so you can hardly expect the readership of gothic novels. [...]

[...] The night before, she’d come up with good material about how to conclude her third Seven novel. [...]

(Today Jane called John Nelson and Tam, and learned where I am to sign the Seven contract, and that Prentice-Hall would be receptive to her third Seven novel. [...]

I will not here take credit for Ruburt’s novel outline. [...]

[...] Jane did manage to hold her ESP and writing classes part of the time; she also worked on her novel, The Education of Oversoul 7, which she discusses in her Introduction.

Ruburt himself, unconsciously but also to some extent consciously, has been more intrigued with questions concerning consciousness and personality — the role of the ego consciousness, for example — since beginning his novel, Oversoul 7 (in late March, 1972).

But beside this, as Seth was dictating this present book, I also found myself suddenly writing a novel, The Education of Oversoul 7, which was produced more or less automatically. [...]

[...] For example, the novel included many Sumari poems and portions of Speaker manuscripts; and when I sing Sumari I identify with Cyprus, who is supposed to be a fictional character. [...]

[...] She’s worked each day at her third novel on The Adventures of Oversoul Seven, and has heard often from Sue Watkins about Sue’s progress with her book on Jane’s ESP class: Conversations with Seth and with all of her other activities. [...]

[...] Even now she could only link the release of her very creative Sumari attributes, the singing poetry, and prose [as embodied in her novel, Oversoul Seven, for instance], with Seth’s reference to psychic families as well as physical ones.

[...] He tried unsuccessfully to publish several novels. [...]

[...] Whose difficulties were minimal enough under the circumstances —one that provided creative freedom since, until Emir, Prentice had published his world-view books, poetry and novels, as well as my work. [...]

[...] In his (unpublished) apprentice novels, Ruburt (Jane) did two or three versions of an episode with a priest he had known in his youth. [...]

[...] At this time Sue is working on a novel of her own and co-editing a weekly newspaper in a small town some 50 miles north of Elmira, New York (where Jane and I live).

1. Much Sumari material can be found in Chapter 7 of Jane’s Adventures, and in the Appendix of her novel, The Education of Oversoul Seven.

[...] Various Sumari examples can also be found in Chapter 20 and the Appendix of her novel, Oversoul Seven. [...]

[...] Both of my other class counterparts, Norma Pryor and Jack Pierce, are themselves of a younger generation than Jane, Peter, and I. Jack writes novels, as yet unpublished. [...]

(The double test envelope for the 8th test contained a page from an old novel of Jane’s entitled The Adult Time. [...]

[...] It is an excerpt from one of Jane’s early unpublished novels. [...]