Phase 3 involves drawing a sketch. These are partially spontaneous sketches of the target. The sketches are guided by the intuitive feelings of the viewer. The sketches can sometimes be detailed, graphical representations of the target. But often Phase 3 sketches are more like pictorial symbols, partially descriptive, but also partially symbolic of the target's complexities. The viewer can refer back to the Phase 2 magnitudes in order to assist in the drawing of the Phase 3 sketch.

To begin drawing a Phase 3 sketch, the viewer obtains a new piece of paper, places the page number in the upper right hand corner of the page, and writes "P3" in the center at the top of the page. The paper is normally positioned in the portrait position in which the long side of the sheet is vertical. The viewer then begins to draw by quickly feeling around the page. The intuitions will suggest lines or curves at various positions. The viewer must be told not to edit-out anything, but just to draw the lines as he or she feels them to be.

I once had a student who would simply not draw anything on the Phase 3 sketch. I immediately recognized the situation as one of editing-out data. After I repeatedly encouraged him to sketch something, he finally looked at me and declared that he knew it could not be correct, but he could not get the idea out of his mind of a circle with what appeared to be many lines originating from the center of the circle and radiating outward. He then drew the sketch in order to show me what he meant, feeling certain that I would agree with his assessment that the image was meaningless. As it turned out, the sketch was a near perfect representation of the roof of a circular building that was the target. The picture of the building that was being used to identify the target was taken from an elevated angle, and this viewer's sketch matched the angle and perspective exactly. I then told him that doubt is healthy in remote viewing. It means that the conscious mind is not controlling the image, and that he must be vigilant about not editing-out data.

The mantra of remote viewing is to "stay in structure." This means that the viewer must continually focus on doing the correct thing at the correct time. It never means that the viewer is to evaluate the data for correctness while the session is in progress. Indeed, if a session is done correctly, the viewer will never feel certain about the results until the target cue is revealed and the session is analyzed. The feeling of certainty is a conscious mind phenomenon, and the presence of this feeling during or immediately after a session (before the target cue is revealed) is a good indicator that the viewer did not stay in structure and that the data in the session are a fabricated product of conscious mind activity.

With regard to Phase 3, it is important that the viewer sketch something. It is not important that the viewer understand what the sketch represents. Indeed, as a general rule, it is impossible to know exactly what a Phase 3 sketch represents. One can have an idea that there are people and a structure in the sketch, but one can never be certain. At best, one can only say that the viewer feels there to be lines here, curves there, and so on. Often people (i.e., subject) ideograms are found in Phase 3 sketches. We never assume that such things really are subjects; we know only that the drawings look like ideograms representing subjects.

After drawing any initial aspects of the sketch, it is often useful for viewers to run the hand or the pen over the paper a couple of times (without actually having the pen contact the paper). Doing so usually gives viewers a feel for where other aspects of the target are located. The viewers should be instructed to quickly add these additional lines to the sketch. It must be emphasized that beginning viewers are often seen moving their hands over the paper in clear patterns without ever drawing in these patterns. This is an editing-out problem again. If the instructor sees this occur, it is essential to urge such viewers to re-contact the pen with the paper and to draw in the lines.

It is also common to see beginning viewers move their hands in front of their faces, as if feeling a target. Novices nearly always fail to record these movements on paper. Some people identify this phenomenon as "micro-movements," since the movements of the viewers hands can be quite subtle. In the early days of training remote viewers, instructors would carefully watch for such micro-movements with their students. For example, if the target is a mountain, many students have been observed moving their hands in front of their faces tracing out the outlines of the steeply sloped mountain, even to the point of outlining the rounded or pointed peak of the mountain. When such movements occur, the instructors need to point out such movements to the student, explain that the movements are subconscious reflections of authentic target information, and encourage the student to record these movements on paper.

After students draw their initial impressions of the target, including having them run their hands over the paper to perceive any additional aspects that need to be sketched, the students should look back at their dimensional magnitudes that were recorded at the end of Phase 2. Sometimes a glance at these magnitudes will trigger the sense of additional areas that need to be included in the drawing. For example, sometimes a student will write "tall" or "towering" as a vertical dimensional magnitude. Looking back at the Phase 3 sketch, the student may then perceive where this tall or towering thing is, and begin to include it in the drawing.

In general, Phase 3 sketches are drawn rather quickly. Later, in Phase 5 (or in advanced versions of Phase 4), it is possible to draw meticulous and extended sketches. But the Phase 3 sketch normally has a sense of rapid data transference of initial impressions, not exacting drawings of the finer details of the target. To spend too much time with details at this early point in the session would invite the conscious mind to begin interpreting the diagrammatic data. This could potentially destroy the session, especially for a novice whose mastery of the protocols is not yet developed. As an approximate rule, five minutes or less is satisfactory for a Phase 3 sketch. It often happens that a good Phase 3 sketch takes less than a minute.

When the session is in progress, the viewer will not know the exact meaning of the Phase 3 sketch. Nonetheless, and particularly in Type 4 data situations in which the monitor knows the identity of the target, it is helpful for the monitor to be able to interpret at least the basic aspects of the Phase 3 sketch immediately (while the session is still in progress). Listed here are a few useful interpretive guidelines.

• Perpendicular lines normally represent artificial structures or aspects of such structures.
• Parallel lines also tend to represent aspects of artificial structures.
• Wavy lines often suggest movement.
• People ideograms usually represent people.
• There is no way to estimate size with a Phase 3 sketch. For example, a circle could represent a golf ball or a planet.
• Some lines tend to represent land/water interfaces (where land and water meet, as on a coastline).
• Some lines tend to represent air/water or air/land interfaces.

Again, these interpretive guidelines are for the monitor's use only during the session, and it is important that the viewer not try to use these guidelines to interpret a Phase 3 sketch on the spot. The viewer must concentrate only on recording the lines that represent or reflect the various aspects or parts of the target. After the session is completed, the viewer can spend as much time as is wanted or needed interpreting the data in the sketches and elsewhere.