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Exploring Parallels


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This content was originally shared by Martha on July 5, 2010. References to other threads do not pertain to the current site.


With all the nexus talk today, and also in tonight's chat, I thought I might post some info I got this year about accessing parallels. I wanted to do this both as personal exploration and also because my story involves a relationship that spans parallel lives. I have a relationship kind of like this in this lifetime, and it inspired my story, So the question was directed at helping me with my writing, but it could apply in many areas. And fyi, I did take Michael's advice and I actually have half of a screenplay written. When I took their advice and did the “parallel regression”, I had a very powerful experience. Because the parallel split involved a choice I had between jobs on two different movies (I say “choice” – one hired me and the other didn’t, although I preferred the other) I was in the unique position to verify some of my regression.


At the time (1992) I knew it was a fork in the road for me, and I was really annoyed at not getting the other job. So I never saw that other movie, and avoided anything to do with it, and unfairly was pissed at certain people who had nothing to do with it. I actually only saw it for the first time last year. After the regression, I got the DVD and watched the commentary and googled interviews and photos. I got a number of validations – things people said, items of clothing they wore, events that took place. And of course I ran to Michael to verify.


Also, as I mentioned over in the nexus thread, I had an extra tree appear in my yard back in 1992. At the time I thought “nexus”!


I realize that this is highly unusual to be able to buy a DVD, etc to check out your parallel lives. But I will say that the experience itself was amazing, and to be able to get that validation helped me a lot. Generally I think I'm nuts. My sanity aside, here are some practical steps you can use.


QUESTION: Earlier this year I started a script. Since it involves parallel lives, I really want it to be a good story so that it doesn't get too gimmicky. Some of the CF stuff is causing problems – I want to just get the story out and after that worry about what others might think, but that’s not so easy. Then I wonder if it would be better as a book – easier to explain the parallel life stuff maybe? And I'm doing a lot of second guessing what I'm fantasizing about for the story. Anyway, the actual question here is advice/comments/strategies on how I can get on with it, and how to distinguish between the good editing voice inside and chief feature fear, etc as I work through this?



Our first response is to suggest observing exactly how you are experiencing the very creative process of expressing and shaping your story: you are generating parallels as you speak. A parallel for your book, and a parallel for your script, both of which may be made into each other and a film in the end, drawing all parallels back into a merge. In other words, sometimes "it does not matter" which step is taken first, only that one was taken. We would say that your primary concern here might be about which step may bring the more immediate sense of fulfillment, and from what we can see of your potential parallels related to this choice of direction for fulfillment, you have ended up generating both script and book, simply in different orders. The difference in each parallel is simply that of preference. You asked yourself which would have been more appealing to you if this story had been created by someone else, and then followed that line of creativity as a first step. Additionally, we would suggest that you begin your own exploration of parallels in as tangible a manner as possible, if you are willing to do so. This would add a level of realism to your story line that might allow for dimensions beyond speculation. It may come to mind many ideas for where to start in your exploration, but we would suggest focusing on the matter at hand, which is your fulfillment of expression of this story. Once that has been explored, you may then find it of interest to explore more wildly the other ideas you may have.




1. First you must differentiate between a Parallel Life that is already in existence, and one that is simply a potential from your current point of awareness. This is done by simply identifying if your launch is from the point of "I wonder what would have happened if..." vs "I wonder what would happen if..." The launch from "would have happened" would explore parallels in existence, and "would happen" would explore potential parallels. This differentiation is not completely necessary, but it can help in situations that are still in need of making a choice, versus simply exploring paths "left behind."


2. Bringing some clarity of awareness to the point of choice that would have, or would, generate parallel realities, simply focus your awareness in one of those directions by completing the "would have" or "would" launch. In your case, "I wonder what would happen if I completed this story as a novel, first." Or "I wonder what would happen if I completed this story as a script, first." Choose one direction and stick with that as your focus.


3. Take several moments of stillness to use your imagination to follow that timeline of choice. You will be using your imagination, so no matter what you receive, you will be "making it up." There is no way around that feeling, but as you begin to use Imagination in a manner that yields tangible results and evidence, you may find it far more useful than its reputation for mere fantasy.


4. In your imagination, follow "you" from that point of choice, forward. Obviously, in looking at potential parallels, the observation would be of a "future you." This may happen in visuals or feelings. You would want to use your imagination as vividly as possible, but not in a way that actively generates fantasies. In other words, "follow" your imagination, rather than directing it. Allow for images to come forth, vignettes of events, key elements to show that you are in the correct timeline. If you are looking into potential parallels, you can explore one, and then another, based on the obvious choice you now face.


5. Once you feel you are in the correct or preferred timeline, then you can direct your imagination to observe yourself in any moment in that timeline very carefully and deliberately. What you want to look for are any key elements of difference that are unique to that "you" existing in that parallel. You would want to look for things that are distinctly limited to the Personality and Body of that "you," such as a hair style difference; a mannerism; an item of clothing; a ritual or routine, etc. Anything that is distinctly NOT "you" in this parallel, but could easily be duplicated.


6. Once you have settled upon a difference that you feel you could begin to duplicate in your own timeline, you are ready for tangible exploration.


7. Begin duplication of that difference. If you are looking for tangible exploration of a parallel currently in existence, then you would invite your awareness to begin opening to any "bleedthrough" from that parallel reality. The results can often be astonishing. If you are looking to align yourself with a parallel that most accurately revealed to you what it is that you feel is more "you," then that duplication would help in linking you to that path of potential for fulfillment. And in the case of potential parallels, of course, one would have to do the work of following that timeline, as it does not "happen on its own."


QUESTION: I asked about my experiences “reliving” some parallel lives from around 1992-­93, which I did as a way to get some writing inspiration.



The experience that we can see through your description, as well as through your records, does appear to confirm that this was a fairly accurate exploration of parallels. In addition to the accuracy, however, you also opened yourself to dimensions of emotion that are not necessarily from any single version of reality, thus your experience of such intensity. The memories, visuals, stories are one thing, and can be isolated to some degree in terms of parallel or time frame of memory, but the more subtle energies of emotion can resonate outside of those limitations and become compounded and amplified, particularly if they resonate with the current point of perspective. This same effect happens even within a single timeline where the experience of the adult self, for instance, triggers an emotional resonance to a childhood past.


There are a few methods for helping to reduce the impact of that intensity:


One) is to simply remember that you are the one in control from your viewpoint, from your point of reference and origin, and remind yourself back into the position of explorer or observer.


Two) is to actively decide to dampen or halt the emotional elements altogether, limiting your exploration to visuals, imagination, and stories. This would be something to decide upon previous to exploration because once the chords are struck, the resonance expands, which would require you to refer to our first suggestion.


Three) would be to simply allow the feelings and intensity. They cannot harm you, and they merely reveal some truths that are relevant to you "here." If you choose to explore from this angle, then it would do you well to remember that you are safe, and that these feelings are an important part of the exploration. This may end up being your "best bet" because a story, visual, or memory means little to you without the resonant feelings.


Your concerns about any future exploration are noted, but we do not see any need for concern. What you did was the equivalent of being inside a controlled climate during a particularly hot, windy, or rainy day. You stepped outside with the presumption that the outside should feel similar to what you had been feeling in the controlled climate. So this experience was that shock of contrast. In this analogy you can either step inside and remain where it is more comfortable, or you can use what you happened to have brought with you as a means to continue outside, or you can step back inside, gather your effective tools, and then move back out into the shock. Except the experience will now have left you without the shock, and the tools will now have helped to navigate more comfortably.


It would also do you well to remember that while your feelings are legitimate and real, they only tell you about yourself, not about the truth of a situation, person, or event. Feelings describe an experience, but not necessarily the truth. In other words, these feelings tell YOUR story more than the parallel stories. Feelings that came up around your exploration had to have already existed for you to have found such resonance.


In terms of using this as a means for writing, we think this is "the" way for you to remain aligned with your intention. The amount of material and depth that you bring back from these kinds of creative explorations is capable of being mined and shaped in ways that would easily fulfill any vision you might have for your script and/or novel.


In the end, we would simply say that you are safe in your explorations, and even with the most extreme sense of a "blow out," we are well aware that you found (and can continue to find) some inspiration, arousal, and great stories in all of it.

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