The better you know the characters, the more you’ll see things from their point of view. You need to trust that you’ve got it in you to listen to people, watch them, and notice what they wear and how they move, to capture a sense of how they speak. You want to avoid at all costs drawing your characters on those that already exist in other works of fiction. You must learn about people from people, not from what you read. Your reading should confirm what you’ve observed in the world.

You get your confidence and intuition back by trusting yourself, by being militantly on your own side. You need to trust yourself, especially on a first draft, where amid the anxiety and self-doubt, there should be a real sense of your imagination and your memories walking and wool-gathering, tramping the hills, romping all over the place. Trust them. Don’t look at your feet to see if you are doing it right. Just dance.

The interesting thing is that delayed intuition generally doesn’t make it less scary. If anything, the more you understand it, the more butterflies in your stomach it’ll give you. Because you’ll uncover all the ways it can go wrong; you’ll know the million things that might kill this idea and your business and your time.

But knowing what can kill you makes you stronger.

And knowing that you’ve already deflected some major bullets makes you stronger still.

Listening to intuition is not the act of concentrating on what you think you want. It is not hedonism, a move toward the most pleasurable short-term alternative. It is not giving vent to the inner emotional child left over from your infancy. It is simply paying clear attention, without mind chatter and emotions, to the most appropriate alternative that comes from the creative Essence.

Our speakers seem to tell us that intuition kicks in precisely when they move through the stress and the frustration to a calm, clear state beyond. At that moment, the appropriate action appears almost as a solid conviction: take the case of Robert Medearis. Instead of emotion, he prefers to talk about energy:

I think everybody has a certain amount of energy about them. And I think that one of the critically important things is to allow that energy to take place. Don’t be afraid of it, don’t try to channel it. Let it emerge. Because that energy is the source, it’s the food for the idea… Allow it to ferment, allow it to come out, allow it to bubble up if you will even though you might think that it’s somewhat negative in origin. Allow it to manifest.

Replace frustration with simulation. As you pay attention to what happens with yes/no, you’ll increasingly see ways to get to your intuition quickly, without the long frustrating periods of beating your head against a wall. Meanwhile, you might want to try the following four-step simulation based on some remarks by Dean Arthur Hastings. We recommend that you approach it as a meditation; sit comfortably, with your eyes closed.

First, diffuse emotional desires. Allow yourself to accept whatever outcome your intuition gives you. Our students find that reminding themselves that there really is no right or wrong way to go - that “This isn’t for keeps,” that the decision isn’t really important in a cosmic sense or even in terms of their whole life - helps them to divest themselves of any emotional wishes or desires.

Second, clear and calm your mind. This usually means relaxing physically or using a meditation technique.

Third, put the question in your mind. Don’t try to work on it or strive for an answer. Have no expectations. See the question in your mind’s eye. Hear it inside. Wait for your answer.

Fourth, observe. What is the answer? What are your reactions to the answer? Imagine the outcome of the decision that comes.