Writing and living your your life story

Asker: Have you seen a description of Bashar? Do you see him?

Daryl: I see him as he describes himself. They describe themselves as a hybrid species—a combination of the beings that we often refer to as the Grays and us. They’re about five feet tall on average. Their skin is about paper white or whitish gray. Their eyes are a little bit larger. Males have no hair; females do, it tends to be white, although he said there are exceptions. They’re very slight. They have that sort of typical small nose, small mouth, small ears, larger slightly larger head, slightly larger eyes, but not too far off from us.

Their civilization has male and female, although at this point they’re evolving like we’re evolving, and their civilization is close to becoming non-physical. There are not as many physicalities to the things that they do at this point anymore. They don’t eat, they don’t sleep, they get their energy just directly.

Asker: You said as you raise your vibration, it’s not so much that Bashar comes through—it’s that you’re becoming more your version of him.

Daryl: Yes, I’m not coming down from the level as often or as much as I do when I go into the channeling state. My daily life, the things that I do, allow me to really just flow that energy more, that vibration more into the things I do.

We can all channel—we all do channel. Channeling is a natural state that we can all access. It’s when you do that thing that you love to do, when you don’t notice the passage of time, when you’re totally in your passion—when an actor becomes the character, when a singer is lost in the song—that’s a channeling state. We’re all channels. It just depends on what you do with it.

The more you stay in that state, the more it changes you, and the more you get to a point where that’s your natural state, and you find that you simply don’t go back. You won’t go back to whatever it is that you were doing before, and things change in your life, things change in your body, things change in your energy.

About two hours of letting that amplified energy rub off on me is about all I need at the moment to be able to apply it in my life. If I just kept doing it, if I went longer than that, it would kind of be like filling a cup over the brim—it’s all over the place and I can’t use what’s spilled. So it’s regulating itself kind of in a timing thing to give me like a two-hour shot each time I do this, and that takes me a long way.

BASHAR’S MAIN TRANSMISSION: “WRITING YOUR LIFE STORY”

Bashar: We will begin this transmission with the idea that we have called “Writing Your Life Story.”

One of the strongest ways there is of both imparting and retaining information of any kind is to place that information in a certain kind of pattern, a certain kind of structure that you on your planet call the story structure.

When you tell a story in whatever form, in whatever medium you choose to do so—be it a book, be it a film, be it your television or any other form you have on your planet, or simply sitting around one of your campfires—the structure of the story, the way in which the story is told, is very important in order for the maximization of the retention of the information imparted in that story.

All of you know instinctively the difference between a well-told story and a story that does not really grab your attention. You don’t necessarily always know why the story may not be as engaging as it could be, and you always know when it is very engaging, but you don’t always necessarily know why one or the other works or not.

The reason why a story works is because it is resonating within a particular structure called story structure—or what on your planet has been euphemistically labeled the hero’s journey. This archetypal structure has existed not only on your planet for thousands upon thousands of years, but also in certain ways works in other realities as well.

The idea of why story structure allows information to be imparted so strongly and retained so strongly over time is because not only is it that the structure imparts the information, not only is it some kind of skeleton upon which you can flesh out the story, but the structure itself is actually archetypally imprinted in your consciousness.

Many people who are familiar with telling stories—storytellers, writers, whatever you wish to call them—sometimes innately or instinctively understand that within a story there may be many different types of archetypes used to represent and symbolize certain principles, certain ideas within the story. But not many individuals understand that story structure itself is an archetype and is actually firmly embedded, firmly ingrained in the structure of your consciousness, of your physical mind itself.

That is why when someone tells a story that uses story structure in an appropriate manner, what that means is they are striking the right chords. They are in that sense hitting all of the correct resonances that are embedded within your physical mind consciousness, within your physical mind structure. It is similar to the idea of playing music—hitting all the right tones, hitting all the right chords, hitting all the right harmonics—because it is as though that structure is already inside your being, already part of your frequency, and by simply plucking the right cord outside, you’re causing a harmonic sympathetic vibration to start resonating in the structure inside your consciousness.

So when a story is told in a certain format that includes all of the appropriate points, structures, resonance, it will actually start those structures vibrating and resonating within your consciousness so as to allow you to more strongly identify with what is being said, to place yourself in that situation, in that story that is being told to you, so that it feels more like it’s actually happening to you. When something feels like it’s happening to you, then it feels like a true experience, and when it feels like a true experience, you retain that information—it becomes ingrained within you, it becomes a part of your vibration, it becomes part of who you are.

That is how story structure works—to cause the structure within you to resonate, to vibrate, so that it feels like you’re actually having a real experience. The more strongly you can adhere to the story structure, then the more strongly the experience will lock into your being, the more strongly you will retain all the information that is contained in that experience, and you will remember it for a lifetime and even beyond a single lifetime.

As you create certain stories that resonate strongly with that structure, these stories are handed down from generation to generation. They become legends, as you call them, and they exceed the course of any one lifetime, the span of any one lifetime, and are repeated and repeated and told and told from generation to generation.

The idea of why you remember certain people more strongly than others—in terms of the things that they may accomplish, the things that they may choose to do in life—is because of the way their story is told, and perhaps even more importantly, the way they lived their story, so that it can be told in a manner that is in keeping and in alignment and in harmony with that story structure that is embedded within your consciousness.

This leads us to the understanding that if you yourselves wish your own lives to be experienced in a much more powerful way, in a much more palpable way, in a much more tangible way, and you wish in that sense to feel that experience more strongly, more immediately, more viscerally within your own lives, you can actually use story structure to create your activities, to harmonize and align with those ideas, that archetype, in such a manner as to allow you to experience your own life more strongly and to allow others to experience the idea of the true nature of your being more strongly.

By telling your life in a story manner, you allow others to resonate, to understand, to identify with your experience much more strongly. They can take your experience and make it their own. They can adapt your experience to their understanding because it contains the archetypal story structure in such a manner that it is easily interchangeable, easily able to be plugged in to their own story. In that sense, they can feel your story more keenly. You can share information more keenly from person to person by using that structure.

This is why the future of education on your planet will contain more and more interactivity, more and more play acting. As you play out the ideas of what it is you are learning as a subject, as you interact with it in a more active way, in a more story-like way, children will learn, will absorb that information much more readily. In much the same way that when they see your television show or your film, they retain that story much more readily, they understand the concepts being imparted in that story much more readily than simply sitting and listening to the idea of a list of facts or dates.

If placed within context of a story structure, it is much easier for people to identify with those historical events and much more easily can they place themselves in that time period, feeling that they themselves are living those events and feeling the vibration within their beingness as if it is actually happening to them, and thus then retaining it as if it truly is their own experience. With that retention, then comes the absorption of the understanding of the principles imparted within that story.

You learn by doing. You learn by experience. Story structure is one of the strongest ways to allow others to experience the information that you may wish to share.

Now, how does this apply to your own life? If you have a thorough understanding of story structure as it has been presented on your planet, then you can apply this in many circumstances and situations in your life. First and foremost is the idea of the story that you tell yourself within your own mind, within your own heart, about who and what you are.

By speaking to yourself in story structure terms, by looking at the idea of your beliefs and your definitions as we have discussed them, in the idea that you are telling yourself a story every time you buy into a belief, every time you define something, you are making that a part of your story—the story of who and what you are, and who you wish to be, and how you wish to express yourself, and how you wish to grow.

The story you tell yourself about yourself will allow you to more clearly understand how to place the beliefs and definitions in that story structure that will work best for you, for the story that you are. Because story structure is already embedded in your consciousness in a unique way that is relevant to you, to your signature vibration, and thus by telling yourself a story about yourself that is in alignment with that particular story structure, you will be far more capable of structuring the story that will allow you to express yourself in a clear manner, a more powerful manner, a more joyful and exciting manner.

Writing the appropriate story structure for every situation that you are in will allow you to live that story out in a much more powerful way.

The Hero’s Journey & Archetypal Components

Now we will get to the idea later on in this transmission of living the story structure, but first, before you can live the story structure, you must understand more clearly how to write that story within yourselves so that you have the appropriate structure within you that then can be lived in your reality.

Writing the story structure of your life—writing your story in the manner that you wish to, in the way you wish to—is very important to aid and assist you in gaining clarity about who and what you are. If you study the idea thus then of story structure, you will understand it contains certain components.

Of course, the being you call the hero of the story, which of course in this case is you—you are the hero of your story. Now we understand on your planet this hero is sometimes called the protagonist, and in many cases, in most story structures, there is what you call the antagonist, or in your colloquial language, the villain.

Now this does not have to mean that your story structure needs to contain suffering in the old way that you choose to define that, but it will contain and must contain challenges that allow you to grow, that allow you to transform yourself by transforming those challenges.

In no matter what form they come, you must understand that it is very important to allow challenges to continue to exist in your story structure, in the story of your life. We understand many people on your planet in this transformational age and what you call New Age thought will often make an attempt to completely eliminate the idea of challenge in their lives, to completely and utterly eliminate the idea of limitation in their lives, to completely and utterly eliminate the idea of resistance in your life.

For the most part, you can transform these things in very magical ways to allow your life far more joy, far greater effortlessness in the manifestation of what it is you prefer. But as long as you choose to have a physical experience, you will never completely eliminate the idea of challenge, resistance, or limitation—that would be counterproductive to the idea of experiencing yourself as a physical being and experiencing yourself as a story.

A story requires the idea of overcoming challenges, of transforming yourself from something you were to something you will be. The only way that you can actually experience that process of transformation—which is the entire point of living your life, the entire purpose of living your life—is to have some form of resistance or limitation or challenge to transform.

The idea is that while you will transform these things greatly, you will continue to use these things to your benefit. The idea of retaining some degree of limitation, some degree of resistance, some degree of challenge in your life does not have to be defined in a negative way. There are positive limitations, positive resistances, positive challenges, and you have to be able to tell the difference.

While you may truly transform all the negative ones, or at least most of them, in your lifetime, you do not want to eliminate the positive ones because the positive ones—the utilization of the positive limitations and resistances and challenges—are what allow you to transform the negative ones.

This is the great paradox of storytelling structure. You actually can learn to use limitation to transform limitation, to use resistance to transform resistance, to use positive challenge to transform negative obstacle. This is the great secret of storytelling.

The idea of storytelling is that there is what you call a change, an arc, a transformation in your character from the beginning to the end, and in many places throughout the story. Still, at the end, even though the hero may be greatly transformed, they are still important—they are still relevant to the reality they are in. If they transform beyond being relatable and relevant, then no information is transferred to those watching or listening to the story. You have to remain in context in order to have transferred the lesson learned, so that others may use the experience for themselves.

That means that even though you will be less limited, experience less resistance, experience less negativity in your challenges, you will still remain within the context of the physical reality that is by definition composed of certain kinds of positive limitations, resistances, and challenges, in order for your story to be relatable to others wishing to apply that story to themselves, wishing to learn from your experience.

Please do not assume that you will simply eliminate all such limitations, all such resistances, and all such challenges. Those things in the context of physical reality do not actually stop until you leave physical reality, until you cross over into non-physical reality. And even then, you can still create the experience of story structure with certain kinds of challenges, certain kinds of activities and resistances, and certain kinds of ideas that you might label a limitation, in order to experience yet again another challenging and exciting story.

They will be different on that level—very different, far more free in a sense, far less limited in certain ways. You will not be using the same palette of colors, but there will still be a palette. Story structure exists on many different levels, and you will not really divest yourself of it at all completely on all of those levels. It will become more refined, it will become more streamlined, it will become more immediate. It may involve less space, less time, but the idea of story—the story you tell yourself about who and what you are—exists all the way up to the level of all that is.

All of you and all of us are simply a story. All that is is telling itself about itself. We—you all together—are the story of all that is. It is the story it knows itself to be. The only level in which story structure doesn’t exist at all is the One, but the One doesn’t know itself, doesn’t experience itself by definition. The One is just everything, the One without differentiation, so there is no experience of the self, there is no story.

The first level of reflection from the One creates the story of the One being all that is. That is the first story. Then all the components of all that is are all the stories, all the different ways that all that is can be a story. All the different stories of all that is—you are a story of all that is, we are a story of all that is. All beings in creation are a variety of infinite stories of all that is.

Your story is as valuable, as relevant to all that is, as any story. Without your story, all that is is incomplete, doesn’t have a total story structure. Obviously the story structure of all that is is much more complex than your individual story, although your individual story does contain great richness and great complexity. But complexity doesn’t mean it has to be complicated in the negative sense. It can still be smooth, joyful, effortless, exciting while still having challenges, resistances, and limitations in a positive context that you can apply to your experience, to your journey, to your story in order to grow your story, to expand your story, to enrich your story, and allow your story to resonate at the fullest pitch of your being.

First and foremost, before you can express that, before you can live that story, the story structure—making sure that the template is there to allow for all the cords to be hit, for all the harmonics to be involved, for all the notes to be played that are relevant to your tune, your story, your song—must be there so that you can pluck the ones that will resonate in others and in all that is.

As we have said, and as many of you can simply do your own research on your own planet to find out what story structure is: there is the hero, there is the obstacle that must be overcome. Often in the story structure, you also see there is what is called the call to action. That is the idea of what it is that you’re all about. Your excitement, your passion, is the call to action that pulls you from what might be your less preferred life toward the one you really do prefer, from the you that is defined in a way that is not aligned with your true self toward the you that is perfectly in alignment with who you know you are.

The call to action—that mission, that purpose, that expression—to move forward, to take a step, to take action in some direction because you are compelled to, because it drives you, because it pulls you, it attracts you. Even though at first there may be resistance due to inertia, familiarity, or any of a number of other reasons you have created within yourself resistance to that call of action, it is all about the idea of transforming that resistance, that first resistance, transforming and overcoming that inertia so that you are willing to finally answer that call to action—that call to be more of yourself, to jump into that passion and not resist it any further.

Once you answer the call to action, you will be on the journey. The journey itself is a structure also and has many components within it. On that journey, you will encounter many other archetypal ideas, archetypal beings, archetypal components such as the mentor—attracting into your life that being that will supply you some degree of guidance or information that will help you on your journey. A teacher, or even sometimes what you call euphemistically and colloquially an enemy, can be a mentor, teaching you what you need to know, what information you require, what toolkit you need to have, what signposts you need to look for, what signals you need to be aware of that will help you on your journey.

Along that journey, you will experience also many other things within yourself. You can find that there will be those moments within that journey structure that will allow you to experience fear and what you call doubt, which is simply as we have said a trust in a belief that is out of alignment with your true self. These components are all essential for you to experience the process of this story structure.

You will find that there will be those moments wherein you will experience again a variety of beings that will be there to act in alignment or out of alignment with your true self, to give you perspective, to challenge you to move forward, to give you an opportunity to look deep within and examine what you’re holding on to as a belief, as a definition, as your story—to examine the story that you are telling yourself about yourself every day, to examine the stories that you may have bought into, the stories about yourself that were told to you by your parents, by your friends, by your society, by your peers. To examine those elements and decide for yourself which really is your story, which elements belong in your story, and which elements do not belong in the story of yourself, of your being, of your desire, of your preference, of your joy, of your excitement, of your passion.

Allow yourselves to do your own research—what you typically call homework, we will call home fun—and explore the idea of story structure. You have many books, many other mediums that define and explain the idea of story structure and what needs to happen and when it needs to happen within the story in order for that story to resonate and pluck the chords of the archetypal structure in other people’s physical mind persona structures. Find out what those components are. We are not going to discuss them all here. It is up to you to be proactive in your own story, to find out what they are, what those challenges are, what those moments are, what those turning points are, what those twists are in the story that make it so exciting.

Many times in your lives, when certain things take a twist, take a turn, an unexpected direction, many times because of the negative beliefs that you hold on to, you may react to it in a negative way and bemoan the fact that it took that unexpected twist. But when you are watching one of your films or your television shows, you are far more excited, far more entertained, and far more interested in the story when in fact it does take an unexpected twist—that’s what makes it exciting.

You can do that within your own life too. You can look at the things that crop up in your reality, in your story, that are unexpected, unplanned for, unimagined, and you can treat them in the same way as when you are watching one of your shows and be excited and be intrigued and be curious about why that twist is there and what that twist will reveal, because it is only going to reveal more of who and what you are. Allow that to be in your story structure. Do not attempt to eliminate it, or you will have an incomplete structure. You will not be able to experience the full richness of your story and all of the surprises and discoveries that come with those unexpected twists at exactly the right moment.

What sometimes you may call exactly the worst possible moment, but that makes it the best possible moment to enrich the story beyond what you may have originally imagined, to expand it in a way that accelerates it toward a satisfying resolution.

The hero goes through many changes in a story to become more aware, more aware of who they are, to become a new person. There are many variations on this, we understand. Sometimes in some stories it may seem as if the hero doesn’t really change, but always you will find in the best stories, in the ones that are most true to the archetypal story structure, that something has changed. Sometimes it is actually only the audience that changes and not necessarily the hero, but in watching the hero, some information has been imparted by that particular hero’s journey or story that allows the audience to make the change within themselves that the hero did not. The hero is still functioning as a lesson for those watching or listening to the story or experiencing it vicariously through the hero.

There is always some idea, some shift, some growth, some lesson, some new perspective that comes into the story structure, and this is paramount. This is very important. That new perspective be allowed to be there, for then does the hero become something legendary, something more, something that burns itself into your consciousness and becomes unforgettable and spans the generations, allowing that shift in your own story, allowing that shift to be fantastical, unimaginable, great, grand on a grand scale, allowing for that being all right with that is what will make your story epic, as you say, and allow you to experience your own story structure in a grand manner, in a legendary way.

Story structure exists within you in all its challenges, in all its timings, in all its synchronicities, in all its twists, in all its lessons. Learn story structure. Read about it. Learn it. Observe it in what you resonate to as your favorite stories. Examine it. Understand it. Learn why that works so that you can tell yourself a new story, a story that is far more aligned with who and what you prefer to be.

Story structure is what you are. The whole idea of the physical life is to experience the process, experience the transformation, experience the story—the unique story you are.

Many times among individuals who are familiar with creating stories, you will hear a particular phrase used over and over again: “We want the same story but different.” What that simply means is there is a recognition that all stories are based on very, very simple principles, and there’s only very few simple principles that all stories share. But what you want to allow for is that unique twist that makes it just that much more fresh, that shift of perspective that puts another spin, another angle on that familiar story. You want the familiarity because you want to be able to identify with it, but you want the unique spin because you want to understand and experience the new facet of the multi-dimensional crystal of the story of all that is that you happen to be.

Miniature Stories & The Stage Play

Now, in terms of story structure, we’re not just talking about something that spans your entire life. Story structure comes into play in every situation within your life. Your life as an overall story is full of miniature stories, little stories that take place in various scenarios, various circumstances, with a variety of people. That is why at every moment it’s important to allow yourself to partake and apply the idea of story structure in your life and tell yourself the story about yourself that you really prefer to.

It’s always coming into play—not only in the long term but in the short term, over and over again. Individuals who are writers of stories—be they what you call novels, screenplays, stage plays—know that one of the techniques to writing the strongest possible overall story is that each and every scene, each and every chapter within that overall story, is itself a miniature story from beginning to end in a sense. Each moment, each miniature chapter, each scene contains its own beginning, middle, and end, its own journey, its own transformations, its own archetypes.

All together, the larger story is composed of all of these smaller momentary stories that build and build and build upon the other one, naturally leading to the other. Because even though there may be ups and downs in a story, the stories that don’t really work, that don’t really resonate with you, are just doing this [flat line], but the stories that stick, even though they contain what you may call ups and downs, are actually doing this [upward spiral]. They are using those ups and downs to continue climbing, to continue growing, to continue building upon what has come before so that there is a climax, so that there is a crescendo, so that there is a moment of revelation, so that there is a moment of change, so that it builds toward a new level, a new perspective, a new idea, a new understanding of who and what you are as a story.

Using story structure in this way when you understand it will allow you to live your life far more dynamically, far more dramatically, far more unexpectedly, far more imaginatively. Because once you understand the spine of story structure, you are then not limited—you are free to put on that spine whatever is truly exciting and relevant for your unique story. You are free to be unique on top of the common spine that is common to you all. Once you understand that, you can build on it very freely, very imaginatively. Understanding it is key.

At every moment when you understand story structure, you will remind yourself in every situation—not just as we have said previously, “What do I believe is true? What am I defining here as true that I may not necessarily need to continue to define this way or believe this way?"—but now within the context of story structure, you can ask yourself, “What story am I telling myself about myself in this situation, and what story would I prefer this to be?”

Thus then, by using story structure, you can find that it might be a more dynamic way, a more dynamic permission slip, a more dynamic process that will allow you to get in touch more easily, more imaginatively, with the negative beliefs or definitions you may have been holding on to. It may help you reveal those unconscious definitions and beliefs more readily because you will be willing to apply those things, apply those understandings, identify those things because they become part of your story structure. You need those components in order to keep telling the story you want to tell.

It makes like a writer dive down into your toolkit, your treasure chest of experiences, of beliefs, of definitions, to find out which of those can be transformed in a positive way, which of those limitations, resistances, and challenges can be applied to the story to make it an exciting, unexpected, imaginative story—as opposed to the idea of a story that simply is discordant and doesn’t stick, that you keep rejecting because you know it’s not your story.

Using story structure can take the charge off of the idea of having negative beliefs, negative definitions, because every one of you loves to hear a good story. You want to go on the journey. You want to go through those tough moments, those scary moments, those depressing moments, those challenging moments within the story. You want to go through those things with the hero because you are so excited to anticipate how the hero is going to change them, how the hero is going to transform them, how the hero is going to go beyond those limitations.

By telling yourself that you are a story, by knowing that you are a story, you will actually develop more willingness to look at all those components because they’re just going to be components that will make your story more exciting. You’re going to want to find those negative beliefs because you will cherish them, you will relish them, and want to bring them into the surface of your consciousness in order to apply them to your story so that you can transform them and have a greater, more glorious, more epic tale.

Being in a story will make you want to find those things more willing to find those things and make that journey exciting. So even as you may see in a movie the hero being in trepidation while they are about to find out some very negative things, you as the audience watching the story want them to go through that because the more they go through, the more delicious the transformation, the more delicious the unexpected twist will become.

Story structure within yourself is twofold, and this again brings back the power of the paradox in the story structure because not only are you the hero of your own story, but you’re also the audience. You’re also watching yourself as the hero. This is the unique idea of how your consciousness is structured into the physical and higher mind.

The physical mind is the character on the screen in the movie. The higher mind is the audience watching this story, learning from it, absorbing it, enjoying it, being thrilled, being scared, laughing, crying, but experiencing it all, savoring it all, and relishing and reveling in the twists and turns.

This is why it is so important to form a balance between the physical mind and the higher mind—a relationship between the physical mind and the higher mind, a communication line through your imagination conduit between the physical mind and the higher mind. Because when you do that, then it’s not like you will be isolated on the screen. The audience will be with you. You will be with the audience. You’ll be in sync. It will be more like the art form on your planet that you call the stage play, where you will be immediately there getting immediate feedback from the audience, which will then empower you to go even further in the story, even further in the play on the stage, which will then allow another response to happen immediately in the audience, and you will feed back and forth and back and forth.

This is why actors are addicted to acting. It is because they are in that moment, they are in that center point, in the true balance point when they’re really being that character, when they’re really living that story on a stage in front of a live audience. They are truly in that balance point of creation where they are the hero of the story and they are the audience of the story, and they are both the physical and higher mind working in concert, working together in the now, living in the present fully, totally sensorially on every level. That’s why that’s so addicting in a good way, in a positive way—it’s so thrilling, that live performance, so immediate, so present. The interaction and the relationship that is formed between the actors on stage and the audience begins to become narrower and narrower, and it dissolves until there is one energy, one synchronous energy, one synergistic energy flowing, rotating, cycling between the actor and the audience, and the actor becomes the audience and the audience becomes the actor, becomes the character, becomes the play, and it’s all one thing.

This is full utilization of story structure—the dynamic power of story structure and how you can apply it in your lives. But it must be there. You must understand what it is you need to apply. You must recognize the signs, recognize the archetypes when they crop up in your life, when they pop up before you. Recognize them: “Ah, that’s the mentor. Ah, that’s the antagonist. Ah, it’s this, it’s that, it’s the twist, it’s the unexpected twist. Ah, here comes the climax of this particular scene. Ah, here’s the reversal of that particular scene. Ah, here come all the other archetypes.”

When you learn to recognize them for what they are in your life, you will understand your life story structure. You will be able to use the story structure to invent the story on that structure that you actually prefer, because you’ll be able to define those archetypes and use them and apply them in your story in the way you prefer to, as opposed to the way that you don’t. You’ll transform what it is they have to say to you. You will listen. You’ll be more willing to know what it is they are telling you and how to apply that to the understanding of your life story.

Story structure is the process of transformation. Experiencing physical reality is the process of transformation—of going from dark to light. Don’t eliminate the archetypal components that need to be there, thinking that it’s all just supposed to be one note. It needs to have many different tones, many different colors, many different feelings. The challenges must remain. There will always be positive resistance. There will always be positive limitation.

A positive limitation is simply that which you have agreed are the rules by which you will play within the context of the story. It doesn’t have to be defined in a negative way. You all want there to be certain kinds of limitations within a story structure because when someone goes beyond the agreed upon limitations that were set up at the beginning of a story, and they go beyond those limitations too far, then suddenly you lose track of the story, you lose interest in the story, it doesn’t make sense anymore. You want the story to have a specific context in which to understand the lessons of that story.

Without that framework—which may be another way to define the idea of positive limitation if you wish—without that framework, the story has no context, it has no relevance, it’ll have no meaning, or it will have no ability to allow you to put meaning into it. When a story goes outside the framework, you start chasing it down, attempting to put meaning into things but getting nonsense back because it has gone beyond the agreed upon framework between the storyteller and those listening to the story.

That is why it is so important to pick your framework and stay within that framework and cherish that framework, because the framework is what keeps the story powerful, is what keeps the story able to allow the audience to put the meaning into that structure that they need to, to get out of it what they need to get out of it. Do not abolish those frameworks. Those frameworks have purpose. They have a reason for being there in your experience of transformation. Without the framework, you will not know when a change has occurred because you will not know how to identify something as a change from simply some random experience that has absolutely no relevance to you. The framework gives it context.

The resistance, the challenge is what allows you to know that a change is taking place. It is the active part of it, the overcoming part of it, the transformation part of it that you need to experience in order to know a shift in perspective has occurred. It is the whole idea of being able to experience the mechanism of the change rather than it simply being an instantaneous pop from one frame to a completely different frame completely out of context. It’s what you call a non-sequitur—it makes no sense.

Being able to see all the interim frames, taking that time to do so in the perfect timing in which it needs to be experienced, is what allows you to appreciate the transformation because you know from where you came and you know where you have wound up, and you take all of that experience in between—the changing from one frame to another, the resistances, the overcoming, the transformation of the challenges—from one frame to another to enrich the end result of where you wound up. Without that as part of the framework, you will not be able to appreciate the change or even understand it. You will not really be able to hold on to it.

These frameworks, these resistances, these ideas are just providing context for the story to allow you to experience your story in the unique way you were designed to experience it—as a unique personality, as a unique aspect of creation of all that is, of the grand epic story of all that is.

Go out, use your research, find your books, find your films, find your plays, examine and learn story structure. Examine and learn all the archetypes that exist within it so that you will recognize them when they crop up in your life and you can use them—use them transparently, use them powerfully, use them effectively—so that you will be the story that you prefer to be, and so that others will know what story you are telling, and that you will know clearly what story you are telling yourself.

“What is your story? What is my story?” Ask yourself that. “What is my story? What story am I telling myself? What is my story?”

Then you will allow yourself to find out what you’ve been telling yourself and compare it to what you would rather be telling yourself and what you would rather be living.