ic ▁suggestion , ▁then , ▁should ▁be ▁" art fully ▁vague ", ▁leaving ▁space ▁for ▁the ▁subject ▁to ▁fill ▁in ▁the ▁g aps ▁with ▁their ▁own ▁un cons cious ▁understand ings ▁- ▁even ▁if ▁they ▁do ▁not ▁cons ci ously ▁grasp ▁what ▁is ▁happening . ▁The ▁sk illed ▁hyp n other ap ist ▁construct s ▁these ▁g aps ▁of ▁meaning ▁in ▁a ▁way ▁most ▁su ited ▁to ▁the ▁individual ▁subject ▁- ▁in ▁a ▁way ▁which ▁is ▁most ▁likely ▁to ▁produce ▁the ▁desired ▁change . ▁ ▁For ▁example , ▁the ▁author itative ▁" You ▁will ▁stop ▁sm oking " ▁is ▁likely ▁to ▁find ▁less ▁le verage ▁on ▁the ▁un cons cious ▁level ▁than ▁" You ▁can ▁become ▁a ▁non - sm oker ". ▁The ▁first ▁is ▁a ▁direct ▁command , ▁to ▁be ▁obey ed ▁or ▁ignored ▁( and ▁notice ▁that ▁it ▁draw s ▁attention ▁to ▁the ▁act ▁of ▁sm oking ); ▁the ▁second ▁is ▁an ▁opening , ▁an ▁inv itation ▁to ▁possible ▁last ing ▁change , ▁without ▁pressure , ▁and ▁is ▁less ▁likely ▁to ▁raise ▁resistance . ▁ ▁Richard ▁Band ler ▁and ▁John ▁Gr inder ▁identified ▁this ▁kind ▁of ▁" art ful ▁v ag uen ess " ▁as ▁a ▁central ▁characteristic ▁of ▁their ▁' Mil ton ▁Model ', ▁a ▁system atic ▁attempt ▁to ▁cod ify ▁Er ick son ' s ▁hyp not ic ▁language ▁patterns . ▁ ▁Conf usion ▁technique ▁ ▁In ▁all ▁my ▁techniques , ▁almost ▁all , ▁there ▁is ▁a ▁confusion . ▁ ▁A ▁confused ▁person ▁has ▁their ▁conscious ▁mind ▁busy ▁and