Hi Robert,

Rather than think of a session as moving forward in a linear straight way from Act 1 to 2 & 3, think of it as being more like a piston: forward, back, forward, back. But each time it goes back it is different. It has been “complexified” by its previous presence in a different order of frame. It is actually less like a piston, and more like a recursive snake swallowing its own tail. It’s an Ouoborean loop. This is why I have called it recursive frame analysis.

Each time you move her into a so-called Act 2, it makes Act 1 easier to escape in the future. We want to be capable of slipping between frames. What we aim for is the ability and freedom to have slippage rather than being stuck.

My suggestion is go for reaching an act three in a session. Don’t worry about how long you stay in it, just try to move the conversation there. In the session you described about the bullies, you suggested she give them a “mental finger.” If she bought that, you could have then said maybe it should be a finger that is typically not used to give the finger. Have her choose another finger for those unseen bullies. Then she can actually physically shoot them that finger but it would not be seen as such in the real world. This starts getting inner and outer worlds mixed and interchangeable, which eventually leads to natural self-correction.  I am not saying to do this in the next session unless you get back into this sequence of movement.

Here’s some examples of fantasy therapeutic lines of a session that would play with this direction:

“How are the bullies? Are they pushing you around? Shoot them the bird, but use another finger for them. This way no one but you and them know what it means when you show it. I think you should consider the little finger and draw a happy face on its nail. Bullies hate happy faces.”

Possible bridge for moving to Act 3 if this theme is brought forth:

“I think you can use that little finger with a happy face to keep the bullies distracted. Let’s think about something you could do that they have been blocking you from achieving. But nothing too big, just a little something. Now when you try to do it, make sure that little finger is pointing straight up so they will get distracted. This way you can sneak around them and get something done without their interference.”

As far as not asking “What’s the problem?” It’s OK to ask it if you are INSPIRED to ask it. My objection is when it becomes a cliché. Then it has no life or creative juice. Variations include:

“I assume you have some ideas about your problem, but I am more interested in you doing something unexpected. Make up a problem that you don’t have. It should annoy you a little, but not too much nor too little.”

“Are there any problems that want to play today?”

“Did you ever have a problem that you became a friend with?”

“Let’s not call your problem a problem. Let’s call it a snike.”

“I am not interested in your problems. I am more interested in whether you are bored with your problems. You may need a more interesting problem. Be careful, solving it may knock the other one off the stage.”

If I were having session with your client today in my office, I might begin with this:

“Before you sit down I want you to leave the room and take a 15 minute walk. During this time, pretend that your whole life is changing. Imagine this happening whether or not you believe it. You are to act this out as if it were a stage performance. Look for an object during your walk that you regard as a “sign” or “symbol” that something amazing is going to happen to you. Bring it back with you in 15 minutes. It might me a leaf, pencil, piece of paper, stone, anything at all. This works best if you don’t think too much about it. Just do it and notice what you notice. See you in 15 minutes. Take 20 minutes if you need more time.”

All the best,

Brad