The only way to learn to scry is to scry on a regular basis. However, there are some mental exercises that might help prepare the mind for scrying and make it easier to achieve. These are most useful for the vast majority of people who have some latent scrying talent but are not particularly gifted.
We are accustomed to using only a fraction of our minds and leaving the rest idle. Unless you’re a graphic designer, you’ve probably never used your mental imagery skills to their full potential. Yet, as seen by the sharpness of the imagery in your dreams, you have an astounding level of skill in seeing images.
The same is true for each of the five external senses. We can encourage the free flow of extrasenory information acquired by our deep mind and converted into sensory metaphors that our conscious awareness can understand by completing activities to activate these senses in our brains.
This collection of basic sensory exercises should be undertaken as a regular habit at least several hours apart from your typical scrying sessions. Do not do the exercises right before or right after scrying. Do the exercises in the morning or afternoon if you scry at night before going to bed. They don’t require any tools or materials and can be done whenever you have a half-hour or so of solitude. Consider them in the same manner that you would a set of physical exercises meant to help you grow your physique. The same guidelines apply. They must be done on a daily basis and correctly if they are to be effective.
It is preferable to perform the exercise regimen while sitting up. When you lie down, it is all too simple for your mind to wander. None of these exercises take more than a few minutes, but you must dedicate your complete attention to them during that time. Most people will find it easier to do the exercises with their eyes closed.
In your thoughts, imagine a basic physical thing. The simplest method to do this is to look at an apple, a pencil, a key, or another nearby object, then close your eyes and imagine yourself re-creating it. Make it as complete and realistic as possible. Turn the object in your imagination and examine it from various angles, exactly as if you were turning it in your hand. Take note of its color and texture, as well as the way light reflects off its gleaming surfaces. You may work with the same thing for several days in a row in order to see it as clearly as possible, but before you get weary of it, switch to another object. Maintain a simple set of things.
Consider the face and head of someone you know well. It could be a family member, a relative, or a friend’s face. Stick with the people you see on a regular basis. Examine the head from every aspect possible, including the rear. Examine the ears, how the hair hangs and curls, the lines above and around the eyes, the color of the eyes, and the texture of the skin. After you’ve created a solid visual representation of the face, animate it in your thoughts. As though you were watching a silent film, imagine the individual chatting to someone. Make the face smile, laugh, purse its lips, frown, scowl, become furious, sorrowful, or weep. Concentrate solely on the image.
This is a similar exercise to the one described above. Close your eyes and imagine your own face as you see it every day in the mirror. Examine each of your traits one by one until you have created a strong composite image of yourself in your head. Begin with your head form, then continue on to the position of your ears, the thickness of your neck, your hair, your eyes, nose, and lips. When one of your features becomes hazy in your mental image, bring your attention back to it and make it more distinct. You’ll be astonished to learn that remembering your own face is considerably more difficult than remembering the face of another individual. To refresh your memory, perform this exercise without looking in the mirror. After all, you see your own face numerous times every day, so you are familiar with its appearance.
In your thoughts, recall the sound of a familiar voice. It is preferable to start with someone who speaks to you every day, but after a few weeks of practice, you may be able to conjure the voices of more distant friends and relatives—people you may not have seen in months or years. The voice of a deceased relative provides a fantastic subject. You should make these familiar voices say the things that these folks regularly say to you. Allow them to use slang terminology that they are familiar with and recollect the rhythm of their speech and inflections. Recreate their tone, pauses, signature emphasis, and accent. Make the voices in your head chuckle. You can make them say whatever you like, but it’s best to stick to what their owners normally say.
Remember the sound of a breeze in the trees, the gurgle of a rocky stream, the whine of a mosquito next to your ear, the crack of a twig beneath your shoe, the splash of a frog jumping into a pond, the rustle of your feet as you walk through tall, dry grass, the chirp of birds in the trees around you, and the breathless whir of a hovering dragonfly in rapid succession. You can change these noises from day to day if you want, but try to tie them all together into a coherent aural scene. You might wish to mimic the noises of a beach, a kitchen while dinner is being prepared, or city traffic. Consider the sounds alone, as if you were there but blind, relying just on your hearing to inform you of your surroundings.
Assume you are blind, and several small things are on the table or desk in front of you. Reach out and feel around for these objects in your mind. A tennis ball, a flat, polished beach stone, a coffee mug, a paperback book, a sharpened pencil, a paper clip, and a single leather driving glove with a snap at the wrist are all discovered in quick succession. Take each of these objects in your hands and mentally flip them over in your palms. Feel the tennis ball’s fuzzy texture, the smoothness of the mug, the smallness of the paper clip, and the softness of the leather glove. Flip through the paperback’s pages. Feel the pencil’s sharp point. Estimate the weight of the beach stone by lifting it. Spend around a dozen seconds on each item before moving on. Because you are blind, you must feel for each object individually and lay it aside so you know where it is.
Consider the aromas of a rose, garlic, sizzling bacon, freshly polished leather, a freshly cut orange, a cigarette, gasoline, vanilla, and burning hardwood in that order. When the same scents get too familiar, you can update and vary this selection as much as you want. It is not required to spend more than a few seconds recreating each smell, but you must be satisfied that it has been evoked in your mind. With repetition, each odor will become as distinct as if it were in the same room as you.
Imagine tasting a fresh slice of lemon, a tablespoon of white sugar, a block of chocolate, a peppermint, a stick of licorice, a piece of apple, a potato chip, and an aspirin in that order. When these drugs get too familiar, experiment with alternative flavors of your own choosing. You can go back to them whenever you want to reinforce them in your mind and make them more real.
