Practices

Before you go looking for practice at staying steady, make sure you already have something to do instead of your usual reaction. Practising with nothing to put in its place mostly rehearses the old response.

Pick the alternative first and keep it small: a slow breath, one fixed phrase, a decision to say nothing until your hands unclench. Then you can let…

Ask yourself what you would least like the person in front of you to be thinking about you right now. Whatever surfaces is usually what your anger has been guarding.

It tends to be one short sentence and an old one. That you are weak. That you are stupid. That you do not matter. In a session a therapist can ask…

A good deal of what stings in a tense moment is what you imagine the other person is thinking. Sitting inside a silence and watching your own mind fill it shows you that plainly.

Practitioners run this on purpose. Half a minute or so of held silence, with the client asked to notice what happens inside them. Since nothing is…

Almost everyone says the same thing afterwards, that the waiting was worse than the thing itself. Say it out loud in your own words, because your own words land differently from anyone else's reassurance.

Before a difficult conversation, write one line about how bad you expect it to be. Afterwards, write one line about how it actually went. Over a few…

Run the same moment twice. The second time, change nothing except what you do with it, and let yourself not mind what the other person might be thinking.

Keeping the situation identical is the point, because then the only thing that moved was you. In a session that means the same silence and the same…

Practice gets more useful when someone is really watching. It also gets harder, so agree that part before you begin instead of adding it once the person is already in the middle of it.

An audience raises the stakes in a way that makes the rehearsal more like life, which is exactly why it helps. It is also where consent gets…

Rather than manufacturing a calm you do not feel, borrow one you have really had. Bring a settled memory to mind and hold it against the thing that usually stings.

Actors do this instead of faking a feeling: they call up a real moment and attach it to the cue until it starts arriving on its own. The same works…

Pick the calm memory with some care. Sun on a beach, a bike ride, someone cleaning up a scraped knee: what matters is that it is genuinely safe ground for you.

Childhood scenes are often the most vivid, which is what makes them useful and also why they can misfire. If your early years were not safe, a prompt…