start thinking about what it means. If you do start thinking about what it means, you will lose concentration and revert to just getting the gist of the material rather than exactly what the communicator is trying to say.

Some communicators have even given me certain words

letter by letter, which, though quite diffi cult, greatly facilitates detachment from meaning, because the letters in themselves have no meaning. So provided you manage to stay with it, just focusing on each letter as it comes, this can be an excellent way of ensuring accuracy, since any isolated mistake is usually easily detectable. It is particularly useful when an alternative word or phrase just isn’t good enough – for example if I needed to get the word ‘pretty’, and a synonym like ‘beautiful’ wasn’t acceptable, I might well be given it as P-R-E-T-T-Y.

If you manage to keep your concentration – whether it

be on words or letters or a combination – you may get a whole story, or complex line of argument, which is entirely unlike anything you’ve ever thought. You may also get foreign words or phrases, which is very diffi cult indeed. In fact getting verifi able words and names which you have never heard of before is a rare skill because they are not even within your subconscious mind to draw upon. As you will see later, I have channelled poems in this way, some of which rhyme, and when it comes to rhyme, you have to get the word absolutely right – you can’t make do with a similar word as you might be able to with prose.

This is completely different from writing an inspired text

of your own. However inspired it is, an inspired text is still your work, and you will still have had to think it all through, whatever your state of consciousness at the time.

6) Writing too fast to think

If the material is coming from yourself – be it your intuition

or your imagination – you have to think about it. If you are

channelling something word-for-word, you often won’t have time to think about it. Sometimes I fi nd myself writing a message so fast that my hand hurts.

This is entirely different from automatic writing. In the kind

of clairaudient channelling I’m talking about, although it’s very fast and intense, you are the person writing. Whereas with automatic writing, the discarnate uses the medium’s hand and controls it. Usually this is achieved by the medium’s entering into a negative trance, thereby putting themselves totally at the mercy of the entity and unable to stop until they have fi nished. I do not recommend this.

7) Synchronicity

Sometimes the pattern and timing of events is just too

extraordinary to be easily dismissed as coincidence. In terms of channelling this is when you get some kind of sign after receiving a message that the material has indeed come from another source.

In 2005, for example, I received a message from a French

songwriter who had died tragically at a young age. He’d been very popular in his day and was best known for having written the tune of a classic pop song recorded by an artist who was a household name.

Directly after getting the message I went for lunch with

some friends, who I had shared the experience with, to a restaurant I often go to. As I walked in, another song was being played in the restaurant by this same artist – but not the song with the tune by this songwriter. I had never heard this CD being played in the restaurant before. We listened to song after song by this artist throughout lunch – but, very disappointingly, the song in question wasn’t played.

It was so tantalisingly close to being a perfect example

of synchronicity that after lunch I decided to phone the restaurant and ask them what CD they had been playing and whether or not it had this song on it. I was told that the entire album in fact had the same name as the song. Synchronicity won the day.

It should be stressed that this kind of thing is helpful to the

medium, and perhaps to the medium’s immediate circle or to someone in some way connected to the medium’s work, rather than the world at large. It gives the medium confi dence that the communicator really is who they thought it was. But it doesn’t prove anything on its own, and you have to be careful not to read too much into little things which might not be of any signifi cance at all. Sometimes though the synchronicity is just too specifi c to ignore.

8) Logical analysis

This is a key point, and it simply boils down to: was the

message worth getting? Has the communicator said anything worth saying?

With the best channelled material, every time you look

at it you will see something you hadn’t noticed before – the more you analyse the text, the more allusions and depth of meaning you will fi nd. It should also make perfect sense, though with some more advanced material it may take you a

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