Next I want you to go on to experiment with varying other visual elements, to find out how you can consciously change them to affect your response. I want you to have a personal experiential understanding of how you can control your experience. If you actually pause and try changing the variables on the list below, you will have a solid basis for understanding the rest of this book. If you think you don't have the time, put this book down, go to the back of the bus, and read some comic books or the National Enquirer instead.

For those of you who really want to learn to run your own brain, take any experience and try changing each of the visual elements listed below. Do the same thing you did with brightness and size: try going in one direction . . . and then the other to find out how it changes your experience. To really find out how the your brain works, change only one element at a time. If you change two or more things at the same time, you won't know which one is affecting your experience, or how much. I recommend doing this with a pleasant experience.

1. Color. Vary the intensity of color from intense bright colors to black and white.

2. Distance. Change from very close to far away.

3. Depth. Vary the picture from a flat, two–dimensional photo to the full depth of three dimensions.

4. Duration. Vary from a quick, fleeting appearance to a persistent image that stays for some time,

5. Clarity. Change the picture from crystal–clear clarity of detail to fuzzy indistinctness.

6. Contrast. Adjust the difference between light and dark, from stark contrast to more continuous gradations of gray.

7. Scope. Vary from a bounded picture within a frame to a panoramic picture that continues around behind your head, so that if you turn your head, you can see more of it.

8. Movement, Change the picture from a still photo or slide to a movie.

9. Speed. Adjust the speed of the movie from very slow to very fast.

10. Hue. Change the color balance. Increase the intensity of reds and decrease the blues and greens, for example.

11. Transparency. Make the image transparent, so that you can see what's beneath the surface.

12. Aspect Ratio. Make a framed picture tall and narrow . . . and then short and wide.

13. Orientation. Tilt the top of that picture away from you . . . and then toward you.

14. Foreground/background. Vary the difference or separation between foreground (what interests you most) and background (the context that just happens to be there). . . . Then try reversing it, so the background becomes interesting foreground. (For more variables to try, see Appendix I)

Now most of you should have an experience of a few of the many ways you can change your experience by changing submodalities. Whenever you find an element that works really well, take a moment to figure out where and when you'd like to use it. For instance, pick a scary memory — even something from a movie. Take that picture and make it very large very suddenly. . . . That one's a thrill. If you have trouble getting going in the morning, try that instead of coffee!

I asked you to try these one at a time so that you could find out how they work. Once you know how they work, you can combine them to get even more intense changes. For example, pause and find an exquisitely pleasant sensual memory. First, make sure that it's a movie rather than just a still slide. Now take that image and pull it closer to you. As it comes closer, make it brighter and more colorful at the same time that you slow the movie to about half speed. Since you have already learned something about how your brain works, do whatever else works best to intensify that experience for you. Go ahead. . . .

Do you feel different? You can do that anytime ... and you will have already paid for it. When you're just about to be really mean to someone you love, you could stop and do this. And with the look that's on your faces right now, who knows what you could get into . . . .all kinds of fun trouble!

What's amazing to me is that some people do it exactly backwards. Think what your life would be like if you remembered all your good experiences as dim, distant, fuzzy, black and white snapshots, but recalled all your bad experiences in vividly colorful close, panoramic, 3–D movies. That's a great way to get depressed and think that life isn't worth living. All of us have good and bad experiences; how we recall them is often what makes the difference.