“Seth material” search engine (Jane Roberts)

[...] Particularly, Joseph, in terms of selling your work. [...] Do not shrink at selling it. [...] You show as much reluctance to sell your work as Ruburt shows in marketing his poetry.

[...] You must work ever harder at your painting, and always allow yourself spontaneity and joyfulness as well as discipline in your work; and you must show, sell, or even give away your work.

You will do very well financially in the next few years—so well in fact that you, Joseph, will feel yourself compelled to sell your paintings in order to hold your own. [...]

[...] Ruburt did a double-take after I told you it would sell well. [...]

[...] Now, imagine (underlined) how you will feel when your paintings sell, the joy that they will bring others, the joy that you will feel knowing they are wanted. Imagine what you will do as you sell so many paintings that you need more time to produce them, and how you will then leave your job in order to paint, and the sort of place you will live, and the feeling of contentment and creative challenge that will fill you.

[...] Galleries are a way of selling paintings. [...]

[...] Now Ruburt in his exercises has been imagining vividly his dream book sold, selling. While you have been imagining the dwindling accounts and pessimistically thinking that after all the book may not sell, and to be practical you cannot be sure that the outline will sell and your efforts therefore have been knocking each other out.

[...] You held back in your work, and in selling it, feeling that you must make up—not for Ruburt’s symptoms, but because you felt you were not relating as emotionally as you could, and realizing that this same warmth was necessary to your work.

[...] Something seen but not reported, by a man owning or working in a small store that sells tackle; and either rents out boats, or did. [...]

(2. From a discussion Jane and I had the other day: Why do Seth’s books sell so much better than her own? [...] The question has been exaggerated lately by Prentice-Hall’s decision to let Dialogues go out of print —John Nelson’s office wrote Jane last week, offering to sell us as many copies as we wanted at 85 cents a copy. [...]

[...] After the session, I realized that I should have asked Seth one question at least: to comment on Jane’s Dialogues—why that didn’t sell well.

[...] I am“lucky” that the books sell, and that does mean that the world does accept “my work” to a certain important degree. [...]

Now: Ruburt once went door-to-door selling cosmetics. [...]

You are not selling cosmetics now, and now Ruburt does not go door-to-door, but people come to you either physically or through their correspondence, and now you have far more to offer. [...]

The book will sell as I have said. [...] You should sell two more paintings within a relatively brief time.

[...] Will it sell? [...] You worry about what the publisher will do with the book after it sells—what will happen to it, and imagine the ways in which it can be ruined. [...]

[...] Later, when you did not need jobs and the books began to sell, then your creative time also became productive-money time to some extent.

[...] It took a while, then—though not too long— before the book began to sell well. [...]

[...] That is, the books will have a strong active part to play over the period of your lifetimes, rather than for example selling in the millions in a year or two, then vanishing from the scene.

[...] Save now all of your people (portraits), and do not sell them locally.

[...] Do not sell it.

[...] Do not expect the books to sell like novels, as I have told you. [...]

(“How about those people selling those tapes? [...]

None of this would particularly show in terms of symptoms until Ruburt began to sell. [...]

[...] The title is a good one and the book will sell. [...]

[...] As the books continued to sell, several conflicts arose. [...]

He fears the books will not sell, because he is afraid, as in childhood, that if you do not toe the line your sustenance will be taken away. [...]

The financial matter was added to this when he began to sell books. [...] With the financial elements added, then to retain your love his books must also sell well.

[...] The act of faith, the act of expectation involved in what I suggest will make the difference between work that is not selling now, and work that will sell, and no magic will give the same result.

This is an extreme simplification, but while he is getting funds elsewhere, he does not really feel the need or the impetus to sell his work. [...]