Unlimited power

CHAPTER VII 
 
THE SYNTAX OF SUCCESS 
 
The meaning of an experience is determined by the order of the signals provided to 
the brain. We'll use the word STRATEGY to describe the combinations of all the 
factors that create any result: kinds of internal representations, the necessary 
submodalities, and the required syntax. 
 
We have a strategy for producing just about anything in life: the feeling of love, 
attraction, motivation, decision, depression, whatever. If we discover what our 
strategy for love is, for example, we can trigger that state at will. 
 
A nice metaphor for the components and use of strategies is that of baking. If 
someone makes the greatest chocolate cake in the world, can you produce the 
same quality results? Of course you can, if you have that person's recipe. A recipe 
is nothing but a strategy, a specific plan of what resources to use and how and 
when to use them to produce a specific result. Now the baker may have worked 
through years of trial and error before finally developing the ultimate recipe. You 
can save years by following the baker's recipe, by modeling what the baker did. 
 
In the "baking" of human experience, the ingredients are our five senses and the 
amounts of the ingredients are the submodalities. In a recipe, though, you also 
need to know in what order to add the ingredients-that's the strategy. 
 
The building blocks of syntax are two different levels of sensory input: internal 
and external. For example, what you see in the outside world is visual-external 
(Ve). When you picture something in your mind-a favorite beach scene, for 
example-it is a visual-internal (Vi) experience. A train whistle you hear is 
auditory-external (Ae), a voice you hear in your head is auditory-internal-digital 
(Aid)-the sound itself of your voice would be auditory-internal-tonal (Ait). You can 
feel the texture of the armrest of the chair, or the heat of the sun on your body 
kinesthetic-external Me), or you can have a deep feeling of emotion inside that 
makes you feel good or bad-kinesthetic-internal (Ki). 
 
If you wanted to model an expert skier, for example, but couldn't actually meet 
him/her to ask the appropriate questions, you could watch the skier to see what 
his/her technique is (Ve), and then you might move your body in the same 
motions