Transcript

Ani
Hi and welcome to the Somatic Coaching Academy podcast. Hey there, Brian.

Brian
Hello, Ani.

Ani
How are you?

Brian
I’m doing great. I like your blue shirt.

Ani
Thanks. I like your blue shirt. Yeah, we got some really new colors on our new Somatic Coaching Academy t-shirts. I really like this one. It’s, uh, it’s really nice.

Brian
Yeah, like mine too.

Ani
Hi listeners, how are you today?

Brian
As we’re looking at each other’s shirts. Hey everybody, here we are.

Ani
Good to see you. We’re, uh, we’re talking about something that we started talking about last week. We, last week we were describing how we landed a major publishing deal for the, our new book that’s coming out, Manifestation for Dummies with Wiley Press. If you are interested in writing your own book someday, or you’re starting to do it, go ahead and listen to that podcast. We started to talk about the 3 levels of manifestation as we were describing the manifestation process of manifesting that book deal, and that’s more of what we’re going to talk about today.

Brian
Yeah, we’re going to specifically talk about these 3 levels of manifestation in terms of writing the book, because, I mean, these 3 levels, they certainly play into manifesting the book deal. And we talked about that last week, but also we wanted to kind of talk about what was it like to actually write the book and how did these 3 levels of manifestation come into play. So let’s just first just frame out the 3 levels of manifestation, and then we’ll talk about how we applied them to actually, like, writing the book.

Ani
So some people are going to want to know, well, where did you all learn the 3 levels of manifestation? And this is a concept that is proprietary that we came up with ourselves to describe the manifestation process, because one of the things that we found was difficult to describe in the manifestation process is this interplay between the physical world and the spiritual world, the body, mind, and spirit kind of thing that we do so well here at Somatic Coaching Academy. So it’s a way of talking about manifestation that we know you are going to be able to listen to and be like, oh, I can get even more into my manifestations because of it. And hey, before you launch into it, Brian, if you haven’t pre-ordered your copy of Manifestation for Dummies yet, go to our website, somaticcoachingacademy.com, to preorder your copy. They will be released on July 7th, and I was going to say on or about— you will get your copy on or about July 7th because we’ve been warned by the publisher, you know, give it, give it like 2 weeks before, you know, you get yours on your steps. It might not be right on July 7th, but preorder your copy now so that you can get it as soon as possible.

Ani
And when you order it through our website, you’re going to get a whole bundle of cool bonuses that go along with the book and will help you to integrate the information. Mm-hmm. Yeah. Okay, great.

Brian
So, manifestation happens essentially on 3 levels: the physical level, the sensory-emotional level, and the spontaneous flow level. Those are what we call the 3 levels of manifestation.

Ani
That sounds a whole lot to me like body, mind, and spirit.

Brian
Isn’t it interesting how many truths come back to those 3 levels? The power of 3. Think about a lot of places.

Ani
Like you can’t escape from truth. Mm-hmm. It just keeps coming back.

Brian
Yeah. So that physical level. Yeah. So we can think about this as the body level of manifestation, the physical level of manifestation. So when we think about manifesting something, just by definition, that is, means you bring something into the, a, a physical form. Let’s just say physical existence, right?

Ani
Yeah. Realized physically.

Brian
It comes into physical form. That’s when something becomes manifest. And, you know, a little example we use about manifesting dinner is you might have an idea for dinner in your head, but dinner’s not going to put itself on your table. Either someone has to make dinner and bring it there, or you have to make dinner and put it there. Either way, someone has to do something physical in order to make dinner become physical.

Ani
So, which is why AI has not mastered making dinner yet.

Brian
Exactly, right? Because AI is like, just works in those, uh, theoretical kind of textual kind of things, but not— it’s not—

Ani
it’s not making dinner unless you have a robot doing it.

Brian
Maybe you have a robot making dinner, and then— but the robot is then still physically doing it, sort of thing. But so manifestation has to happen physical by definition, because manifestation means it comes into the hand, it comes into physical form. So on the physical level of manifestation, you have to do something physical in order to bring it manifest, no matter what, no matter what. And so there’s um, always, I guess, upsides and downsides to all things. Sometimes you can overdo, overdo the physical manifestation level to try to make things manifest, and sometimes you can underdo the physical level of manifestation and to try to make things manifest. And either way, you are not becoming the most efficient manifester.

Ani
Yeah, finding that balance is really key. Yeah, to being a proficient manifester.

Brian
Yeah, so you could, you know, You could be making dinner and just be working really hard at making the dinner and overworking and physically, you know, trying to make it— exerting and efforting and that kind of stuff. And so you’re still making dinner, but you’re spending a lot more energy than you need to make dinner. And by the way, then you might screw it up because I don’t know if you’ve ever like, you know, had to whisk an egg or something like that. It takes a little bit of coordination. You have to relax a little bit. That kind of stuff. If you’re like too rigid and too focused, it just flies everywhere.

Ani
Like you shake the milk too long and it becomes butter instead of cream.

Brian
Yeah, exactly, right? So there’s too much physical, too much physical stuff there. And then if you underdo the physical, you just be kind of sitting on the couch and like intending to manifest food shows up on the counter. And unless you’re a teenager apparently, or a cat, like that doesn’t, that doesn’t work that way.

Ani
Yeah, you’ll be eating cereal. Right, unless you’re a teenager.

Brian
Yeah, unless you’re a teenager or a cat. Yeah, um, leave that there. So, so that’s the story with like the physical level. Okay, now you have the sensory emotional level. So you can think about the physical level as that body, um, experience. And so someone else can see that from the outside too, by the way, because they can see what you’re doing with your actions in the physical world in order to create a physical result. So there’s a lot of kind of the law of cause and effect from a visible standpoint when you’re looking at what’s happening on that physical level of manifestation. Sensory-emotional turns more towards the inner experience that someone’s having, and we might see physical representations of someone’s inner experience, but no one can ever know someone else’s inner experience. And that’s that level of sensory-emotional manifestation that can oftentimes get in the way of taking the physical actions in order to create manifestation.

Ani
And mental is a part of that, of course, because mental is a part of emotional. And so mental is a part of all that as well. You know, you have the thoughts that go through your head or whatever. So in any change process, resistance to change comes up, and it’s going to show up primarily at the sensory-emotional level. And that’s when manifestation can get thwarted by your subconscious mind.

Brian
Yeah, so a lot of clutter. We call it kind of clutter in the heart-mind space with our rigid attitudes or limiting beliefs. All those things happen at that sensory emotional level.

Ani
The sensory experience you have in your body that tells you you’re afraid or you’re anxious or you shouldn’t. And, you know, like we say, what you feel becomes real, so then it becomes your reality. And of course, the thoughts that are going through your mind that are convincing you that you should stop or you should go a different way or something like that.

Brian
And that’s of course going to then affect your physical level of manifestation, um, and your physical action, which will affect the outcome that you get on the physical level.

Ani
Yeah.

Brian
Right. So again, you could overdo that sensory-emotional level, or you could underdo, under-engage, let’s say, on that sensory-emotional level.

Ani
You can over-engage with it or under-engage with it. Yeah. If you’re under-engaging with it, you’re kind of trying to not pay attention to it, or, uh, maybe you’re pushing it down and, and you’re not using that information because it is information to help you. You could also be over-engaging with it. And, you know, perhaps you feel like you’re a super sensitive person or things like that, or it just seems like it’s really getting in your way.

Brian
Yep. Yeah. You get too caught up on it, hypervigilant to your internal experience, those sorts of things. So both the physical level of manifestation and the sensory emotional level of manifestation are gateways to spontaneous flow. And so when most people talk about manifestation, like, that’s what they think about. They think about being in this level of spontaneous flow where what you think about immediately comes into existence, or when you think about something, you then actually see in the external world something you just thought about. The idea of synchronicity.

Ani
Synchronicity, exactly.

Brian
Right? Synchronicity start to happen regularly. And it’s almost like you can start to see breadcrumbs out in front of you of, oh my God, like that’s what I— that’s my intention to manifest is over there. And I can see like the stepping stones to it. As I go in that direction, they just start to kind of light up and things start to flow. There’s less resistance and things just start to move. And that’s the level of spontaneous flow manifestation, right?

Ani
So a lot of people experience spontaneous flow kind of here or there momentarily. Maybe I experienced it once in my 20s, like that kind of thing. Um, whereas as a manifester, like more as an identity, like I’m a manifester, you can get to the place where you know how to navigate the physical level of manifestation, the sensory-emotional level of manifestation so that you can find yourself in spontaneous flow more often and predictably, because you’re becoming the cause of those effects that you really want to see.

Brian
Yeah. So we thought we’d just give you some pretty simple examples, because there are— there’s a lot of examples we could share with you of our process of writing the book on these three levels. But we thought we’d give you some basic kind of examples of how it worked, and you can kind of look at it in your own life as well and do a little reflection work on it.

Ani
I’m really excited for these, you know, fun personal shares that we do here in front of you listeners that we haven’t talked about before because primarily Brian and I did a lot of writing in our own offices and then swapping chapters back and forth. So I cannot wait to hear where your levels of manifestation showed up, Brian.

Brian
Okay, and likewise, and likewise. So physical, should we start off with the physical?

Ani
Sure.

Brian
So the physical level of manifestation.

Ani
Your fat fingers.

Brian
Um, oh yeah, my clunky fingers on the keypad.

Ani
Yeah.

Brian
Yeah.

Ani
Yeah. I was wondering if you were going to talk about that.

Brian
I wasn’t, but I mean, I can.

Ani
No, I just thought it was funny. You, uh, you, I remember you were having trouble like because your fingers are thick and like the actual process of typing was driving you crazy.

Brian
Yeah.

Ani
Some days.

Brian
It was hard. I had to really kind of work at that on a physical level. Yeah. That was one of the things I really had to do. That’s actually what I was going to say. I actually had to type the book.

Ani
Yeah.

Brian
And I’ve talked with people, they’re like, well, couldn’t you just do, you know, dictation? I tried that too. I tried to dictate, but there’s something interesting happens in a thought process, at least in my thought process, is different between dictating it and actually typing it. And I found that when I dictated it, my thought process was less coherent than when I typed it. So I could get stuff out really quick, kind of just blah, blah, blah, blah, blah. And I still had to go back and clean it up, which means I still had to go and do some typing and those kinds of things. I could not get around sitting at a keyboard and actually typing it out on the physical level of manifestation. Like, that just had to happen, right? I had, I had to do that. And in doing that, I needed to engage the sensory-emotional level of manifestation also. So you can see, as we start to talk about this, an experience never ever solely happens in one of these planes exclusively, because as a human, none of us lives exclusively in any one of these planes at any given time. We’re always living in all three planes.

Ani
Yeah, yeah. So similarly for me, physical was like making the time, because when we signed the contract for the book deal, we already had full calendars and we had 4 months to write this book. And so I needed to be very, um, efficient, clearly communicate to the people around me, and really hold myself accountable to my own schedule in a way that was like super, super high level. And so the act of like having enough energy, for example, making sure I exercised in the morning so that when I got to the place where even in a long day I had a writing block, I had enough energy to do it. That was a lot of the physical stuff that required me to like have enough energy, sit there, be able to think and write. And the mental emotional stuff that went along with being able to hold those commitments to myself.

Brian
Yeah. You know, as we’re even kind of batting this back and forth, Ani, I’m trying to like be clear and again, compartmentalize this into each one of these, but I can’t because on a physical level, what’s occurring to me too is my— what I was doing physically would determine how I was showing up mentally and emotionally. For instance, let me just say this.

Ani
Sure.

Brian
When I was doing research for the book, like physically, I could be at my computer and like dialed into the computer and doing research. And as I’m pulling research out, compartmentalizing it into places, knowing that I was going to use it at a certain point in time in writing the book, right? Right. But then when I would sit down to be creative in writing, I would just sit and stare at the computer screen and like type a couple of things. I don’t like that. And back and type a couple of things. And then I would go, well, maybe just, I’ll just blot stuff out there. And I like put a bunch of stuff out with a bunch of typos and those kinds of things. That doesn’t make sense to me. I found that on a fit, on a level of like productivity or stepping into a level of spontaneous flow, like how I use my, how I use my physical body was very important.

Ani
Agreed.

Brian
And I realized, like, after the first couple of days of spending about 10 hours at the computer trying to write chapters and only getting, like, a couple of pages done, I thought, I can’t keep doing this because I don’t have that kind of time. I need to figure out a way to be more efficient. So, like, when my physical body is, like, dialed in at the computer, what can I get done with that type of energy? And I realized I can research a lot like that. But then when it comes to actually writing creatively, I needed to use my body in a different way. That’s interesting for me, in order to open up the sensory-emotional level and spontaneous flow levels.

Ani
Where you were mattered too, because you actually spent more time in the house writing at times too. So that was important too as well.

Brian
It was important to me. Yeah, where I was writing was important to me, right? Yeah. So where I did certain— where I did research, I did a lot of research in the house.

Ani
Okay.

Brian
Um, and I did a little writing in the house and I did more, um, writing in the office, but that’s not the thing. Um, what I figured out I had to do to free up my sensory emotional level for the— what I was actually writing on the pages was I would go for hikes and I was go for walks. And I was, I was hiking and I was walking and I allowed my sensory emotional level to shift and become more open and less rigid. Because the research, um, I could be dialed in and be kind of, um, and kind of very boundaried with my sensory emotional level in order to very quickly capture information.

Ani
Right.

Brian
But in writing, I realized that was a huge hindrance. I needed to be more open, more fluid, more adaptable in writing. So I would go take walks and I’d hike and I would dictate just short blurbs into my phone, into my Notes app on my phone while I was walking. And then when I would write, I would come back and I would expound upon those ideas.

Ani
That’s interesting. See, that part’s pretty easy for me, like the being open to the flow of the writing is pretty easy for me. The editing was actually way harder. But the thing that I’m reminded of while you’re talking about this is, um, the fact that we had to share a computer for a portion of this project. So Brian wrote in Google Docs on his computer, I wrote on Google Docs on my computer, But then because of how Wiley works, we needed to do formatting on one computer locally, not online, not on the cloud. And when we heard about that, we were like, you’ve got to be kidding me. Because both of us are super busy. How on earth are we ever going to figure this out? And we very quickly triaged that because I’m in general a little bit better with technology. It was going to be done, the formatting was going to be done on my computer because I was going to format. That was how we kind of divided and conquered. But because the formatting was going to be done on my computer, that meant I had to have periods of time where I let you use my computer, which meant I couldn’t use my computer.

Ani
So from a physical standpoint, first of all, I can’t even imagine even 3 years ago, Brian, being able to navigate that physical level in this project. Like even 3 years ago, I think I would have really spun out from a sensory emotional standpoint with like not having control over using my computer. When I needed to use my computer, or you’re on my computer, or, um, having to navigate that whole sharing process would have been really hard for me. So I think from a sensory-emotional standpoint, I’ve just developed enough mastery to be able to handle that. But that was a big deal.

Brian
Do you have some tips about how you were able to, um, like, work at that sensory-emotional level to navigate those challenges?

Ani
Yeah, well, it’s a lot of deconditioning with my, my patterns that I’ve been working on for a long time. Like, letting go of control is something that I’ve been working on for a really long time. And so I’m familiar with my patterns. I have deconstructed my patterns and reconstructed my patterns. I’ve done a lot of cross-mapping in the past. I also am really, really familiar with the sensory stuff that I work on every day in my body. I practice my safety anchors and I know the kind of experience I want to have in my sensory body, and I practice that every single day. And so if I ever started to feel like I was getting spun out about it, or I was starting to grip onto old patterns, I knew exactly the sensory base to come back to that helped me to get to that place. Also, I did more than the average bear’s amount of core centering.

Brian
Yeah.

Ani
Right?

Brian
Yep.

Ani
During the process of writing the book. You know, it really reminds me of this thing that the Dalai Lama says that he meditates more during busy times. And from a standpoint of being able to like see your calendar, I couldn’t imagine how that happens. But honestly, I practiced more and I exercised more and I was busier than ever. And both of those things had to happen simultaneously, and they did. It was like time bending needed to happen.

Brian
So maybe it was actually part of a gift I was taking your computer away from you for several hours because then it gave you time to run and practice.

Ani
Well, sometimes, yeah, like sometimes it was a gift because I would say, hey, when are you running today?

Brian
And I could use your computer when you’re running, right?

Ani
So I could have over physical level, you know, by working even more than I needed to or I should have. But letting go of my computer gave me an opportunity to work at just the right balance of physicality. I can’t work all the time. Like, I know you have like more of a hearty kind of constitution for that, but I’m delicate flower. So, you know, I can only work so much and then I know like I’ve gone past my point. Yeah.

Brian
Yeah. So for, for me, um, I think moving into that level of spontaneous flow, talked a little bit like physically had to actually write the book. And sometimes I’m writing for literally 10 hours a day, you know, between research, between writing, blocking off time in the calendar, moving stuff around weekends, lots of weekends, lots of evenings, um, writing, you know, and, and, uh, preparing and organizing and all that kind of stuff. I finally kind of got into a groove. Where if I knew I was going to have a writing day and I knew what chapters I was going to work on that day, so I said, so by the end of, by the end of this day, I’m going to have this chapter done, right? And I was like, I don’t care how long I have to be at it, but I’m going to get that because that’s because I have all these other things. So I’ve got to get that chapter done. Whatever I get done that day is what I’m going to get done that day. Yeah. I mean, whatever I, I No matter what, that chapter is going to get done. And so I would wait to write the chapter, though, until I had enough of those little blurbs.

Brian
Like I said, like I’d gone for some walks, I’d done a little hiking, that kind of stuff. I’d kind of gotten out of the office. I had opened up the space a little bit, did some meditation, let some stuff flow in. I got enough blurbs and I had my research done already for the chapter. So I kind of had like all the nuts and bolts I needed, right? But I still didn’t have the narrative. Part written. Um, so what I would do is every, so every morning I do a course editing practice, right? And sometimes it’s, it is between 45 minutes and typically, um, you know, sometimes 90 minutes, 45 to 90 minutes. And on some of those mornings it would be longer. It’d be like 90 minutes. I would trend towards doing a longer practice. And this is why, because before I would do the practice, I would look at the, I would just really quick look at the research and I would look at all the blurbs. And I would just start doing my core centering practice.

Ani
Let it connect.

Brian
And I would invite the narrative to flow into me, and it would. And I would start to get just like— then it would just start to flow. It would just start to come in, and I could just like hear it speaking into me, basically, on that bullet point, what am I going to say about that? But that bullet point, what’s the universe say about that? That bullet point, what’s the universe say about that? And I basically would have the chapter in large part written, um, internally by the time I was done with my practice. And then it was just a matter of getting my fat fingers on the keyboard and getting stuff actually typed out.

Ani
Right.

Brian
And so that’s how I actually kind of worked into this idea of being in spontaneous flow of this book. So when I think about this book being written, sure, at least for my chapters, my, my fingers typed out these chapters. But this information flew through, you know, came through me, I just opened up the space and allowed it to flow through me and kind of filter through the research and filter through the blurbs that I had. And I just asked the universe to help me fill in all the, all the blanks, right, between those spaces. And when I did that, now I’m not struggling anymore to write in spontaneous flow. I’ve still got to use energy to get down and write. And by the way, you know, a lot of times just there feels like there’s a lot of distractions when you’re writing. You know, I get to a place where I’ve written for a while, about an hour, and then all of a sudden a part of me is like, you need a snack right now.

Ani
Right.

Brian
Other parts like, isn’t it nice outside? It’s just like, go outside. Thank God we were like during the cold winter months, so it wasn’t as bad, but it was still like, hey, go outside. Isn’t it beautiful out there? Why don’t you go outside, go do something? So I had to continue to bring myself back into the task, bring myself back into the task, you know, stay focused, turn off, silence my phone, turn off all my alerts, off all those kinds of things so I could be present with what I’m doing and keep coming back. If I needed to get up, move, shake. Sometimes I need to go do another practice in the middle of the day. In order to invite more information to flow through me and then turn around and get that information down. So it was really in this idea of being in a spontaneous co-creation with the universe, um, basically helping me to write the book.

Ani
Yeah, I think my spontaneous flow really came into click once I recognized, like, I just signed a contract with you to write this together, and any of the BS that I had gotten involved with for the past 15 years or whatever we’ve been together with little like issues that, you know, I might like get all into and like there was no time for any of that. So if I was gonna think that you were smarter than me or I wasn’t that, you know, as good as you or I’m better than you or like any of that BS had to go off to the side. I needed to not take myself so personally and be able to like step into this, it really was spontaneous flow though, because it wasn’t like making myself. I just decided that any of the BS patterns that I’d had in the past that prevented me from working well with you, we’re gonna have to be reconditioned. And I have to give myself a big huge pat on the back about that because like we not only shared a computer, but Brian would write a chapter and then I would edit the chapter.

Ani
And how about that to have your partner, like your life life partner, like, look at your creative process and hand it over to them and say, “Edit this.” Yeah. You know, that’s a big deal. And then same thing for me, to take my heart and soul that I poured out on the paper and give it to you to chop up with a red marker, you know, and then bring it back and to allow myself to be in the flow of whether there was criticism that came back or there was praise that came back, I wasn’t going to get attached to it. I wasn’t going to take myself personally. It was information that was flowing through us. I didn’t have to take that personally either. And, um, really allow ourselves to have this back, this flow back and forth, you know, to the point where we got the— so we, we wrote the whole thing and we sent it in bit by bit. And I think we thought originally that we were kind of gonna get some chapters back and be in also in this flow of editing, but we weren’t. We wrote the whole book.

Brian
and then we got the whole book back and I could do our author reviews. Yeah. Yeah.

Ani
And I think for both of us, as we started to get the editor pieces back and read it back, both of us were like, this is really good. Like it was, it was really fulfilling to be in that part of the process. And I remember when I self-published my first book and that part of the process, I took a lot of stuff personally when the editor started to get in there. And, um, and I didn’t— I promised myself I wasn’t going to with this, and I just let it really flow. And then it became a co-creation not just with you and me, but a co-creation with Wiley and the editors too, which I did.

Brian
Amazing.

Ani
They were really awesome every step of the process. They were so great.

Brian
Just so great.

Ani
Yeah, so, so great to work with. And it did feel like this large larger group project at that point where everybody got to be an expert in their stuff. It was funny when the editors started to get a hold of the stuff and would tell us things like, “Remember when you put table tennis?” Oh yeah. No, was it ping pong? You said something about ping pong and they’re like, “You can’t say that. It has to be table tennis.” There were all these things that were—

Brian
Ping pong is copyrighted, actually.

Ani
This is copyrighted. That’s copyrighted. You can’t say the words to this song and that quote probably didn’t come from that person. And you can’t say this in case, you can’t say that. And at first, when that first started to come back, my taking it personally came up again because I was like, this is our creative project. Like, don’t stomp on our stuff. Like, this is our voice, you know? And then I was like, no, it’s not our voice. It’s our info combined with Wiley and how they do things. And this is a co-collaborative process and that’s how manifesting works. Manifestation works.

Brian
Yeah, and it was really wonderful too because, you know, oftentimes we get back from the editor like, I don’t understand what you’re saying here, because, you know, Ani and I, we kind of live in our own world in a lot of ways. And so we’re like, we understand what we’re talking about to each other, but we put it out there like, we don’t have enough context for this, what are you talking about, I don’t understand this. So it’s great to hear, yeah, what does somatic mean? It’s the first time we’ve used it in the chapter, we need to define it here. And you’re like, wow. So it’s so good to get that feedback and, oh my God, you’re right, like, you need to be attentive to these things. And that’s why it was so amazing and powerful to that reflection back. You know, I got an interesting question from a friend of mine when we were writing the book, and he said, “How is it going to work if Ani’s writing part of the book and Brian’s writing part of the book, and will there be a cohesive voice?” I know, right? And I said, “Well, we’re editing each other’s stuff, so I think that’s going to kind of infuse and bring some cohesion to the voice a little bit.” But I’m curious for readers, when you read the book, If you don’t know what chapters we’ve written, can you guess which of us have written what?

Brian
That sort of thing. I think that’s kind of a fun little game to play to see how cohesive is our voice together, knowing that we had to work on this, not only this physical level with swapping computers and, you know, using Ani’s computer and actually editing each other’s stuff, but the sensory emotional stuff. Stuff that comes up when you’re editing each other’s things and kind of advocating for, I think it should sound like this, or I’d like it to sound like this, doesn’t make sense to me, this doesn’t make sense to me, I think we should include that. Because we had to cut like a lot out of the book, actually. We had a very tight page count for the book. And so we had to let go of— and first of all, we looked at the base count, like, how are we going to actually write 300, over 380 pages about manifestation? And we had like 400s of pages. And we’re like, oh my God, we need to cut 16 pages here, 20 pages there kind of thing. So there’s a lot of stuff that didn’t even make it into the book.

Ani
Yeah. Right?

Brian
So we actually had to talk about that too. What are we gonna cut? What part of our baby are we gonna let go of here? And then of course the editors are like, this is, you’re cutting this part. Yeah, we don’t need that. But they were great about that too. But so that’s a whole part of it too that we are working on. But hopefully you kind of see that the spontaneous flow, oh, the other cool spontaneous flow thing that happened when I was in those states of writing is I would communicate with people and people reach out to me with their manifestation stories at just the right time.

Ani
Yeah.

Brian
And I’d say, oh my God, that’s exactly what I needed for this chapter.

Ani
Yeah.

Brian
Right now in this place. So there’s the idea of synchronicity.

Ani
Yeah.

Brian
Um, around things, which was also really, really cool. So for me, it felt like the universe was really helping us to write this book.

Ani
Yeah. And the stories for me in spontaneous flow, the stories were like, oh, I need a story. Oh, that story’s just perfect. This thing that happened 10 years ago with a client, or maybe it was just yesterday, but like everything just going that act, write, story. Plink, plink, plink. It was so awesome.

Brian
Yeah, yeah. So that’s basically kind of a look at the 3 levels of manifestation, which we write a lot about in the book because we work them into every one of the sections of the book that we’re writing about and working with. You get more information about them there and just how we use those levels in writing the book.

Ani
Yes. So again, I’m just like laughing to myself so hard. I can’t wait to see if you can tell which sections were mine and which sections were Brian’s. If you haven’t pre-ordered your copy yet, go to somaticcoachingacademy.com. You’ll be able to order the book there with your bonuses because we want you to be able to get some of the stuff actually that we cut is in one of the bonuses when you buy the book in the ebook that we wrote as a companion guide. So, um, go ahead over to somaticcoachingacademy.com, pre-order your book, and we cannot wait to hear watch. Think about that. And for now, you know, think about those 3 levels of spontaneous flow, sensory, emotional, and physical manifestation in your life until we see you next week. All right.

Brian
See you next week. Thanks a lot.