The Unbelievable Submodalities Review + An Remarkable Checklist

Submodalities – In this article, you will find the checklist of sub-modalities that you can use for different NLP exercises, such as a counter-analysis, and then, for example, a ‘like to dislike.’ An overview of submodalities is discussed in the paragraphs below.the Submodalities

What are submodalities?


In NLP we are more interested in the context, structure and process of the internal representations that we make than in their content. Submodalities are the finer components that create the structure of our internal representations. By changing the submodalities, you change the meaning of that representation for the client! Submodalities are the way we encode our internal images, sounds, and feelings, to give a meaning to the representation.

What can I do with submodalities?

If you can work well with submodalities, you can do powerful interventions and help people to create more options.

  • Inviting and strengthening States by passing through the elements from the ‘VAKOG’ list.
  • With changing sub-modalities, you change the properties of an experience. With these exercises, you can make good use of milton language to make it easier. For example: “Allow the color to change.” Etc. You can also pretend you have a remote control with which you can control all submodalities. There are always exceptions related to content. For example, candlelight or sunset has charm in darkness.
  • One of the applications is that you can wipe out the submodalities of a negative memory or make them more beautiful so that the memory becomes more bearable or more beautiful. In that case, try to keep the content the same. That makes it more credible for the client, which makes it easier for them. You only change the properties of that content. That also ensures that you are not necessarily creating memory loss. All data is still there. You no longer have to expose yourself to that one unpleasant experience because it happens safely at a distance and dim. The memory has taken place but you can influence the effect on you in the future. Only the card of that memory has been adjusted. So you can choose which sentence you give to what happens to you.
  • Motivate, for example, by linking the submodalities of a fun task to a tedious task. For example, the feeling of pleasure. Link pleasure to productive things you want to do. There are various exercises for this.
  • Use all submodalities (VAKOG) for many exercises! In almost all cases they provide inspiration for the exercise. Just describing what the client sees or hears can already be valuable.
  • You can easily remember something by doing a ‘VAK’tje’. For example, if you want to remember someone’s name, see the name written for you, hear the name pronounced and imagine how the letters of the name feel when you touch them.


Examples of submodalities – To be used with NLP exercises

What are submodalities


The bold submodalities are often the drivers’ most powerful submodalities.

  • Do you see it associated or dissociated?
  • Distance: how close or far away is the image specific? Take some distance, is it less bad? Take a little more distance.
  • Size: how big is the image?
  • Location: where is the image in space?
  • Color: is it in color or in black and white? 
  • Brightness: is the image brighter or darker than normal? How clear is it? You can over-light the image for less details. Does not that work yet? Over-lit it then a little more.
  • Intensity / saturation of the color: are the colors vivid / clear / intense / skin / brilliant or dull?
  • Is it framed/framed or is it panoramic?
  • Contrast: is there a high contrast or low contrast?
  • Sharpness: is the image focused and therefore sharp, or vague?
  • Texture: is the texture of the image smooth or rough?
  • Degree of detail: are there details in the foreground and background? Do you see the details as part of the whole or do you have to change your focus to see them?
  • Form: what shape does the image have? Is it square, round, rectangular?
  • Border: is there a limit to the image? Does the border have a color? How thick is it?
  • Angle: from which angle do you see it?
  • Proportion: are the sizes of the objects in the image in proportion to each other? Are they bigger or smaller than in real life?
  • Dimension: is the image 3D or flat?
  • Single or multiple: do you see an image or multiple fragments? Do you see them together at the same time or in succession?
  • Number: how many images are they?
  • Movement: is it a film or a snapshot, a still image?
  • Tempo: how fast are the movements? Faster or slower than normal?
  • Is the image stable?
  • Which direction does the image look like?
  • Do you see it in the foreground or in the background?

Ways to change visual submodalities Changing
submodalities is simple if you use contrast analysis: you change the submodalities of one representation into the submodalities of the other representation. In addition, there are a number of creative ways:

  • Rotate the image so that it completely covers your vision.
  • Larger image, brighter, more colorful, closer to you.
  • Let that red color spread all over your heart.
  • Rotate the size dial to make that negative person a small, thin person (occur).
  • Turn it into a cartoon – Pinocchio nose.
  • Give people long ears: Mickey Mouse ears.
  • Fast rewind: let them swallow their words.
  • Black and white, darker, step out and reduce to a dot. Send the image to the sun to destroy. It is so funny almost that the sun is small and now so far away.
    or transfer energy field to me.
  • Make smaller, further, go even further than black and white TV: Middle Ages: painting, so quiet.
  • See a door slam in thought. See it and hear it!
  • Take the image of the memory and stop it behind you. Push it slowly further behind you until it is a dim dot in the dark.
  • Give the images the chance to become lively, very clear, super HD!


Are there any sounds that play a role in your representation? If so, discover the submodalities below. If not, skip it.

  • Location / direction: where does the sound come from? Do you speak it from the outside or inside?
  • Height: are they high or low tones? Higher or lower than normal?
  • Tonality: what is the tonality?
  • Melody: is it monotonous or melodic?
  • Volume: how hard or soft is it? In a bad situation you could make the sounds softer (sirens, howling).
  • Tempo: how fast or slow does the sound go?
  • Rhythm: does it have a beat?
  • Mono / Stereo: do you hear the sound from one side or both sides?
  • Distance: is the sound near or far away?
  • Duration: how long does the sound last?
  • Is the sound mainly verbal or tonal?
  • How clear is the sound? (Hear the sound as if you were listening to it by the best speakers in the world.)
  • Is the sound continuous or are there breaks or silences? How much?
  • Intensity?
  • Internal or external?
  • Uniqueness?
  • Is there an internal dialogue? What kind of dialogue is that?

Ways to change auditory submodalities Changing
submodalities is simple if you use contrast analysis: you change the submodalities of one representation into the submodalities of the other representation. In addition, there are a number of creative ways:

  • For example, mean people will let you hear an Elmo or Goofy voice.
  • You can add a crazy music and voice to a negative situation, such as cheerful summer music or circus music.
  • Rare funny sounds.
  • Click it into place, with a sound as if the door is locked. Click!


Are there feelings that play a role in your representation? If so, discover the submodalities below. If not, skip it.

  • Intensity: how strong or weak is the feeling?
  • How would you describe it? Tinkling, warm, cold, relaxed, tense etc.?
  • Location: Where do you feel in your body?
  • Movement: Is there movement in the feeling? Is the movement constant or is it in waves?
  • Direction: Where does the feeling begin? Where does it move?
  • Speed: does the feeling gradually get stronger or does it come at once?
  • Area: Where do you feel it in your body? Big or small?
  • Form: What form does the feeling have?
  • Size: how big is it?
  • Weight: Is it a heavy or light feeling?
  • Vibration?
  • Texture?
  • Is the feeling constant or does it always go on and off?
  • Temperature: is it a warm or cold feeling?
  • Does it have a certain pressure?
  • What kind of emotions are involved?
  • Internal or external?

Ways to change kinesthetic submodalities Changing
submodalities is simple if you use contrast analysis: you change the submodalities of one representation into the submodalities of the other representation. In addition, there are a number of creative ways.

  • I want you to feel that You release yourself from the grip (Then create a positive new one: modeling and conditioning by repeating)
  • Also involve the feelings and emotions. Where in your body do you experience it?
    (Pay close attention to where she goes unconsciously with her hands as she thinks because her subconscious will automatically provide the answer.)
  • (After timeline therapy has been done) “Seize the unwanted past emotion from your timeline. There is a mini lauher in your pocket. Chhhhhhh Pggggg! ‘
  • Think creative. For example, pick the past emotion of the face. “Do I have him? Or is it bigger? Then remove it including sound effect.

Finding the driver with a contrast analysis

Finding the driver with a contrast analysis

Drivers are the sub-modalities that actually have an effect on a specific person: the difference that makes the difference. When you change the driver submodality, it often happens that the other submodalities change. In that, the driver carries the others. Incidentally, it is perfectly possible that someone has only one driver per experience that can be adapted with submodalities. You can only find out what they are by activating them one by one and asking what happens next.

  1. Create two columns on a sheet of paper. On the top row, you write at the height of one column: ‘desired experience’, and in the other column: ‘unwanted experience’.
  2. Question: ‘What is a positive experience of you?’
  3. “What feelings is involved?” Write down the listed states in the top row so that you can echo them more easily, so that you can help the client more easily.
  4. Discover together the sub-modalities of this experience, using the above submodalities list. Write them down in the left column. The requesting of the submodalities must be done quickly. Just a little faster than the conscious can keep up.
  5. Repeat steps 1-4 for an unwanted experience.
  6. Always mark when there is a difference between the submodality of the unwanted experience and the submodality of the positive experience.
  7. We are now working on the sub-modalities that differ from the positive in the undesirable experience. Go them one by one. Let the client change the submodality of the unwanted experience into the submodality of the desired experience. Always ask: “What is the effect? “Do you want to keep it that way or put it back?” When the client wants to keep the change because it makes a positive difference, there is a driver. A second way to trace the driver is by calibrating  (this is even the preferred way).

If a submodality goes over a threshold, the effect can change

It is not always the case that a submodality, such as ‘size’, increases the effect in the same way with each further step. Take the example of a spider. If you enlarge the spider, it is very scary at first! It becomes increasingly scarier as the spider takes on the size of a football, a chair, a room, a city, a country and the earth. But once a certain threshold is reached, such as when the spider becomes as large as the solar system, and then the galaxy and then the universe, it suddenly becomes less and less scary.

Experience all submodalities once in a visualization

Think of an experience in which you felt invincible and successful. Hear the sounds in the room, of approval, the applause … See the laughter on the face of the people. Their warmth and admiration … Experience your feelings, the warm flow of self-confidence in your …

Exercise – Convincer for the power of submodalities

power of sub-modalities

Should a client wonder whether it really has an effect to do something with NLP, the use of ‘convincers’ is one of the solutions. Before you start a serious exercise, you can, therefore, perform a ‘convincer’. The following convincer proves your client how effective can be a fabricated experience.

  • Think of a lemon. Think of the color, the shape, the smell, the taste. See the lemon for you. Feel the lemon in your hand, how does the skin feel? Imagine yourself cutting the lemon through the middle. You cut it now and take a half and drop it in your mouth. You now squeeze the lemon further into your mouth, you taste the taste and swallow it.

Our nervous system recognizes no difference between real events and created events. This allows us to dive into our memories and adjust them and we can create new memories. This way all sorts of problems and limitations can be solved.

You can remove this type of test suggestion: “This suggestion has been removed for testing.
You are like again, everything is undone. ”

Exercise – Use submodalities for fears

  1. What are you afraid of (for example a spider)?
  2. Go back to a memory where you had that fear.
  3. How big was the spider? How big were you?
  4. Change the submodalities. These are elements of the memory that you can perceive with your senses. Turn these parameters:
  • the size: let the spider shrink in your memory until it’s just a point.
  • the location: send the tip very far away, for example to the sun.
  • the clarity: make your memory so unclear that you can not see it anymore.
  • the volume button, so turn off the sound of the alarm.


Exercise – Experimenting

  1. Person B plays with submodalities and gives instructions to A.
  2. While B does this, he also experiences everything first. Always go first as a coach!
  3. C calibrates both A and B.

Exercise – Use the TV to strengthen a positive state

  1. Does your client have a positive memory? Ask him or her to see the memory on a black-and-white TV.
  2. Make a square with your fingers to make the black-and-white TV from afar.
  3. Bring it closer and strengthen especially the visual submodalities. Make it colorful, vibrant, with loud noises, etc. Discover together what is going on in that experience.

Exercise – Submodalities of confusion and understanding

  1. Identify the properties of something in which you experience confusion.
  2. Name the properties of understanding.
  3. Do the counter-analysis, as shown in the middle of this article.

You can also compare the submodalities of doubt and belief and test them one by one. You could flash out one conviction and flash the new one back, or let the old one go all the way and get the new one back, or make the old one go all the way up to a white screen and get the new one back.

Treat boring tasks with submodalities

Suppose you have to do your accounting, and you look up to it. Then close your eyes and think of an exciting experience where you were curious. Open your eyes and look at the boring subject, bookkeeping in this case. Repeat this five times. Then test whether it has worked: do a break-state and then look at the calculations, and notice what your reaction is.

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