“Seth material” search engine (Jane Roberts)

(I have for some time thought that Jane needed to sell her writings as a means of justifying her life—whether these writings were her best work was, in that sense, immaterial; she couldn’t possibly wait until her writing was a polished art before beginning to market it. So I don’t believe comparisons between her selling her work, and me selling mine, mean much. I also have an attitude that is quite personal, whether it is a good one or not: I don’t care too much what others think about my painting. Oddly enough, I am sure that my work will end up very successful, both as art and in the marketplace. So I can safely say that in my own way I am trying very hard to make a “success” of my work. Our methods differ markedly, however.

He feels that you have not tried to make a success of your art, but have used excuses while blaming him for using excuses; that he tries desperately to sell his books, while you will not lift a finger to sell your paintings; that if he waited until he did his best work, he would never have sold a thing.

He feels that you are not satisfied with your work, and so will not try to sell it in the marketplace, while he must sell his work in the marketplace. There are several levels of feeling here. On one level he would not care, if only he felt you were really (underlined) painting what you wanted, and pleased with it; but you do not seem pleased.

(Therefore I will make a harder effort to do both my art and to make it available to others and to get money with it, to broaden its communicative necessities—this I am perfectly willing to do once I understand its necessity. I do not seem to be the kind to dash off paintings to sell them and let it go at that. I want them to be transcendent. Perhaps erroneously, I didn’t think I could start out with them being that—but I did feel sure that the state would be achieved.)

Be careful of the suggestion “I will sell all the paintings that I want to sell,” for you are setting up conditions and limitations. Either say “I will sell all my paintings,” or “I will sell these paintings,” referring to specificness. [...]

There is some connection here that you can easily dislodge, having to do with your father’s reluctance to sell his photographs, his attitude, and his reaction to clients when they entered the house. You have remarked that your mother did his selling for him, or he would not have done it.

Imagine vividly an empty space on the wall in place of any painting now hanging there that you wish to sell. [...]

[...] See and hear yourself telling them (long pause) that you are selling more paintings than you ever believed possible. [...]

[...] You put in time and effort in the past to sell your commercial work, but have refused to do the same to sell your paintings. [...]

In order to sell your paintings in any important way, or to achieve a reputation, you must want to achieve a reputation, and want to sell the paintings. [...]

[...] This material stemmed from a discussion Jane and I had had the other day, re selling paintings and how best to go about it. [...]

What you do not seem to understand is that the search, to show and sell your paintings, will in itself provide fuel for future work. [...]

[...] Think of selling them with love, and you must love the people you sell them to. [...]

[...] I’m concentrating on selling paintings.”)

Give me a moment. (Pause.) The idea of the ad (to sell paintings) is a good one. [...]

[...] Change the ideas around completely, and I tell you, you will sell your paintings. [...]

With a different focus, you for example can paint and write, utilizing both abilities to the best, and sell both. The old framework was so restrictive that your ideas of secrecy, protection and privacy made you want to protect yourself to such a degree that you did not want your paintings to sell, to share them with others. [...]

He felt that in the world’ s eyes this put you down, since your paintings were not selling. [...] His job then was to encourage you to paint and sell your paintings, for he felt nothing else would satisfy you, and/or satisfy your brothers or your family.

[...] My selling paintings. [...]

[...] That much will free you to paint, and sell your paintings.

(Remember always that what you are seeking is also seeking you, and whenever you want to sell a property of any kind, there is always someone who wants what you have to offer. By using the powers of your subconscious mind correctly, you free your mind of all sense of competition and anxiety in buying and selling.)

[...] When our friend Philip sells he is thinking “This is me. You can like it or not, but buy what I am selling.” But he believes in what he is selling.

[...] Our other friend, to the contrary, is afraid of this ability, and distrusts it, and is not at all committed to the product that he sells.

We find that Philip believes, basically, in the products that he sells. [...]

[...] He enjoys selling. [...]

A strange marketplace that does not sell vegetables.

[...] We visited a straw market, native women weaving baskets and bags and selling them a loaf of bread. [...]

[...] The books are selling well, and will be selling better. [...]

[...] The books will sell beyond your wildest dreams.

[...] You never directly questioned me about that, but Ruburt was not prepared for that book to sell in any great manner, and it was to his advantage that it appear, to give him a book, but also that it lie quietly for a while.

Your growing faith in Framework 2 about Ruburt’s condition has also helped free your intent about selling books. Before, you tied Ruburt’s physical problems in with the selling of the books. [...]

It is important that you keep your intent with Ruburt clear, that he will walk properly, that the books will sell well in a second instance, and then trust that the pieces of the completed pattern will all fall into place in Framework 1, as indeed they shall.

[...] But here also is one of the rubs, for both of you used to take it for granted that real creativity did not sell. So Ruburt became somewhat suspicious when he considered creativity of his own, and afraid that it would not sell because it was creative.

Today he was afraid, for one thing, that if he left himself alone he would just write poetry that very well might not sell. [...]

The books will continue to sell. [...]

[...] It would not sell, while “inferior” work, by contrast, would.

[...] If you would forget such ideas as selling your paintings and simply do them, you could clear some barriers.

[...] Those abilities have always been allowed greater freedom and spontaneity because they did not threaten you in terms of selling.

The books will never stop selling in your lifetime. [...]

(“Will I sell the art work I’m doing now?”)

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

[...] There was no subconscious distortion on Ruburt’s part, when I told you that the nonphysical self book would sell. [...]

[...] I believe two poetry books will sell. [...]

[...] Ruburt’s selling jobs were very practical for a time, for they allowed him to release aggressive feelings. [...]

My book will of course sell. [...]

[...] So when his books began to sell well, and for reasons given, he worried about this energy of his. [...]

Again, he does not have to feel—and he should not feel—that ideally he should be a public personality, going abroad to sell our ideas. [...]

At the same time you’ve felt a strong responsibility to perform publicly, to sell books, get your message across, let people see that—yes, the sessions do happen—there is no fraud involved. [...]

9. Yet R.’s work as painter may be greater than either of us know, so on the other hand I feel he should hang onto them, rather than scatter his work, put them in one large room—bedroom?—to show them off well and sell them at high prices; he doesn’t sell many now anyhow and his prices may reflect his ideas of art value in society. [...]

[...] I may even go so far as to sell paintings—but something will be done.

1. I still feel guilty doing creative stuff like poetry in work time when it might not sell. [...]

[...] Sonja has always been attached to a portrait I had painted before Jane and I were married, and at various times had urged me to sell it to her. Yesterday she asked me again to sell her the painting, and I did even though it had sentimental value for Jane and I.

[...] At one time I had decided never to sell the portrait, but gradually changed my view on this in the light of my own feelings, along with Seth’s statements concerning my using my work to influence others. Yesterday I thought I had more understanding why Sonja wanted the painting, and so decided to sell it. [...]