The Mentorship Program
Channeling Your Higher Self
with Inspirational Writing
inner voice said to Helen Schucman, “This is a course in
miracles--please take notes.” She
found the thought disturbing and ignored it as best she could, for as long
as she could. At the time, Dr. Schucman was a psychologist working at the
Presbyterian Hospital in New York City.
Robert Skutch’s book, Journey Without Distance, gives the
historical account of Schucman’s experiences.
A trip to A.R.E. in Virginia Beach to investigate Edgar Cayce’s
perspective on psychic phenomena provided the needed encouragement.
She discovered that in some of his readings Cayce had described a
method he called inspirational writing.
He indicated that was no limit to the type of inspiration,
knowledge or wisdom that could come through such a channel.
After much hesitation, she finally decided that she would follow
the advice of her inner voice and begin to take notes.
She set her pencil to paper and began to write.
She didn’t lose awareness; she always knew
who she was and what she was doing. She
was writing down the thoughts that were coming to her.
What resulted has become a highly influential masterpiece of
inspirational literature, A Course in Miracles. It’s a
three-volume work channeled completely through inspirational writing.
A Course of Miracles certainly isn’t
the only work of inspirational writing that has made headlines.
Another bestseller was Jonathon Livingston Seagull.
The author, Richard Bach, was on a walk one day when he heard an
inner voice declare, “Johnathan Livingston Seagull.”
There was more. He
went home and began writing immediately, furiously, trying to keep up with
the flow of words that were coming spontaneously to mind.
In one sitting he provided the world with one of its most uplifting
stories. It’s an
allegorical story of a seagull that learns to fly beyond the flock’s
limited assumptions and who shares this secret with others.
It’s also a story that suggests its own source, the potential for
being a channel of inspiration. When
you ride the spirit on a mission to bring the truth of that spirit to
others, you’ve begun quite an adventure.
It’s not uncommonn to hear authors describe
moments in their work when they ride a creative impulse.
The words flow effortlessly from an invisible source through the
author’s hands and onto the page. At
those times, they rarely take credit for what they write.
To them it’s a gift and their role is simply as a channel.
While perhaps few of us would claim to be
inspired writers, most of us can relate to what these authors are
describing. We all know what
it feels like to struggle over the words when trying to write something.
Some of us have also had the opposite experience, perhaps when
charged up writing a letter to a friend, where the words just poured out
onto the page. If you’ve
had such an experience, you’ve tasted a hint of inspirational writing.
From the description people give of their
experience with channeled writing, however, it might seem like ghost
writing. The person hears a voice, an invisible source, dictating the
material. Is this voice the
intuitive channel of one’s higher self, speaking from the source of
universal intelligence? Might
it instead be coming through the subconscious, a channel not only of the
author’s own submerged thoughts, but also perhaps of the thoughts of
other people, living, dead, and otherwise?
Being spontaneous, going with the flow_these
are qualities of being a channel. Yet
to be a constructive channel, to grow in spiritual awareness through
channeling, we need other qualities beyond simple spontaneity.
In stream of consciousness writing, for example, there is no
special attunement, except to allow whatever comes to mind to flow out
onto the paper. If we first
attune ourselves to an ideal, however, as in meditation, we allow our
whole being, mind and body, to resonate with the spiritual energy of the
ideal. Then when we let our
thoughts flow directly onto paper they will reflect and express that
spirit. Here we have inspired writing, a channel of the higher self.
on the Breath:
A Channel of Inspiration
I’d like to describe to you an approach to meditation that goes
right to the heart of opening the channel of your higher self.
To begin, simply focus on your breathing and study it for a moment.
Note the obvious: breathing has two parts. There’s an inhalation and an exhalation.
During inhalation the chest and abdomen extend as the lungs fill
with air. During exhalation
the chest and abdomen relax.
The exhalations can be very relaxing.
As you observe your breathing, allow yourself to follow your
exhalations into relaxation. Every time your breath goes out, you can relax a little bit
more. The more you relax, the
easier it will be to do the next step.
What I’d like you to try next is to pay
attention to your breathing without changing it in any way.
Sneak up on your breathing so it doesn’t know you’re watching
it. Observe it in its natural
flow without influencing it by your presence.
Make sure you’re not touching it in any way.
If you’re like most of us, as soon as you
watch your breathing you’ll feeling that you’re influencing or
controlling it in some way. Maybe
you’ll help an exhalation complete itself and get the next inhalation
going. Maybe you’ll touch
it ever so gently, to adjust it, or simply because you can’t help
yourself. It’s hard to watch your breathing without feeling that
you’re influencing it.
Stop for a moment.
Assure yourself that you can control your breathing.
Take a slow, deep breath. Set
the pace yourself. Decide how
long you want to hold it. Now
force the air out at your own pace. Decide
when you wish to take in the next breath and make your breathing obey.
Decide when you wish to stop this exercise in proving your control
and let your breathing return to normal.
Think for a moment: if you’re not
controlling your breath now, who is?
Most of the day, and all night while you sleep, your body naturally
regulates your breathing without your help. Does your body need your help
now as you sit there watching your breath?
No, of course not. Keep
that in mind and use it to reassure yourself while you try once again to
watch your breathing without affecting it.
Here’s a hint. As the breathing goes out, let it go while you relax.
Then let the next breath happen of itself, in its own way.
Try it. Let the
breathing happen to you. Think
to yourself, “It breathes me.”
Perhaps I can motivate you to persist in this
practice by revealing that what you’re doing is a form of meditation.
The Zen Buddhism tradition calls it meditating on the breath.
The instructions for this form of meditation are quite simple.
Focus on your breathing, watch it, let it be.
Not only is watching the breath an ancient
form of meditation, it’s also an important and meaningful way to be a
channel--a channel of inspiration. You’re
learning to allow the breath of life--the spirit--to flow through you.
All religious traditions have linked the breath with spirit. The
Cayce readings are no exception. We
all depend upon this invisible mover, the air, for our life--it touches
all that lives. The word,
inspiration, reflects an understanding of this relationship.
There’s a link between the process of breathing and being
quickened by spirit, animated by genius, or aroused by creative
intelligence from a source beyond our individual will. In meditation we
can experience breathing as a similarly wondrous channel of inspiration.
If you relax, you begin feeling the breath
coming to you on its own. If
you can get out of your own way and trust in the coming of inspiration, it
happens. Each inspiration
feels like a gift--it comes from within, yet the spontaneity suggests that
it’s not your doing. There’s
a feeling of grace, ease, peacefulness and gratitude.
The thought, “It breathes me,” can be very soothing.
When you’re calm, you can be a channel of
inspiration simply by allowing yourself to be so. You don’t have to think about when to breathe or worry
whether or not you will breathe. You
simply accept, experience and allow the inspiration to happen. To get out
of your own way, to step aside and watch your breathing go by is to become
a channel of inspiration. As
much knowledge or wisdom can come through this channel as through any
other. Practise it and
you’ll better appreciate its value.
From Your Beathing
By focusing on your breathing, you’ve learned how to be a channel
of inspiration. Our
meditation on the breath can become a basis for learning inpsirational
Consider the three modes of breathing:
controlled, automatic and inspired. Each
of these modes of breathing corresponds to a method of writing.
We observed how, when we focused on the
breath, we tended to control it. We
can also exert full control over our breathing, determining when to take a
breath, how fast to breathe, how deeply.
Much of our writing is that way.
We decide what and when to write.
We control the entire process.
We mull over our thoughts, and when we arrive at a satisfactory
thought, we write it down. In
both cases, in controlled breathing and intentional breathing, it requires
attention and effort.
Much of the time, our breathing proceeds automatically and we pay
no attention to it. The
subconscious mind controls our breathing and it transpires outside of our
awareness. When our breathing
is on automatic, it expresses our emotions.
We may breathe shallowly when we are upset, or we may even
momentarily hold our breath. We
may feel tired, or sad, and heave a deep sigh.
All these things happen outside of our awareness.
In a similar fashion, automatic writing is
writing without awareness of the act.
Not only is the writer unaware of what is being written, but also
unaware, or in control, of the hand movements that are producing the
writing. The handwriting
happens by itself, controlled by the subconscious mind. Sometimes the
handwriting is very different from the person’s ordinary penmanship. How this is possible will become easier to understand a bit
later when we examine the phenomenon of dissociation.
In contrast to automatic breathing, in
meditative breathing, we are aware of the breathing process.
Like automatic breathing, the flow of the breath happens by itself.
Yet we don’t feel out of control.
We have voluntarily suspended our own interference with the
breathing, yet we could assume control at any moment. We are consciously
allowing our breathing to express itself naturally while we watch.
By becoming very calm and relaxed, by trusting in our breath, we
allow ourselves to be inspired.
The process of inspirational writing involves
our maintaining an awareness of what we are writing.
We allow the writing to proceed on its own.
We put our pen or pencil to the paper, or our fingers on the
keyboard, and allow writing to happen.
We are aware of what we are writing, but we aren’t intentional
writing anything. We don’t
decide upon thoughts to record. Instead,
we simply allow ourselves to begin writing, watching our thoughts reveal
themselves as we write.
Learning to meditate on the breath helps us
channel inspirational writing. To
allow writing to happen by itself, we must relax and trust in the
spontaneity of the writing process. If we are nervous about what we might
write, we hold back, we choke up. A
willingness to trust in inspirational writing without first knowing what
you will write requires a meditative frame of mind.
Meditation, in fact, is what Cayce prescribes
as the first step in beginning a session of inspirational writing.
We meditate to attune our consciousness to our ideal, to the
highest within us. At the end of the meditation, we simply continue our
attunement by expressing it in writing.
Cayce’s formula for developing the channel
of inspirational writing is similar to our general formula for channeling.
First we tune ourselves to our ideal, and then we step aside to
allow spontaneous expression. Tune in, then let go!
Inspirational writing makes a perfect case
study to understand Cayce’s approach to channeling the higher self.
It’s different than the popular stereotype of channeling another
writing, in fact, a technique Cayce discouraged, is a prime example of
this stereotyped form of channeling. Inspirational writing is a way to channel higher
consciousness while automatic writing is something like the Zen archer
called “trick shooting.”
A Channel of the Subconscious Mind
To explain the difference between automatic and inspirational
writing, I’m going to introduce a couple of five dolar words:
dissociation and automatism. They
are terms from the psychology of the subconscious mind and altered states
of consciousness. They relate
to phenomena that have both abnormal, or mind disturbing, and
parapsychological, or psychic possibilities.
Like the voice of intuition, it’s another example of the “good
news, bad news” aspect of the subconscious mind.
We usually think of the subconscious mind as
simply a storehouse of memories and feelings. It’s actually more than a box, or container.
It’s a sub-system of the mind.
It has intelligence, it perceives and it thinks.
Cayce noted that the subconscious mind manages the workings of the
body and the habitual aspects of our lives.
That’s a big job, but an important one.
If the conscious mind had to run everything,
we would have to move very slowly. We
would have to think about every step that we take, every action, every
word, every breath, every heart beat.
It would drive us crazy. Fortunately,
we naturally delegate these responsibilities to the subconscious mind.
It functions as our servant.
Our conscious mind wakes up in the morning,
for example, and says, “I must get up now and get dressed for work.”
While we busy ourselves thinking about the day, the subconscious
mind takes over and follows our instructions.
It lifts our legs out of the bed, it takes us into the bathroom and
brushes our teeth, it gets us dressed.
We don’t pay much attention to these actions.
The process of getting up and getting dressed is mildly dissociated
from our conscious mind. All
the little details of our actions occur as automatisms--reflex actions
directed by the subconscious.
Driving a car is another activity that is
largely automatic. Our conscious mind is free to daydream while the
subconscious mind manages the car. It
takes charge of the gas pedal, the brakes, the steering wheel, watching
the road, and it gets us to work. We
barely pay attention to the trip unless the subconscious alerts us to
something out of the ordinary, such as an accident.
We can trust the subconscious mind, as a rule, to follow our orders
and discharge our intentions. Sometimes,
however, it surprises us with its faithfulness.
Suppose our spouse asks us to be sure to
remember to pick up something on the way home from work.
Outwardly, we agree to remember.
Under the surface, however, we may feel, for any number of reasons,
annoyed by the request. Later,
as we drive home, the conscious mind daydreams, leaving the trip to the
subconscious mind to administer. As
the car passes the turnoff for the errand, the subconscious mind says,
“well, let the Captain keep daydreaming...we know he doesn’t really
want to do that errand anyway.” On
returning home, the spouse asks about the errand.
We suddenly realize and confess in all innocence, “Oh, I
This example shows how the subconscous can
express itself when the conscious mind is dissociated from the action.
The forgetting was an automatism, controlled by the subconslcious
mind. The forgetting wasn’t
consciously on purpose, but it did express a genuine feeling within the
The subconscious mind also manages the
mechanics of speech, the process of forming words in our mouths to express
our thoughts. Like driving a
car, the act of speaking is often dissociated from awareness. This situation may allow for an automatism, the leaking of a
subconscious feeling. Perhaps
you’ve heard, for example, of the “Freudian slip.”
John is out with his wife when they run into
her old boyfriend. When she
makes the introductions, John blurts out a greeting, “I’m very mad to
meet...I mean glad to meet you!” In
this Freudian slip, John’s spontaneous greeting happened so fast that
the production of the words was dissociated from awareness. That lapse of
awareness allowed John’s subconscious feeling of jealousy to express
itself. The subconscious mind slips in the sound alike word “mad”
and gets to express its true feeling.
The uttering of the word, mad, is an automatism.
It didn’t happen voluntarily, but involuntarily, like an
automatic, knee jerk reaction of the subconscious mind.
Expressing a greeting is so habitual, not paying any attention to
it (dissociation) provided the opportunity for the slip (the automatism).
When the cat’s away, the mice will play.
The cat is the conscious mind and the mice
are inhabitants of the subconscious mind.
All subconscious minds are in contact with one another, so the
subconscious mind isn’t only a channel of information about your
unconscious feelings, it’s also a channel of telepathy.
Therefore, automatisms can do more than express your unconscious
feelings. They can also
express subliminally perceived telepathic information, from the living and
the dead alike. That’s a
reason why we’ll learn to do the inspirational form of channeled
writing, to avoid these other influences.
Handwriting is another activity that we give little attention.
As we focus on our thoughts, our subconscious mind manages the hand
movements necessary to form the letters on the paper.
Handwriting can thus also be a source of automatisms. Have you ever
made a Freudian slip of the pen?
Psychotherapists find automatisms useful ways
to learn what is troubling a patient.
They listen for slips of the tongue and analyze “forgotten”
appointments. They also
sometimes purposefully induce dissociations in order to encourage
automatisms to reveal the contents of the subconscious mind.
For example, Dr. Anita Muhl describes in her book, Automatic
Writing: An Approach to the Unconscious, how she uncovers the source
of patients’ difficulties by inducing automatic writing.
One induction method is to hypnotize the
person and give suggestions that the hand will soon begin writing.
Meanwhile the person’s attention is dissociated from the writing
process by being engaged in conversation.
Dr. Muhl cautions that it’s important to approach the automatic
writing carefully. She and
the patient examine each piece of writing together.
They digest what the subconscious has revealed before proceeding
Psychics have induced automatic writing in
themselves as a means of channeling information. Ruth Montgomery, for example, uses automatic writing to
channel her guides and has written several books in this manner.
In her autobiography, Ruth Montgomery: Herald of the New Age,
she describes how she developed the capacity to use automatic writing.
Through automatic writing she has demonstrated most of the skills
normally associated with trance channels.
She can perform psychic diagnostics, see into the future, as well
as contact spirit guides and extra-terrestial beings.
Clearly, automatic writing can be a productive form of channeling.
Automatic writing does have its drawbacks.
Cayce discourages using any dissociated automatisms, including the
Ouija board, as a form of channeling.
The major problem with them is that they form a channel of the
subconscious mind. That means there’s both good news and bad news.
Ruth Montgomery can testify to the good news.
Brad Stoker, in his book, Ouija: The Most Dangerous Game,
can testify to the bad news. His
book is the best collection of documented cases of mental disturbances
resulting from developing automatisms as a form of channeling.
Freudian slips can be quite surprising at
times. A person may even
exclaim, “I don’t know what ever possessed me to say such a thing!”
The person doesn’t recognize the feeling behind the slip, thus
the reference to being possessed. Such
a statement shows a natural understanding of the basis of possession.
One senses being in the grip of an intention not one’s own.
We can become possessed by the contents of the subconscious mind.
Think how much more it would be possible to become possessed by the
subconscious were you to turn your entire arm over to its expression.
Although Cayce does warn about possession and
the drawbacks of dealing with discarnate spirits (which we will discuss
more in chapter nine), his major concern lies elsewhere.
Cayce notes that writing automatically, with the subconscious mind
as the source of the material, results primarily simply in the production
of channeled material. What
comes through may affect the person (hopefully not in a detrimental way)
but there’s no growth in the process itself. It’s more like learning a trick than learning to grow in
You can teach your conscious mind to
dissociate itself. You can
distract the conscious mind, not requiring anything on its part. Whatever the subconscious mind wishes to express can then
come through as automatisms. What
you’ve learned is a sleight of hand trick.
Alternatively, you can learn to still the
conscious mind, teaching it to quiet itself.
You can learn to attune yourself to the spirit of an ideal.
You thus learn to make your conscious mind a channel of the
superconscious mind. Inspirational
writing promotes growth in consciousness.
Inspirational writing is more valuable than
automatic writing, therefore, because it helps you grow in your awareness.
Recall when practicing meditating on the breath, the conscious mind grows
in its ability to trust. It
witnesses the miracle of inspiration.
It becomes a part of that process.
It learns not to fear letting go.
In automatic breathing, however, the conscious mind learns nothing
except to witness the expression of the subconscious.
Without scrupulous study of what emerges, as in Dr. Muhl’s
approach, the conscious mind remains a cork bobbing on the sea of the
emotions, unmindful, even, of its plight. Cayce remarked that through
automatic writing you can be a channel of the most profound material, yet
have your own life be in shambles. There
are many cases to attest to this fact.
During inspirational writing the conscious
and the subconscious mind work together as a channel for the
superconscious mind. The
superconscious mind is invoked through the use of the ideal.
The meditative state attunes the person to the ideal, to a
particular pattern of activity of the superconscious mind. The superconscious can use material from the subconscious, if
needed and appropriate to its purpose.
The ideal serves as both a magnet and a filter for what will pass
through the channel. Otherwise,
as in automatic writing, whatever is in the subconscious mind that desires
expression can come through. Expression
is the subconscious mind’s only desire. The superconscious mind,
however, focuses expression toward a purpose in harmony with an ideal.
Are you seeking a shortcut, Cayce asks us, or
are you seeking that which will bring truth into your life?
Seek what brings the spirit of the truth, that which brings life
itself, something that will help you grow.
Bringing forth a “wonderment,” as he called it, is of limited
value, except to perhaps satisfy a desire to learn the trick or to
distinguish oneself among others. Bringing
forth life, on the other hand, is something of true value.
Begin your experiment with inspirational writing by a period of
meditation. When you feel you
have entered into the spirit of your ideal, then begin your writing.
Don’t concern yourself about what you will write, simply write.
One way to get started the first time is
simply to write out your ideal. Perhaps
you begin with a single word or a phrase. Maybe you’ll find yourself
just writing that again and again. Whatever you write, it doesn’t
For example, perhaps my ideal is to be the
best I can. So I write that
down “to be the best I can.” I
want to keep the writing going so what happens next is that I find myself
just repeating the phrase, “to be the best I can, can, can, the best is
the best, I will be the best I can be my best.”
I am aware of what I am writing, I’m aware that I’m repeating
myself, but I don’t judge it. I
don’t to do anything that will interfere with what my hand might feel
inclined to write. And then I
find that it’s changing, evolving some more meaning, “I can be my
best, the best in me can come through me when I am me to be myself the
best I can be.” I’m
starting to warm up and it’s getting a little easier to trust in the
process. “I’m best at me
when I’m just me, being me, that’s the best I can be, not trying to be
anyone else. Trying takes
trying but just being me comes natural.
The best in me comes from being me.
When I let me be I sometimes surprise me.
There’s more to me than I can see.”
I’m still just playing around, but it’s starting to be less
It helps to take a playful approach, especially in the beginning.
Being playful can be freeing.
Don’t take it too seriously.
Being self-conscious, concerned about doing something wrong, or
feeling a need to write something important, can get in the way.
Being a channel of inspirational writing, like most channeling
methods, requires that you be willing to let go of any demands upon
yourself for performance. You
certainly need to forget about grammar and punctuation!
You need to forget about whether or not you’re doing it
In training inspirational writing to others,
I have found that most people have a tendency to hesitate before they
write. They may wait for a “voice” or for a really inspiring thought
to arise that they can write down. Asking
yourself if your thoughts are important enough to record can be
censoring, or filtering your thoughts before you write them will keep you
from writing in an inspirational flow.
It’s deadly to insist that you won’t put
anything down unless you know it’s profound.
It makes you feel like you have a chisel in your hand and you’re
going to carve these words into stone.
Meanwhile television cameras tune in on what you’re about to
write and satellite transmission stations are ready to broadcast it live
around the world on the evening news.
You feel such a sense of stage fright you can’t write anything.
I’ve found it easier to begin by just
writing anything. Writing anything and nothing in particular, just playing
with the words, is a good way to get started.
What you learn about channeling from
inspirational writing is that is it a lot easier to receive ideas while
writing than while sitting there waiting for the ideas to arrive.
People who’ve practiced any of the channeling methods will
confirm that starting the flow is the hardest part.
You can verify this principle for yourself.
Each time you sit down for a session of inspirational writing, the
first words will take the longest. You’ll also find that your most
inspired writing won’t be these first words, even though you may have
spent five minutes selecting them. Your
best work will appear while you’re writing and it’ll be material you
didn’t have even a second to think about first.
You’ll learn not to let getting started hold you back.
Beginning to write is the beginning of wisdom.
You’ll soon get used to writing without
knowing in advance of each word what you’ll write. As you feel more comfortable with this process, you’ll
concentrate less on the mechanics and more on staying in touch with the
spirit of your ideal. As you
pay more attention to your meditative frame of mind, and less to what
you’re writing, your writing will become less contrived and more
Rather than focus on how you’re doing,
focus on your feeling of attunement and let it express itself in your
writing. It may start as a
trickle. How much, how fast,
or what you write, doesn’t matter while you’re writing. Cayce’s advice on this matter is similar to most
professional writers. While
writing, don’t evaluate what you’re writing.
Save judgment for later. Cayce recommends, in fact, you don’t
read your inspirational writing for 30 days.
Just keep having writing sessions.
A good session is one where you write freely, not where you write
When you’re first learning inspirational
writing, don’t worry too much about an ideal preparation method.
It’ll only add to the burden of getting started.
After you feel comfortable with the process of inspirational
writing, however, you can experiment with perfecting the preparation
period. Inspirational writing
is really an extension of meditation, so all of Cayce’s advice on
preparing for meditation applies here as well.
In addition, the creative arts can be a useful method for
developing attunement. I’ve
found that listening to music, and even dancing to it, are great ways to
get in tune for a period of inspirational writing.
Do feel free to use your favored writing
medium. Some people like the
feel of moving a soft lead pencil lead across the paper. Others appreciate the ritualistic quality of using a fountain
pen and ink. People who do a
lot of typing or word processing prefer to use a keyboard.
From the Higher Self
One of the principles of channeling Cayce taught was that a genuine
need is the greatest stimulant to the flow.
Meditation, or an attunement to an ideal, shapes the flow.
Need, and the opportunity to apply the channeled material into
application, stimulates the flow. Responding
to a need can be a powerful approach to inspirational writing.
Cayce often reminded us of the Biblical
promise that if we ask, and turn within, we will find an answer.
We can test that promise through inspirational writing just as we
learned to do in meditation. One
of the special values of inspirational writing is that we can use a form
of role playing to get answers from our higher self.
When sharing his approach to channeling, Ron
Carey (who used inspirational writing to channel the books, The
Starseed Transmissions and Return of the Bird Tribes) teaches
to first imagine what it would be like to be God.
Then pose a question to yourself.
Imagine God hearing that question.
Allow yourself to answer the question as God might.
Here’s an alternative method.
First imagine some person who’s the personification of your
highest ideal. It could be a
real person you respect very much. It
could be a religious figure, an imaginary person, or someone you
encountered in a dream.
Second, for your meditative attunement, allow
yourself to imagine what it feels like to be this person.
Then begin writing down those feelings.
Use inspirational writing to express what it feels like to be your
higher self figure.
Now you can pose questions to that person.
Use inspirational writing to obtain the answer from your higher
I imagine, for example, that wise old man
from my special dream. I feel
his simplicity and his compassion. I
imagine what it must be like to see into the depths of things.
I begin writing and express more of this person’s consciousness.
“I see with my heart and feel with my eyes.
I touch with my ears and listen with my hands.”
Then, as myself, I pose a question, “What
is the best way for me to explain the concept of inspirational writing?”
I shift gears, once again becoming the old
man. “How has this writing
been for you? What has been
your experiences with it? How
do you work with it? How do
you struggle with it? Speak simply from the heart.
Tell them of your own experience.”
There’s my answer.
You don’t have to accept the answer you
get. In fact, it’s
worthwhile to ask followup questions.
Perhaps the answer you get is too simple, like “be yourself.”
You might point out to your higher self that it’s not that easy.
Ask it for more specific advice, pin it down.
Wrestle with the angel and it will bless you.
Inspired Word and Creativity
One of the things I value most about teaching inspirational writing
to live audiences is to see the look on people’s faces as the process
begins to flow. I enjoy
hearing their exclamations of surprise and their expressions of gratitude
and satisfaction. It’s hard, when you don’t know what’s going to
come out, to let go and begin writing.
Looking through the material afterwards, people find that perhaps
half of it’s either nonsense or old, familiar thoughts.
Then they discover here and there real gems! People find phrases
and sentences that are truly new thoughts, or bold or challenging notions.
They sometimes channel downright inspired words of wisdom and
I can’t count the times I’ve heard
someone say, “Gosh, I didn’t know this was inside of me! I never would’ve believed that I could’ve written
something like this!” Because
they weren’t dissociated from the experience, because they were present
at the birth of the inspiration, they can feel it as indeed coming from
within themselves, from their attunement, their state of mind.
They can reflect upon how it felt to be in the mood of their ideal
and how the words came from that state of mind.
They can feel that love, that peace, that stillness, or that joy,
of their ideal. They can feel
it in their bodies, in their minds, and their writing reflects their state
of consciousness. It’s a
wonderful experience. Inspirational
writing can be a profound experiences in channeling, one that shows the
overlap between the higher self and being oneself.
When the emphasis is on the process of tuning into your feelings,
not on being inspired with holiness or wisdom, the pleasure of
inspirational writing is available to all of us. Even people who feel
they’re not very verbal or good with words can enjoy it.
Teachers of creative writing who work with the culturally
handicapped or the illiterate often use an approach similar to
inspirational writing. They
teach these people to focus on their feelings and encourage them to play
with the sounds of words. They
suggest letting words just pop into mind, in any order, revealing creative
word strings that surprise their authors at how well they express their
Ron Carey tells an interesting story of how
he became a channel for this inspirational source of intelligence.
He moved his family out to live in nature for seven years.
While living in harmony with the elements, and with no television
or newspapers for distraction, Carey became more sensitive to nature’s
vibrations. His intuitive
resonance with nature grew into communion with higher levels of
intelligence. Waves of knowing came over him and he allowed those feelings
to blossom spontaneously into words.
He thus became a channel of what he calls intuitively received
Such experiences testify to what Cayce taught
as truly the important value and power of words--to create consciousness.
Words bring our awareness into the consciousness of being.
In this respect, Cayce often reminded us of the biblical statements
concerning the creative power of God’s Words: First, there was the Word!
The ancient Mexican cultures echoed this awareness. They thought
that the only way the finite human being had a chance to touch the
infinite was through what they called “hearts and flowers.”
By this phrase they meant words of feeling--inspired words.
Special words allow a transmission from the source to the audience.
Attuning to the source, allowing your words to be guided by that
source, you offer your audience a chance to resonate themselves with that
I have deep respect for inspirational writing
and for speaking as well. When
I lecture, I first prepare notes as a preliminary attunement to the
material. Then I meditate
before my talk to attune myself to the spirit in which I wish to address
the audience. Once I begin
the lecture I find myself speaking extemporaneously, saying many unplanned
things. Often I find myself
mentally standing beside myself, listening to what I’m saying, picking
up new ideas. Someone may
comes to me afterwards to thank me because my lecture met a personal need.
If so, it was when I was speaking inspirationally, and not while
delivering any of my prepared remarks, that I touched that person.
Cayce would explain this phenomenon by reminding me that my
subconscious mind is in contact with the subconscious minds of the people
in the audience. Having set
my ideal to meet people’s needs, my spontaneous remarks were not
randomly telepathic, but guided by the ideal set in the governing
In order to write or speak inspirationally, I
have to set aside my desire for a noble accomplishment and simply join in
the fun of the process. A
sense of fun and playfulness often allows the inspirational mode to come
to you. Don’t let your
seriousness of purpose dictate a seriousness of style. Playfulness adds
another link between inspirational writing and creativity.
Play, letting yourself go into the fun of the process, is an
important factor in both inspiration and creativity.
As a form of channeling, inspirational
writing teaches us what Cayce wanted us to learn. It’s not necessary to go into a deep trance or be a psychic
clairvoyant to experience channeling something profoundly moving for
yourself and others. He would
have us develop our channeling ability in the conscious state as much as
possible. The more we can
accept ourselves as a channel while in the awake state, the more we
realize a simple, yet profound, truth.
Being ourselves, being who we really are, is an ideal and perfectly
valid means of channeling our higher selves.
the Channel of Inspiration with The Sound Symphony
Inspirational writing is spontaneous, stream of consciousness
writing when one’s consciousness first has been polished, calmed, and
attuned to the Higher Self, as in meditation.
Since most people have pretty heavy, somber and serious
connotations with meditation, not to mention the higher self, that overly
cumbersome attitude carries over to the inspirational writing, giving
people stage fright and self-consciousness.
To counteract this effect, when I demonstrate inspirational writing
in a group setting, I like to take advantage of the group energy to
elevate our consciousness in a fun and creatve way.
It’s also a way to reinforce some of the underlying principles
about channeling the Higher Self.
Instead of having the group meditate as
preparation for the inspirational writing, I have them sing.
But “sing” isn’t really the best word for what we do.
I wouldn’t call it singing.
In fact, in my presentation I try hard to avoid using words like
“sing,” “chant,” or similar words that have familiar, emotionally
Here are some of the basic ideas I like to
present to explain the purpose for our having a “Sound Symphony” to
get us high, to elevate our consciousness, in preparation for
The Cayce readings perspective on creativity
and the arts contains some important lessons about our being channels.
Although these days trance channeling where “entities” speak may
appear to be the height of channeling achievement, Cayce indicates that
it’s the arts that provide the channeling opportunities for the
greatest expression of spiritual truths. Not lectures, nor sermons,
prayers, rituals, but the arts! Our
inherent creativity is thus both a powerful and fun way to explore and
develop our ability in channeling our higher self.
The practice of a creative art involves an
attunement to the materials at hand, becoming one with the paint, becoming
one with the sounds, becoming one with nature.
When we allow ourselves to improvise, whether in the doodlings that
have no purpose, or the humming of the melodies that come to us, we open a
channel of creativity. Being
creative demands that you set your aside your expectations, get out of
your own way, and let the activity happen.
Creativity happens in action, not while you sit idly waiting for
Inspiration is a word that touches both upon
a source of intelligence as well as creativity. Cayce stated that psychic and creative ability were
essentially the same. They
both originate and owe their existence to the nature of the soul’s
superconscious awareness and its inherent creativity.
When we attune ourselves to the ideals of our higher self, we open
a channel to not just to knowledge and wisdom, but also to inspiration and
Practicing being in the spirit of
creativity, owning our birthright of unique self-expression, is very
important in developing the awareness of channeling ability. It doesn’t take any more effort to act inspirationally than
it does to act out of habit. Each
can be a form of spontaneous expression.
Acting out of habit requires no awarness, however, while acting
inspirationally requires the presence of awareness.
Yet you allow yourself to be as you are, to do as the spirit moves
you. The presence of awareness offers the possibility of making choices,
while habits exclude choice and keep us in our routine ruts. Breaking the expected routine is an essential ingredient in
It isn’t a matter of not having enough time
to be creative, but a matter of keeping one’s awareness open to the
possibility. Everything we do during the day can be done in a variety of
attitudes. No task is too
small to warrant your loving attention.
Who knows what might happen if you hummed to yourself while you
attended to that task? Work
can be transformed to play. The
word, recreation, means rest and renewal, play and creation.
Although creative play challenges most of us where we are overly
serious about how well we can perform, it’s essential value is in
teaching us the joy of being a channel of expression, a channel that can
express in a manner like no other, the living, felt presence of the higher
Edgar Cayce stressed the importance for us
all to find some way to actively participate in the arts, especially
music. He suggested that it
would be of benefit to everyone to find some way to express oneself in
music. Of all the arts, we
carry the ability for musical expression with us at all times.
It’s easy to have fun with music and Cayce
suggested that even learning to play a kazoo, or humming music on a piece
of paper placed on a comb is worthwhile.
Do you remember playing on such a homemade toy from your childhood?
We need to remind ourselves from personal
experience how naturally uplifting it is to make music.
We’ve become very shy about this form of expression, but making
music is such an easy way to recapture some lost channels of creative
A wonderful channeling exercise is to sing to
yourself in the shower or while driving to work. You can sing along to the tunes on the radio.
Even better, you can make up your own melodies and sounds to
express your feelings. Cayce
suggested simply using play words like “la de da” is a fine way to
sing. Let yourself go! Playing
with sounds, if you’ll approach it playfully, is a wonderful way to
recapture the spirit of childhood innocence.
Exploring the sounds you can make with your
voice has another important dimension.
Cayce indicated that our voice is the highest vibration we can
achieve with the physical body! No
wonder that of all religious music, choral pieces are the most uplifting.
What’s the sound that most resembles the feeling of your ideal?
Let’s hear it! Louder,
and with more feeling--don’t hold back!
Cayce also suggests practising making vowel
sounds, like the syllable Om (Ahh..Ohh..Mmm) to experience the
vibratory effect in your body as well as the effect on your mental state.
Make the sound in different ways, in different pitches, until you
find the way that makes your whole body resonate with feeling.
When you’re willing to set aside self-consciousness, you can
channel with your voice a surprising amount of expression from your higher
self. An amazing experience
How many of you have been, at some time in
your life, made to feel embarrassed about the sound of your voice?
Almost all of us. None of us would jump at the chance to come up on stage and
let us hear your voice. That
would be quite upsetting. But
when you think about it, that we are ashamed of the sound of our voice is
Nothing is us so much as the sound of our
voice. No two voices are
exactly alike. Computers can
read voice prints as accurately as the FBI can read fingerprints. The voice is that distinctive.
To say that we are ashamed of the sound of our voice is to say that
we are ashamed of who we are.
To be ashamed of who we are is the basic
wound of the inner child. And
that child is the key to our creativity.
The inner child’s ability to play, its innocence, its enjoyment
of process--these are but a few of the qualities that have linked the
child, play and creativity for centuries.
When you read channeled literature, such as A
Course in Miracles, it’s no coincidence that much of it speaks to
the inner child, that it lovingly teaches such profound self-acceptance.
It speaks to the inner child. There’s
a link between the inner child and the higher self. Both are the authentic voice of pure being, accepting, open
and direct. It’s a
consciousness that is within us all, blocked only by shame.
It’s too bad that self-consciousness has
come to mean shame and awkwardness. Why
can’t it mean simply awareness, a presence. Why do we have to absent
ourselves in order to be spontaneous. Why can’t we be present and aware
and still ourselves? There
are many reasons for this blockage, but if you practice the breathing
exercise, you’ll come to appreciate the profound peace and
self-acceptance that comes from simply practicing the presence in the
awareness of your breathing.
Think about how much fun it can be to simply
let loose with your voice, to be exhuberant, to let the feelings flow.
There are traditions of doing this.
Today in church we sing songs, we perform prescribed and routine
voice exercises. In charismatic groups they have a more spontaneous, inspired
approach to the use of the voice, “speaking in tongues.”
This is a form of inspired speaking, voicing or sounding, letting
the spirit come through the voice box.
Too bad that outside its tradition it has so many connotations that
limit its usefulness. I
mention it to bring to mind that inspirational breathing, inspirational
writing has many analogies. I’m
going to share with you a different form of inspirational voicing, one
that will open the channel for inspirational writing in a way that’s
hard to duplicate by yourself. It
requires some cooperation among the group, but that’s OK, because that
teaches us something else about channeling.
Cooperation is an excellent form of
channeling. We set aside
exclusive focus on ourselves and act in harmony with others toward a
common goal. Learning to
cooperate in a group is a good way to learn channeling.
Edgar Cayce delivered an important series of
psychic readings on developing psychic ability. He said the first step should be to learn how to cooperate
within a group. He then
proceeded to outline a course of study for such a group endeavor. Today,
A.R.E. “Study Groups” around the country participate in A Search
for God, as this material is entitled.
These manuals contain several lessons on developing spiritual
awareness, psychic ability and becoming a conscious channel.
Channeling requires setting oneself aside so
a higher source of consciousness may manifest. Cooperation requires setting aside one’s personal desires
for contributing to a common goal. When we work toward the common good, we
recognize and respond to something that transcends the artificial boundary
of our separate self. Cooperation
shows that there’s no limit to what can be accomplished when no one is
concerned about who’s going to get the credit.
The act of cooperation attunes us to the transpersonal level
of our existence, joined with the rest of creation in a unitary
These considerations show good reasons for
Cayce beginning his teachings on psychic ability and spiritual channeling
by the topic of cooperation. Channeling
and cooperation are soul mates, two activities most closely resembling and
belonging to one another. Furthermore,
through learning to cooperate, we can also explore the meaning and
significance of our individuality as we contribute to the common whole.
We’ll practice a form of cooperation, by
cooperating in a creating a group blessing, a blessing of sound,
where by making sounds, we’ll give one another our blessing to be
yourself and express yourself aloud!
I’m going to introduce you to my favorite process of group
channeling. I find the sound
of music to be a very special channel.
I enjoy teaching people that they can make spontaneous sounds that
free them to be themselves as well as raise their consciousness.
Leading a group in what I call choir practice requires a Richard
Simmons form of sustained, energetic leadership, to help people overcome
their shyness. The results,
although they require patience, are invariably worth the effort.
I get the group started by performing an
imaginary “hypnotic age regression.”
Spreading magic dust around the room, I tell people that they are
gradually becoming younger and younger, shedding the years until we become
a romper room of one and two year olds.
That’s a time of life when we enjoy experimenting with the
variety of sounds we can make with our mouth and other body parts.
I start making nonsense sounds, pulling at my lips, popping my
cheeks and so on, becoming the first to venture forth as a childish fool.
I encourage everyone to sound out and explore the fun sounds they
can make. It’s crazy, it’s fun and it loosens them up.
It’s clear that we aren’t up to anything very serious.
Our first exercise is to create a “jungle
symphony.” I ask everyone
to make, all at the same time, the sound of their favorite animal. We do this a few times until people are comfortable enough to
sound out loudly and for as long as a minute.
Then I ask the animals to respond to one another’s sounds, to
interact, communicate and to harmonize, as they would in nature.
The jungle symphony is great fun and reminds people that their
inner child still enjoys to play with sounds and whoop it up.
We then move on to the mood music and the
feelings in sound vibrations. I
ask everyone to make, all at the same time, the sound of feeling good.
We get a pleasant medley of Aahhs, Oohhs and Yeys.
Most chants use some form of vowel sounds, so I ask the group to
explore the various vowel sounds to see how they feel in the body.
With each vowel sound, I ask them to experiment with the tone and
quality until they find the pitch quality that make their knees tickle,
their toes tingle, or their whole body vibrate or tingle with the sound. This practice helps them to associate the sounds with
physical feelings in the body and to begin to get deeper into the
experience. Perhaps we’ll
try exploring different ways of making the vowel sounds that express
feeling good, so they’ll have several sounds to express good feelings.
I ask them to found the one vowel sound, and its specific form of
intonation and pitch, that creates the greatest feeling of openness in the
heart area. Then we begin
playing with these sounds, all together and interacting with one another,
to create a symphony of good feelings.
The effect is somewhat like a jam session, a cooperative
improvisational choir, making nonsensical sounds that feel good.
In a playful way, it sounds good, too.
Our next exercise we do in silence.
Edgar Cayce taught that silent chanting can be even more powerful
than chanting aloud. I ask
people to imagine what sound their soul, their higher self might make.
While we are all silent, we imagine being filled with the sounds of
the soul, allowing our bodies to vibrate and tingle to the silent,
For a final rehearsal, we explore the sounds
of toys. We imagine being in
a giant toy store, and we are the toys.
We explore making various sounds associated with the razz and
rattle, the whistle and whoopee that toys make.
Again, I suggest that people keep an ear cocked for toy sounds they
hear and to make sounds that interact with those sounds, to create hybrid
toys, to have conversations between toy sounds.
We might even be creating a new soundtrack for Walt Disney’s Fantasia.
We’re now finished with rehearsals and
ready for the Sound Symphony itself.
Without destroying the precious mood of playfulness, I then move
the group on to a more purposeful effort.
We’re performing a blessing ceremony, I remind them, giving one
another our blessing to be ourselves and “let it all hang out.”
I explain that we now have hundreds of instruments available to us,
baby sounds, vowel sounds, sounds that make the heart open, animal sounds,
toy sounds, as well as the soul sounds of the higher self--sounds we’ve
heard only in silence so far. We’re bringing many sounds to our jam
session, and let’s use them all! And
we’ve learned to listen to the sounds of the group and answer back, to
play off one another’s sounds.
I suggest that we start out with the sound Om,
making this sound at least seven times, and then letting loose to make all
kinds of sounds. It’s
somewhat like taking a ride in a glider, where you get pulled up in the
air by a propeller plane, then it releases you and you sail away.
So we’ll get started with the Om sound, then sail away on
our own, improvised sounds.
We’ll continue improvising sounds, playing
off one another, as the spirit moves us.
We’ll go through various waves of sounds, of tempos, the group
energy will take over and we’ll just go with it.
After a few minutes, the sound symphony will come to a natural
close. The room will be
filled with silence. Inside,
you’ll feel open and emptied of blocks.
What a great time to begin a session of inspirational writing!
So I ask everyone to have paper and pencil ready, and when the
sound symphony stops, begin writing.
I remind the group, don’t worry about thinking up what to
write--you’ll find the inspiration coming as you write! If you are
worried, anyway, then just tell yourself this hint: You can begin by
writing down what you are feeling. Just
write, “I am feeling peaceful...” and just let your writing take over.
Believe me, if you’ll just start writing, you won’t have any trouble.
With that reminder about the process of inspirational writing,
which will follow our sound symphony, we begin our concert of cooperative
play of sounds.
We begin with the Om sound, making
this sound at our own individual pace.
At any given moment, some people are starting an Om sound,
some are in the middle of the sound, and some are concluding the sound, so
the effect is somewhat like a musical round, but less structured.
Soon we are finished with that sound and we cautiously break out
into other sounds, other syllables, and noises.
Everyone is now making a variety of uplifting
sounds, of fun sounds, of raucous noises. We play off one another’s sounds to create a flowing, ever
changing current of sound vibration. Every now and then you can hear a
brief solo passage filtering through the choir, to which the group gives
echo and changes the direction of the improvisation.
People are obviously feeling the vibrations in their bodies, for
they are swaying to the music and moving their arms. Some people provide percussion sounds that give our session a
beat and rhythm, while others keep us well supplied with animal and toy
sounds to keep us from forgetting that we’re having fun. I always appreciate these contributions. Some people are
quiet with their sounds, others are loud, but most seem like they’re
pouring out their hearts. In
the cacophony of the sounds, of the cooperative group effort, individuals
feel a bit safer, the sound of their own voice is hidden and camouflaged
in the group’s symphony.
By cooperating in this way, they give
themselves an experience they couldn’t achieve individually.
Everybody gets to experience making a valuable contribution, in
spite of feeling that they “can’t sing.”
We also get to luxuriate in the pleasure of flowing together in a
beautiful expression of harmony and higher consciousness.
There is a healing energy at work in this
choir practice. Some people report flashes of past life memories.
Some people are in tears as they experience deep emotional release
through their sounds. Some
report intense tingling sensations in the body.
Clearly we are opening a profound channel.
By cooperating in sound, the group has become a channel of the
After a few minutes, the sounds become
softer. Our voices are tiring
and we are drifting into silence. Then
there is the loudest sound of all...total silence.
People begin writing. The
energy in the room is intense as all the people are making scratching
sounds with their pens and pencils. The
feeling of our sound symphony stays with us, a mood that hovers over the
group as they’ve shifted to a more private experience.
the Inspirational Writing
To avoid people feeling anyone was looking over their shoulders, I
had avoided asking people to read what they wrote during our writing
session. I knew that people
were getting something from it because they would come up to me
individually and say so. Some
would want to show me their writing.
I knew something special was happening in my own writing, too.
When I demonstrated this process at the
Creative and Healing Arts Institute in Charlottesville, Virginia, the
participants asked if they could read aloud what they had written.
I readily agreed. As I listened to what they read, and saw the effect on the
group, I realized that the reading was an important part of this process.
There was a need to provide testimony to the value of the open
channel, to hear the messages that come through.
It was because of that experience at that
workshop that this booklet came into being.
I decided that it was a worthwhile task to assemble a collection of
these writings and publish them. At
subsequent workshops, I mentioned this booklet and asked people to send me
a copy of their inspirational writing for publication. The writings that
follow are what I received. I’ve
included them all, regardless of their apparent “quality.”
Each has something valuable to offer.
There are a number of ways to study these
writings. One way is simply
to read them out of curiosity and see if any stir ideas, images or
feelings within you. If
people are tapping into any sort of transpersonal level of the mind, the
writing should spark recognitions in other readers.
Another way is to search for some useful ideas, or clues, about the
nature of the channel that the sound symphony opens.
What I find in these writings is a discourse on being oneself, on
accepting oneself, and the importance of this self-acceptance.
Another way to read them is for clues to what is going on within a
“group mind.” One
workshop occurred the Saturday before Mothers’ Day and another happened
the Saturday before Easter. Perhaps
the writings on those days reflected some of the atmosphere of the
upcoming holiday. Each
workshop is different, with different participants.
Sometimes there seems to be something on our mind, and it comes
through in the writing. In
one session, I wrote something to the effect that the sound symphony and
the writing that followed was a way for a community to tap into what was
going on in the collective mind and present a “news report.”
I thank all the people who’ve cooperated in the sound symphonies and who have shared their inspirational writing for this booklet. Many indicated that they wanted others to know that what a powerful channel of expression this process can be. May you come to discover something similar for yourself.
To the the
Examples of the Inspirational Writing that Have Been Inspired by the
Symphony of Souls, Click Here!