Presenting an audience with an alternative life experience is yet another way to influence your audience. By ignoring (or catering to) an audience's cultural bias, you can present your story as an alternative reality. This impacts an audience by undermining or reinforcing their personal Memories. By experiencing the story, the message or meaning of the story becomes part of the audience's memory base.

The nature of the propaganda, however, is that the story lacks context, which must be supplied by the audience. Thus personalized, the story memory is triggered automatically when an experience in the audience's real life summons similarly stored memories. Through repeated use, an audience's sensibilities" become conditioned.

In Conditioning propaganda, audience attention is directed to causal relationships like When A also B (spatial), and If C then D (temporal). The mechanism of this propaganda is to leave out a part of the causal relationships in the story, such as When A also B and If ?? then D. By leaving out one part, the objective contextual meaning is then supplied automatically by the audience. The audience will replace ?? with something from its own experience base, not consciously considering that a piece is missing because it will have emotionally arrived at the contradiction: When A also B and then D.

This type of propaganda is closest to the traditional use of the term used with stories, entertainment, and advertising. For example, look at much of the tobacco and alcohol print advertising. Often the Main Character (the type of person to whom the advertisement is supposed to appeal) is attractive, has someone attractive with them, and appears to be well placed in life. The inference is that when you smoke or drink, you are also cool, and if you are cool then you will be rich and attractive. The connection between cool and rich and attractive is not really in the advertisement but an audience often makes that connection for itself. In Conditioning propaganda, more than in the other three forms of propaganda, the degree of impact on your audience is extremely dependent on your audience's life experience outside the story experience.

Crimes and Misdemeanors is a film example that employs this conditioning technique of propaganda. The unusual aspect of the film is that it has two separate stories in it. The Crimes story involves a self-interested man who gets away with murder and personally comes to peace with it (a Success/Good story). The Misdemeanors story involves a well-meaning man who loses his job, his girlfriend, and is left miserable (a Failure/Bad story). By supplying two competing stories instead of one, the audience need not supply its own experiences to arrive at a false context while viewing this work. Audiences will come to stories, however, with a particular cultural bias. In our culture, Failure/Bad stories which happen to nice people are regrettable, but familiar; Success/Good stories about murderers are uncommon and even morally shameful.

The propaganda comes into effect when the audience experiences in its own life a Failure/Bad scenario. The experience triggers a recollection of the Success/Good story about forgetting the grief of having murdered. This is an alternative the audience would not normally have considered. Lacking an objective contextual meaning that sets one over the other, both stories are given equal consideration as solutions. Thus, what was once unthinkable because of a cultural or personal bias is now automatically seen as a possible avenue for problem solving.