Temporal sequence and causality do not apply in dreams. When a dream has several scenes they can usually be best understood as varying ways to describe the same central idea. In other words the stream of images in dreams circumambulates certain nodal centers rather than proceeding in a straight line as does rational thinking.
(Edward Edinger, Ego and Archetype p. 23)

Jung observed that each of our psychological components is a distinct center of consciousness. We can think of them as structures within ourselves that make up our total psyche. We can see them as independent energy systems that combine in us, for they are autonomous. Each has its own consciousness, it's own values, desires and points of view. Each leads us in a different direction; each has a different strength or quality to contribute to our lives; and each has its own role in our total character.

Etymology of fantasy

Our english word "fantasy" derives from the greek word "phantasia". The original meaning of this word is instructive: It meant "a making visible".
(Robert Johnson, Inner Work)

Your neuroses as a low-grade religious experience

If we don't go to the spirit, the spirit comes to us as neuroses. This is the immediate, practical connection between psychology and religion in our time.

The sense of moral inferiority always indicates that the missing element is something, which ,to judge by this feeling about it, really ought not to be missing, or which could be made conscious if one took sufficient trouble. The moral inferiority does not come from a collision with the generally accepted and, in a sense, arbitrary moral law, but from the conflict with one's own self which for reasons of psychic equilibrium, demands that the deficit be redressed. Whenever a sense of moral inferiority appears, it indicates not only a need to assimilate an unconscious component, but also the possibility of such an assimilation.
(Jung, CW 7, par 218)

In the history of the inventions of civilization there are many which were discovered by accident, through someone playing with an object and then suddenly getting an idea. Schiller even says that man is at his highest level only when he plays , when he has no conscious purpose. Creativity through play is such a well-known and essential factor that one does not need to point it out, but we see again and again that if we try to induce our analysands to do active imagination, all the skeptical rationalism pop out -- that it is a waste of time, that one cannot do it, that one does not know how to draw, that one has no time today or tomorrow, that one is not inspired -- and whatever other blocking resources there may be.
But every new beginning of consciousness, every essential process of consciousness must first arise from such a state; only then is the human being open enough to let the new element in and let things happen. Many creative people start their creativity with a terrific depression. They have such a well-constructed and strong ego consciousness that the unconscious must use very strong means - send them a hellish depression - before they can loosen up enough to let things happen. I have noticed that people who tend to have those creative depressions, if they can anticipate them by playing in some way, the state of depression is lifted at once, for the secret final intention of that kind of depression is, as the word says, to depress, to lower the level of consciousness so that these processes can come into action.
(M.L. von Franz, Creation Myths, par 37.)

Unless we are possessed of an unusual degree of self-awareness we shall never see through our projections but must always succumb to them, because the mind in its natural state presupposes the existence of such projections. It is the natural and given thing for unconscious contents to be projected. In a comparatively primitive person this creates that characteristic relationship to the object that Levy-Bruhl has fittingly called "mystic identity", or "participation mistique". Thus every normal person of our time who is not reflective beyond the average, is bound to his environment by a whole system of projections
(Jung, CW 8, par 507)