How To Write A Guided Meditation Script
There are all sorts of guided meditation, guided imagery, and hypnosis programs available, and they aim to do many different things. Some are designed simply to help you relax, while others try to help you change bad habits, lose weight, attain other goals, or become smarter in some way. But there are certain elements common to all guided meditation scripts that make the difference between mediocre programs and great ones.
When composing a guided meditation script, the writing style should be appropriate for the subject matter. The writing should be informal to put the listener at ease — conversational, not stiff or stuffy. It helps to use contractions — “it’s” instead of “it is” — because that’s the way people normally talk. It also helps to give sentences a rhythmic flow, make the vocabulary rich without being distracting, and shape the phrasing so the narrator has places to breathe.
A guided meditation typically has several parts. The beginning is like the first part of an airplane flight, when the passengers are getting buckled in and given basic instructions. You’ll want to offer a few sentences to help the listener settle into their chair and get comfortable. During that time they’d typically be adjusting the volume on their listening gear if necessary, so they need just a bit of time. Suggestions for taking some deep breaths can be helpful at this point too.
Next there’s usually some sort of induction process, similar to the airplane climbing to cruising altitude. This is where you help people go into a nice deep state of relaxation — the hypnosis folks call it a trance. There are lots of ways to do this, for example using numbers, colors, or having the listener do a metaphoric process like climbing down a ladder, or floating on a cloud. The best approach is to have the induction fit into the main body of the story you’re telling, so the example of floating on a cloud might be a good beginning to a visit to heaven.
The main body of the program is like the cruising portion of a plane ride. The listener is hopefully in a deeply relaxed state at that point, ready for the main part of the trip. Depending upon the goal and subject of the program, this is where the narrator will help the listener explore, envision some kind of transformation, receive affirmative suggestions, and look and listen for any messages from within.
Speaking of looking and listening, since people tend to process information in different ways, it’s helpful to incorporate language in the script that includes auditory, visual, and kinesthetic senses. That way, a visually oriented person won’t be frustrated by suggestions to listen for information, for example. Better to suggest the listener receive images, messages, or feelings, to keep their options open.