This piece has been reprinted from my newsletter shared last summer.
I write about crystal healing a great deal, and exploring different topics on my blog. One thing I would be remiss not to talk about is the entire idea of writing about crystals to begin with. If you are interested in crystals, then you have no doubt perused crystal books in any number of metaphysical bookshops. There are quite a few established writers about crystal energies, and don't get me started on geological books about stones. So, where do you start? Who is right? How do they know?
There are some geological facts of crystals that are very important for you to know when working with crystals--Mohs hardness, crystalline structure, where the crystal is most likely found, and which minerals make up the crystal. Those should be consistent from book to book. I would expect, or perhaps, demand that my crystal book list these things. For someone working more in-depth for crystals, these things help when you are creating crystal grids, elixirs, or bathing with the stone. It is also important to know crystal structure and Mohs hardness for identification purposes. Knowing where the crystal comes from can help you from being defrauded when buying crystals on-line. For example, Chinese Fluorite is often sold as Chinese Chaorite--Charoite being a much more rare and expensive stone. Knowing that Chaorite comes from the Charo River region of Siberia would help you recognize that this might not be a real piece. Some books tell you the rarity of a stone, which is nice, since I can't tell you how many times I went searching for a stone to find it the size of my pinky nail and sold for $300. I don't make that a deal breaker for a book though.
After these geological facts about a crystal, all the information in these books are gleaned from personal experience, traditional uses, and mythology. Some crystal writers, like Katrina Raphaell and Naisha Ahsian have channeled information about crystals. Judy Hall, a psychic and healer, prolifically writes her crystal information from a combination of the lore of the crystal, research, and intuition. Robert Simmons is a craftsman who began working with crystals through jewelry design and later really exploring their metaphysical properties. Melody, the author of Love Is In The Earth, is a scientist who claims all her metaphysical uses for crystals have been produced through a controlled environment and repeated three times.
As you begin to look at the same stone in all these different books with all these different writers, you begin to see discrepancies. Judy Hall says this, Naisha Ahsian says that. So, who's right? Maybe the answer is all of them.
These teachers, mystics and healers work with these stones for years. Taking notes, feeling energy, distinguishing reactions in themselves and their clients. They really embrace and embody curiosity--curiosity about their body's reaction to vibrations, curious about the stones. I may not agree with a writer's take on a particular stone, but I don't discount that the crystal resonates with that particular writer in that particular way. I have had crystal people tell me I was wrong about a stone, and I just laugh. This is how I work with this crystal. Just like perfumes smell differently on different people, crystals can also resonate differently with different people.
But these books give us starting points with stones. This is why I write my crystal blog. I pull from different sources after I have worked with the stone. I see what Judy Hall experienced. Or what Naisha Ahsian uses the stone for. But in the end, I pull information that resonates with my own experience. And this is what I hope for all of you--that my crystal writing becomes a catalyst to learn more about a particular crystal or stone.
Vitally important to crystal work remains your own experience with the stone. Do not rely on my experience or sense of expertise. Yes, I am a crystal master, but I am just a human being, like Judy Hall and Naisha Ahsian. My beginning point with a new stone is to sit in meditation quietly with it. I remove any crystal jewelry or pocket crystals. (As I have gotten more into crystals, I wear FAR less than I did before. One crystal or intention at a time on my body now.) I take a notebook with me. Place it in my receptive hand (non-dominant). And I listen.
So often the key to working with a crystal is just getting quiet. What are you feeling? What thoughts are popping into your head? What images? Where do you feel tingly in your body? What feels open? What feels closed? Sometimes you feel nothing. And that is cool. When that happens, I change the placement of the stone. I may lie down and place it on my third eye, or on my heart. Did that change anything? If not, I may decide to work with that stone for a few days straight. Keep it in my pocket. Take it to bed. Allow the messages to come all day, if necessary. What has been my dominant mood? What chakra does it work with?
When I establish how the crystal resonates with me, I then work with the crystal in sessions with clients, or with my amenable husband. How is my client reacting? I develop an idea of this stone. Often times, my experience with a stone mirrors another crystal teacher's or writer's experience. Sometimes it does not. I think the best advice a crystal teacher can give you is to empty your mind in a store. Pretend to know nothing about crystals, and just be receptive. Where are you drawn? What crystal looks prettiest? What looks ugliest? Which one are you avoiding? Which one are you drawn to? And then buy the one that you feel strongest about (either repulsed or attracted.) Begin working with it. Great magic comes from that beginner's mind.