Practices

Trace a square in the air with your finger while you breathe: in for four along the first side, hold for four, out for four, hold for four.

The counting brings the breath down to somewhere between four and six a minute, depending on how fast you count, which is the range most of the heart…

In the thick of it, keep your eyes open and give them something outside you to rest on. A fingertip, a doorframe, the line where the wall meets the ceiling.

Closing your eyes takes away the evidence that you are here and safe, and for some people it lets images in that they were holding off. Most…

Breathe in, then let it out as a sigh you can actually hear. Not a polite one.

The sound is the point. A silent out breath does some of the work, and letting the voice into it adds a bit more, which is probably why sighing turns…

Tap the fleshy side of one hand with the other and say it plainly: even though I am feeling all this in my body right now, I can accept that this is how I am.

You can strip away everything else and this part still stands up. Naming the state and accepting it in the same sentence blocks the second wave, the…

Before you try anything, give your distress a number out of ten. Do the thing. Then give it a number again.

Even a drop from eight to six is worth having, because you were the one who moved it. That is often the more important result: not the two points,…

When you have gone numb rather than frantic, try a long low sound on the out breath. Voo, drawn out until the breath runs out, so your lips and chest buzz with it.

This is for the flat, far away state, not the racing one. The buzz gives you something unmistakable to feel when nothing else is registering, which…

After you have tried something to settle, check: how here do you feel now, compared with before? Do not assume it worked just because it usually does.

This takes ten seconds and does two jobs. It tells you whether that particular thing is worth reaching for again, and it slowly trains you to notice…

Rest one hand on your forehead and the other on your chest. After a few minutes, move the forehead hand down to your belly. Eyes open or closed, whichever you prefer.

Again the instruction is only to notice what goes on between the two hands. That noticing is quietly the training: it is body awareness arriving…

Two senses rarely get named: the one that tells you where your limbs are, and the one that tells you which way is up. Pressing your feet into the floor or slowly turning your head feeds both.

When someone feels unreal, or far away from their own body, these are the channels that have gone quiet. They carry plain information with no feeling…

Keep one strong smell for when you have gone flat, lemon or peppermint, and one soft smell for when you are wound up, something like lavender. Smell asks nothing of you, which is its whole advantage.

Set this up in advance, because the moment you need it is the moment you will not feel like planning. A small bottle in a bag, a sprig in a pocket, a…

For coming down, something sweet taken slowly tends to help more than anything you chew: sipped through a straw, or let dissolve on the tongue. Nobody around you can tell you are doing it.

Slow sucking soothes in a way that goes right back to the first weeks of life, and it is quiet enough to use in a meeting, on a bus, in a waiting…

When you have gone flat and far away, chew something noisy or blow something: pretzels, raw carrot, bubbles, a slow puff at a candle flame. It lifts you without tipping you into panic.

Collapse does not respond to calming, since you are already too far down for that. What helps is work for the jaw and a long active out breath, both…

Your brain is less a single organ than a crowd of billions of cells working out what to do next. The angry pull you feel is one voice in that crowd, not the whole of you.

This matters most in the second when an impulse arrives sounding completely certain. You can hear it, treat it as one contribution, and still not act…

The aim is not to stop feeling angry. It is to stretch the time between the feeling arriving and you doing anything about it, from no seconds to a few.

That target has the advantage of being honest and checkable. You can ask whether you got a moment this time that you did not get last time. The anger…

One move to interrupt, one to settle. Open your hand, then take the slow breaths: the first buys you the gap and the second gives you something to do with it.

An interrupt on its own leaves you standing there, aware and still flooded. A settling practice on its own never gets going, because the moment goes…

Sometimes you can feel the whole exchange lined up before it starts: your line, then theirs, then the door. Leaving your line out is enough to stop the sequence that once.

Nothing impressive is required. You sit there, you say nothing, you let the moment go past unfilled and you find out that it can. Some scripts do…