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Using the lists below, you can examine submodalities. You can change the submodalites and note whether the intensify or lessen the experience. Put the submodality back to where it was, and then examine others. In this way, you can learn how submodalities affect you.

Submodalities tend to affect most people the same way. For example, the nearer something is the more powerful it is. However, a drug addict might be extremely anxious when an image of heroine is moved into the distance. A workaholic company manger might similarly feel anxious when he imagines his work in the distance.

So, there are general rules about submodaliteis, but for most effectiveness, you can determine how they work for you in particular circumstances. You can use the lists below to do this.

Contents of this Page

Visual submodality

As you look at a mental picture, ask yourself:

1. Is it a movie or a still shot?
2. Colour or black and white?
3. Near to you or far away?
4. To your left, right, or centre?
5. Is it above you, in the middle or downwards?
6. Do you see it from an exterior or an interior viewpoint? (Are you looking through your eyes in the picture, or seeing yourself in the picture?)
7. Is it framed (in a limited area) or is it panoramic (extending throughout your visual field?)
8. Is it bright or dim?
9. Focussed or unfocussed?

Note the submodalities that are more important for you.

Framed, snap-shot, black and white, dull, distant and unfocussed pictures are less influential for most people than their opposites. So you would change an unwanted picture to be framed, etc, and a wanted picture to be panoramic, etc.

Location is often important. An image high in the visual field may be more awesome!

Note, visual images cannot be behind you (because you couldn't see them). Auditory and kinesthetic images can be behind you, however.

Auditory Modality

Now consider any sounds in the representation and ask:

1. Do you hear your own voice or the voices of others?
2. Is there are dialogue or a monlogue?
3. Where is it located?
   1. Inside the body or outside?
   2. Up or down?
   3. Left, right or centre?
   4. Behind you or infront?
   5. Near or far?
4. Are the sounds loud or quiet?
5. Are they expressive or monotones?
6. Fast tempo or slow?
7. Are the sounds continual or continuous with pauses?

Kinesthetic

When you feel the effects of the image, ask:

1. Is it hard or soft?
2. Warm or cool?
3. Rough or smooth
4. Rigid or flexible
5. Sharp or dull?
6. Pressure?
   1. Impact or stroking or unifrom?
   2. High or low?
7. Continual (non-stopping) or continuous with pauses?
   1. Throbbing?
   2. Uniform?
8. Solid, liquid or gaseous?
9. Where is it located?
   1. In your body or outside?
   2. Infront or behind?
   3. Left, right or centre?
   4. High, low or middle?
   5. Near or far

The solid, liquid or gaseous quality is easily understood with a little thought. Something, clearly, can be sensed as solid. We sometimes have the sensation of water flowing (often cold!). A gaseous submodality is a wispy quality. Often this makes a kinesthetic representation less influential.

Kinesthetic representations probably can't be too distant, but for some, you may have to reach out for them! Others may be in contact.

You may find it easier to work with one modality more than others at first. And some questions may not seem relevant or influential. You can concentrate on your preferred modality and this may bring about the improvements you require. (Usually it does). But as you become more experienced, you can explore the other modalities and their submodalities.