The Pick-Up Artist's

Field Guide
Mastering the Art of Pick-Up and Seduction
THIS EDITION May 2009

Written and Compiled by Decibel PUAFieldGuide.com

Pre ace
As an aspiring pick-up artist (PUA), I have searched for a definitive guide to pick-up. I came across the Venusian Arts based on the M ster Method, neuro!inguistic programming ("#P) and $oss %effries, $&', 'avid 'e Ange!o and cock (funn among man other techni)ues scattered on the internet and in bookstores. *hough ever thing +e needed to !earn +as dispersed among count!ess 'V's, books and ebooks, +hat +e +anted +as one source that +e cou!d turn to in the fie!d as a comprehensive guide. *his book is intended to be a reference. ,ou shou!d read it through and then come back !ater as needed. As the pickup arts and sciences evo!ve, I intend for this book to keep pace. In our trave!s, ou ma tr on various methods and phi!osophies of pickup, inc!uding M-, $&', Meho+ or .ust simp!e direct. *ake ever thing ou !earn +ith a grain of sa!t, even concepts considered b the communit to be dogma. /ie!d test it a!!, unti! ou figure out +hat +orks best for ou as an artist. M test of a great PUA is not ho+ much tai! he can get, but ho+ far he has evo!ved as a person and ho+ +i!!ing! he adapts to +hat the fie!d teaches him. /or those aspiring to become PUAs, I hope this ebook +i!! he!p ou reach do+n inside the A/0 (Average /rustrated 0hump) and find him. /or those +ho consider themse!ves a!read competent in the seduction arts, I hope this book +i!! be a good manua! for ou to emp!o +hi!e teaching others. 1ut +herever ou find ourse!f in the 2ame, I hope ou3!! remember the first ru!e4 #eave her better off than +hen ou found her. "o+ p!o+ on55

dB
P.&. I3m here to he!p. 2o to m +ebsite and contact me4 PUA/ie!d2uide.com. 0heck back for updated versions of the 2uide, since it +i!! be constant! evo!ving and improving. 1ecause this communit has he!ped me out so much, I3m a!+a s !ooking for +a s to give back. A!so do+n!oad m --hour seminar. M other ebook, Introductory Pick-Up, can be do+n!oaded here.

Table o Contents
0hapter 6 0hapter 7 0hapter 0hapter 8 0hapter 9 0hapter : 0hapter ; 0hapter = 0hapter ? 0hapter 6@ 0hapter 66 0hapter 67 0hapter 60hapter 68 0hapter 69 0hapter 6: 0hapter 6; 0hapter 6= &emantics and Practica! Points 0ommunication and &ubcommunication 1od #anguage *he M ster Method (M- Mode!) 'irect Approach Identit , &tate and /rame Pri<abi!it >peners, $outines, 2ambits and 1>1s 0hick 0rack Aino &eB and the /ema!e >rgasm Props AM>2s, MiBed &ets and 1o friends Phone and *eBt 2ame Internet 2ame 'a 7 1e ond 'a 74 *he m#*$(/1 &ame "ight #a s

0hapter 6? 0hapter 7@ 0hapter 76 AppendiB 6 AppendiB 7 AppendiB AppendiB 8 AppendiB 9 AppendiB : AppendiB ;

Inner 2ame Attire 1ib!iograph and &uggested $eadings A 0rash 0ourse to #earning Pick Up Ce!ping Domen 2et >ut of *heir >+n Da >n 1eing /unn 'ecibe!3s 'a 6 Mode! *he d1 Archives 1ang1ang3s 2uide to 1eing a 1etter #over *he 1!ueprint, b $&'

- DISCLAIMER Pick-up is #ike the &tock Market

*his is a !ife-!ong investment. ,ou can3t get too discouraged b individua! sets or f!akes. #ook at our overa!! improvement over months and ears, and make corrections +here needed. Are ou a better person, man and seducer compared to a ear agoE It becomes eas to get bummed out +hen a good set m sterious! f!akes. >r to think ou3re a master PUA because ou s!eep +ith - gir!s in a +eek. "one of that matters. Dhat matters is the overa!! progress ou make (or don3t make). *he stock market has its ups and do+ns, but ou make sma!! ad.ustments and ride it out. ,ou don3t pu!! a!! our mone out because the market has a bad da ...though sometimes the temptation eBists. A!+a s focus on the process, not the outcome. "ever prove...a!+a s improve. *he road to master +i!! be !arge! a bunch of p!ateaus, but that is +here much of our progress +i!! occur. Cave b!ind faith that the process +i!! +ork, but rea!i<e too that it never ends. As &inn sa s, 3*here is no finish !ine.3

Note: &ections +ritten in this co!or represent ne+ additions from the !ast version of the guide.

Chapter !ne
"emantics and Practical Points
*he fie!d of pick-up is fu!! of termino!og +ith +hich ou +i!! need to fami!iari<e ourse!f. $ather than create a ne+ g!ossar , consu!t The Game b "ei! &trauss, and here.

The HB Rating System *he term C1 has been used to stand for Cot 1abe or Cone 1unn . Domen are rated according to appearance from 6-6@, +here C1Fs can be : or higher, and 6-9 are considered ugs (for ug! ). A subset +ou!d be the fug! , +ho is a so +oman so undesirab!e, she3s fucking ug! . *he opposite eBtreme is the &C1, or &uper Cot 1abe, +ho is off the charts magnificent. *here is !egitimac to the ug-6@ sca!e. A 6@ has a more profound ps cho!ogica! impact on a man than an ugG her beaut intimidates and inhibits him from approaching. *his is an undeniab!e reaction +hich the PUA must tr even harder to overcome as he rids himse!f of approach anBiet (AA). Dh is thisE 1ecause a 6@ has eBtreme! high rep!icative va!ue. &he has a!! the primitive traits of high va!ue for the man...facia! s mmetr , !arge breasts, desirab!e hip-to-+aist ratio. *herefore, being of ver high va!ue, she is the best candidate for reproduction, and the most !ike! to activate his AA. *he PUA shou!d not fee! sha!!o+ that he se!ects a +oman of great beaut as his targetG it is natura! since she has great va!ue on a ver primitive va!ue, much !ike a man demonstrating a!pha characteristics is high! attractive to a +oman. &ome have argued that this number s stem is not an accurate or fair approach to rating +omen. *he reason for its use is that in the fie!d a!! a PUA has to go on +hen targeting a +oman is her appearance. *he assumption is made that the more ph sica!! attractive a +oman is, the more she has been approached b men, and thus the more .aded she +i!! be. Cence, picking up a 6@ ma for eBamp!e re)uire more negs than picking up a ;.

It shou!d be noted ho+ever that not a!! 6@s see themse!ves as 6@s, and not a!! :s see themse!ves as :s. Man beautifu! +omen have issues of se!festeem, and man !ess attractive +omen consider themse!ves far more attractive than +e +ou!d assume. *herefore once a PUA has opened an C1, he must get a sense of her se!f-+orth and ca!ibrate his approach according! . ,ou ma open a 6@ +ith a neg, on! to find she has !o+ se!festeem, at +hich point ou ma decide to reduce or e!iminate the use of negs from our pick-up so that her ego isnFt further crushed. *he 6-6@ sca!e does not take into consideration other aspects of a +oman such as persona!it , humor, kindness or inte!!igence. Its purpose therefore is mere! in summari<ing a +omanFs appearance on first approach, and ma have !itt!e impact on our u!timate attraction to her. M ster has described a stop!ight s stem4 red for men and +omen ou donFt consider attractive, e!!o+ for attractive but not hot gir!s, and green for ?.9-6@ gir!s. &ometimes ou ma hear a PUA refer to an C1 as HC1 AatieCo!mesF, HC1 1ubb!ebuttF or HC1 Dhite-s+eaterF +hich are +a s of using some ph sica! or other characteristic instead of a rating, that is more descriptive of +hat the target !ooks !ike or reminds ou +here the met (3C1 #ighthouse3). #ike+ise +hen ou enter a venue, ou ma use c!ock positions, as in HC1 at our ? oFc!ockF to indicate to our +ing +hom ou +ish to sarge. *his tends to be a better +a of communicating than e!!ing H0heck out the chick +ith the big .ugs to our right5F A cougar refers to an o!der +oman (genera!! 8@Fs and above), out !ooking for a ounger man. An C2 is a Cired 2un, as in 3that C2= +ho +orks at Cooters.3 2ir!s +ho are under age are referred to as %1, or %ai!1ait. &ta a+a from them.

Women *he fo!!o+ing is a !ist of ro!es +omen can serve in the PUA3s game p!an. As the PUA meets and games +omen, he ma p!ace a +oman in a particu!ar categor , though it is possib!e for a +oman to change position4 6. &eBua! partner. *his ma take man forms from !ong term re!ationship (#*$) to one night stand (>"&).

7. /riend(pivot. &ome +omen are taken, not interested in dating, or are not our t pe on a romantic or ph sica! !eve!. Man of these +omen +ou!d be great friends, +ho ma connect ou +ith other +omen, and potentia! pivots in fie!d. -. Pa+ns. At times, a PUA +i!! befriend a +oman, game her a bit, and then pa+n her into a ne+ set for a more desirab!e +oman. 8. >bstac!e. &ometimes a +oman is on! in the +a of gaining access to a more desirab!e +oman in the set. *he PUA first befriends her, but on! +ith the intention of gaming her friend. As ou get better at gaming, ou +i!! meet more and more +omen, each of +hom has their o+n set of va!ues and interests. It is advisab!e to keep a .ourna! of +hen and +here ou met each gir!, and a!! the information ou !earned about her on da 6 and da 7. *his +i!! permit ou to stud up before each date, +ithout confusing the various +omen ou ma be seeing.

Financial Investment in the Game $unning game shou!d genera!! not be an eBpensive pastime. ,ou can minimi<e our overhead b doing the fo!!o+ing4 6. Peacock +ith ineBpensive but attention-grabbing items. ,ou can get a !ot of mi!eage +ith some cheap finds, as opposed to tr ing to get b!inged out +ith go!d chains and +rist +atches. 7. 'onFt bu her drinks and if ou go on a HdateF make it something that is cheap or free. 2ir!s respect men +ho consider themse!ves the pri<e, and step a!! over gu s +ho s)uander their hard-earned mone in the hopes of 3gettin some.3 -. 'onFt bu ourse!f drinks. 'rink nothing, or e!se c!ub soda or soda at the bar. 8. 2o to c!ubs and bars that donFt charge covers, or keep it to under I6@. 9. &arge venues that arenFt too far a drive. ,ouF!! use !ess gas. :. 'onFt bu eBpensive gifts. Domen !ike kno+ing ou +ere thinking about them, so an ineBpensive gift can carr .ust as much or more meaning as a high-priced item.

n Gaming D!"n# Gi!ls Dhen gir!s go out to a bar, pub or c!ub the often drink, and man times get drunk. If ou +ant to run game on drunk gir!s, ou must take these factors into consideration4 6. 'runk gir!s ma ping kino and I>Is but often the are insincere or f!eeting. *hat is, at some point their rationa! mind might kick in and ouF!! sense an abrupt I>' or kino +ithdra+a!. ItFs not that the become disinterested in ou, itFs that the a!coho! made them artificia!! interested to begin +ith. 7. ,ou ma think ouFre running tight game on a drunk gir!, but donFt be surprised if an hour !ater she doesnFt kno+ +ho ou are, or if a fe+ minutes !ater sheFs gotten .ust as cudd! +ith another AM>2 in the bar +hen ou stepped a+a . -. /!ake rate +i!! probab! be higher. 8. 'runk gir!s thro+ up, making /-c!osing a+k+ard or !ess !ike! . 9. 'runk gir!s are t pica!! eas to open. &tupid openers +ork fine, and kino esca!ates rapid! in the first minute. :. *r ing to have seB +ith a drunk gir! for the first time can be maddening. ,ou +i!! near! enter, then get #M$, then free<e her out, then start over. 1ecause she3s drunk, this c c!e can continue end!ess! , and she +on3t be ab!e to kno+ +hat she +ants or ho+ to articu!ate it.

The Close an$ the %Date% *he point of opening a set, bui!ding mutua! attraction and finding rapport is to Hc!oseF the target. *his might come in the form of a number, an emai!, a kiss or a fuck (kno+n as J, K, A and / c!osing, respective! ). ,our goa! for !earning the seduction arts ma be to scre+ a !ot of +omen, to create a socia! circ!e, or to get married. *here3s not a right or +rong choiceG it3s our preference, so don3t fee! !ike our game is off .ust because ou don3t find ourse!f s!eeping +ith tons of +omen. Ma be ou3re high! se!ective, and that3s .ust fine. Lver man3s .ourne +i!! be different. 'on3t a!!o+ others to dictate our goa!s. *hough it is tempting as ou start to app! our ne+ ski!!s to co!!ect as man numbers as ou can, it is advised that ou on! ask for a gir!Fs number if ou are tru! interested in fo!!o+ing up +ith her. Aiss c!osing has not been eBact! defined (can run the gamut from a )uick peck to a fu!! make-out), but is an form of mouth-mouth contact that

imp!ies something be ond .ust friendship. 1 comparison if ou kiss her cheek, there is not necessari! romance or seBua!it imp!ied (as her grandmother probab! kisses her the same +a ). Cugging is a perfect! good +a to c!ose, as it imp!ies intimac and trust +ithout being creep (un!ess ou make it creep ). 2oing for a kiss-c!ose can be an art unto itse!f, and more information is provided in the kino chapter. PUAs have noted that man gir!s +i!! make out +ith man gu s on a given night and think nothing of it, but chances of a date (ca!!ed 'a 7 b PUAs) become un!ike! because the gir! then assumes ou3re .ust tr ing to get into her pants. *herefore, if ou +ant a date +ith a gir!, ou ma +ant to avoid making out. *his ho+ever is on! one perspective, and ou ma find it isn3t ours. As for 3dating,3 PUAs avoid the term because going on dates fa!!s +ithin a fema!e agenda(frame of having a man .ump through hoops and pa for things +ith the eBpectation of re+arding him +ith seB. *his sort of frame contro! is +hat A/0s g!ad! submit to, and PUAs overcome in order to contro! the frame. 1 making the gir! the sought-after pri<e, the man3s va!ue drops re!ative to hers, and if seB happens often it is because she is no+ indebted to him for a!! the things he3s bought her. Domen use seB as a bargaining chip against men in re!ationshipsG having seB +ith her +i!! !essen her po+er over ou. Dhen she does come over for 'a 7, ou ma +ant to invite her into our home(apartment brief! , to desensiti<e her for +hen ou bring her back !ater. ,ou can give her a )uick tour of the home, ver matter-of-fact! +ith nothing that imp!ies seB or romance (!ights on, no cand!es or music). &ee *he %udge3s chapter on 'a 7 for more advice. Lventua!! , ou ma decide to enter into a !ong term re!ationship (#*$) or short term re!ationship (&*$) +ith a gir!. Dhi!e monogam +orks for some, keep in mind that as ou stop gaming, our ski!!s +i!! probab! get rust and our approach anBiet ma creep back. It ma therefore be +orth+hi!e to continue gaming, though not fu!! c!osing. *here is a distinction bet+een a same-night !a (&"#) and a one-night stand (>"&). A >"& imp!ies ou +ant to have seB for one night, then move on and break contact seBua!! . *his happens +hen ou don3t timebridge or create sufficient comfort. 1 comparison, a &"# means ou 3pu!!3 a gir! from a venue and have seB +ith her that night, but have done the +ork needed to see her again for a !onger term seBua! re!ationship. ,our !ogistica! issues need to be reso!ved in advance to pu!! &"#s(>"&sG that is ou or her shou!d have an & !ocation c!ose to the venue or be ab!e to get there +ith re!ative ease. If not, going for a da 7 ma be our on! option. LBtraction is

the term used to refer to pu!!ing a target out of the meet venue and into a seduction !ocation. A!! the above being said, there are purists in the communit +ho fee! that on! an f-c!ose constitutes an actua! c!ose. Dhen ou start co!!ecting Js ou rea!i<e that getting a J-c!ose can often be +orth!ess if she f!akes, so it is on! a too! of timebridging. And kissing is simp! a step in kino esca!ation ending in seB, so the k-c!ose is a!so re!ative! meaning!ess. *o actua!! 3sea! the dea!3 ou need to go through the entire seduction c c!e, meaning ou have hooked, bui!t mutua! attraction, generated rapport, b!o+n through #M$ and had seB (&-).

n Fla#ing 2ir!s f!ake. A !ot. "ever assume itFs ou or our game, because man times thereFs something going on in the background +hen ou met her that ouFre not priv to (for eBamp!e, a bo friend). Assume a!! c!oses +i!! f!ake and never take it persona!! . As our game improves, ou ma find J c!osing is not the prob!em, but getting them on the phone after+ards is. A!+a s tr to find reasons for the f!ake that ma be corrected b strengthening our da 6 interaction. &evera! so!utions have been offered to tr to minimi<e f!aking4 6. #eave them +ith our strong identit , particu!ar! that ou4 are funn , entertaining, +arm and s+eet, never run out of interesting things to sa , and can be vu!nerab!e and soft. 7. 0onsider running some A7 and A- after ouFve been in comfort, .ust to re-estab!ish our pri<abi!it . -. &ta in set !ong after ou J c!ose (at !east 9 minutes, but !onger if ou can ho!d her interest). J c!ose in A- or ear! comfort and then tr to get as deep into comfort as ou can (or seduction, though ou risk bu ers remorse). 8. 30ock funn 3 master 'avid 'e Ange!o prefers emai! c!osing. Ce goes first for the emai!, then as an HafterthoughtF asks for the phone J. Ce has found that emai! correspondence first +i!! compe! her to respond on the phone !ater. 9. Cave them suggest the J eBchange as opposed to ou asking for it. ,ou can use4 HI think +eFd rea!! en.o each otherFs compan . Co+ can +e go about seeing each other againEF :. ,ou can ask for the J under the guise of some other reason besides dating. /or eBamp!e, H>h ou singE De!! I manage singersF or H,ou have a

great voice and IFm !ooking for gir!s to do voice over for a movie.F Co+ever, +hen the give ou their J and then rea!i<e ouFre running game, it ma backfire, !ooking s!ea< and repe!!ing them. MIf ou3re going for !ess than 79 minutes, ou3re compromising our set. "o+ +hat is on average for meE In retrospect, !ooking at m successes, 8@ minutes. /rom meet to phone number is around 8@ minutes.N Mystery ;. Cave them pink promise the F!! ans+er +hen ou ca!!. *his can seem tr hard, but +omen often do consider pink promises sacred. =. *e!! them ou +ant to continue the convo !ater +hen ou get to our car, and do ca!! them that night. *he might get accustomed to our phone ca!! if it immediate! fo!!o+s the pickup. &ee 'ecibe!3s J eBchange for a simi!ar tactic. ?. If ou get the voice mai!, a!+a s appear non-need . 1etter than asking her out on a date, .ust !eave a funn message or opinion opener t pe of message. *his +a she gets used to our ca!!s as a regu!ar part of her !ife. 6@. Dhen ca!!ing, continue to app! /*0 and be the one +ho ends each ca!!. 'o not spend an eternit on the phone +ith her. 2et the date estab!ished and then end the ca!!. ,ou cannot effective! run game over the phone. Co+ever, out of necessit , comfort-bui!ding can be done in part over the phone. 66. *eBt messaging and emai! are preferred b man over phone messages. ,ou can spend more time carefu!! +ording and responding, can ask others for advice on ho+ best to respond, and can time our responses to p!a +ith her emotiona! state. ,ou shou!d tr to imbue a sense of intrigue and m ster into the *M(emai!. MCe , itFs 'ecibe!. Danna go outEF doesnFt grab as +e!! as HCe , rocker gir!. 'o ou !ike dogsEF or H'id I miss our birthda EF &ee the chapter on teBt(phone game. 67. If the 6st ca!! doesnFt get a response, man times the second +i!!. *+o strikes, the 3re out. Move on to the neBt target and ma be return to this number in a +eek or t+o. &ome PUAs are more persistent, but sometimes it3s best .ust to take the hint, and ana! <e our game for f!a+s. 6-. Using a time bridge during the initia! pickup is more effective than !eaving things up in the air. Cave a specific pre-eBisting p!an and invite her a!ong, as opposed to a Hhe , +e shou!d hang out sometimeF statement. Make the first meeting interestingG movies and coffee are out. Da!ks on the beach, +indo+ shopping, dog park are things that are preferab!e. Man PUAs recommend not even having a Hdate,F and certain! donFt spend

mone on her unti! she has earned it (+ith at !east a kiss). 'avid ' recommends making it c!ear to her that the point of the first date is for ,>U to )ua!if CL$, and that f!aking is unacceptab!e. Ce ends the ca!!s +ith something a!ong the !ines of HOand if nothing e!se, +e can .ust be friends.F 68. &o!id A- he!ps reduce f!aking. *his makes it c!ear ou rea!! do va!ue her as an individua! human being. 69. &he shou!d a!+a s be chasing ou at ever stage of pick-up, or at !east that shou!d be our frame. 6:. 0reate a compe!!ing rea!it that she +ou!d +ant to be a part of. Lven if ou think our hobbies are boring, if ou describe them +ith passion, she +i!! be dra+n to ou. 6;. Lstab!ish +ide, deep comfort, +hich ma take -@ or minutes of iso!ation. 0ertain venues, particu!ar! those of super-high energ !ike dance c!ubs, don3t faci!itate this sort of rapport-bui!ding and therefore are not a!+a s the best !ocations to get so!id Js. Dide comfort means discussing a !arge variet of topics, +hi!e deep comfort means firm! estab!ishing a bond at a more profound emotiona! !eve!. 6=. Move gir!s in venues. If ou open her standing up, move her some+here to sit do+n. ,ou can sa 3M feet are tired from standing...!et3s go sit.3 >r ou can begin a thread, !ike 3Ce , have ou p!a ed the 9 )uestions gameE >k, come here3 and then take her hand and !ead her. If ou open her sitting, stand her up, move her some+here e!se, and then sit her do+n. Moving gir!s asserts dominance and makes it more !ike! the +i!! comp! +ith a bounce outside the venue. 6?. 'ecibe! uses the 3I3!! come to ou3 tactic, as opposed to the usua! 3,ou come to me3 approach. In other +ords, !isten during the convo for activities she !ikes to do, then timebridge to something a!ong those !ines near her +ork or home, so that she can easi! meet up. It3s genera!! best to meet in a sarge !ocation, so in case of f!aking, ou can game. 7@. &ee the 'a 7 chapter for Monda "ight *hro+do+n. 76. 1rad P3s 'oub!e /!ake $eversa!. If a gir! is about to f!ake or in the process of f!aking, ou !et her kno+ ou3re going to have to f!ake tonight. ,our f!aking overrides hers. &o if ;PM ro!!s around and ou haven3t heard from her et, and she gets off +ork at =, ou assume she3s going to f!ake...send her a teBt or ca!! 3Ce , sorr but I3m gonna have to cance! tonight...something came up. I3!! get back to ou soon.3 77. 1u ing temp starts dropping +hen ou !eave her on da 6. *r to schedu!e a da 7 +ithin 8 da s of da 6. 7-. 0reate seBua! intrigue. &ee verba! kino and seBua!i<ation in the Aino 0hapter.

The Stal#e! & E'change (Deci)el* De a!! agree that getting her J +ithout so!id game on da 6 can be done, but +i!! probab! !ead to a f!ake. 1ut getting her comfortab!e ta!king on the phone +ith ou is a!most as important, since some gir!s are intimidated b phone game. Dhen I get the J, I then ca!! her so she has m J. 1ut then I make her ans+er her phone, and +hen she does, I start ta!king to her4 3Ce , dude, I met this creeeeep gir! in the bar, and she3s a!! stalking me no+53 If ou ho!d the phone to our ear, the gir! +i!! usua!! p!a a!ong and start ta!king back to ou on her phone. As she3s ta!king, c!ose our phone )uiet! and put it a+a . Dhen she3s done, !ook at her serious! and sa , 3>k...no+ ou3re starting to freak me out3 and give her some p!a fu! kino to ca!ibrate. *he gir!3s bu ing temp +i!! spike from being duped, and she3!! have gotten past the first hurd!e of getting comfortab!e ta!king on the phone +ith ou. Cave her t pe our name into her phone and save it.

Wing R"les Dings are fe!!o+ PUAs +ho assist ou in fie!d to open sets and distract the obstac!es so that ou can run game on our target. ,ou ma tr to recruit one of our A/0 friends to +ing ou, though fre)uent! in eBp!aining these tactics to them ou +i!! be met +ith high! .udgmenta!, misinformed reactions. >ften times, A/0s +i!! generate a !itan of reasons not to !earn or app! these techni)ues, and it primari! comes from a p!ace of fear. /ear of approaching, fear of getting b!o+n out, fear that ever thing the kno+ about dating is +rong. If an A/0 is not interested in !earning pick up for +hatever reason, or if the b!o+ ou out of sets in fie!d, abandon them unti! the are more receptive, and find a genuine, capab!e +ing to assist ou. ,ou can find +ings b going onto the +eb and .oining !airs and forums devoted to pick-up. ,ou ma have to go through a number of gu s before ou find +ings ou !ike persona!! and +ho are devoted to gaming. "o+, the ru!es4 6. *he one +ho opens the set o+ns it. #et him pick his target, +hi!e the +ing occupies the obstac!e. 7. In genera!, the +ing shou!d enter !ater, not +ith ou in A6. Ce shou!d +ait for I>Is from the set. Lntering together can appear predator . >ne

+a to minimi<e the predator effect is for one +ing to face a+a from the set, or pretend to speak on his ce!! phone, or ta!k to another +ing. Dhi!e doing this, he can get a sense of +hen the other +ing has hooked, and then turn and start gaming the obstac!es +hen appropriate. 0ontributing to the ongoing thread +orks +e!!, as opposed to interrupting our +ing and derai!ing his thread before a needed impending emotiona! spike. -. Dings take priorit over the set. If the +ing enters, face him and greet him. 'onFt reduce his va!ue b ta!king +ith the set in spite of him. 8. *he Miche!!e 2ambit. Dhen the +ing enters he shou!d ask ou if ouFve seen Miche!!e, +hi!e he ignores the set. ,ou respond "o and then as he !eaves to Hfind Miche!!eF ou grab his arm as an after-thought and sa HCe , man ou shou!d meet these gir!s. *he Fre coo!.F "eg the target to identif her to the +ing (3...eBcept this one, I3m sti!! not sure about her3). &ome other variation of this can be used (make her the good one or the bad one), but the +ing shou!d kno+ +ho the target is b our predetermined code. "eBt, the +ing introduces himse!f and asks ho+ the kno+ ou. Ce then occupies the obstac!e(s). 9. As an a!ternative to J8, run an AI (accomp!ishment intro) for the +ing and then introduce him. $B%s Wing Int!o M +ing enters as soon as I hook, usua!! 6@-89 seconds in, and asks if he can get me something to drink (thereb making me the !eader of men, and him the protector of !oved ones). Me+ "o, but thanks man. Ce , come meet these t+o goofba!!s, this one3s named Mati!da, and that one3s Cenrietta. And I didn3t catch their names (pointing to the other obstac!es). In this case, ou can have a predesignated s stem (pure! optiona!, as often this soon ou haven3t figured out +hich gir! is most receptive to being gamed), such that Cenrietta is the target. 2o to our AI...3*his is m right-hand man %ohn. Ce runs ha!f of &outhern 0a!ifornia. 1ut he3s modest, so he doesn3t !ike to ta!k about it that much.3 ,ou can a!so indicate the obstac!e b giving her an accomp!ishment intro. *hat is, te!! our +ing a!! the interesting things about her, or .oking! make stuff up (3*his chick here is ama<ing5 &he used to tour +ith the 1o!shoi ba!!et a!! over the +or!d. ,ou kno+ p!asticE Cer dad invented p!astic53), so that our +ing acts impressed (3>h rea!! E5 ,our dad invented p!asticE3) and goes over to ta!k to her +hi!e ou iso!ate our target. In addition, b overse!!ing the obstac!e and underse!!ing

the target, our target +i!! be more inc!ined to +ork for our attention. :. *he +ing can occup the target for a fe+ minutes to in essence AI ou, then pass the target back to ou. ;. "e+bie trick J64 ,ou can setup the +ing b sending him into a set as a pseudo-AM>2. Ce runs game, then ou come in and purpose! b!o+ him out. *his +i!! raise our va!ue and make it easier to game them. "e+bie trick J74 A +ing can enter a set and deva!ue them b grossed-out facia! eBpression and then e.ect. ,ou then enter, !ooking !ike a hero. =. Dhen asking permission of the set to iso!ate the target, our +ing shou!d be the first to sa es, so that the obstac!e +i!! !ike! go a!ong +ith it. *he +ing can a!so p!acate the obstac!e3s concerns b sa ing, 3>k, but .ust sta +here +e can see ou53 ?. >nce the target is iso!ated, the +ing shou!d sta a+a . &imi!ar! if ou open a 6-set, there is !itt!e reason for our +ing to enter the set, other than to brief! AI ou or to re!ate some important !ogistica! information, then e.ect. 6@. A!+a s take the +ingFs side in an disagreement. 66. If !ater kino esca!ation is timed such that ou and the +ing are esca!ating simi!ar! , comp!iance +i!! improve. *hat is, often a gir! +i!! fee! !ike !ess of a s!ut if her friend is comp! ing. In contrast, if one has esca!ated faster than the friend, the ma both re.ect the esca!ation. 67. ,ou ma +ish to have a code for +hen ou3re e.ecting and +h . /or eBamp!e, if ou sudden! notice our +ing3s target has a +edding ring and ou +ant to e.ect +hi!e a!erting him, ou can sa , 3I3m gonna go !ook for 0ami!!e.3 A usefu! tactic is for t+o +ings to +ork a room together or independent! , deve!op a !ot of proof and some attraction, and then decide +hich are the +armest sets to reopen. *hen focus on gaming those three sets +here a !ot of attraction can be generated. 'etermine +hich C1s have the best !ogistics, and then pu!!. Dings are there to he!p each other, but at the end of the night, it is not necessar to pu!! gir!s from the same setG each PUA is free to pu!! a gir! from a different set and !eave separate! . A pivot is !ike a +ing, but is an C1 +ho does not necessari! have a romantic or seBua! re!ationship +ith the PUA. &he is ca!!ed a pivot because +hen entering a room, attention goes to her first because of her !ooks, and then 3pivots3 to the PUA. Pivots are usefu! in estab!ishing prese!ection. Un!ike a pivot, a fema!e +ing is more than passive e e cand G she is

capab!e of opening sets, occup ing obstac!es, and communicating +ith the PUAs at a more advanced !eve!.

Hi!e$ G"ns *he reason to run game on hired guns is that often the are the most attractive +omen at a venue. In contrast, there are many reasons not to run game on them, or at !east man issues ou shou!d understand before undertaking this mission. *he fo!!o+ing is b PUA &trongPersuader4 Cere are a fe+ of m thoughts on hired guns and the prob!ems +ith them (in no particu!ar order). I3m focusing more on bars and night!ife venues rather than da game here, but a !ot of it can be app!ied there. 6 - *he get hit on a!! the time *his is ver , ver true. 1e origina!, be uni)ue and be fun to be around. 0anned materia! from the communit , in m opinion, +i!! not +ork, the +i!! have heard it a!! before +hen sober and, +hi!e the can3t ca!! ou out on it pub!ic! , our communit generated 'CV routine +i!! actua!! '#V because ou are sho+ing her that ou !ack origina!it . I have a number of routines and stories based entire! on disp!a ing +it that get good resu!ts, our de!iver must be spot on and congruent. 7 - /a!se I>I3s, concea!ed I>'3s $emember +h , especia!! in the U&, the hired gun is being nice to ou. &o, ho+ can ou te!! if the I>I3s are true or notE ,ou need to be more situationa!! a+are than ever here. Datch her +ithout +atching her. #ike an one, hired guns have te!!s that give them a+a , ou can gain ca!ibration through +atching her +ith other peop!e. Is she pushing for ou to have another drink or ta!king to ou +hen it3s c!ear that ou3ve finished our coffeeE I +as in a restaurant sat at the bar p!anning on using the barmaid to get +armed up. I3d finished m dinner, m +ine and coffee and she +as stood there ta!king to me +hi!e I .ust +anted m check... &he3d spend !onger +ith me than the other peop!e at the bar (gu s and gir!s), so I +as ab!e to figure out (a!most) eBact! +hat +ere I>I3s and +hat +ere not.

I>'3s from hired guns are different too. &he 0A"3* ignore ou, ou3re the customer. If she ignores ou, she runs the risk of getting fired, !osing her tip or missing her sa!e. &o, ho+ do ou spot I>'3sE *hese +i!!, in m eBperience, t pica!! be situationa! I>'3s, things !ike pushing ou into another beer, another shot or an thing +here ou have to purchase something +hi!e ou3re ta!king. Dhat is her motivationE Dhat does she gain from the interactionE More sa!es, a bigger commission or a bigger tip. - - Interrupts Cired guns are there to make a !iving. In a bus bar, for eBamp!e, the +i!! constant! be running up and do+n to get peop!e drinks. Dhen the do stop to ta!k to ou, ou on! have a fe+ seconds, so keep the routines short. If the bar is )uiet, ou can run !onger routines. If ou pace it +rong and run a !ong routine +hen she3s bus , ou +ou!d need serious! strong frame contro! to avoid !ooking !ike Pthat bum at the bar +asting her timeP. ,our routines have to make her +ant to be +ith ou and be rea!istic. 'o ou rea!! +ant to be Pthat gu P !ingering at the corner of the bar !eering at the gir! ou +ish +as our 2/E Dou!d ou do that to an other gir! on our side of the barE >pen sets around ou and bui!d heav socia! proof. 1eing the center of attention at the bar (in a positive +a , not fa!!ing do+n drunk or something) and she can .ustif spending more time +ith ou. *here are routines ou can use to do this. 2o to ,ou*ube and search for Pho+ to get free drinksP. *here are a !oad of videos there from P*he $ea! Cust!eP sho+ing ou proposition bets and tricks to run at bars. 8 - *he a!!-seeing e e Cired guns see a!! and hear a!!. *he +i!! see ou crash in sets and the +i!! see ou open sets. #ive +ith it, accept it and be damned +e!! a+are of it. 1e as congruent as ou can be through out the night. Pre-se!ection, socia! proof and being a true A!pha ma!e +i!! get ou a !ong +a here. 9 - /inancia! motivations I3m not sa ing hired guns are .ust ta!king to ou for our mone , but ou are the customer. /or eBamp!e, in a strip c!ub, ou +ou!dn3t pa for a !ap dance etc if ou actua!! +anted to

hook up +ith the stripper, ou3d no !onger be a coo! gu , ou3d be part of her rent check. "o+, in bars, ou have to bu a drink from her, but don3t over-tip un!ess ou3ve got a +a!!et the si<e of 'ona!d *rump. If ou drop a big tip, the hired gun +i!! see ou as another part of her rent check in the same +a that Di!e 0o ote often sa+ $oadrunner as a roasted mea!. : - Dho is this gir!E Dou!d ou care if ou crashed and burnt +ith a gir! this side of the barE Ceck no, ou3d pick ourse!f up, dust ourse!f off and move on. *here is no reason +h a hired gun shou!d be an different.

Inne! an$

"te! Game

>k, so ou +a!k into a c!ub and see the hottest gir! on the p!anet. ,ou approach and run game. *his is our outer game. "o+, on the inside ou cou!d be4 6) tremb!ing +ith fear because ou don3t +ant to b!o+ it +ith this C177, or 7) confident that ou3!! s!eep +ith her because ou3re L"*I*#L' to s!eep +ith her. *his is our inner game. If our inner and outer game don3t match, +e ca!! that incongruent, and chicks +i!! sme!! it and b!o+ ou out. &o, man man gu s +ho get into pick up are A/0s. *he 3re smart, funn and confident in man +a s, but don3t fee! entit!ed to or capab!e of picking up high va!ue +omen. &o no matter ho+ good their outer game gets, their inner game +i!! keep them from getting +hat the +ant. Dorking on inner game means proving to ourse!f that ou deserve ever thing !ife has to offer, and then !earning ho+ to embod this confidence and pro.ect it to the +or!d. Perseveration4 3*he uncontro!!ab!e repetition of a particu!ar response, such as a +ord, phrase, or gesture, despite the absence or cessation of a stimu!us, usua!! caused b brain in.ur or other organic disorder.3 (*he American CeritageQ 'ictionar of the Lng!ish #anguage, /ourth Ldition.) *hose aff!icted +ith A/0ism +i!! tend to perseverate over one or a fe+ persona! traits that the have conc!uded makes them unattractive to +omen. *his ma be height, age, +eight, income, !iving condition, acne or an other perceived f!a+. *he A/0 +i!! then become convinced that because of this )ua!it , he shou!d not approach or pick up +omen. 'espite this be!ief, he eBperiences no actua! evidence that +omen are re.ecting him

because of this characteristic. *o break out of this frame, the A/0 needs to shut these negative thoughts out and stop perseverating. 3&ticking points3 is the term aspiring PUAs give to an part of their game that is not up to par and in need of improvement.

The Dance Floo! M*he dance f!oor is a trapN sa s M ster . ,ou can3t run suitab!e game un!ess it3s dance f!oor game. It is often too !oud to hear or be heard, and it ma be ver hard to sustain that !eve! of energ . *here are eBceptions. 'ancing is usefu! to spike a gir!3s bu ing temp (1*), +hich +i!! enab!e easier esca!ation. ,ou a!so can pu!! gir!s off the dance f!oor to run verba! game in a )uieter area. Dancing By The She!i,, *he dance f!oor has '#V +ritten a!! over it. 6) ,ou are putting a!! the contro! in the gir!3s hands. 7) Dhen gir!s dance among themse!ves the are there to .erk off their egos b !uring in gu s and bur ing them - this is ho+ the 'CV. -) ,ou are going in +ith no +a of e.ecting in st !e. 8) ,ou are giving her the po+er to serious! '#V ou in front of 2od and 0ountr b spinning off +ith another gu . *he bitch +i!! do this if she +ants the ego boost. 9) *he dance f!oor is a high visibi!it area and pro+!ing for ass in front of the entire bar screams !o+ va!ue. :) *he dance f!oor provides no good +a to 'CV and is main! a distraction from gaming. ;) A!! the AM>2s hang out on the dance f!oor. &he is f!aunting her seBua!it and ou are feeding into it. ,es it3s an opportunit to spin her around and have a !itt!e fun but it3s much more about A- than A6 or A7. If a gir! asks me to dance, I sit do+n, pu!! her bet+een m !egs and sa 3oka , I3m read .3

-A Ba$ .ight/ It is advised that aspiring PUAs re!ease themse!ves of an eBpectations. Co+ever, man gu s eBperience 3a bad night3 out +hen the !eave a venue

+ithout a number, are b!o+n out of sets, or get AA. Co+ever, the student of PU shou!d remove the concept of a bad night from their mind, and instead ref!ect back on their sarge for areas the can improve, considering their night a !earning eBperience. MIt3s ama<ing +hat ou can !earn about +omen +hen ou3re not bus tr ing to stick our dick in them.N Decibel

Cali)!ation *he art of pick-up !arge! comes in the form of ca!ibration4 correct! interpreting the communicated and subcommunicated messages a set is te!egraphing, and a!tering our game in response from one moment to the neBt in order to steer our targets to+ard seduction. *he on! +a to get good at ca!ibrating is to spend man man hours in fie!d sharpening our ski!! set. Dith enough practice ou +i!! fina!! 3see the matriB3 as PUAs ca!! it, being ab!e to !ook upon our interactions and competent! contro! them +here ou +ant them to go.

My T0o Dogs+ AA an$ E'cessive 1ino (Deci)el* M Min Pin is terrified of peop!e. Ce has para! <ing approach anBiet and +ou!d rather sit in a corner peeing on himse!f than !et a person be friend! to him. M 1oston *errier, on the other hand, !icks an one +ho puts their face near his. *his eBcessive kino repu!ses man peop!e. "either dog is +e!!-ca!ibrated, as the Min Pin +i!! never !et himse!f ping I>Is +ith a friend! target, and the 1oston can3t stop himse!f from going kino even +hen there are "> I>Is.

2en"es *he ver first thing a PUA does is ca!ibrate his game to the venue or situation. 'oing a !ot of high energ cock -funn materia!, for eBamp!e, ma get ou b!o+n out in da game, +hereas comp!icated opinion openers ma

not +ork for !oud c!ubs. *he fo!!o+ing are t pica! sarge venues and ho+ ou might ad.ust our game4 6. Ver !oud dance c!ubs. *he ma not be conducive to estab!ishing deep comfort, but a!as there are &C1s here that ou ma +ant to game. A t pica! approach assumes most! these are A'' (Attention 'eficit 'isorder, +here gir!s have eBtreme! !o+ attention spans) drunk gir!s, and so opinion openers and comp!icated stories +on3t f! . 2o +ith brief high energ ridicu!ous openers, !ike4 PCe 5 It3s our birthda 555 Cigh five5P (spin). 1e the 3bright, shin ob.ect3 that gets attention. 1* is usua!! +a up, making kino easier to esca!ate. *here are often )uiet areas (smoking sections and side+a!ks outside) +here comfort can deve!op. *hese c!ubs are man times fi!!ed +ith gir!s seeking va!idation, part of +hich is being enab!ed b a!coho! to too! gu s. A)o"t Cl")s By 3 the Ri44e! I3ve been promoting various c!ubs for a fe+ months no+, and thought I3d give a recap of +hat it3s been !ike so far, and ma be he!p debunk some m ths. *he fo!!o+ing are not universa! and on! from m eBperience...the c!ubs I +ork at no+ are prett !egit and I haven3t seen an shadiness, but there are things to be a+are of... ecoming a Promoter &ince I got into the game, I have gone to a c!ub ever sing!e /rida and &aturda night since the beginning of 7@@; (the on! eBception being 'a 73s). I made sure to meet as man emp!o ees there as I cou!d. I had asked a promoter at a c!ub ho+ I cou!d get into this !ine of +ork, and he assured me I3d have m o+n !ist the fo!!o+ing +eek. M first night I dre+ 8 peop!e. 1asica!! if ou +ant to get into this, it3s as eas as asking. *here is no app!ication or intervie+...a!! the care about is +hether or not ou have the abi!it (potentia! to dra+ cro+ds. The Money Most c!ubs re)uire ou to dra+ at #LA&* 69-7@ peop!e in order to get paid, un!ess ou have an estab!ished track record. If ou don3t hit our )uota ou don3t get paid, simp!e as that. ,ou can get paid an +here from I9-I= bucks a head once ou hit our )uota.

At first, it usua!! takes about 6-7 +eeks to get paid. Dhat rea!! sucks is that sometimes the door peop!e don3t proper! add up the ta!! , and even if I kno+ for sure I brought more peop!e, in the end the head promoter goes b the ta!! sheet. It took me 7 months to deve!op a so!id fo!!o+ing to +here I +as getting paid. !ree Passes"#omps *his is the first thing ou3!! be asked about b our friends...P0an a get me in for free, huh huh, can aEP 1eing a promoter does not automatica!! mean ou can start giving out free passes !eft and right. *hose are given to ou according to our track record. Dhen ou3re .ust starting out, ou can be eBpected to receive 7 comps. /ree drinks are a!so earned according to track record. %ust because ou promote doesn3t mean ou get free drinks +henever ou +ant. I use those tickets to give to m best c!ients +ho I fee! can he!p me dra+ more peop!e. *hese are usua!! given out to ou b the head promoters or ta!! peop!e. It3s bad eti)uette to ask for them straight out. $ired Guns Promoting at a c!ub, ou automatica!! .oin the fami! G ever one has their .ob and respects each other3s hard +ork. De a!! kno+ each other, from the bathroom attendant, the door peop!e, the bartenders, other promoters and securit . It3s a!+a s good to make chit chat +ith these peop!e, as the +i!! he!p ou out in +a s ou don3t think of right a+a . If I have to take a mean piss and there3s a !ong ass !ine, I go straight up to the front and sa 3+hat3s up3 to the to+e! gu /ernando, and he !ets me pass through. If there3s a huge !ine of peop!e +anting to get drinks, I +ave m hand at #uc the bartender and she a!read kno+s +hat I +ant and +aves me over to come get it. The %ine Aside from the peop!e I3m a!!o+ed to comp, +e usua!! don3t have the pu!! to !et others cut to the front of the !ine. 2etting caught doing so is rea!! bad since usua!! the ta!! gir!s(door peop!e contro! the !ine f!o+ and don3t +ant others interfering. *he door peop!e do accept PdonationsP some of the time. /or

eBamp!e if ou fee! the !ine is too !ong, ask the person +orking the !ine if Pthe take donations in eBchange for being moved up ahead of the !ineP. Usua!! the accept, but the doub!e the price ou +ou!d have paid had ou +aited in !ine. *here are usua!! !ines designated for Pguest !ists,P for VIP3s and for genera! entr . Make sure ou kno+ +hich !ine ou be!ong in....ust because ou +aited in the +rong !ine the +ho!e time doesn3t mean ou +i!! get in...!ike! ou +i!! be sent to the back of the proper !ine. Guest lists"&IP %ists Cere3s a controversia! one. A!! that being on the guest !ist does is guarantee ou get in for a discount (if ou get there before the cut-off time), and gir!s usua!! enter free (a!so before the time !imit). 1eing on the guest !ist is basica!! a discount from the regu!ar cover charge. It doesn3t necessari! mean ou get in for free. Lven if ou got in !ine 1L/>$L the cut off time, but ou don3t get to the front of the !ine unti! A/*L$ the cut off time, the guest !ist +i!! become irre!evant and ou +i!! have to pa either regu!ar entr fees, or post-cut-off-time guest !ist fees (+hich usua!! round up to I6@ more than the discounted price). And there a!so usua!! isn3t a Pguest !istP in the +a ou might think, as it re!ates to names being on a !ist. If I te!! ou that ou are on %*$3s guest !ist, a!! it means is that if ou mention that at the door, ou )ua!if as being on it. As far as actua! names being on the !ist, that3s usua!! +here VIP3s go. VIP3s are comped and as soon as ou verif our identit to the door peop!e, the +i!! tr to !ook for our name on the !ist and !et ou in if a!! checks out. *here are VIP sections, and sometimes guest !ist entrants +i!! have access to this area as +e!!, but most of the time the are restricted. Promoters on m !eve! don3t have an thing to do +ith +hat ou end up being charged...I3ve seen a !ot of times +here c!ubs raise the advertised fee, and peop!e fee! mis!ead and comp!ain to me. Dhen the go to co!!ect our mone and the +ant to charge ou more than +hat +as promised(advertised, it3s at our so!e discretion +hether or not ou +ant to pa it. *his is kind of shad , and the c!ubs I +ork at no+ don3t do this but a

!ot do. 'olling (ut In Packs *he more eBc!usive c!ubs I3ve promoted in Co!! +ood are ver strict about the gu (gir! ratio. 'on3t ro!! out +ith a bunch of dudes and no gir!s...that +i!! a!most certain! mean ou are going to +ait !onger than ever one e!se, or ma be not getting in at a!!. 1est thing to do is to break off in groups of 7 gu s, and p!a it off !ike ou3re not together, or even +ait in different parts of the !ine. *his neBt tip is trick and can get ou in troub!e. ,ou can find gir!s outside to .oin ou (b te!!ing them it +i!! be free) but make sure *CL, A$L ">* A#$LA', >" &>ML>"L3& #I&*5 ,ou .ust +ant to grab peop!e +ho are genera! entr patrons. 'on3t grab someone affi!iated +ith another promoterG doing so is considered one of the +orst things ou can do to sure! piss off the senior promoters. 7. Me!!o+ !oungish(dive bars. #ights are usua!! a !itt!e brighter +hich he!ps detect ugs but a!so makes our f!a+s more noticeab!e. *he peop!e are better behaved, though often to the point that opening can be rough. ,ou ma get more shit tests in these venues, and the !eve! of sophistication(pretentiousness makes esoteric or 0/ openers not as effective. M*he dark and fashionab!e bar is a p!ace for the intercourse of surfaces.N 'ussell )mith -. 'a game venues. *hese are ever da peop!e doing ever da things. &ometimes the 3re in a hurr to be some+here and not in the mood to ta!k. Co+ever, if ou can iso!ate and get into comfort, these sets ma provide more re!iab!e Js. 8. Pubs(sports bars(restaurants. Man times these have a higher drunk AM>2 ratio, and competition ma be tough. *estosterone !eve!s are high, and a so!id frame is needed. Mood can be a !itt!e simi!ar to dive bars, so ou ma get a medium or high amount of shit testing. >ften the gir!s are rea!! drunk, but not in a high 1* +a !ike dance c!ubs, more in a +eird obnoBious +a .

>n s!o+ nights !ike Monda through Dednesda , instead of sarging ou ma +ant to focus on bui!ding rapport +ith !oca! bar staff inc!uding managers, bouncers and bartenders. *his can provide usefu! socia! proof +hen ou return. Venues can be categori<ed as primari! 3moving3 or 3standing.3 In moving c!ubs, such as high-energ dance c!ubs, sets are roaming around and tend to sta in motion, making it difficu!t to hook. Pubs are standing venues, +here gir!s are sitting or standing but never moving around too much. Venues ma have a combination of standing or moving, such as man dance c!ubs +hich are moving inside the dance area but standing in the smoking section. >ften times it is easier to game in the standing areas of these venues. App! the - &et $u!e. If ou enter a ne+ venue and get b!o+n out bad three times, step a+a from gaming for a moment and revie+ our tactics. ,ou ma need to reca!ibrate our energ or our openers, or determine if ou3re better off going direct versus using strict M ster Method. Gaming in Small To0ns By C!a5yWilly *he M ster Method +as deve!oped most! in the #os Ange!es c!ub scene. 1ut man of us !ive in sma!! to+ns that are un!ike #A. %ust for reference, the sma!! to+n +here I3ve deve!oped these tactics is a co!!ege to+n that is at !east an hour drive a+a from an Pcit .P An +a , in a sma!! to+n ou have our choice of on! a fe+ good venues and ou3!! see the same cro+d out at these venues on a regu!ar basis. As a resu!t, I be!ieve that sarging in a sma!! to+n has some differences +hen compared to a big cit c!ub environment. *he first thing to do is determine +hat venues ou +ant to sarge. 'a game +i!! have !ots of simi!arities to da game in a ma.or cit , so I3m choosing not to focus on da game. In night game, ou need to pick the right venue. >bvious! ou +ant a target-rich environment. LBpect to get a !arge turnout of C1s for an P!adies nightP based event. *he prob!em +ith this is there +i!! be a !arge number of other gu s out on these nights. 1 picking the right !itt!e bar, ou3!! be ab!e to have a good time. *here is a ma.or do+nside to sma!!er venues. If ou turn into a +a!!f!o+er, it +i!! be ver obvious to ever one there. As a resu!t, if ou are having an off night or not en.o ing being at a particu!ar venue, bounce before ou become part of the +a!!.

Idea!! , ou +i!! find a coup!e different venues +orth sarging. *o keep the bar staff honest, don3t be afraid to !et them kno+ that ou are bouncing venues. A!so, if ou need to keep bouncing a!! night, go back to the venue at +hich ou started. If the bar staff kno+s ou .ust bounced to a different venue, the +i!! +e!come ou back to their venue, no prob!em. Persona!! , I have - different bars I hit regu!ar! , and tend to go into each bar t+ice a night. *hat +a I3m seeing a variet of potentia! targets. *he ke to being successfu! in a sma!! to+n is being a+are of our reputation at a!! times. ,ou !ike! a!read have a reputation in our to+n. An one moving to a sma!! to+n shou!d be a+are that a reputation is formed rea!! )uick! and is ver hard to change once estab!ished. &o a!+a s be a+are of the reputation ou are deve!oping. ,our reputation is either a 'CV or a '#V. ,ou can choose to deve!op a p!a er reputation, ho+ever I find it doesn3t attract the sort of C1s I3m interested in. Persona!! , I attempt to be the most socia! gu in the venue. As a resu!t of seeing me in other sets, I find a categor of C1 +ants m attention. As a resu!t, I a!+a s have numerous targets +ho are !ooking for+ard to meeting me. A!so, be a+are of the fema!e p!a er in a sma!! to+n. If ou spend too much time around C1s !ike these, ou +i!! get a firm reputation that +i!! make it ver hard to deve!op attraction +ith C1s +ho aren3t as socia!. C1s in a sma!! to+n have reputations too, so being +ith ou has to improve her reputation a!so. >bvious! , ou have to go open sets. #ike! inside this set, there is someone +ho kno+s +ho ou are. Idea!! ou use this to our advantage, creating an insta-+ing. *he reason our reputation is again important is that someone in the set ma kno+ +ho ou are, though ou don3t kno+ them. I3ve had obstac!es basica!! drag off a target because of m reputation. I don3t think I had ever met an one in that set before, but the kne+ someone +ho kne+ me. Additiona!! , since the number of venues is so sma!!, someone ou have active! gamed before +i!! be +atching ou in this ne+ set. As a resu!t, running simi!ar routines on a regu!ar basis +i!! hurt ou. &ome students of the game have ver simi!ar interactions +ith !ots of C1s. If ou deve!op a reputation for having a ver simi!ar interaction

+ith ever C1, it +i!! hurt ou. *his is addressed b being creative, and b making sure ou have so!id I>Is before ou move into A-. Dhi!e in A-, )ua!if ver +e!!. As a resu!t of )ua!if ing, the C1 +i!! fee! uni)ue and specia!. As a resu!t, our interaction +ith her +i!! go +e!!. Persona!! , I think attraction is a bit different in a sma!! to+n. Lver one is either c!imbing up or fa!!ing do+n a socia! !adder. As a resu!t of kno+ing peop!e in common, ou can either c!imb the socia! !adder based on +ho ou associate +ith, or ou can fa!! do+n the socia! !adder. C1s are on the same !adder as ou are. In genera! pre-se!ection means ou refer to some C1s in our stories. Co+ever, in a sma!! enough environment, the C1 ou are no+ interacting +ith ma kno+ that C1. &o choose our pre-se!ection materia! carefu!! . If being seen +ith ou improves her socia! standing, she is more !ike! to +ant to associate +ith ou. I find that being outgoing in a sma!! to+n +i!! get ou p!aces. I3m kno+n for connecting peop!e, thus I serve as a bridge on that socia! !adder. It means that peop!e in genera! are dra+n to me because of +hat I can do for their reputation. Dho ou choose to he!p +i!! a!so form our reputation. I focus m game primari! on socia! net+orking. *o become the person peop!e go to, ou need to have an a!pha status in the communit . *his means our reputation precedes ou as being ab!e to provide usefu!, good ans+ers to peop!e. *his is a ver s!o+ c!imb to the top. ,ou can attempt to AM>2 the current a!pha to !o+er his status. *his is a short term fiB, so persona!! I don3t recommend using an of the rea!! harsh AM>2 tactics in a sma!! to+nG !ong term, this +i!! !ead to an assho!e reputation. Instead, AM>2 in a more subt!e +a . A!!o+ the AM>2 to !ook !ike a foo! and his reputation +i!! suffer. *his +i!! improve our socia! status. 1e the gu +ho breaks up fights, not the gu +ho starts them. *his tactic to dea!ing +ith AM>2s +i!! improve our socia! standing in the !ong run. As a resu!t of using good .udgment, ou +i!! become more a!pha. Peacocking is another aspect of the game +hich is different in a sma!! to+n. If ou rep!icate a M ster !ook, ou +on3t b!end in

at a!!. Co+ever, in a sma!! to+n there are some gu s +ho have a good grasp of fashion. I a!+a s attempt to dress in the top 6@R at an venue I go to. *his means bu some good shirts and pants, but don3t go too cra< +ith 6@ neck!aces and - rings and cra< hats. It isn3t congruent +ith a sma!! to+n environment. As a resu!t of the sma!!er popu!ation, ou3!! see the same C1 at !unch a +eek after ou meet her. &o ou a!+a s have to !ook good, inc!uding grooming and c!othing. Dhen ou go out on a &aturda night, ou can get dressed up for a night out, but ou +on3t be congruent if ou have a good se!ection of c!othing for going out and then +ear o!d s+eatpants around to+n before ;pm. I3ve bumped into m C1s at restaurants, Da!mart, the bank, the grocer ... ou get the point. *his means I a!+a s !ook decent. If I3m not in the mood to at !east !ook decent, I don3t go out. I3m a be!iever that reputation rea!! matters. If ou aren3t discrete in our interactions, it +i!! cause ou prob!ems. I don3t discuss +omen I meet +ith m c!ose friends. I don3t discuss stud ing the game. Instead, I attribute the transformation in m !ife to other things +hich have happened. I use friend! prese!ection as permitted, but I never kiss and te!!. I never brag about m abi!it to bui!d attraction +ith an one. I refer to ever one as m friend. *his means the gu I met 9 minutes ear!ier is m friend and the C1 I s!ept +ith 7 months ago, she is a!so m friend. I don3t use an derogator +ords to describe +omen or peop!e. I never ca!! someone a s!ut. It3s obvious! important for an C1 to be!ieve ou +on3t ta!k about her. 1ut ou accomp!ish this in a ver different +a than ou ma eBpect. *his means from the moment I enter a set, I don3t use an +ords to !abe! peop!e. I have friends, no enemies and no a+k+ard interactions. As a resu!t of ho+ I describe others, the C1 determines that I3m discrete. I3ve made m share of mistakes. &ince I sarge at bars, getting a drunk C1 to comp! +ith kino is eas . Lven if ou don3t c!ose her, ou +i!! deve!op a reputation for being touch . *his isn3t because the C1 didn3t en.o the kino. Instead, it3s because other peop!e are +atching ou kino her. &o !earn to kino, but don3t overdo it. *here +as a night +here I kissed - different C1s and got - numbers in the span of 7 hours. Dhi!e I

)ua!ified each C1, an one e!se +atching sa+ me interacting in a seBua! fashion +ith too man C1s too )uick! . &o I no+ avoid kissing C1s +hi!e at the bar. I3!! happi! kiss them once +e bounce. I haven3t c!osed that man C1s, but the reputation I3ve deve!oped +ou!d imp! that I have c!osed !ots. I be!ieve this is a resu!t of bouncing. &o +hen ou bounce +ith an C1, don3t be too touch fee! as ou !eave. Da!k out as friends, not !ike ou .ust got her to pu!!. As a resu!t, our reputation +i!! remain so!id, and so +i!! hers.

To"!ist vs Locals Mentality A!+a s tr to ca!ibrate our game to the venue. Da!king into a !oca!s hangout re)uires a much different approach than +a!king into a fanc hote! +here tourists are visiting. % the $ipper ta!ks about the *ourist Menta!it in his fi!th fingers #$. Cere3s a snippet4 The idea behind tourist mentality is that you convey the *act tonite may be the last time you see each other+ and that ,hatever happens this night doesn-t .actually count./ This makes her more ,illing"accepting that she can e0hibit .bad girl. actions and yet not be held accountable *or it/ *here is an evi! t+in sister to the above4 #oca!s Menta!it . Dhi!e a tourist in a strange !and is a!read +i!d and adventurous, +i!!ing to act out of her nature because she kno+s she can safe! !eave a!! bad behavior behind +hen she goes home, the !oca! gir! hanging out in her usua! bar is least inc!ined to go nuts. &he assumes an gu +ho !ooks remote! out of p!ace is there to hit on gir!s...an outsider. If he3s not going direct, nothing he sa s shou!d be trusted. 1ut even if he is direct, her A&' +i!! go up because the entire venue is her socia! circ!e, and she doesn3t +ant to appear the s!ut. 2ir!s +i!! be friend! , but there ma be far !ess comp!iance, the I>Is aren3t as aggressive, and the b!o+-outs more fre)uent. *he +a to counter this is to f!irt, but not 3pick up3. 0hi!!, get a drink, spend !ots of time hanging out, ta!k to a!! the gu s !ike it3s our regu!ar venue too. 1egin to assimi!ate, b!end in, and then fo!d the hot gir!s into the miB. It takes patience and a !ot of socia! savv .

Dhen ou visit a cit , ou become the tourist. As such, +omen have no eBpectation of a re!ationship or further contact +ith ou, and this ma give them permission to misbehave for the evening.

Room 6e!s4ective ,ou ma find ourse!f getting b!o+n out horrib! b a !arge miBed set, +here a!! the men and +omen are !aughing and too!ing ou. *hough this ma seem !ike a defeat, it can often be a victor . *here is something ca!!ed $oom Perspective. Co+ does the $oom as a co!!ective entit vie+ ouE Dhen ou get b!o+n out !ike this, the A/0 ma have his fee!ings hurt, or tr desperate! to recover the set, or start a fight +ith the dudes +ho +ere !aughing at him. 1ut +hat does the $oom seeE ,ou .ust entered a set, and sudden! ever oneFs !aughing. *he $oom doesnFt kno+ that the Fre !aughing at ou and not ,ith ou. It doesnFt matter. &mi!e and e.ectG the $oom +i!! think ouFre the !ife of the part .

Inte!!"4ts Peop!e can interrupt our set. *hese can be friends or orbiters of the target coming into the set (eBterna! interrupt), peop!e a!read +ithin the set (interna! interrupt) and ou (autointerrupt). If ou3re ta!king to a gir! and sudden! a gu appears from the bar carr ing t+o drinks, that is an eBterna! interrupt. If ou are ta!king to a 7-set and the obstac!e e!!s M#et3s go dance5N that is an interna! interrupt. And if ou e.ect premature! or fai! to esca!ate due to negative se!f-ta!k, those are eBamp!es of autointerrupt. Uncommon! , things besides peop!e can interrupt ou, !ike a broken g!ass or a fight. 2ir!s have an un+ritten, unspoken socia! contract +hen the enter a venue. *he entire set has va!ue, and +hen one of its members does an thing that is strange, the entire set suffers. /or eBamp!e, if a gir! makes out +ith too man gu s in a night, or has seB in the bathroom, or +ants to !eave +ith a creep dude, the others in the set ma see this as detrimenta! to the overa!! set3s va!ue. *he +i!! therefore tr to prevent this, even if the target appears to be +i!!ing and having a fun time. &uch is the !a+ of c!ub game. Dhen gir!s interrupt ou, +e ca!! them cock-b!ocks. &ometimes the +i!! e e code each other to signa! a need for he!p, but sometimes the cockb!ock assumes her ro!e +ithout provocation.

>ften there +i!! be a Mmother hen.N &he is the +atchfu! e e of the set, the A/>2 (a!pha fema!e of the group), doing most of the shit testing and I>'ing +hen ou enter. &he is t pica!! not as attractive as the other gir!s. >ften ou +i!! not even be a!!o+ed access into a set because of cockb!ocking. An eBtreme eBamp!e of this is the dais -chain, +here severa! gir!s ho!d hands and rush through the c!ub. If ou tr ta!king to one gir!, she has friends at both hands pu!!ing her a+a from ou. Dhenever ou can, befriend a!! eBterna! interrupts the moment the appear. *his is especia!! important +ith gu s, and u!timate! c!arif his re!ationship to our target. Ce ma AM>2 ou, but ou can never go +rong +ith being proactive! sociab!e.

Fiel$7Lay Re4o!ts (FRs7LRs* $eports shou!d emphasi<e strengths and +eaknesses in our approach, and ought to be honest and thorough. *he reader shou!d understand +h ou did +hat ou did, +hat +orked and +hat didn3t. *actics and goa!s shou!d be spe!!ed out. Co+ can ou capita!i<e on +hat +orks and minimi<e the fai!ures in future setsE &imp! bragging doesn3t serve an usefu! purpose. It is advised ou t pe the report as a +ord document first, and then paste it on!ine. ,ou can use this format b PUA ch@n:@ to organi<e our reports4 Time7Date Location Logistics (+ingsE so!oE on vacationE) What 0ent $o0n ( our report) What yo" $i$ 0ell What yo" $i$ 0!ong an$ co"l$ have $one )ette! the! comments

Reco!$ing yo"! Game Man PUAs !ike to record themse!ves in-fie!d, since it can provide usefu! information about verba! and nonverba! communication b ou and the set. A +ing can ho!d a sma!! inconspicuous camera such as the /!ip, and ou can put a microphone(audio recorder in our pocket. 0ertain recorders !ook !ike pens and can be bought on eba G most devices have a U&1 connection to hook up to our computer, and then ou can use video editing soft+are to s nch up the audio and video. Dithout good !ighting, the video ma not be +atchab!e, and +ith !oud music p!a ing, ou ma not hear the audio +e!!. Understand that each state has !a+s governing the recording of others +ithout their kno+!edge. *here are one-part and t+o-part consent states, and ou shou!d kno+ the !a+s before engaging in pub!ic recording, since the pena!ties can be stiff.

Lai!s an$ C!e0s *he seduction communit a!! around the +or!d is composed of cre+s and !airs in various cities. A +eb search ma revea! our !oca! !airs. If one does not eBist, it is possib!e to en!ist members on estab!ished ma.or PUA forums. * pica!! , !airs +i!! meet once a +eek for 6-7 hours one night bet+een *hursda and &aturda .ust prior to heading out to game. Lach member honest! revie+s his prior +eek3s eBperiences, sticking points and accomp!ishments. *he rest of the members provide feedback and advice. "eBt, the moderator !eads discussion of that +eek3s topic, +hich can range from inner game to strateg issues. #ast, it3s he!pfu! to perform eBercises +hich assist in pumping state, and improv c!asses are a good p!ace to !earn these. >nce a month, if avai!ab!e, a kno+n instructor(guru or a senior member of the cre+ can give a more detai!ed !ecture on a sub.ect of interest. It is eas for the !air to post an on!ine forum. % the $ipper3s 0asanova 0re+ site is a good eBamp!e of this.

Chapter T#o
Communication $ "ubcommunication
Levels o, Comm"nication *he PUA identifies 8 main forms of communication, +hich can be verba! or nonverba!. A/0s often cannot detect +hen these are happening, but b training ourse!f, ou +i!! deve!op +hat 'ecibe! ca!!s the PUA3s :th &ense. 0ommunication takes the form of4 6. I>I 7. I>' -. 'CV 8. '#V 6. An I>I is an Indicator of Interest. *he man is en.o ing the +oman3s compan , or vice versa. A +oman3s I>Is can be verba! or nonverba! and inc!ude4 )hit tests (a!so ca!!ed congruence tests) !ook !ike I>'3s but are I>Is) (pen and inviting body language 1ttempts to 2uali*y Play*ul teasing Doggy Dinner o,l (''1) !ook (she !ooks at ou adoring! , !ike a dog +aiting for its supper) 'everse kino (she touches ou) 3ino compliance (she permits ou touching her...see Aino chapter) %ets you move her +ithin a venue, or bounce to a ne+ venue Telegraphs an approach invitation, such as smi!ing at ou across the room (pens you direct! (+hich is +h peacocking he!ps) 1sks 2uestions to get to kno+ ou better Gives or asks *or logistical in*ormation (e.g. about our gir!friend or +here she !ives) %aughs at your 4okes+ especia!! the ones that aren3t funn Plays ,ith her hair Pinging occurs +hen ou thro+ out an I>I such as an opinion opener. *he pang is the targetFs interna! emotiona! response to our ping. Cer pong is her eBterna! response +hich can either be an I>I (ans+ers our opener

honest! ) or an I>' (!ooks at ou !ike ou3re nuts and turns back to her friend). Dhen a gir! I>Is ou, re+ard her and don3t punish her. *his seems obvious, but man gu s get carried a+a +ith negs and simi!ar tactics, that the sho+ disinterest at the point +here pinging +ou!d be more appropriate. 7. An I>' is an Indicator of 'isinterest and ma inc!ude fa!se time constraint, a neg, or a change in 1# that ref!ects this disinterest. *his can be used as our response to +hen the set thro+s ou an I>'. It can take the form of a bod rock out of the set at an emotiona! peak('CV spike in the convo (after the !augh from a punch!ine) to take a+a the good fee!ings and make them chase ou for more. I>'3s shou!d be ca!ibrated +ith an I>I before or after+ards. /or eBamp!e, neg and then te!! her ou !ove her and give her a hug. A !ong pause +aiting to see if the target +i!! pick up the convo is an I>' comp!iance test (restarting the convo is her I>I pong, versus her turning a+a and ta!king to a friend is her I>' pong). Dhen a gir! sends ou an I>', it doesn3t necessari! mean she3s disinterested in ou. 2ir!s do not +ant to appear 3eas 3 so the +i!! I>' gu s as a ref!ection of their A&' (anti-s!ut defense). Co+ever, if ou are persistent, she ma stop I>'ing and start I>Iing. If ou are met +ith an I>', never react emotiona!! S being emotiona!! unresponsive is ke to pick-up, and ou shou!d a!+a s behave in a +a that sho+s ou are interna!! va!idated and unphased or even amused b the disinterest of others. LBamp!es of I>'s +omen thro+ inc!ude pu!!ing out her ce!! phone, turning a+a , +a!king a+a , ta!king to her friend, being curt +ith her responses, or being outright rude. -, 8. 'CV and '#V. 'CV ('emonstration of Cigher Va!ue) shou!d impress the target +ithout seeming tr -hard or bragging. A good stor te!!er has innate 'CV )ua!ities if he can captivate, emote and take the audience on an emotiona! ride. In addition, he can spike the stor +ith more 'CV points that hit attraction s+itches. A gu +ho is te!!ing .okes and seeking approva!, or obvious! HperformingF is ca!!ed a dancing monke . *his is a '#V ('emonstration of #o+er Va!ue) and shou!d be avoided. 0onfidence is a 'CV, but being bo!d or bragging is a '#V. According to * !er 'urden (*'), the four main +a s to '#V are4 6. 0onve nervousness. 7. 0onve neediness. -. *r too hard to gain approva!. 8. *r too hard to conve va!ue.

,our goa! is to 'CV and not '#V. /or a !ot of gu s, if the can go and interact +ith C1s and not '#V, that3s a good first step. LBamp!es4 ta!king about our financia! +orries, hea!th prob!ems, !o+ se!f-esteem, se!fdeprecating humor, se!f-pit , inabi!it to get !aid, etc. Man A/0s touch on these topics, and that3s bad marketing. MIt3s not enough to have va!ue. ,ou must 2IVL va!ue, free of charge. It is our ro!e to hand va!ue out to a!!, regard!ess of +hether peop!e are receptive of it or not. *CA* is +hat3s tru! attractive.N Decibel *o 'CV, ou +ant to bring up sub.ects that +omen seek in a potentia! mate4 appropriate humor, respect for her cu!ture(occupation, as +e!! as the usua! s+itches (prese!ection, !eader of men, etc). ,ou can do this b te!!ing it, or better, demonstrating it. LBamp!e4 +a!k into a c!ub +ith a group of beautifu! +omen around ou, sho+ non-neediness b e.ecting after a spike in the convo, out-AM>2ing other gu s. 0hode circ!es(cr sta!s. *here are fe+ '#Vs greater than a bunch of gu s standing around in a circ!e in a bar, ho!ding their drinks, not ta!king to an one e!se, and genera!! !ooking !ike +ankers. "ot on! are A/0s gui!t of this, but man PUAs form chode circ!es. Avoid them !ike the p!ague. If ou find ourse!f in a chode-off +ith our +ings, ou are enab!ing one another3s AA and need to break the circ!e and go be socia! immediate! . ,ou might find it hard to get to a set because a bunch of dudes are standing in our +a ta!king to each other...this is ca!!ed a chode b!ock. 1 comparison, +hen a bunch of gu s are outgoing, se!f-amused and pu!!ing gir!s into their rea!it , this is a p!a er diamond (credit $&'). Dhen ou enter a set, it is eBpected that ou +i!! bring va!ue. *hat is, ou shou!d be interesting and friend! . ,ou shou!d give this va!ue to the set +ithout making them fee! ob!igated to return va!ue. Va!ue eBchange occurs +hen the target provides va!ue back to ouG if she is not offering va!ue and ou continue to do so, the e)uation is off-ba!ance. At some point in the sarge, if ou continue to provide va!ue or if ou seek va!ue +ithout her doing the same, our overa!! va!ue +i!! drop ('#V).

My T0o Dogs+ Giving 2al"e (Deci)el* I have t+o dogs4 a Min Pin and a 1oston *errier. 1oth greet me in the morning. *he 1oston does it b sitting neBt to me so I can pet him. *he Min Pin .umps on and off the bed, spins in circ!es, makes a !ot of huffing noises, and tries biting m hand. *he Min Pin +ants to be fed, the 1oston .ust +ants to sa he!!o. 0an ou te!! +hich one is bringing va!ue and +hich one is taking va!ueE I ob!ige the Min Pin eventua!! b getting up to feed him so he3!! !eave me a!one, but in the end m actions come from a sense of ob!igation. &imi!ar! , ou can go into a set and run routines or be a dancing monke , and gir!s +i!! stick around a +hi!e to !isten to ou, and ma even give ou their Js, but the do so simp! out of courtes . In contrast, if ou3re the re!aBed gu +ho comes into set .ust to sa he!!o !ike m 1oston, peop!e +i!! appreciate our non-neediness and stick around out of affection. 2iving va!ue +ithout the eBpectation of it being reciprocated is a ma.or component in pick-up. *here are various !eve!s of va!ue eBchange. *he most superficia! +ou!d be a!ong the !ines of a name eBchange. *hen, a bit deeper va!ue eBchange +ou!d inc!ude each part sa ing +here the !ive or +hat the do for a !iving. Idea!! , there shou!d be a fair eBchange of va!ue b both parties (ca!!ed va!ue pinging b 'ecibe!). 'eeper va!ue pinging can be seBua!. ,ou share an aspect of +hat turns ou on, and she ma give simi!ar va!ue back. 1 offering va!ue of an intimate nature, +hen appropriate, +omen ma fee! comfortab!e enough to reciprocate seBua! va!ue back.

The .eg+ Tease he! to 4lease he! Aspiring PUAs often get the neg +rong, and +ind up insu!ting the gir!. "egs shou!d a!+a s be p!a fu! and end +ith her chuck!ing. &hake her s+eat hand and go...3L+++...+here has that hand beenE "o +ait, I don3t +ant to kno+53 "egs dis)ua!if ourse!f (she3s ick or has made some socia! fauB pas and therefore not appea!ing to ou), and drop her re!ative va!ue. "egs genera!! aren3t used once ou get into comfort, but ou can use them c!ear up to that point, inc!uding in the 1C$$ techni)ue. Ph sica! negs inc!ude

3boinking3 her e es !ike ou3re one of the *hree &tooges, and pointing to something on her chest and then running our finger up her face +hen she !ooks do+n. If a gir! !ooks hurt after a neg, this indicates she has become emotiona!! invested in the interaction, +hich is good. Meho+ ca!!s this reaction a negative eBpression of bu ing temperature and attraction. 0onsider this an I>I and respond according! . Myste!y8s .eg Wa!,a!e 2et a vo!!e of negs going bet+een ou and the target unti! she gets irritated and the mood gets uncomfortab!e. Dhen the target sends the third neg, go for a hug and )ua!if her for her pro+ess, then ph sica!! I>'. If others are in the set, disarm them after the second neg b +hispering something !ike, Hthis is ca!!ed f!irting.F

Shit Tests A shit test is a +omanFs attempt to see ho+ reso!ved ou are to stand up against her active disinterest, or to see if ou3!! buck!e !ike an A/0 +hen she cha!!enges ou or thro+s disingenuous seductive !anguage at ou. *he A/0 might assume these are I>'3s but in rea!it these are a form of I>I because she is taking the time to see +hat kind of man ou are (instead of +a!king a+a , +hich is an I>'). &he is testing to see if ou are congruentG that is, is our inner game fu!! in a!ignment +ith our outer game. ,our response ma be an I>', often cock -funn , in the form of a reframe. &o +h do gir!s shit testE Imagine ou are hit on, night after night, da after da , for man ears. ,ou might initia!! be nice to ever one +ho approaches, but eventua!! ou +i!! need to have some kind of fi!tering mechanism to screen out those peop!e +ho are +eak or not seB-+orth . *his mechanism, for a +oman, comes in the forms of the bitch shie!d and shit tests.

M"lti4le Th!ea$ Theo!y 0onversation shou!d incorporate mu!tip!e thread theor . ,ou shou!d have severa! stories(routines (a!so ca!!ed threads) running at once. /or eBamp!e, ou start a stor about going on a trip +ith our friend 1arne . ,ou and he

visited "e+ ,ork 0it . &o some+here before the end of our ",0 trip stor , ou can break off and go into a stor about 1arne . #etFs sa he is a horse trainer. &o ou start a stor about him and his horses, then break off and go to a stor about ou getting thro+n from a horse as a kid. "o+ before the end of that, ma be pick up our ",0 stor again, then .ump back to our 1arne stor , then our horse accident stor . Mu!tip!e threads running at once give the fee!ing to the target that ouFre covering a !ot more ground, compared to going to the end of one thread and then picking up a ne+ one. *his is ho+ o!d friends ta!k to each other, and it conve s this kind of fami!iarit .

Ro"tines ve!s"s .at"!al Game *here is ongoing controvers +ithin the communit as to +hether to use routines, or .ust a 3natura!3 vibing form of gaming. In a sense, this is an artificia! division, since man natura!s use the same responses, sound bites and !ines over and over in fie!d, and as such the become 3canned.3 $outines are usefu! initia!! as training +hee!sG the A/0 doesn3t kno+ ho+ or +hat to sa to +omen, and so canned materia! a!!o+s the PUA to stop thinking about ,hat to sa , and focus instead on ho+ to de!iver it. *hen once tona!it , bod !anguage and other aspects of communication are improved, the routines can be abandoned or minimi<ed and a more natura! vibing can take p!ace. A !arge reason +h gu s re! heavi! on routines is that the aren3t confident about their o+n identit , and fee! +omen +i!! re.ect them if the don3t have routines to fa!! back on. In this case, routines become a crutch. Instead of re! ing on routines to rep!ace vibing, the PUA shou!d +ork on their confidence and accept the fact that +omen +i!! appreciate them for +ho the are underneath once that identit is communicated effective! . PUAs ta!k about routine stacks, that is a series of routines to!d b the PUA to his set. A more natura! form of de!iver is the routine tree ('ecibe!(A'T), +hereb different routines can be emp!o ed contingent upon the set3s response. &o +hi!e a stack is de!ivered regard!ess of the set3s responses, a tree permits the PUA to proceed to different routines dependent on the set3s reactions.

Inte!!"4ts If our are running a thread and get interrupted, do not tr to get back on track and finish up the thread. 0ut that thread and begin a ne+ one. $eturning to the origina! thread appears tr -hard, though ou can get back to it !ater as the convo dictates. *his is ca!!ed snip-and-stack. Cand!ing the eBterna! interrupt b M ster 4 &tep 6. &a to the target (assuming sheFs the most attractive of the set), Mintroduce me to our friend. ItFs the po!ite thing to do. ,ou can dress her up but ou canFt take her an +hereN 5directed at target6. "obod +ants to appear socia!! inept, so this phrasing forces the outcome. &tep 7. Introduce ourse!f to the interrupt even +ithout an introduction. &hake hands. &tep -. &tack into ne+ routine.

6"sh76"ll Dynamics *his concept cannot be emphasi<ed enough. Push a +oman a+a +ith our +ords and kino, and pu!! them back. &a H+e shou!d be friendsF +hi!e ou pat her butt. *e!! her H,ouFre so smartOI hate ouF +hi!e ou hug her. 1e a hard-ass verba!! but affectionate ph sica!! . MiB up I>Is and I>'s in one sentence, such as 3,ou3re coo!...but I can on! sta a minute.3 'onFt ca!! her at the eBact time ou said ou +i!!. "ever be afraid to end a convo or encounter ear! , even +hen ou t+o are having the time of our !ives. &end miBed signa!s constant! , be unpredictab!e, donFt !et her ever fee! secure in kno+ing she3s tota!! +on ou over. *his techni)ue is eBtreme! po+erfu!. *he cat-string theor states that +hen ou dang!e a string in front of a cat, it +i!! be +i!!ing to p!a +ith it. >nce ou !et the string go, ho+ever, the cat !oses interest and +a!ks a+a . 2ir!s are !ike cats, and if ou do too much 3pu!!ing3 and not enough 3pushing,3 the +i!! !ose attraction to+ards ou and ou3!! !ose the set. *he anatom of cat-string (push-pu!! d namics)4 I. I>I (pu!!) a. Aino b. Verba! c. ProBimit d. Pecking

II. I>' (push) a. Dithdra+ing a6. /*0 a7. $o!! offs a-. *ake a+a s a8. 1od rocking a9. L.ect (to reopen !ater) a:. /ree<e outs b. "egative kino (thro+ her hand a+a ) c. 'is)ua!ifiers c6. /a!se dis)ua!ifiers c7. "egs

What (not* to Say *here are certain +ords and topics that ma shut our set do+n if ou aren3t fee!ing out the +aters carefu!! first4 sku!!s, death, destruction, sickness, i!!ness, p!ague, ?(66, disaster, vio!ence, conspirac , re!igion, po!itics, guns, crime, rape, torture, mo!estation, abortion. ,ou can discuss these issues or use these +ords, but do so +ith caution, because the cou!d easi! !ead to a dark, depressing convo. In genera!, there is never a good reason to comp!iment a gir! about her beaut or an of her ph sica! features. *he same app!ies to tattoos. ,ou might sa H>h, this is a coo! tattooF but since gu s have probab! used that one a mi!!ion times, ou shou!d neg +ith something !ike His that supposed to be a map of UtahEF #ike+ise, if a gir! has some ph sica! imperfection, '> ">* bring it to her attention, and stop our e es from +andering to it. ,ou must at a!! times sho+ indifference to her ph sica! appearance, and a!+a s instead emphasi<e other positive features !ike her !augh, her humor, her abi!it to +a!k in high hee!s, etc. Approaching an C1 and asking mundane dead-end )uestions !ike 3+here are ou fromE3 3ho+ o!d are ouE3 3+hat do ou do for a !ivingE3 is ca!!ed f!uffing. /!uff is one of the !eading causes of sarge death. 'on3t f!uff. 'on3t open +ith it, don3t stack to it, don3t tr to attract her +ith it, don3t )ua!if +ith it, don3t bui!d comfort +ith it, and certain! don3t use it in seduction. &ta far far far far a+a from f!uff. /!uff eats its oung and annihi!ates ever thing in its +ake.

In genera!, make statementsG don3t ask )uestions. If ou find ourse!f asking )uestions, change our tona!it or find a +a of turning it into a statement. If a gir! has an accent, rather than ask 3Dhere are ou fromE3 either make the statement 3,ou3re not from around here3 or make a .oking )uestion. /or eBamp!e if she3s from Austra!ia, ask 3Dhat part of 0anada are ou fromE3 *his mocks the intervie+ st !e of pick-up, so is acceptab!e. Making a statement is much more po+erfu!...it demands comp!iance, as opposed to re)uesting it.

2i)ing Dhen t+o peop!e are out socia!! having fun, vibing occurs. A good PUA is ab!e to step outside his head and en.o the convo, bouncing back comments that indicate he is there en.o ing himse!f and her compan . *he ingredients to vibing are4 6. Push(pu!!. &end p!a fu! miBed signa!s, be hot and co!d, keep her guessing about our intentions and meanings. 7. LBaggerated remarks such as ridicu!ous accusations, misinterpretation of comments ou hear, making out!andish comparisons. $eframe so she appears to be chasing ou, even +ith innocuous comments !ike asking +here ou !ive. -. #et others impress. 'on3t fre)uent! take peop!e3s comments and tr to out-do them, impress them or add our o+n advice and perspectives. 8. 1e p!a fu!! a!oof. If she asks a )uestion, don3t a!+a s give a straight ans+er. If she cha!!enges ou on it, don3t become defensive. %ust have fun +ith her. *he caveat to the above is sometimes ou need to turn off these tactics and .ust 3be ourse!f.3 If a gir! +ants ou to be serious, sometimes it3s best to go that route. *he bottom !ine is that b vibing +e!!, ou sho+ ou are non-need , don3t seek the approva! of others, aren3t over! ana! tica!, are sure in +ho ou are, have a strong frame that isn3t easi! shaken, and are .ust a fun gu to hang out +ith. &ee the appendiB on 'ecibe!3s 'a 6 Mode!, +hich covers strategic vibing. Caving a sense of humor is a ma.or 'CV. &ee the appendiB on this topic, +ritten b PUA *he %udge. 1od !anguage is so important that it is given its o+n chapter...

Chapter Three
%ody &an'ua'e
More important than verba! communication is non-verba! subcommunication, or bod !anguage (1#). *his can take the form of facia! gestures, hand and bod movement, and voca! tona!it . If there is a !ack of congruence bet+een our verba! and non-verba! cues, greater +eight +i!! subconscious! be p!aced on our non-verba! cues. Domen have an innate advantage over men in interpreting subt!e cues, and it is thought in part to be due to their need to non-verba!! communicate +ith their ne+born. Cence, +omen are hard-+ired to interpret 1# in +a s men are not, for the surviva! of the species. *he three ke points are4 6. 1# occurs in c!usters or 3sentences.3 #ook at the big picture, inc!uding their facia! eBpression, head position, arms, hands and !egs. 7. 1# shou!d be congruent +ith the +ords being spoken. -. 1# shou!d be interpreted in conteBt to the environment. /or eBamp!e, a person ma cross their arms because the room is co!d, not out of defensiveness. ?@R of our opinion of somebod +i!! be formed in the first four minutes of contact, so it is important to start off on the right foot so to speak. *he PUA +i!! deve!op a :th sense, an abi!it to detect I>Is(I>'s b +a of non-verba! communication, and a ne+-found instinct to respond in such a +a that ends +ith seduction. The Co0)oy ('ecibe!) An I>I comp!iance test. A seBua!! aggressive posture +i!! either cause a defensive response or a +e!comed response. Cook our thumbs in our be!t and point do+n such that our private parts are framed b our fingers, !egs apart. A tight grip on the be!t imp!ies a stronger signa!. L!bo+s he!d out to the sides sho+s a man is tr ing to en!arge their appearance +hich +omen ma find attractive (AM>2s are comfortab!e taking up space and being heard, +hi!e betas tr to take up !itt!e space

and avoid being heard). If she I>'3s (e.g. crosses her arms) then she does not accept our demonstration of seBua! aggressiveness, but if she I>Is, then she does. *he fema!e counterpart to the co+bo occurs +hen she p!aces her hands on her hips +ith e!bo+s out. *his position dra+s attention to herse!f, emphasi<ing her ferti!it b increasing her hip-to-+aist ratio, and is an I>I. A +oman +ho does a co+bo posture ma a!so be considered seBua!! assertive. 2"lne!a)le7honest 4ost"!e4 Co!d our pa!ms open +ith forearms eBposed to disarm defensive posture, or !ook for it in the target as a sign of vu!nerabi!it or honest . /or eBamp!e, if she makes a statement but concea!s her hands, she ma not be te!!ing the truth, or converse! if she sho+s her open pa!ms, ou ma assume +hat she sa s is honest and she has nothing to hide. De,ensive 4ost"!es4 Dhen ou +ere a chi!d ou might have hid behind ob.ects !ike mom, a couch or a chair out of fear. As adu!ts +e continue to hide but in more subt!e +a s. A +oman +ho crosses her arms ma be sho+ing a defensive posture, +hich means our I>Is are too strong and ou need to reca!ibrate (e.g. sho+ I>'3s). Lven +orse is if her fists are c!enched as +e!!. A +oman ma a!so grip her arms in this position, +hich a!so te!egraphs a negative attitude. *hough !ess obvious, +hen a man ho!ds his drink in front of him, or is fidd!ing +ith the ring or brace!et of the opposite hand, he is creating a defensive barrier that +omen ma interpret as fearfu!. 'o not therefore carr our drink in front of ou or p!a +ith our adornments. A man +ho stands +ith his hands together over his crotch is tr ing to defend his manhood, so avoid this posture as it conve s fear. Un!ocking a +oman3s defensive posture re)uires I>'3s, using a vu!nerab!e posture (arms and !egs uncrossed, pa!ms eBposed, chin s!ight! up to eBpose the neck, head ti!ted to the side) and 'CVing, preferab! +ith humor. ,ou a!so can ph sica!! un!ock her b asking her to ho!d something such as our drink. >nce she un!ocks, ou can proceed +ith standard gaming, but be cautious if she !ocks up again. *r ing to c!ose +hen she sho+s a defensive posture +i!! probab! !ead to being b!o+n out or a f!ake. Legs4 As in the co+bo posture, keeping our !egs apart te!egraphs confidence and superiorit (a +i!!ingness to eBpose the genita!s sho+s a man is not fee!ing vu!nerab!e about having them attacked), but can be over! aggressive if used on a +oman +ho isn3t et attracted. 0rossing the ank!es +hi!e standing, on the other hand, indicates insecurit and

defensiveness (hides the genita!s) and shou!d be avoided. If a +oman is standing +ith her !egs crossed, it indicates that she tends to sta put and that access is denied (s mbo!ica!! c!oses entr to the genita!s). Pointing our feet to+ards a +oman (or her to+ards ou) is an I>I. If pointed a+a , particu!ar! to+ards an eBit, it is an I>'. Th"m)s4 If our thumbs are sticking out of our pockets, this conve s attraction in that ou3re tr ing to !ook coo!, so un!ess that is our goa!, be carefu!. If she3s doing it, consider it an I>I. It can a!so conve a sense of superiorit if c!ustered +ith other simi!ar signs, +hich can be interpreted negative! b a +oman. The ,inge!4 Pointing creates negative fee!ings in !isteners and can be considered intimidating, so in genera! avoid it +hen ou are making a point. Instead, pinch the thumb and indeB tips together. The 4ic#e!4 &omeone picking imaginar !int from their c!othes does not approve of +hat is being said, but +ishing to suppress their opinion. Ask that person their opinion to disarm them. The no$4 Peop!e tend to speak !onger +hen the person the 3re communicating +ith s!o+! nods during the convo. /ast nodding creates the opposite effect. "odding in genera! creates positive fee!ings and rapport in the observer, and it is good practice to periodica!! nod during convo. If ou +ant another person to keep ta!king, s!o+! nod (once per second for 9 seconds) and put our hand on our chin to stroke !ight! . *his +i!! encourage the other person to continue speaking. Hea$ 4ositions4 Cead s!ight! up means a neutra! attitude, though if the chin is .utted for+ard this can indicate arrogance or superiorit (the aren3t afraid to eBpose the throat, and are gaining height +hi!e !ooking do+n their nose). 2enera!! , avoid too much head up position, and !ook for it in others (men and +omen) as a possib!e sign of aggression. If the head is ti!ted to the side, it sho+s vu!nerabi!it . *his ma be he!pfu! in un!ocking another person3s defensive posture. If a +oman is ti!ting her head to the side, she is sho+ing her submission and ma be interested in the man. A person +ho has their head ti!ted do+n+ards signa!s aggression and criticism. ,ou shou!d +ork to un!ock this position into a more neutra! or submissive ang!e.

The ,ace 4latte!4 A +oman ma rest both e!bo+s on the tab!e and rest her chin on her hands (pa!ms do+n, one on top of the other) in a p!atter position. *his is an I>I. Han$ sha#es4 Co+ ou shake hands sa s a !ot about ou, and +hether ou consider ourse!f dominant, submissive or e)ua! to the other person. Appearing dominant over an aggressive AM>2 ma be usefu! in that conteBt, but doing the same handshake +ith a gir! ma te!egraph the +rong fee!ings. *i!ting our pa!m do+n +i!! assert dominance, up +i!! assert submissiveness. An AM>2 ma grab our hand and tr to force it into a submissive posture, but ou shou!d either maintain dominance or go for a vertica! e)ua!it shake. If ou +ish to befriend the AM>2, a vertica! shake is best to create rapport, and e)ua!! important, our grip shou!d match his. If an AM>2 approaches +ith an aggressive pa!m-do+n thrust, ou can use our other hand on top of his to force the shake vertica!. Sitting 4ost"!es4 Peop!e make decisions +ith their feet on the ground. *he figure 8 position occurs +hen someone (genera!! a man) sits +ith the !egs crossed and the ank!e over the knee. &omeone +ho grips their !eg in this position is disp!a ing a stubborn attitude, +hich ma not be desirab!e if ou hope to gain their trust. &itting +ith ank!es crossed, man or +oman, indicates that person is tr ing not to disp!a a negative emotion such as fear, gui!t or doubt. A person +ho is engaged in the convo +i!! tend to put their feet out+ards, +hi!e someone +ithdra+n +i!! pu!! the feet back under them. *he PUA shou!d genera!! not !ock ank!es or +ithdra+ feet, and on detecting this in a +oman, shou!d +ork to un!ock this posture. &itting do+n +ith our crotch eBposed to a target ou .ust met is a good +a to turn them off, as itFs a ver seBua!! aggressive pose. The cata4"lt4 Dhen a man !eans back +ith his head resting on his hands, it is !ikened to a catapu!t. *his is often c!ustered +ith an open crotch position such as figure 8. >vera!! this te!egraphs an attempt to assert superiorit and is a turn-off. If an AM>2 presents this posture, un!ock it b standing, or b forcing him to !ean for+ard b asking him to !ook at something (or b indicating our need to +hisper something to him). ,ou a!so can mirror the catapu!t to him as this indicates e)ua!it . Seate$ !ea$iness4 A person +ho is read to proceed +i!! !ean for+ard, !egs apart, one hand dang!ing in crotch area, the other pa!m do+n on thigh.

If a person p!aces both hands on their knees or chair, !eaning for+ard, the are eager to !eave the convo. An important aspect of 1# is congruenc . If ou sho+ a !ot of interest +ith our 1#, ou need to have verba! communication that ref!ects this, as in a verba! I>I or a direct opener such as HI had to come over here and find out +hat ouFre a!! about.F If our 1# is that of disinterest, ou can I>' or use an opinion opener. #ike+ise if ou3re dishonest, our +ords and bod !anguage or tona!it ma not match. *hese incongruent signa!s can be detected b +omen, +ho +i!! tend to re! more on non-verba! communication if having to choose. Mi!!o!ing4 Mimicking a person3s gestures can create a sense of rapport. Domen tend to mirror other +omen far more often than men mirror other men. A man tends to use his bod more than his face to indicate his attitudes. *his has an evo!utionar reason, in that a man +ho eBpresses his emotions on his face ma be taken advantage of b an enem . >n the contrar , a +oman primari! uses her face to eBpress her fee!ings, so a man shou!d emphasi<e mirroring her facia! eBpressions. In addition, mirroring can inc!ude one3s inf!ection and rate of speech, so a PUA shou!d t pica!! speak at a rate e)ua! to or s!ight! !ess than that of the target3s speech. If ou need to assess +hom in a group is the !eader, !ook for +ho is being most mirrored, and that +i!! t pica!! be our !eader. Bo$y 4ointing4 Pointing one3s feet or entire bod +hi!e standing, or one3s knee +hi!e seated, can conve interest or !ack thereof. Make sure ho+ ou point to+ards or a+a from a target ref!ects our desire to I>I or I>', and interpret the target3s responses simi!ar! .

Chapter Four
The (ystery (ethod )(* (odel+
*he purpose of this chapter is not to reiterate the M ster Method (MM), but to embe!!ish upon it. *hose reading this +ho are unfami!iar shou!d first go and !earn the MM, either via the printed 3M ster Method3 or the ebook 3Venusian Arts Candbook.3 *he MM is a!so ca!!ed M- because there are - primar sections4 Attraction (A6--), 0omfort (06--) and &eduction (&6--). *hese are broken do+n as fo!!o+s4

A9: The A44!oach *he PUA enters a set (can be a 6-set C1, a !arge miBed set (men and +omen), or an thing in bet+een). PUA sa s something that captures the setFs attention, ca!!ed Hhooking.F *he no+ +ant the PUA to sta in set +ith them and make further convo. A 3co!d approach3 means ou in.ect ourse!f into a set +hich hasn3t et +e!comed ou. A 3+arm approach3 means the target has given ou an approach invitation (AI) such as smi!ing and !ooking at ou. *hese approaches invo!ve ta!king to comp!ete strangers, +hereas socia! circ!e game refers to running game on gir!s +ithin our group of friends. *here are indirect approaches (such as using an opinion opener, +hich doesn3t appear as if ou3re running a pick-up) and direct approaches (as in +a!king up to the target and stating ho+ attracted ou are to her). Dith direct openers, ou !a our hand on the tab!e, +ith a sinkor-s+im outcome, +hereas +ith indirect openers, ou can fee! out the set and gradua!! create attraction +ithout setting off a!arms. 'avid 'e Ange!o estimates that on! -@R of +omen are interested in meeting someone ne+ on a romantic basis. *his means that ; out of ever 6@ +omen ou ta!k to ma b!o+ ou out, even before ou run game on them. ,ou +i!! get b!o+n out b setsOoften a #>* of sets. LBpect it and donFt take it persona!! . 'onFt !et it affect our state. Lven if ou get a phone number or an emai! address, man times ou +i!! be b!o+n out the

neBt da . &ometimes +omen give their numbers out !ike cand , or do have a f!eeting connection +ith a man in a bar, but convince themse!ves not to pursue it the fo!!o+ing da (ca!!ed back+ards rationa!i<ation). Approach anBiet (AA) can be cripp!ing to man gu s and is hard-+ired in our brains, even for those +ho are +ea!th , successfu!, genera!! comfortab!e +ith +omen, and good-!ooking. It is a se!f-imposed disease that defies !ogica! eBp!anation. And et there is a cure, and it re)uires diving in, set after set. Con;"e!ing AA+ Have a Bac# Doo! 6lan By The She!i,, I often approach b finding something to neg her on. Copefu!! something that can go on for a +hi!e. 1ut the ke is that I use openers that over+he!m the set and a!most force them to hook to m opener. >ne time I heard this gir! te!!ing some gu stories about +hen she +as oung. >n m +a b I !ooked over m shou!der +ith feet pointed do+n the ais!e and to!d the gu , Pdon3t be!ieve a +ord of it.P "o+ ho+ are the not going to hook on thatE >f course the did and I +ent on +ith a PI .ust don3t kno+ if I trust this oneP shtick. &o +h didn3t I have AAE I didn3t have AA because I had a back door and didn3t care ho+ the responded - it simp! didn3t enter into m p!an. Cad the responded unfavorab! I +ou!d have .ust stacked to P+e!!, suit ourse!f but don3t sa I didn3t +arn ou.P And I +ou!d have continued +a!king to+ard the head. "o+ if the same peop!e +ere sitting at a tab!e in the corner of a restaurant and I had to +a!k into a dead end area to run an opener that +ou!d be a different stor a!together. &ame group, same opener, big difference in AA !eve!. Dh E 1ecause in scenario A m approach had t+o ke characteristics4 6) It +as covert and subt!e - nobod +as observing it, and 7) I didn3t get m se!f into a sink or s+im situation - I didn3t commit m se!f to the approach and I had an eBit strateg before hand. An bod +i!! have AA +hen the start the !ong, obvious +a!k to+ard a do-or-die situation +ith no back door. In doing this ou are putting ourse!f direct! into a situation in +hich ou might find ourse!f +a!king back +ith our tai! bet+een our !egs +ith ever one +atching. And this is made much +orse if

ou don3t have a great dea! of confidence in our opener and in our inner game. P!us, in approaching +ithout an eBit strateg ou are putting contro! of the entire situation in the hands of the set and giving them the po+er to serious! '#V ou in front of ever one. I guess if ou are going to do that ou ought to have AA.

/inding an C1 can be a cha!!enge, and it ma take a month or more of searching to figure out the best times and p!aces to meet the highest number of targets. *his is referred to as a target-rich venue. If ou +ere a game hunter ou cou!d either search a!! over the p!ains for the +andering sing!e pre , or ou cou!d find out +here man of the pre gather and then hunt there. /or the time eBpended, it makes more sense to sarge targetrich environments, and in the dating +or!d this is t pica!! !ate at night at bars and c!ubs. If ou are the kind of gu +ho does not fre)uent these venues or goes to s!eep at ?PM, ouF!! need to no+ become somebod +ho does sta up !ate (--8 AM sometimes) and goes to these p!aces. ,our training +i!! be vast! acce!erated if ou consistent! put ourse!f in these target-rich venues. Avoid the obvious +hen ou approach. *a!! gir!s get comments about their height, beautifu! +omen about their beaut , gir!s +ith tattoos about their bod art. It +onFt stand out in the cro+d and probab! +i!! send the signa! ouFre tr ing to hit on her. Asking a gir! if she sa+ the fight outside or if the venue sti!! has puppet sho+s +i!! be tota!! uneBpected, and +i!! better a!!o+ ou to stack into a 'CV routine +ithout getting b!o+n out. Con;"e!ing AA+ Em)!ace the S4otlight By The She!i,, Approach anBiet is some+hat of a misnomer. AA is .ust a form of Mperformance anBiet .N Peop!e ma eBperience performance anBiet in man different situations inc!uding taking an eBam, p!a ing in a sporting event, going on a .ob intervie+ and of course +hen ta!king to a beautifu! +oman. Most Americans actua!! rate pub!ic speaking as their number 6 fear, ahead of even death. An time +e are faced +ith a situation in +hich +e must perform in front of others +e eBperience performance anBiet . *his anBiet is inverse! proportiona! to our !eve! of confidence, se!f-assuredness and abi!it .

*here are t+o +a s +e can reduce performance anBiet . >ne is to reduce or e!iminate the eBterna! pressure to perform b avoiding the spot!ight. *his +orks +e!! for beginners because often beginners !ack confidence and it is a good first step to bui!ding confidence. 0onfidence after a!!, is the product of good resu!ts. Avoiding the spot!ight, or f! ing under the radar, is a good start but it on! gets ou so far. If ou +ant to rea!! become good +ith +omen ou +i!! need to !earn to em)!ace the spot!ight and thrive in it. 0an ou imagine a gu running for President +ho is afraid of pub!ic speakingE U!timate! , the ke to rea!! overcoming performance anBiet !ies in our confidence, our se!f-assuredness and our abi!it . 0onfidence is not something +e .ust +ake up and decide to haveG confidence is the product of good resu!ts. 2ood resu!ts are the product of abi!it , and abi!it is of course the product of practice. Dhether ou are taking an a!gebra eBam, shooting free thro+s or chatting up an C16@, practice makes perfect. "o+ I kno+ this sounds !ike a daunting task, but it isnFt so bad if ou go about it the right +a . Man aspiring PUAs make the mistake of thinking that attempting to run game on a gir! is a uni)ue form of human interaction, categorica!! different from ever other form. *he good ne+s is that it isnFt different at a!!. Understanding this is ver important because it +i!! sho+ in our game. ,ou must !earn to interact +ith our target in the same +a ou +ou!d interact +ith an one e!se. If our target perceives a difference in the +a ou communicate +ith her verses the +a ou communicate +ith others, it +i!! come across as supp!ication and ou +i!! !ose va!ue in re!ation to her. Practice ta!king to peop!e. &tart conversations +ith the gu standing behind ou in !ine or sitting neBt to ou at the !unch counter. Ask the o!d !ad in the grocer store ho+ to pick out a good canta!oupe. Practice ta!king to beautifu! +omen DI*C>U* tr ing to run gameG tr simp! ta!king to them. After doing this a +hi!e ou +i!! be surprised ho+ eas it becomes. ,ou +i!! a!so notice that this produces far !ess anBiet . It produces !ess anBiet because ou have removed the performance e!ement from the e)uation. Dhen ou simp! ta!k to peop!e +ith no eBpectations or +orries about the outcome, there is no reason to fee! anBious. It is impossib!e to fai! +hen ou donFt care about success.

*here are -@@ mi!!ion peop!e in the U& - ha!f of them fema!e. *here is simp! no reason to assign a fa!se sense of importance to the outcome an given conversation +ith an given gir!. 2et used to interacting +ith C1s .ust for the he!! of it. &tart b chatting +ith random peop!e .ust for the he!! of it, move on to chatting +ith good !ooking +omen .ust for the he!! of it. As ou progress, our confidence and abi!it +i!! improve and this is +hat con)uering performance anBiet is rea!! about. Lven if ou do receive some negative feedback, this can sti!! be a confidence-bui!der because ou +i!! come to rea!i<e ho+ !itt!e this actua!! matters. $emember +hen ou !earned to ride a bike and ho+ much ou feared fa!!ingE *hen the first time ou fe!! ou rea!i<ed it +asnFt so bad and ou +ere much more confident as a resu!t. 2etting b!o+n out of a set is the same thing. As our confidence improves, ou +i!! see resu!ts, and +i!! set in motion a positive c c!e that bui!ds on itse!f. 1efore ou kno+ it ou +i!! be approaching sets +ith ease and ou +i!! be on our +a to estab!ishing true core confidence and inner game. Lventua!! ou reach the point +here ou achieve true core confidence and inner game - the kind that comes from success, not the 1& that comes from repeating +ords of affirmation in a mirror that ou rea!! donFt be!ieve deep do+n inside. Dhen ou achieve true core confidence, our entire vie+ of sets +i!! change. At this point ou +i!! begin to perceive ourse!f as having higher va!ue than those ou are gaming. ,ou +i!! see our approach as an opportunit ou are giving the C1 to prove to ou that she is +orth of our attention. If she responds poor! , ou +i!! see it as a fai!ure on her part and attribute it to her having poor socia! ski!!s rather than as a fai!ure on our part. *his is a point ever PUA must reach before he can tru! consider his game to be tight. Advanced techni)ues such as dominant kino re)uire that ou are ab!e to assert this frame in a manner that is un+avering. *he abi!it to maintain this frame and to demonstrate this !eve! of va!ue is the ver essence of PU - ever thing e!se is commentar .

- second ru!e4 If ou identif a target, give ourse!f no more than - seconds to approach. If ou identif her and then go stand neBt to her +ithout

opening, ouFve communicated too much interest (even subconscious! ) and have a!read !o+ered our chances. It is better therefore to go right into a set rather than stand or sit neBt to it for a noticeab!e time. *here are t+o eBceptions to this4 6) if ou +ant to first create socia! proof(prese!ection in a venue b ta!king to ever bod eBcept the C1s, and 7) if the - minute ru!e +i!! be vio!ated, ou ma +ant to +ait. *he - second ru!e is !arge! a +a of getting past approach anBiet , and man PUAs don3t abide b it for tactica! reasons. >ne such proponent is A/0 Adam # ons, +ho re!ies on initia! socia! proof before opening the target. A$vance$ tactic+ >pen the obstac!e +hen the target is not present. If ou identif a set ou +ant to open, ou might +ait unti! the target goes to the bathroom and then open the set. Dhen she returns ouFve made ourse!f part of the set and she +i!! never suspect it +as because of her. #ike+ise if ou see the obstac!e at the bar, ou can befriend him(her there and then fo!!o+ the obstac!e back into the set as a ne+ friend. * pica! A6 to A7 *ransition4 6. $un opener. 7. *he set +i!! either I>' or I>I. -. If I>', tr a different opener. If sti!! I>', e.ect (genera!! I>' is because a 1/ is !urking or the 3re sushi). &ushi means 3co!d fish,3 +here the set .ust isn3t +i!!ing to ta!k to ou. A 3c!osed3 set means ou +on3t be ab!e to run game, such +hen ou eBperience eBtreme sushi or a snugg! bo friendgir!friend 7-set. 8. If I>I or neutra!, run the thread a bit more or cut to a ne+ thread. If sti!! I>I, then ou3ve entered A7. *here is no time frame for this, but t pica!! keep our intro short. PUA3s ta!k about 3ho!ding court,3 +here he has commandeered a set and is ho!ding ever one3s attention. Do")le Hoo# Theo!y By Hengman Lver PUA ta!ks about the hook theor , but +hat if the gir! shit tests ou right a+a and doesn3t bite the hookE Lspecia!! if this +as on a sing!e hook. LBamp!e4 PUuick )uestion, but +hat is that ou3re drinkingEP &he cou!d shit test +ith a, P/igure it out for ourse!f.P "o+, in doub!e hooking, the target +ou!d have t+o options. &he +ou!d either bite one side of the hook, or bite another side

of the hook -- thus, doub!e hooking. 'oub!e hooking shou!d be 1>*C a situationa! and opinion opener. It can be direct or indirect. LBamp!e4 PUuick )uestion, but +hat is it that ou3re drinkingE (situationa!) And is it goodE (opinion).P &he might shit test one, but she +ou!d have to ans+er the other one, b +hich doub!e hooking is effective because it +ou!d thro+ her off guard. >pinion openers can fee! a+k+ard. #et3s face it, it3s strange for a gu to +a!k up to a set in a bar and ask their opinion about something !ike midgets or fa!!ing from a bui!ding. &o 'ecibe! came up +ith 3the cushion.3 Instead of starting +ith an opinion, ou can introduce some unre!ated topic brief! meant to !essen the +eirdness of the opinion opener. *he cushion is a dead-end opener that is intended on! to make the opinion opener seem !ess a+k+ard. It t pica!! doesn3t hook, but is socia!! acceptab!e as a door+a into the convo. An eBamp!e of a cushion4 3Ce ...I heard this c!ub used to be a pet store(bank(post office.3 *hen go into the actua! opinion opener before the can respond4 3Ce gu s, !et me ask ou something...3 *his brief statement cushions the set from the strangeness of the opinion opener, +hich then seems more !ike an afterthought. The Wave (Deci)el* &ometimes there3!! be a gir! over in the corner or !ocked in +ith a !arge group of gu s, and ou3re not sure ho+ to approach. >ne thing I often do is put a big smi!e on m face, +ait for her to make e e contact, and then start +aving !ike an idiot. If she !ooks s!eep , I3!! do a napp -time gesture. Usua!! the gir! +i!! +ave back or smi!e. 1oom5 ,ou3ve .ust +armed the set up. "o+ ou can go over and ta!k to her. >r ou can gesture for her to come to ou if the +ave rea!! !it her up. A fun variation (credit 2amb!er) is to point and her, then ou, then over our shou!der as if to sa 3!et3s !eave3, and then make the napp time gestureG this is nonverba!! and humorous! asking her if she +ants to !eave +ith ou to go to bed. ,ou can do this before ou open, or before ou reopen a target ou previous! gamed. It is recommended ou use a fa!se time constraint (/*0), +hich can be verba! as in 3I need to go re.oin m friends in a second, but...3 or non-verba!, as in bod rocking a+a from the set, or ho!ding our car ke s as ou pass

b and open the set over our shou!der. /*0s shou!d be introduced ver ear! in the set as it he!ps disarm our audience b making ou !ook nonneed . $ob %udge (aka *he %udge) compares gaming to a game of poo!4 ,eah, I .ust !ike the poo! ana!og because it gets me to s!o+ do+n and consider things. I3m such a bad poo! p!a er because I .ust take the stupid, obvious shots +hen I shou!d be !ooking at ang!es and +a s to bank the ba!!. Dhen a gir! thro+s some shit test at me, I3m usua!! )uick to respond in the obvious, A/0 +a unti! I think of the poo! ana!og , stop, think it over, and take another ang!e.

A<: Getting he! to Chase *he PUA demonstrates higher va!ue, primari! to others in the set besides the target, ca!!ed befriending or disarming the obstac!e(s). *he PUA +i!! conve disinterest active! to the target b his 1# (e.g. feet face the obstac!e) and b negging the target. *he goa! of A7 is to inspire the target to begin sending the PUA I>Is. * pica!! - I>Is are needed to progress to A-, but actua!! the strength of the I>I is .ust as important as the )uantit . /or eBamp!e, - +eak I>Is (e.g. verba!! sho+ing s!ight interest though 1# eBudes disinterest) ma not carr as much +eight as 6 or 7 ver strong I>Is (e.g., verba!! sho+ing mi!d interest but 1# conve s ver strong interest). Dhen a target asks ou for our name, it is an I>I. ,our goa! in A7 is to !ook for I>Is, so +h s)uander a perfect! good I>I +hen ou cou!d +ait and see if she gives it to ouE &o offering our name is not necessar . *he eBception is on direct approach, +here ou3re going for broke an +a . If ouFre asked our name, give it to the set, and that might be a good time to introduce our +ing or pivot if he(she is f!oating around outside the set. *he +ing(pivot cou!d then get to +ork in distracting the obstac!e(s) +hi!e ou game the target. *he - minute ru!e4 ,ou have - minutes to !ock in. *hat is, if someone e!se in the room !ooked at our set, it shou!d appear as if the target or set is gaming ou, and not vice versa. It is acceptab!e to vio!ate the - second ru!e

if ou donFt think ouFd be ab!e to honor the - minute ru!e, because of probab!e interrupts and the !ike. A PUA shou!d a!+a s bring va!ue to a set, as opposed to .ust taking va!ue. In other +ords, if he enters +ith an upbeat vibe and conve s va!ue through his bod !anguage and stories, the set +i!! find him va!uab!e. If he brings the set3s energ do+n, negs too hard or appears to be using the set for his o+n needs, he is taking va!ue a+a and this !o+ers his o+n va!ue. Attraction s+itches shou!d be embedded in the convo. *he ke attraction s+itches according to M ster are4 6. Willingness to emote, and to do so appropriate! . A manFs emotiona! circuitr needs to fire appropriate! , as in not getting angr over trivia! things, and as in defending her +hen she is attacked. A PUA shou!d be passionate about certain things, and shou!d demonstrate it in his speech. 7. 6!otecto! o, love$ ones, such as good friends, anima!s, kids and fami! . -. 6!e-selection. If ou have va!ue for other +omen, ou have va!ue for the target. Make the target see or kno+ that ou have man +omen in our !ife. &a ing it is not enoughG there shou!d be evidence of it that makes her fee! a pang of .ea!ous 4 a teBt message on our phone, pics on our phone of ou +ith gir!s, a b!ond hair on our coat or in our car, and a so!itar bott!e of nai! po!ish on our bathroom she!f miBed in +ith our stuff. If ou +ant to be even sneakier, make the nai! po!ish 3disappear3 before her neBt visit to our p!aceG it3!! !ook !ike +hoever o+ned it had come b to rec!aim it. 1e prepared to give a reason +h it3s not there an more5 Put an opened pack of sanitar napkins under our bathroom sink. %ea!ous p!ot!ine is a variation of pre-se!ection. Di!!ingness to +a!k a+a is a subset of prese!ectionG a ro!!-off is an eBamp!e of this. 8. Lea$e! o, men. 0an be something simp!e !ike running a meeting. 9. Ris# ta#ing. "ot .ust does risk things, but has the daring to pu!! off stunts. According to 'avid 'eAnge!o, the features that attract +omen are4 6. Means (materia! items(+ea!th) 7. Po+er -. /ame 8. #ooks and height 9. LBc!usivit (off !imits such as married, hard to ac)uire such as ro a!t )

:. Persona!it The Sl"t ,,ensive ('ecibe!) *his is the e)uiva!ent of a carrot dang!ed b the +oman, or cock teasing. ,ou approach a gir! and rea!i<e she is abso!ute! bombarding ou +ith seBua! gestures and convo. 'o ou p!a a!ong or continue to sho+ active disinterestE 7hy it happens Doman ma seek va!idation or ma +ant ou to bu her a drink. $o, to recogni8e it/ &ome eBamp!es4 &eBua!! provocative ta!k (she ma mention peop!e she3s s!ept +ith - comp!ete! irre!evant to the convo) PI3m so drunkP (sometimes this is an invitation for ou to seduce her - a disingenuous p!ausib!e deniabi!it ) &eBua! gestures (she ma make b!o+ .ob motions or massage her o+n ass) &ho+ing or hiding seBua! pics (ma act !ike she has eBp!icit pics on her phone and hides them from ou) $o, to respond 6. 0omp!iance testing. A gir! +ho rea!! va!ues ou enough to s!eep +ith ou right no+ +i!! ping kino and comp! +ith our hoops. &he ma not comp! +ith even the most basic re)uests such as to sit or +a!k some+here in the bar. &he does not ping kino either, in spite of her out-pouring of I>Is. In contrast, +omen +ho +ant to get !aid don3t .ust ta!k the ta!k, the +a!k the +a!k. 7. I>'(neg(shift bod !anguage a+a . 'o not I>I in response to her seductive ta!k. The results C1 drops the overt seBua! behavior, but sta s in set and moves into comfort once ou )ua!if her. *his gir! might seem to sudden! !ose steam, but is interested in ou because4 a) she te!!s ou, b) she does not +ander off to ta!k to another dude, c) she opens up her !ife stor to ou.

'CVs ('emonstrations of Cigher Va!ue) are high! sub.ective. *hat is, if ou3re a +or!d c!ass ode!er, this hobb +i!! be a 'CV to a gir! +ho is aspiring to ode! but possib! a '#V to our t pica! c!ub part gir!. Understand the !eve! of sophistication of our target and ca!ibrate our 'CV according! .

A=: The A!t o, the Com4liment *he PUA has gained sufficient I>Is from the target in A7 and can no+ iso!ate the target +hi!e )ua!if ing her. *+o things need to happen during A-4 first, the target needs to )ua!if herse!f, and second, the PUA needs to va!idate the target3s attraction. *here are man +a s to )ua!if the target, but the end resu!t of A- is this4 she be!ieves that the PUA +as initia!! disinterested in her, but c!ear! no+ she has demonstrated she meets his high standards and eBpectations, and he is conse)uent! pursuing her. *he point of A- is to get the target to fee! !ike she has successfu!! demonstrated to the PUA that she is +orth his time and attention, that she meets his high standards in choosing +omen. *he PUA is a!!o+ed to comp!iment the target. A DI#A, is a statement that eBp!ains Dh I #ike ,ou. H,ouFre prett F doesnFt suffice. H,ou carr ourse!f +ith a !ot of poise and I find that attractiveF is better, and if ou +ant can be fo!!o+ed b a re!ease4 Htoo bad ouFre such a nerd.F 1C$$ (1ait-Cook-$ee!-$e!ease)4 An eBamp!e is the fo!!o+ing dia!og4 PUA4 (bait4 a hoop for her to .ump through) &o do ou cookE C14 (hook4 she )ua!ifies herse!f) ,es, I make the best meatba!!s. PUA4 (ree!4 ou re+ard her I>I +ith I>I) A+esome, I !ove meatba!!s. PUA4 (re!ease4 ou add an I>' ca!ibrator) *oo bad I on! date ta!! gir!s. Uua!if ing takes three basic intensities4 6. &ubt!e, as in having her .ump through mi!d hoops4 3here ho!d this,3 3do ou cookE3 3are ou adventurousE3 7. Medium !eve!4 LBamp!es4 1C$$G 3Dhat are ou most passionate aboutE3G or HDho are ouE DhatFs our stor EF said not in an antagoni<ing +a but +ith a sense of genuine interest. HIFm dra+n to ouOitFs +eird.F -. &!am dunks4 3I never eBpected to find a gir! in a bar +ith so much depth and inte!!igence3 or HI donFt kno+ +h , but IFve become ver fascinated b

ou,F H+h am I so dra+n to ouOrationa!i<e this for me.F Use a s!am dunk to sea! the dea! before ou get too deep into comfort, .ust so there is no doubt in her mind that ou consider her uni)ue! )ua!ified far above a!! the other gir!s in the room. >r use them to have her start )ua!if ing herse!f. *he ,es #adder is a series of )uestions or commands that )uick! tests comp!iance. /or eBamp!e, if ou +ant to get a gir! out of her seat so ou can sit do+n ou can use the fo!!o+ing #ovedrop !adder4 3#et me ask ou something. Are ou smartE #et me see our hand. >k, ho!d it up !ike this. "o+ stand for a second. >k, no+ spin around for me.3 ,ou then I>I for her comp!iance, such as praising her spin. Uuestions that )ua!if (be prepared to ans+er these ourse!f)4 Dhat3s our motto in !ifeE If our !ife had to be rated !ike a movie, +hat rating +ou!d it getE 'o ou consider ourse!f adventurousE Dhat one magica! po+er +ou!d ou most +ant and ho+ +ou!d ou use itE Dhen ou get into a co!d poo!, do ou +ade in s!o+! or .ump right inE Dhat3s our +orst phobia in !ifeE Dhen ou go out shopping do ou ever get bu ers remorseE Co+ are ou +ith kidsE Anima!sE Dhat +ere ou !ike as a kidE Dhat kind of gu s do ou dateE Dho3s sho+er curtain +ou!d ou most !ike to beE Co+ +ou!d ou rate ourse!f as a kisser, 6-6@E Coops are tasks ou ask her to perform, or vice versa. ,ou can .ump through her hoops, but it shou!d be on our terms. /or eBamp!e, if she asks ou to bu her a drink, ou te!! her to bu the first round. If she +ants ou to go some+here +ith her in the c!ub, ou can ask her to first ans+er one of the above )ua!ifiers. If she asks our age, make her guess. If she +ants to have seB, ask her to sa 3p!ease3 first. 1 having her .ump through our hoops, ou are maintaining frame contro!, and this sho+s our a!phaness. *he hoops ou ask her to .ump through in comfort are sma!!er than those in attraction (e.g. ho!ding our drink is a big hoop, kissing ou first is a sma!!er hoop, !etting ou have seB +ith her is the sma!!est hoop). If she is tru! interested in something ou have to sa , then ou can respond direct! +ithout considering it a hoop. >ne tactic that is used is ca!!ed the doub!e bind, in +hich ou offer the target a choice of t+o options, +hich can be opposites but end up +in-+in for ou either +a she responds. /or eBamp!e, ou can ask her to )ua!if the kind of seB she !ikes, +hich presupposes she +ants to have seB +ith ou4 3Are ou the kind of gir! +ho !ikes to part a!! night unti! the +ee hours, come home eBhausted and then have +i!d, drunk seB before ou pass out,

or are ou the kind that !ikes to sta home and snugg!e, +atch a movie, and then have three hours of marathon seBE3 Deci)el%s Wa,,le >"ali,ie! 3>k, so ou3re ath!etic...and ou3re creative...but the big )uestion is...can ou make +aff!esE3 >nce ou have attraction, p!ug t+o attributes about her ou admire into the above statement. *his subcommunicates she is meeting our high standards, but ou need to kno+ if she can make a decent breakfast tomorro+ morning after ou pu!! her tonight. As ou get better at pick-up, ou +i!! rea!i<e that comfort is +here gir!s +i!! decide to s!eep +ith ou, hence the sa ing 3*he game is p!a ed in comfort.3 As a resu!t, ou ma tr to shorten our attraction phase in order to move )uick! into comfort. Co+ever, +hen ou demand a +oman to )ua!if herse!f too soon, she ma get offended. Dh shou!d an +oman )ua!if themse!ves to a tota! stranger in a barE If our target seems offended, ou have not bui!t enough attraction and have gone to A- too soon. ,ou ma be ab!e to correct this b 'CVing and )ua!if ing ourse!f. 0omp!iance testing shou!d start to assess +hether ou have +on her over again, and if so, move more gradua!! into A-.

C9: F!ien$ly Convo *he PUA has accepted the target as !iving up to his standards, and she is sti!! interested in him as a potentia! mate. Ce iso!ates her to sho+ he is tru! interested in her be ond bar chatter. *he t+o no+ enter the comfort or rapport-bui!ding stage. 0onversation ensues that high!ights common interests. Mini-iso!ation occurs +hen a PUA positions himse!f so that he and his target are part of the !arger set, though essentia!! conversing aside from the group. &ometimes out of necessit , mini-iso!ation must occur, though in genera! an actua! move +ithin the venue to fu!! iso!ate is a more potent tactic. It demonstrates the PUA3s abi!it to !ead her, and puts her in the mindset to bounce outside the venue. &he a!so drops her A&', +hich ma sti!! be up and inhibiting her if her friends are in c!ose proBimit .

Use techni)ues that inc!ude .ea!ous p!ot!ine, vu!nerabi!it and grounding se)uences. HM brain has been hi.ackedF shou!d start here to he!p +ith #M$. *hat is, she shou!d kno+ ou are entering this re!ationship for reasons other than .ust getting !aid, and that ou a!read miss her +hen sheFs a+a . &tarting this approach during &7 is too !ate to be effective. It ma be hard for nice gu s to use .ea!ous p!ot!ine. A man finds a +oman +hoFs interested in him, and his instinct is to preserve the bond that is forming. It seems mean or risk , but the man shou!d estab!ish .ea!ous and demonstrate prese!ection to his target. *his can be done both b making mention of +omen in his !ife, or b running game on other +omen in proBimit to the target. Prese!ection(.ea!ous is arguab! the most potent of the attraction s+itches.

C<: The Game is

*he PUA and target have passed basic friend! convo and are no+ engaged in an interaction (both ph sica! and verba!) that is not seBua! but is intimate. *here is no confusion that either part has the intent of Hmaking a ne+ friend,F and it is understood that the end resu!t of this encounter +i!! be seB or romance. *ime bridge to a pre-estab!ished event for 'a 7. *e!! stories. Lngage our friends to sho+ ho+ respected ou are in the tribe. Mu!tip!e venue bounces. Push-pu!! continues. Ae aspects to continue during comfort inc!ude vu!nerabi!it , being upbeat, sho+ing passion and purpose in !ife, hitting the attraction s+itches, identit grounding, and being coo!, intriguing and m sterious. *he PUA shou!d introduce ta!k that is !aced +ith seBua! remarks or )uestions. A bounce from the origina! venue shou!d idea!! occur during comfort. M&eedingN refers to the imp!antation of thoughts into a target3s mind during the seduction. /or eBamp!e, +hen a gir! mentions MeBican food, ou can become enthusiastic about a particu!ar near-b taco stand. *hen +hen it3s time to bounce, ou can reintroduce the taco stand as a bounce venue, because ou have seeded the concept ear!ier +ith eBciting terms !ike 3the most ama<ing chimichangas3 or 3dVcor so tack ou3!! think ou .ust stepped into a *i.uana brothe!.3

C=: Dee4 Com,o!t 1ounce or time-bridge to an intimate !ocation +here seB ma occur, such as our home. A far more intimate eBchange unfo!ds +here seB can rea!istica!! occur. Dee4 Ra44o!t B"il$e! (I"6@&L) *his is a rapport bui!der as +e!! as an opportunit for anchoring. In addition, it rea!! sho+s that ou 2L* I*, +hen it comes to Pre!ationshipsP, +hen a chick brings it up. I had to come up +ith a good response on the f! +hen a fe+ of the ga!s I have been out +ith !ate! have asked me +hat I3M !ooking for in a Pre!ationshipP. I norma!! don3t !ike to bring up the P$P +ord, but +hen a ga! brings it up, ou have to have a good rep! ...one that +i!! sho+ them that ou are inte!!igent, that ou have it together, that ou are sophisticated, and that there is more to ou than meets the e e. "o+ the conteBt of using this is that I have on! used it +ith ga!s in a casua! environment, (a bookstore, coffeeshops, restaurant). Caven3t tried it in c!ubs nor do I think it +ou!d +ork in a c!ub setting. *his is for +hen ou are a!one, having one of those one on one, deep rapport conversations, as a pre!ude to (a fe+ steps before) the fu!! c!ose. Cere +as m response... and ever time I3ve used it so far, it has gotten deep !eve!s of rapport (it became about them seducing ML) as +e!! as broken do+n an resistance. As far as anchoring, I used m fingers (pointing to them). Actua!! using m fingers as an anchor +as kind of a subt!e seBua! signa!, because I +ou!d put m - right hand fingers up (one finger for each va!ue, as if counting), and point to them +ith m !eft indeB finger and then +ou!d form a PringP +ith m thumb and indeB finger of m !eft hand that +ou!d encirc!e the t+o fingers of the other hand... and as I ta!ked I subt! s!id m encirc!ing hand up and do+n over m fingers (first each of the 7 together and then the - a!! together at the end). MI have a ne+ theor about a!! re!ationships and +hat makes up the idea! one. /irst of a!! ou need PA&&I>". *his is +here ou have a ph sica! chemistr +ith this person, +here ou fee! dra+n to this person that ouFre +ith, ou ma even fee! a +arm fee!ing

right here in our stomach and ma be it spreads a!! over our bod +hen ou3re +ith this personO +here ou can !ose track of time and give ourse!f comp!ete! to this eBperienceO "eBt ou need I"*IMA0,. *his is +here ou fee! an emotiona! connection +ith this person, !ike ouFve kno+n them before, and !ike ou +ere a!+a s meant to kno+ this personO !ike this +as meant to be and +here ou fee! comp!ete! comfortab!e and c!oseO and ou ma fee! it right here in our heartO *hen ou need 0>MMI*ML"*. Phi!osophers have ca!!ed this a sense of Mdut NO +here ou fee! secure, kno+ing that this is someone that is here for ou, that +e both choose to be togetherO and this is someone that ou can see ourse!f +ith no+ and in the futureO "o+, a!! re!ationships are based on var ing degrees of each one of these e!ements. /or eBamp!e if ou have .ust passion, but no intimac or commitment, then that +ou!d be !ike .ust ph sica! infatuation. #ike a one night stand or somethingO nothing more, nothing !essO If ou have .ust intimac , but no passion or commitment, then that +ou!d be .ust friendship. And +e a!! have thoseO If ou have .ust commitment, but no passion or intimac , then that +ou!d be an empt re!ationship. #ike a !ot of married peop!e out thereO so sad. *hen ou can have passion and intimac , but no commitment. *his is !ike a M$omantic affairNO and ma be the kno+!edge that it is something that3s no+ or neverO or that ou have no guarantees about, makes the passion and intimac even more intenseO And ou can have passion and commitment, but no intimac . *hat is !ike peop!e +ho sta together because the rea!! !ike the seB. And ou can have intimac and commitment but no passion. *hat +ou!d be !ike grandma and grandpa +ho are together for companionship, but cant remember the !ast time the did it. And of course the idea!, as +ith a!! thingsO is about ba!ance, +here ou can have .ust the right amount of passion, .ust the right amount of intimac , and .ust the right amount of commitmentO +e!!O no+ that I think about it, an eBtra !itt!e bit more passion +ou!d be niceO +hat do ou thinkEN

S9: 6!e-se' Ph sica! intimac such as forep!a , but short of seB. *he PUA can !ook for I>0s in determining +hen it is appropriate to go from 0- to &6. I Cs+ In$icato!s o, Consent ('ecibe!) I>Is are a +a a PUA can te!! +hen it is time to move into A-. And +hen a gir! )ua!ifies, he can initiate comfort, technica!! speaking. 1ut the cues that enab!e the PUA to move from comfort into &6 have never been defined. /or this purpose, 'ecibe! has created the I>0, or Indicator of 0onsent. Dhi!e it is obvious the gir! is interested, an I>0 goes be ond this and gives indication that she ma be consenting for him to start the seduction phase. It is not ho+ever consent for seB, mere! seduction, as there sti!! is the issue of #M$ to address. Cere are some I>0 eBamp!es4 6. An attempt b the gir! to initiate seduction. *his ma inc!ude her removing his c!othes or her o+n c!othes, or getting seBua!! intimate. 7. If he ca!!s her in the midd!e of the night and sa he3s bored, and she agrees to come over, there is an imp!ication that it might be for more than casua! convo. -. &he starts making possessive comments. As an eBamp!e of a mi!d degree, if a man continua!! gets phone ca!!s from other +omen during a date, she has a right to become irritated. Ce o+es her that time +hi!e the 3re together, and essentia!! for that date she possesses him. *his form of possessiveness is genera!! acceptab!e. At the eBtreme, she ma become eBtreme! .ea!ous and over! possessive. A!! of these degrees of possessiveness are I>0s. In essence, +hen a gir! is on! interested in friendship +ith a man she +on3t care about him as a possession. 1ut +hen she is read to move into seduction, she +i!! start making it c!ear that he is no+ hers and other +omen shou!d sta a+a (+hether in terms of a date, a >"& (one night stand), or a #*$ (!ong term re!ationship)). Dhi!e it is fe!t that - I>Is permit transition to A-, there is no set number of I>0s a PUA !ooks for. Instead, he needs to ca!ibrate according to the conteBt of the I>0 and the )ua!it of it (a gir! removing her bra is a stronger I>0 than her asking

+h there3s an earring on the night stand). /urther, I>0s are date and time specific, so that if a gir! gives off I>0s on one date, on another, she ma change her mind and the +indo+ ma c!ose. *he gir! ma give off I>0s but not be +i!!ing to act on her desires right then and thereG rather than go A/0 and ask her to define her fee!ings, the PUA shou!d add another I>0 to the stack and then ta!! up the resu!ts +hen &6 ma be an option. If the gir! has given sufficient I>0s of ade)uate intensit , seduction ma begin +hen the time and p!ace are right.

I C Hoo4s It is idea! to create hoops that +i!! encourage her to send I>0s our +a , rather than +ait for them to happen. *ruth or 1are is a game ou can p!a in 0- to move things a!ong. In truth or dare, she might dare ou to do something !ike eat dog food. De don3t +ant to go there. *o keep things on the right track, the game +e shou!d p!a is ca!!ed *ruth or 1are. Co+ it +orks is the same. Lach contestant decides if the +ant to te!! the truth about something, or e!se bare some part of them. It3s +in-+in, because our )uestions are devised to be seBua! in nature (+hat3s our funniest seBua! eBperienceE have ou ever done it in pub!icE do ou +aB our assE and so on). I>0 hoops can be embedded in simp!e conversation. 0reating a seBua! frame is eBtreme! important to !a the ground+ork for kino esca!ation, even on da 6. /or eBamp!e, if she sa s she !ikes art, ou can segue to scu!pture, then +orking +ith one3s hands in genera!, then ho+ important it is to touch things in the environment, then !anding on sensua! touching. At each step the +indo+ can be opened for her to give I>0s, and +hen the occur, ou can take this as an invitation to esca!ate. In addition, I>0s can be pinged .ust as ou +ou!d +ith I>Is. If a +oman sends out a strong seBua! vibe too ear! , it ma be a shit test (see the &!ut >ffensive). Co+ever, if she is making seBua!! suggestive comments after ou have estab!ished comfort, ou ma assume these are genuine I>0s, and shou!d ping according! . Mistaking I>0s as shit tests +i!! def!ate the seBua! tension and ma make esca!ation difficu!t !ater.

S<: Last min"te !esistance (LMR* A +omanFs anti-s!ut defense (A&') comes up and the PUA must +ork to move be ond this. Men donFt understand the fear +omen fee! during &7, but it is comparab!e to the anBiet men often fee! on the approach in A6. Caving seB for a +oman is hard-+ired as a high-risk behavior that cou!d !ead to a !ifetime of conse)uences. 2iving the !ine 3 ou3ve hi.acked m brain3 +i!! he!p defuse this situation, but this must be a campaign that runs from attraction c!ear through to this point. &tarting it at &7 is too !ate. /or eBamp!e +hen she comes back from the restaurant bathroom sa , 3Do+, ou3re gonna think this is +eird, but I actua!! missed ou.3 &ho+ throughout the pick-up that she is hooking ou emotiona!! , so that seB is a natura! part of the attraction ou fee! to+ards her and not the main motive. >ther tactics inc!ude free<ing her out. &o if ou get #M$, get up and surf the net. 'on3t do it because ou3re angr , do it because ou have a !ot of things ou need to take care of, and since she3s not in the mood ou might as +e!! do it no+. "ever ans+er #M$ +ith an emotiona! response. Lsca!ating ver s!o+! ma he!p diffuse #M$, so going for sensitive areas !ike her breasts and genita!s might need to be deferred +hi!e ou +ork !ess restricted areas. PUA A/0 Adam te!!s his gir!s that he never has seB on the first dateG he then continues to p!o+ +hi!e insisting the aren3t going to s!eep together, to the point that the gir! thro+s herse!f at him. *his is a form of seBua! cat-string. ? Ty4es o, LMR (Magic Man) LMR &9+ She Ha!$ly 1no0s @o" *his is the most common form of #M$, and it occurs on a!most a!! one night stands. *he gir! !ikes ou and +ants to hook up, but u!timate! doesnFt kno+ ou ver +e!! and has concerns S are ou .ust using her for seBE Di!! ou think sheFs a s!utE 'o ou have an &*'FsE *his form of #M$ is tota!! natura!, and is bui!t into each gir! from a oung age. It can happen at an point during the hookup S from ou kissing her, to ou touching her breasts, to ou to tr ing to take her pants off. *his form of #M$ can be penetrated. *he gir! !ikes ou and +i!! have seB +ith ou, but on! if she kno+s there +i!! be no repercussions after+ard and she +onFt fee! bad about herse!f.

*here are 7 strategies to combat this form of #M$4 96 )trategy to (vercome: 1gree ,ith $er in an $onest Manner Di**iculty %evel: :asy Cer4 M>h m god, this is so bad, +e hard! kno+ each other.N ,ou4 M,ouFre right, this is bad. De do hard! kno+ each other and +e shou!d stop.N Agreeing +ith her that ou shou!dnFt have seB sounds !ike a risk propositionG ou are confirming that her doubts are indeed va!id, so +hatFs to prevent her from .ust ending the hookup thereE /ortunate! , it doesnFt +ork that +a . 1 agreeing +ith her, ouFre sho+ing her that ouFre not a!! about seB, +hich means that ou arenFt using her for seB, +hich means that ou +onFt think !ess of her for having seB +ith ou this soon. >n a subconscious !eve! it might even go further, that because ouFre not a!! about seB, ou probab! havenFt had that much seB, +hich means ou are c!ean (&*'-free). *his might eBp!ain +h gir!s donFt a!+a s re)uire condoms, even after giving a gu #M$ for the ver reason that he might not be c!ean. ;6 )trategy to (vercome: 1gree ,ith $er in a <oking Manner Di**iculty %evel: :asy Cer4 M>h m god, this is so bad, +e hard! kno+ each other.N ,ou4 MI agree, +e shou!d, so IFm going to stop unhooking our bra +ith m teeth.N 1 agreeing +ith her in a .oking manner, ou are not taking her comments serious! , and b not taking her comments serious! , ouFre sho+ing that seB isnFt that big of a dea! to ou. A gu +ho instead rationa!! argues for +h a +omanFs #M$ is unfounded is sho+ing that he cares about seB, and thus might be using her for seB. *he first method is about neutra!i<ing her #M$, +hi!e the second method is about being non-reactive. Dhat the t+o methods have in common is that the both sho+ (in indirect +a s) that ou are not a!! about seB, +hich is the root cause of

#M$. Dhich one ou choose doesnFt matter. If one doesnFt +ork then s+itch to the other. If using them both doesnFt +ork then do a free<e out, but make sure to never sho+ an anno ance. If the free<e out doesnFt +ork then go to s!eep and tr again in the morning. LMR &<+ She $oes 6"sh76"ll on @o" *his is never-ending #M$G the gir! resists our advances one minute, attacks ou in a fit of passion the neBt minute, and then pushes ou a+a a minute !ater. ItFs a continuous c c!e, beginning the moment ou kiss the gir! and continuing up unti! the moment ou c!imaB. ,ouFre constant! moving 7 steps for+ard and 6 step back, and then the c c!e starts over the neBt time ou hook up. *hese gir!s are genera!! ver confident and outgoing, and derive more p!easure out of the game aspect of the hookup than the do the actua! seB. *here are - different strategies to overcome this kind of #M$ 96 )trategy to (vercome: Do Push"Pull on Them Di**iculty %evel: !airly :asy *his form of #M$ is a direct shit-test that gir!s conscious! attempt. *he +ant to kno+ that ouFre man! enough to see through it and not be broken do+n. *he best +a to overcome it is to neutra!i<e their push(pu!! b doing it back to them. Dhen she pu!!s a+a , attack her. Dhen she attacks ou, pu!! a+a . 1 doing this same thing to her (+hich probab! no gu has in the past), sheF!! vie+ ou as having e)ua! status to her and sheF!! a!so see ou as someone that she does not et have under her seBua! spe!!. *he on! +a to get contro! of ou is to give ou seB and make ou come back for more. 76 )trategy to (vercome: Push until the &ery :nd+ then do a !ree8e (ut/ Di**iculty %evel: Medium *he pushing +i!! progress ou s!o+! to+ards seB, but then at the ver end she +i!! most !ike! free<e ou out and end the hookup. *o counter this, ou need to free<e her out first. *his strateg shou!d a!so +ork, but +i!! take much !onger and +i!!

on! break do+n her resistance in the end, +hereas the first strateg comp!ete! neutra!i<es her resistance from the start. =6 )trategy to (vercome: Put the #ondom on and !uck $er Di**iculty %evel: Medium *his strateg is controversia! for obvious reasons, and not advised. &ubconscious! the gir! +ants ou to ph sica!! overpo+er her. Cer attacking ou is a test to see if ouFre strong enough to overpo+er her, both menta!! (b not being phased) and ph sica!! (b overpo+ering her). 1 ph sica!! overpo+ering her, ou prove our strength as an a!pha ma!e, and these gir!s on! +ant to fuck the most a!pha of ma!es. A!so, being rough is +hat turns these gir!s on seBua!! G kissing does not go as far. 1 being rough +ith her, ou reach a point +here the gir! is so turned on that she canFt sa no. LMR &=+ She Wants to 1no0 that She%s Di,,e!ent *his #M$ happens +hen the gir! +ants to make sure sheFs specia! to ou. *his cou!d be because she fee!s a rea! connection to ou, and thinks it cou!d b!ossom into a re!ationship. In this case she doesnFt +ant to potentia!! .eopardi<e something good b s!eeping +ith ou. It cou!d a!so be because she kno+s ouFre a p!a er and doesnFt +ant to give herse!f a+a !ike a!! those other gir!sG she +ants to kno+ that she means more. )trategy to (vercome: none Di**iculty %evel: $ard *his #M$ is not spontaneous the +a the other kinds of #M$ areG it is strategica!! p!anned ahead of time b the gir!. In that sense it isnFt rea!! #M$ at a!!G itFs on! inc!uded here because ou never kno+ +hen it might occur. *his is the kind of #M$ that &t !e got +hen he to!d gir!s heFs a PUA, and even he cou!dnFt overcome it (not in the short term at !east). *he good ne+s is that if ou continue to have tight game then sheF!! definite! have seB +ith ou eventua!! . In this sense, itFs probab! best to .ust +ait unti! a 'a 7 or 'a -.

LMR &A+ She8s 6!"$ish *his #M$ has !itt!e to do +ith t pica! anti-s!ut defense and more to do +ith her !ack of seBua! eBperience and prudish nature. &ome gir!s, no matter ho+ tight our game is, +i!! simp! not hook up +ith ou the first night. 1ecause of their !ack of seBua! eBperience and introverted persona!ities, these gir!s are over! se!f-conscious and take !onger to get out of their comfort <one. A t pica! C1 part gir! +i!! rare! fa!! into this categor , as the Fve had enough socia! interaction and seBua! eBperience that the are comfortab!e. >n the other hand, a oung gir! that ou met in the !ibrar might fa!! into this categor . &he has fe+er gu s hitting on her and is sti!! not fu!! comfortab!e around the opposite seB. )trategy to (vercome: uild Deep 'apport and Mi0 ,ith 3ino Di**iculty %evel: $ard &ta in comfort as !ong as possib!e +ith these gir!s and bui!d a !ot of rapport. 2o heav on the routines and co!d reads. 2o !ight +ith kino at first and then s!o+! bui!d it up. MiB the kino in +ith our routinesG if ou touch her +hen she is having an emotiona! rea!i<ation, it +i!! be ingrained in her subconscious and she +i!! fee! more comfortab!e around ou. U!timate! , this probab! +onFt be enough, and she +onFt s!eep +ith ou for the same reasons that our high schoo! gir!friend made ou +ait : monthsG sheFs .ust not comfortab!e getting ph sica!. >ne more +arning4 do not push too hard5 If ou do too much to bring a gir! out of her seBua! comfort <one, sheF!! be gone forever. ItFs our .ob to heed the +arning signs and decide +hen to shut do+n and +ait for another night. LMR &B+ She Doesn8t Want to Sc!e0 ve! He! F!ien$ *his #M$ occurs +hen her concerns about a good fema!e friend out+eigh her concerns about hooking up +ith ou. It can happen in an of the fo!!o+ing instances4 6) ,ou previous! dated her c!ose fema!e friend 7) &he kno+s our gir!friend persona!! -) &he doesnFt +ant to !eave her fema!e friend a!one +ith creep roommate

our

J6 is the most serious kind because the friend +i!! probab! find out

about it, thus putting their friendship in .eopard , +hich matters more to her than ou do (at the moment at !east). J7 is !ess serious because the gir!friend is !ess !ike! to find out, and J- is the !east serious. "ote that this form of #M$ does ">* inc!ude instances +here a fema!e friend te!!s her that ouFre an assho!e and that she shou!dnFt hook up +ith ou. Peop!e donFt !ike to be contro!!ed, and this +i!! most! !ike! make her +ant ou more. )trategy to (vercome: Take !ull 'esponsibility Di**iculty %evel: Medium":asy If the #M$ invo!ves J6 or J7, do not rationa!! argue that the fema!e friend in )uestion isnFt a big dea!, and that she +onFt find out. Instead, agree +ith the gir! that +hat ouFre doing is Mso badN, but that it .ust MhappenedN, and that if the friend finds out that ouF!! take fu!! responsibi!it . If the #M$ invo!ves J-, then .ust make sure the friends are as comfortab!e as possib!e in the !iving room. 0hat them up before ou take our gir! in the bedroom. Cave them p!a +ith our pupp . >nce ou have our target iso!ated in our room, then come out of the room to get a drink, ask ho+ the movie is, then go back into our room. LMR &?+ She has a Boy,!ien$ If ou meet a gir! in a bar and she has a bo friend, she ma or ma not te!! ou. If she does not te!! ou then thatFs a c!ear indication sheFs +i!!ing to hookup, and this form of #M$ +i!! not happen. If she does te!! ou then itFs harder, but not impossib!e. *his form of #M$ +i!! be simi!ar to the first kind of #M$ (she hard! kno+s ou), as she +i!! sa things !ike Mthis is so badN or MI canFt be!ieve IFm doing this.N )trategy to (vercome: Pretend that you have a Girl*riend and Take !ull 'esponsibility Di**iculty %evel: Medium 1 pretending that ou have a gir!friend, ou are re!ieving her of some gui!t. &heFs not the on! one cheatingG ou are too. *ake fu!! responsibi!it for a!! esca!ation and ta!k about ho+ much she turns ou on. 0hances are her bo friend isnFt giving

her this much attention, and ouF!! !ook better as a resu!t. 'o not .ustif +h she shou!d cheat on her bo friend, and do not discuss simi!arities bet+een our mutua! predicaments. /rame the hookup around ou being the bad one, and that ou +ere .ust so turned do+n b her that ou cou!dnFt contro! ourse!f and one thing !ed to another and it .ust happened. .o LMR+ Most gu s think on! more eBperienced +omen +ho are comfortab!e +ith their seBua!it do not give #M$. *his is not trueG there are actua!! 9 different t pes of gir!s +ho do not give #M$4 96 #ougars> older ,omen ,ho are single and don?t get out much/ *he have outgro+n an s!ut comp!eBes the used to have, and are .ust out to have a fun time and satisf their o+n needs. ;6 Unattractive girls+ particularly @*at chicks/A *hese gir!s never get hit on and have fe+ opportunities for seB. *o make matters +orse, the constant! see their hot friends being hit on and hooking up. If an opportunit does come up, the donFt +ant to s)uander it. =6 Bounger girls 59C-9D6 ,ho have not yet ac2uired a slut comple0/ *hese gir!s have on! had seB +ith a coup!e gu s in their !ife, and the Fre horn for more. *he prob!em is that the have fe+ opportunities for seB because gu s their age suck at pickup, and the gir!s arenFt o!d enough to go to p!aces (bars, c!ubs) +here the can meet o!der, more eBperienced gu s. E6 Girls on vacation 2ir!s on vacation have no s!ut comp!eBes because the kno+ the Fre never going to see an one again. *hus the have no reputation to +orr about, nor do the have +orr about the gu ca!!ing the neBt da . A!so, this is one time +hen itFs deemed >A and even traditiona! to hookup (i.e. spring break, Vegas), so gir!s can drop their guard for a fe+ da s +ithout fear of conse)uence.

F6 Girls ,ho are on the rebound *hese gir!s .ust got out of a re!ationship and +ant to go cra< for a night. *his is another rare time +here itFs deemed acceptab!e for gir!s to hookup, so the temporari! drop their anti-s!ut defense, as +e!! as their standards. If ouFre a gu +ho hooks up +ith these gir!s, ouFre getting M!uck .N *here is a phenomenon 'ecibe! ca!!s the &7 <one. ,ou ma get 6@ or more hours of comfort +ith a gir!, or sometimes be in a #*$, but the gir! +on3t have seB. &he3!! engage in forep!a , but +on3t esca!ate a!! the +a over man dates. >r simi!ar! , a gir! ma stop having seB +hi!e in a #*$ and permit forep!a . In short, ou can on! go as far as &7 +ith her no+, but aren3t )uite in #%1/ <one. &he ma give a number of reasons, such as +anting to +ait unti! marriage, being angr at men for on! thinking about seB, being concerned about her period or getting pregnant, and so on. In truth, the under! ing cause ma be #M$. If the usua! anti-#M$ tactics don3t +ork, consider addressing this !ogica!! +ith her to he!p reso!ve an !ogica! .ustifications she ma have. If ou continue to meet resistant, strong! consider moving on to the neBt gir!.

S=: Se' Caving kno+n her brief! , for the ma.orit of gir!s seB shou!d initia!! estab!ish a connection, not be perverse, if ou intend on having a #*$. *his takes 8-6@ hours, or ; hours on average, to get from meeting to seB, inc!uding dates and phone ca!!s. 1u ers remorse occurs +hen she impu!sive! consents to seB or even forep!a , then deve!ops regret and vanishes thereafter, not ans+ering our ca!!s. A$vance$ Tactic+ Shoc# an$ A0e (SCA* (0iaran) An &>I is a statement of intent or interest. In &WA the interest is our desire for her. Aeep the de!iver humorous but never .oking. "ever sho+ an actua! hosti!it or anger. 6@R of +hat ou sa is te!!ing her ho+ hot she is, the other ?@R the Hb!ame frameF of te!!ing her ho+ she is affecting ou because of her hotness. &uccess depends on maintaining this congruent frame. &he is hot and ouFre upset about ho+ itFs breaking ou do+n, and sheFs being unfair. ,ou canFt stand up to a!! her

arti!!er . If she apo!ogi<es for being so hot, ou b!ast her that she isnFt sorr , that sheFs de!iberate! tr ing to tear ou do+n +ith her !ooks. Insist on +anting to get to kno+ her, and not giving in. 6. >pen +ith an &>I, then stack &>Is. LBamp!e4 MLBcuse me, but DCA*E Dhat do ou DA"*E 'o ou +ant me to .ust +a!k on 1,E I mean, ou3re abso!ute! &*U""I"2. 'o ou +ant me to .ust P$L*L"' !ike that doesn3t affect meE I mean, C>DE I3m .ust some 2U,. I can3t turn it off. Dhat are ou tr ing to '> to me, +omanEP 7. 0onstant! esca!ate kino. Make it obvious that ouFre fighting the intense desire to touch her, and bare! keeping it together. 1!ame her for this. -. 0ontinue to eBpress desire, give advice on ho+ she can make herse!f !ess hot !ike putting a bag over her head or gaining 7@ pounds, so then ma be ou can ta!k to her +ithout being so turned on. LBp!ain ho+ out of character it is for ou to fee! and act !ike this, but again itFs her fau!t. 8. If she gets offended, make a sincere apo!og for our disrespect, but never the &>I or kino. 9. $epeat the above unti! ou have seB +ith her. *he entire process shou!d take minutes.

&ome+hat simi!ar to &hock and A+e is *'3s seBua! predator routine, +hich puts a!! the b!ame on the gir!. &ee the routines chapter for more information. A!so refer to the chapter on &eB.

Chapter Fi,e
Direct Approach
By Dim4les 2oing direct, I ho!d, is not a pickup method. It is no proven s stem, and it is no definition of game. 2oing direct is simp! the abi!it to be confident and congruent in an honest +a S to be ourse!f. Dhen I first started m pickup career, I +ou!d dedicate a ma.or portion of m ever da to the memori<ation of hundreds of theories, methods, and routines. I +ou!d de!ve in the fie!d-tested s stems of the most g!orified seduction gurus, hoping that b doing so I +ou!d condition m se!f to their +a of communication S their successfu! identit . And I +asnFt +rong. In a matter of months, m good o!F sh , shak , and nervous se!f +as no+here to be found. I +as armed +ith a canned W dead! +eaponG a +eapon that changed m !ife. &eduction +as a science, I thoughtG a mathematica! function +ith us humans the starring variab!es. It +as up to me, the puppet master, to suck ever fema!e around me into m ne+ passion, m ne+ game. A!! of a sudden, I +as successfu! +ith +omen. I cou!d ta!k to +omen, I cou!d attract +omen, I cou!d seduce +omen. I +as 0>"/I'L"* around +omen. And that is +hen the rea!i<ation came to me. Lven +hen I forgot the !ines, skipped the routines, and spat on the method, I +as &*I## confident and successfu! +ith +omen. *he method that I so previous! +orshiped +as some+hat insignificant. A!! of these !ines, games, and tests +ere nothing but a manua! to get me through m natura! socia! barriersG nothing but a cure to m !o+ se!f-esteem. 1 going through these scripted conversations, I +as subconscious! !earning that socia! preconceptions are meant to be

shat on. &ocia! !a+ is !ong gone, and I am free to act out the free man that I am. 1ut I am not here to ta!k about Inner 2ame. I am here to ta!k about 'irect 2ame. And a!though the t+o are inter!inked, the are t+o entire! different sub.ects. *he abi!it to go direct is the abi!it to sa +hat ou DA"* to sa , and MLA" I*. *he prob!em +ith most of toda Fs pickup methods is not that the donFt +ork, but that the +ork in an incongruent +a . I see gu s running around asking )uestion that the donFt actua!! care about. *he p!a their scripted mind games on +omen and, sometimes to their o+n surprise, the end up getting !aid. *he associate their success +ith the method that the +ere using and the eventua!! turn into masters of socia! programming S robotic socia! interpreters. Dhen asked +h the are successfu!, the sa Mbecause I fo!!o+ the ru!es.N *he funn thing is, though, that the ru!es have ver !itt!e to do +ith their resu!ts. 1 !earning indirect game, such as the M- mode! for eBamp!e, most gu s subconscious! a!so !earn ho+ to f!irt. I am a great be!iever in push(pu!! d namics for eBamp!e, and I am convinced that it is a po+erfu! +a of generating attraction. 1 !earning ho+ to f!irt and b seeing resu!ts and improvement, these gu s, sometimes unkno+ing! , deve!op confidence in their natura! se!f and the process repeats. Most gu s eventua!! rea!i<e this, as the comp!ete! dump the s stem in favor of going Mnatura!N +ith their ne+! ac)uired confidence. And once these gu s eBperiment +ith the Mnatura!N frame, some of them, especia!! the !a< ones !ike me, turn their focus onto the fastest +a to resu!ts4 the direct +a . Dh fastestE #etFs p!a a game of statistics. According to the M- mode!, it takes about ;-6@ hours and about --8 different venues to begin a seBua! re!ationship +ith a +oman. According to the direct approachE An hour, a night, and some good !ogistics +i!! do it. >n the !ines of the M- mode!, it takes at !east thirt minutes of attraction, )ua!ification, and comfort to kiss a gir!G and that is if ou are +i!!ing to kiss her and Mrisk a f!ake.N 'irect approachE *hree minutes, a natura! curiosit , and some high )ua!it a!pha ba!!s. And +h is it that the direct approach is so fast and to the pointE &imp!eO Dhen +e are running game in an indirect manner, a!! +e are doing is promoting the impression that +e are ">* there to hit on the +omanG and,

therefore, the +oman gets to kno+ us and fa!! for us before she kno+s that +e are interested. Dhen +e are running game in a direct manner, on the other hand, +e are skipping sometimes hours of eBcruciating +e!!ca!cu!ated va!ue games, and +e are getting straight to the point b Mcoming c!eanN and te!!ing the +oman +hat she is programmed to respond to. Domen are not stupid. *he fu!! understand that +hen a man approaches them a!! he +ants is to get in their pants. Lven +hen a man is A0*UA##, !ost and !ooking for the nearest and best coffee, or is *$U#, +orried about his dear budd *om +ho is undergoing a nipp!e-en!argement procedure, the +oman +i!!, at !east in the first coup!e of minutes, assume that he is after her vagina. #etFs !ook at an eBamp!e4 1obb sees a gorgeous +oman sitting b the bar. Ce musters up some courage, and then approaches her and tries to get her to !ike him. MCe , do ou come here oftenEN or MDhat is that that ouFre drinkingEN In rea!it , 1obb doesnFt give a damn about ho+ often she comes to that specific bar, or +hat is the name of the combination of !i)uors in her g!ass. Dhat 1obb rea!! meant in those +ords +as Mhe , +ou!d ou !ike to have seB +ith meEN *he +oman kno+s it and 1obb ma kno+ it too, but 1obb chose to not face it and make it the rea! reason for his approach. 1obb +as not natura! in his +ording. 1obb +as not C>"L&*, 0>"/I'L"*, and A&&L$*IVLG he +as not 'I$L0*, and therefore, +as not her u!timate ma!e. *he +oman +i!! fee! !itt!e to no attraction to+ards 1obb , and +i!! have no reason to invest in an interaction +ith him and figure if heFs +hat sheFs !ooking for. And b that, 1obb is b!o+n out. "o+ donFt get me +rong. Da!king up to a feminine beaut and te!!ing her that ou +ant to fuck her ma be ba!!s and congruent, but it +i!! probab! not +ork. *he societ +e !ive in toda does not sh from !abe!ing +omen as s!uts or other nast +ords that the +ant nothing to do +ith. And a!though the +oman ma !ike the ba!!s to-the-face approach, she +i!! have to re.ect ou under her assumption of socia! norms and regu!ations. Dhat I do promote is a reframed, et not degraded form of the above-mentioned approach. Dhi!e seB sti!! is a cu!tura! taboo, attraction isnFt, and toda Fs societ permits and even encourages men to te!! +omen that the find them attractive. A +oman and her sib!ings +i!! not be offended b a sincere and un-chode! comp!iment. And +hi!e @I ,ant to *uck youA ma get re.ected under conventiona! cu!tura! norms, @I think you are absolutely adorableA +i!! not.

If +e think about it, the t+o sentences mean the same thing under the manFs intentions. 1ut the +ording is different. And +hi!e both sentences are natura! and direct S one is cu!tura!! fit and the other is not. And that is +here +e dra+ the !ine on direct game. ,ou can pu!! a!most LVL$,*CI"2 off if it is harmonious +ith the media and the cu!ture ou are surrounded b S and if it is direct. 4ening As !ong as the beginning of our interaction +ith the +oman direct! states our intentions in a confident +a , it is a direct approach. *here is no reason to think up routines and to practice scenarios +hen going directG et if ou are sti!! uncomfortab!e +ith advanced f!irting, the sure can he!p. #etFs !ook at the 1obb eBamp!e again, this time in a Mho+-toN manner. 1obb sees a gorgeous +oman sitting b the bar. Ce thinks that she is abso!ute! adorab!e, and he decides to approach her. *his time he is going to be honest, and he is going to sa eBact! +hat is on his mind, et he is going to +ord it in a cu!tura!! accepted +a . 1obb 4 I thought you ,ere absolutely adorable+ so I 4ust had to come say heyG I?m obby/ 0utie1 *he1ar4 5a blushy+ *lirty+ and sometimes shy @ la laA6 &he is hooked. 1obb Fs eBceptiona! confidence and honest might have triggered instant att!action. &he kno+s that he means business, and she can see that he is not afraid to direct! address the reason for his approach. Dh is he not afraidE 1ecause he is a man +ho takes +hat he +ants, +hen he +ants, and +here he +ants. Ce is a man +ho rare! fai!s, and he kno+s that if she re.ects him he +i!! .ust attract a different +oman +ith the same confidence that attracted her. It is important to note that a +oman +i!! never rude! re.ect ou if our approach is direct and honest. It is against cu!tura! norms for her to do so. &he ma tr to re.ect ou in an indirect manner, b bringing up a Mbo friendN for eBamp!e, but that is nothing but .ust another barrier for ou to overcome.

A!most ever good direct-st !e opening sentence has a $!ive. *he drive is the +ord of po+er, the hook. In the above eBamp!e, the drive is HcuteF. /or best resu!ts, +e shou!d a!! have a drive that is congruent to our identit . 2enera!! speaking, ounger +omen respond best to more s+eet and chi!dish drives such as HcuteF, +hi!e o!der +omen best fit more mature drives such as HseB F. I persona!! , as a ver oung PUA, adopted the +ord HcuteF and its neverending variations as the drive in m approach. Dhat I a!so noticed is that sometimes +omen +i!! tr to take on the drive that ou are introducing, especia!! +hen ou +ere ab!e to trigger instant attraction. If ou te!! her that she is seB , she +i!! do her best to be even seBier for ou. And if ou noticed ho+ cute she is, she +i!! make sure to f!ash her b!ush smi!e as much as she can. Telling he! yo"! name Dhen ou go direct it is important to te!! her our name. *ake her name, too, and $LMLM1L$ it. I usua!! te!! her m name +ithin the first 7@ seconds of meeting her, if not immediate! after opening. &ometimes the gir! +i!! be too shocked b our direct approach that she +i!! not kno+ +hat to sa or ho+ to reactG and b giving her our name not on! are ou making her fee! s!ight! more comfortab!e, but ou are a!so a!!o+ing her the opportunit to respond to our for+ardness in a natura! +a b giving ou her name and b continuing the cu!tura!! accepted name-eBchange +hich norma!! !eads to an intervie+ st !e conversation. 1ino Maintaining a progressive ph sica! interaction is eBtreme! important to the success of our approach. I !ike to initiate kino right from the beginning, sometimes before I even get to sa an thing S especia!! +hen I am in an environment that a!!o+s me to do so natura!! . A !oud c!ub, for eBamp!e. 51rm on her shoulder"neck+ moving her hair a,ay *rom her ear ,hile talking into it6 @(k no, seriously+ I thought you ,ere really cute so I 4ust had to come say heyGA *ouch her as much as ou can. If ou can get ourse!f into a position +here ou are maintaining constant touch +ith her S even better. Co!ding her hand +hi!e ta!king to her +orks great. P!a +ith it in a sensua! +a S

see if she reacts. Dhi!e ta!king into her ear in a !oud environment, tr grabbing the back of her neck, right at the hair !ineG this is a great +a to natura!! esca!ate to+ards kissing +hen it fee!s right. It is our .ob as a pickup artist to identif seBua! energ and to ride on its +aves. 'onFt make the touch obviousG thatFs creepo stuff. ,ou +ant the touch to seem as an unconscious part of our communicating se!f. ,ou are a touch gu and ou shou!d not apo!ogi<e for that. Identif discomfort, and act appropriate! . If she pu!!s a+a from one of our esca!ations, punish her and pu!! ourse!f a+a , then go back in +ith !ess aggression. De!!ca!ibrated ph sica! push(pu!! p!a s an important ro!e at this stage. Dhatever happens, .ust make sure ou a!+a s have hea!th kino d namics. *here is nothing more incongruent than a direct approach that is missing the ph sica! needed to back up the verba!. It is important to note that night game is different from da game S even +hen going directG and a!though our approach and its +ording +i!! ">* change, our ph sica! esca!ation +i!!. *hat is +h it is &> important to kno+ ho+ to attune our ph sica! esca!ation. It is something that +i!! eventua!! come to ou natura!! . /or eBamp!e, IFve been getting a+a +ith kissing gir!sF hands during the da !ate! , et I +i!! not recommend it to gu s +ho are sti!! !earning ph sica! ca!ibration. Ho0 To Inte!vie0 After opening, ou +i!! need to push our interaction for+ard in a f!irt +a . 1eing ab!e to f!irt proper! is eBtreme! important +hen going direct, and for that reason I usua!! suggest that gu s start out +ith indirect game, !earn ho+ to f!irt, and on! then go direct. As po+erfu! as the direct opener is, it +i!! not get ou the gir! b itse!f. And if ou donFt prove to the gir! that ou actua!! are an uncommon! fun, interesting, and f!irt gu S she +i!! have no choice but to re.ect ou. /!irting, I be!ieve, is push(pu!!. It is the abi!it to regu!ate seBua! tension. Dhen the +oman in front of ou is riding an emotiona! ro!!er coaster, ou are doing something right. I a!so be!ieve that there is abso!ute! nothing +rong +ith the !ong-targeted intervie+-st !e conversation. *he genera! prob!em +ith intervie+-st !e conversations is that the are carried out b !o+-va!ue unf!irtatious ma!es. Ma!es +ho have nothing to offer, and therefore hang on the +omanFs cu!tura! ob!igation to ans+er the )uestion S so the can on! sa Mcoo!N and ask her another one. 1ut +hat if the ma!e +hoFs asking the )uestions is fun and f!irtatiousE Di!! the Mintervie+N sti!! be

a never-ending eBchange of esFs, noFs, +h -notFs, and rea!! FsE #etFs go back to our eBamp!e4 The Cho$e Way+ 1obb 4 )o ,here are you *romH 0utie1 *he1ar4 )anta arbara/ 1obb 4 #ool/ 7hat do you doH 0utie1 *he1ar4 IFm a nurse. 1obb 4 Nice/ I?m an engineer/ )o do you come here o*tenH O.. And so, boring, fucking onOOO 1 the third )uestion 1obb has !ost most of the attraction he might have triggered from opening, and he is no+ nothing but a bother to her funseeking emotiona! se!f. 1obb is b!o+n out. The 6DA Way+ 1obb 4 )o ,here are you *romH 0utie1 *he1ar4 )anta arbara/ 1obb 4 No shitG I likeI Totally thought that you?re *rom like 1rkansas or somethingG It?s those eyesG 1nd I ,as e0pecting some southern biscuits *rom youI 7ait/// Do they have good southern biscuits in )anta arbaraH 0utie1 *he1ar4 No+ ,hy ,ould theyGH 1obb 4 (k no, that?s disappointingI Does )anta 1NBT$ING that?s goodHG arbara have

0utie1 *he1ar4 The parties are a,esomeG It?s right ne0t to the beachG 1obb 4 7ait a secondI Not only are you a cutie+ but you love to party tooG $oly shit I?m like totally in love alreadyG *he above is an eBcerpt from a rea! conversation I had +ith a cute brunette at a ma!! in &an /rancisco esterda . It is an eBamp!e of ho+ to ask an intervie+ )uestion, and ho+ to continue our conversation after+ards. *he purpose of the intervie+ )uestion is to find out more about her in a cu!tura!! accepted +a . And once ou gather the specific information, ou can then focus on it immediate! or store it in our memor and come back to it !ater. I chose to focus on the topic she brought up, and I used it as the base to a fun and f!irtatious conversation.

If our improvisation ski!!s arenFt that good et, fee! free to use canned materia! that ou are comfortab!e +ith. 'uring the intervie+ stage, the content of our conversation doesnFt )uite matter as !ong as ou keep a fun and f!irtatious vibe. ,our goa! during this stage is to bui!d a connection +ith the +oman +hi!e maintaining the frame that ou are there to pick her up. Make sure to restate our interest in her ever no+ and then S that permits an incredib! fast esca!ation. Push our ph sica! esca!ation to its possib!e !imits. ,ou +i!! +ant to go for a kiss sometime during this stage, or a number, if ou are not in the proper setting. ">*L4 It is important to esca!ate appropriate! . As a pickup artist, ou shou!d kno+ ho+ to natura!! regu!ate seBua! tension. Lver romantic adventure is different in its +a , and ou shou!d tend to each in a persona!i<ed manner. >nce ou approach a good amount of +omen ou +i!! start to get a fee! for it. &!o+ do+n during the da , speed up at night. Use the energ !eve! of the specific !ocation to our advantage. 6!actice I can guarantee that the first of our direct approaches +i!! be abso!ute! disastrous. ,ou +i!! fee! eBtreme! uncomfortab!e, and ou +i!! probab! +ant to get out of the situation as soon as possib!e. 1ut those embarrassing minutes are +e!! +orth it. 0onditioning, I be!ieve, is the most important factor of oneFs success. 2et out there and eBperiment. Ln.o the process. ,ou shou!d push to a point +here ou fee! confident that ever gir! +ants ou, and that ou can get ever gir! .ust b te!!ing her that ou +ant her too. 'irect game is no rep!acement to indirect game. I +i!! never dare to go direct in a setting in +hich I +i!! be devastating! affected b a fai!ure, and I +i!! a!+a s go indirect if I kno+ that I +i!! be seeing the +oman on a fre)uent basis. I a!+a s te!! gu s to be abso!ute! 6@@R comfortab!e +ith the M- approach before the come to me S not because I be!ieve in its superiorit , but because I be!ieve in its f!irtatious matter. 1ut once ou kno+ ho+ to f!irt, +h +ou!d ou +aste our time tr ing to avoid itE Dh not .ust open! approach a +oman for the so!e reason of f!irtingE Dh not skip hours of unnecessar bu!!shit and direct! address the fact that ou are a man and that she is a +oman, and that ou both !ike seB and intimac E 1e fun. 1e confident. 1e ourse!f. *rust meG once ou go direct S ,>U 2> 'I$L0*.

Chapter "i.dentity/ "tate and Frame

*he A/0 (Average /rustrated 0hump) ,ou +i!! be a thing of the past, rep!aced b the PUA ,ou. Dhen !earning the pick-up arts, ou have the option of creating a ne+ identit . *he o!d ou +as .ust fine, a nice gu +ho has !ots of interesting things to sa . *he ne+ ou ma be simi!ar, .ust repackaged and marketed correct! . *his 3inner game3 shou!d be on a!! the time, though ou ma turn our 3outer game3 on and off as the environment dictates. >nce ou graduate to PUA status, ou +i!! !ook around a venue and be ab!e to pick out A/0s, or +hat are often referred to as 3chodes.3 *o man peop!e, the seduction communit is actua!! a men3s se!fimprovement movement, +ith a ver !arge carrot at the end of the stick4 &LX. 1ut it is best to consider the !ong-term goa! getting competent +ith seduction, and the process of se!f-improvement our immediate goa!. &trengthening our inner game S deve!oping a so!id sense of identit and unf!appab!e se!f-confidence S is ke to pick-up. *his ebook is intended to be a practica! fie!d guide, so inner game is not covered to an !arge eBtent. *here are man resources avai!ab!e +ithin and outside the communit to improve our inner game, inc!uding Anthon $obbins and the $&' cata!og of 'V's. A!so keep in mind that inner and outer game are s mbioticG one aspect feeds off the other, and both idea!! shou!d deve!op simu!taneous! .

I$entity $evelo4ment 6. Dho are ouE Meaning ho+ do ou +ant to be perceived b othersE /ind a stereot pe to eBp!oit, then create a sound bite that conve s this. 7. Dhat kind of +oman do ou seekE DhatFs important to ou in a +omanE ,ou must deve!op our identit to attract this sort of +oman, so J6 shou!d comp!ement J7. -. Dhat is our avatarE 'oes our !ook ref!ect the identit ouFve chosenE *he must be congruent.

MIf a man does not keep pace +ith his companions, perhaps it is because he hears a different drummer. #et him step to the music +hich he hears, ho+ever measured or far a+a .N $enry David Thoreau 8. Dhat is our socia! circ!eE 'o ou hang out +ith peop!e that enhance our identit and respect ou as a triba! !eaderE 9. Dhat props do ou take into the fie!d that demonstrate our identit E ,ou can have pics on our phone to sho+ sets. Props ma disp!a seBua!it , or that +omen are a part of our !ife. Cave a stor behind each prop. 1e the observed. :. Co+ +i!! our +ing introduce ouE *his is kno+n as an AI, accomp!ishment intro. M#ook at ourse!ves. Dhat kind of person are ouE In.ect a bit of our Antithesis into ou. If ou !ook soft then add intent ps cho aBe-murderer t pe shit. If ou !ook !ike a tough gu then sho+ a cudd! softer side ever no+ and then. If ou !ook nerd then do something ver a!pha and outgoing. If ou !ook outgoing and a!pha then sho+ some softness ever no+ and then. "ot on! is this cute because its uneBpected but it a!so keeps the gir! guessing and makes ou undefinab!e.N )te*an

State ,our state +hen running pick up shou!d be that of a confident, happ and out-going man. #isten to our interna! dia!og, and if ou notice a !ot of negative thoughts, fiB it. ,our out+ard appearance +i!! not be appea!ing to others unti! our interna! dia!og is optimistic, enthusiastic and positive. Push a!! negative or se!f-defeating ideas out of our head, and rep!ace them +ith thoughts of success. Dith more fie!d time under our be!t, 3getting into state3 +i!! be easier, or ou ma find ou3re a!+a s in state. ,ou can get into state b !istening to !oud music, .umping and running around, e!!ing, and doing high-9s or p!a ing patt -cakes +ith our +ings in the c!ub. &tart finding the positives in our surroundings and reframe our negative thoughts. 'o a fe+ +arm-up sets.

F!ame Dhen +e speak of frame, +e mean our attitude and be!iefs. ,ou must conve non-neediness and +i!!ingness to +a!k a+a . ,ou must not be seeking va!idation from her or an one e!se. If ou make a funn comment, ou donFt care if she finds it funn G ou don3t !ook to make sure if she3s !aughing at it, because ou simp! don3t give a crap. If ouFre +earing something interesting, ou might ask her opinion on it, but arenFt emotiona!! directed b her response. *hese a!pha )ua!ities S that of a !eader and not a fo!!o+er S shou!d be conve ed in our bod !anguage and +hat ou sa . An thing that makes ou seem va!idation-seeking, insecure, attention-seeking, indecisive, tr -hard, dependent or unsure +i!! be a turn off. In short, this is our +or!d and though she is +e!comed to enter it, ouF!! be .ust fine +ithout her. A!ong these !ines, a!+a s be in contro! and pu!! her into our frame. In mi!der forms this can take the form of ending a!! phone ca!!s and interactions before she does. A more obvious version of frame contro! is puppet kino, +here ou are ph sica!! forcing her to behave as ou desire. /rame contro! is an essentia! part of pickup. A man +ho premature! re!in)uishes contro! the the frame to the +oman is vie+ed as beta. Domen seek men +ho +i!! !ead and dominate the re!ationship, and though the ma tr to stea! contro! of the frame, consider this a shit test to see ho+ reso!ved ou are. >nce past attraction and into comfort, ou ma !et up some contro! to .ump through her hoops, provided she is continuing to comp! and +ork for our attraction. "ote that these are characteristics ou cannot fake. ,ou must interna!i<e these be!iefs and become that person. Domen +i!! see through a faYade. &imi!ar! , PUAs ta!k about having an attitude of scarcit versus abundanceG a man +ho has his pick of +omen is said to !ive in abundance and this is attractive to +omen (prese!ection), +hereas a man +ho sett!es for an thing he can get is !iving +ith a mindset of scarcit +hich is unattractive (desperation). Cave no eBpectations for outcome. 'onFt care if a gir! doesnFt !augh at our .oke. 'onFt care if she doesnFt pong I>Is. 'onFt care if ou get b!o+n out of ever set tonight. 'onFt care if ou number c!ose. 'onFt care if she doesnFt ca!! ou back. 'onFt care if she f!akes. 'onFt care if ou have a one night stand. 'onFt care if she shit tests. 'onFt care if she bu s ou a drink. %ust run game. If she sho+s interest, tomorro+ she cou!d comp!ete! disappear and never respond to ou. If she sho+s disinterest no+, in a +eek she might be b!o+ing our ce!! up tr ing to get a date. 2ir!s send miBed signa!s

and p!a games a!! the time, so donFt be thro+n, and a!+a s have no eBpectations. Lmotiona! investment b the gir! is important. Lven if itFs .ea!ous or irritation, if a gir! has the option to +a!k a+a from ou but sta s in there, itFs an I>I. Use that emotiona! investment to get her more attracted to ou, and do not respond emotiona!! back to it. 1e re!aBed and comfortab!e as if ouFre at home and not a bar.

F!ame Cont!ol an$ Sto!ytelling By The 3"$ge ItFs time to +rite on one of the biggest prob!ems(obstac!es PUAs of a!! ski!! !eve!s run into4 Lffective 'CV stor te!!ing. *here are t+o recurring fata! mistakes I see happening repeated! 4 6) &tories are tr ing so hard to hit 'CV points, the comp!ete! undermine and destro our frame(congruenc , and 7) &tories !ack an subt! and are no better than b!atant bragging(! ing. 1efore I go into the theor on this, I +ant to demonstrate m point b re!ating something that happened to me in-fie!d. >ka , I sarge in Manhattan and usua!! go for high end chicks (=s and up+ard) usua!! at c!ass bars(c!ubs. &o, as ou can imagine, IFm constant! competing(gaming against AM>2s and, in particu!ar, o!der, richer Da!! &treet AM>2s (!ets ca!! them A!pha &treeters). &o one *hursda night, IFm out +ith m +ing and +eFre gaming a decent --set. As IFm stacking, I notice in the corner of m e e a cock-pack of 6@ A!pha &treeters ro!!ing into the c!ub. Dhi!e most of the A!phas +andered over to the bar, the t+o most A!pha gu s p!anted themse!ves in front of our set. "ot !etting this phase me, I continued to stack but kept hearing snip-its of phrases !ike MO /I"A##, a!! moved into m p!ace on /ifth AvenueN or MOgoing back to the o!d a!ma mater for the Carvard ,a!e gameN. *he +ere running the e)uiva!ent of MM for gu s on Da!! &treet4 'CV about mone as !oud as ou can. After about 9 minutes of this, a coup!e of the A!phas b the bar came over to our set and offered us a!! an eBpensive round of drinks. >f course, +e had to accept, a!!o+ing the 6@ A!phas to move in on our set and effective! b!o+ us out.

*he +a I fe!t as I e.ected +as !ike a !itt!e kid +hoFs p!a ing a "intendo game and canFt beat a !eve! +hi!e he +atches a bunch of o!der kids do +hatever the +ant because the Fre using 2ame 2enie. I +as pissed. /rustrated. Lmbarrassed. I sti!! am. 1ut thinking back on it, those gu s ma have b!o+n me out, but the set a horrib!e frame. #et me eBp!ain. &a the A!pha &treeters never sho+ed up and I had successfu!! J-c!osed, got a 'a 7, and took the gir!(s) to Mc'ona!d3s. It +ou!dnFt rea!! be a '#V because I +as strict! se!!ing the gir!s on m persona!it , gaming ski!!s and stories. I didnFt bu them drinks. I didnFt te!! them I !ive on /ifth Avenue. *aking those gir!s to Mc'ona!d3s +ou!dFve been comp!ete! congruent +ith the frame I estab!ished. Co+ever, imagine if one of the A!pha &treeters got a 'a 7 and he took her to Mc'ona!d3s. MA%>$ '#V. *he gu estab!ished the frame that heFs rich. Cis 'a 7 CA& to be at a ver eBpensive restaurant or e!se itFs ">* 0>"2$UL"*. Dinning gir!s +ith mone is great if ouFre read to spend mone a!! the time, but if ouFre not than itFs no different than the smooth PUA +ho free<es up in the midd!e of the set. ,ouFre b!o+n out once ou contradict the rea!it ou initia!! put forth. >ver and over and I see posts !ike this4 MI broke do+n the bedroom door and grabbed him b the neck pinning him against the +a!! !ifting him up. Must have been the adrena!ine of the moment because I can not norma!! !ift a big gu +ith one hand. I !ooked him in the e e and to!d him, if he ever did that again I +ou!d ki!! him.N I kno+ a !ot of red-faced MPUAsN +ant to grab me b the neck, pin me against a +a!!, and te!! me MCe bro5 IFm sho+ing that I P$>*L0* M, #>VL' >"L&5N "o, ouFre not, bro. Dhat ouFre sho+ing is ouFre a t pica! tough gu . Dhich is fine if thatFs the frame ou +ant to set. 1ut .ust !ike the Da!!

&treeter +ho sets his mone frame, ouFve no+ set a Mtough gu N frame. &o, +hen an AM>2 comes over and tries to stea! our gir!, ou have no choice but to fight him. *hink about it. If ouFre the big Mprotector of !oved onesN and ouFve MdemonstratedN that +ith our stor , ou canFt tr to out smart the AM>2 because itFs not consistent. ,our >"#, consistent choice is to get that adrena!ine pumping and start fighting ever one +ho threatens our target. 1ecause I encounter so man t pica! A/0 tough gu s, I go >U* >/ M, DA, to set the frame that IFm ">* a tough gu (so +hen I use m +it to outsmart them, itFs congruent and IFm not ob!igated to man-dance ever !oser A/0 +ith crab handsO) CereFs +hat I +as doing for a +hi!e (fee! free to use at our discretion)4 Part of m peacocking is I sometimes put a band aid on m neck. It sounds stupid but so man gir!s +i!! open ou +ith4 C1 on *ria!4 >M255 Dhat happenedE *he %udge4 1ar fight. C1 on *ria!4 (2igg!es) *he %udge4 ,eah, ou shou!dFve seen the other 9 gu s. (">*L4 *his must be de!ivered +ith %ames 1ond-!ike demeanor. If ou sa it !ike a goofba!! itF!! come off sounding !ike a .oke our corn unc!e +ou!d makeO) *he +ho!e reason this is Mfunn N is because IFm a skinn 9N=, 689-pound dude +ho dresses !ike a dand ...

6!i5a)ility Pri<abi!it is eBpressed in the PUA teBt b &+inggcat, H$ea! Dor!d &eduction.F &+inggcat speaks of frames and meta-frames, and our goa! genera!! is to maintain our frame as the pri<e, and make her pursue ou. 2ir!s +i!! often eBpect the man to assume she is the pri<e and that she shou!d be pursued. *he PUA does not fa!! for this, +hich +i!! often take C1s b surprise. &ince pri<abi!it is one of the most important concepts of pick-up, a chapter has been devoted to it.

MPeop!e don3t understand that this is not .ust about pick-up. *his is rea!! the beginning I think of a serious men3s se!fimprovement movement.N )tyle *o convince others ou are a pri<e +orth pursuing, ou need to make ourse!f the pri<e.

The Al4ha Male Domen +ant instinctive! to mate +ith the a!pha ma!e of a tribe. Much of seduction is !earning ho+ to tap into these primitive fema!e drives, and so understanding +hat constitutes an a!pha ma!e is critica!. 1rad P defines an a!pha as the fo!!o+ing4 6. e immune to social pressures/ 1e ab!e to stand out and not be se!fconscious about it, though socia! pressure te!!s ou to conform. 7. $ave risk-taking behavior/ *his demonstrates braver . -. e detached *rom outcome/ An a!pha has confidence he +i!! have seB soon, and so the outcome of each interaction is irre!evant. In addition, the a!pha embodies a!! attraction s+itches4 he I& a !eader of men, he '>L& protect !oved ones, he I& prese!ected, and so on. *he simp! eBude these )ua!ities. Intimi$ating Gi!ls an$ Ho0 .ot to Do It By BangBang I used to get to!d I intimidated gir!s A## the time, probab! a side effect of spending so man ears +orking as a bouncer. I3d sa it cou!d be one of t+o things (at !east it +as +ith me)4 /irst, I came to rea!i<e that I "LVL$ smi!ed. Dhat3s +orse, is that I didn3t $LA#ITL that I didn3t. I +asn3t tr ing to !ook mean or to intimidate, but +hen most peop!e encounter a neutra! eBpression and confident bod !anguage on a gu +ith a decent bui!d, the sense a vibe that ou are not to be fucked +ith. *his is great for keeping other gu s at ba , but +ith gir!s, not +hat ou +ant. /or me, the fiB +as simp! active! smi!ing

more and making a point to smi!e +henever I see a gir!. At first, I3d hear the voice in m head sa ing P&mi!e stupid5P and I +ou!d, no+ it3s become more instinctua! and I3ve noticed a difference. After I3ve opened, if I3m ta!king about something that happened +hi!e I +as +orking as a bouncer, I +i!! a!most a!+a s sti!! get PI A"LD ou +ere a bouncer5 I cou!d .ust te!!. ,ou !ook !ike a bouncer.P &omething as simp!e as a smi!e can take the same vibe and change it from PCe3s intimidating5P to PCe3!! protect me.P #o,boy stance ,ith )mile J )e0ual 1ttraction #o,boy stance ,ithout )mile J #ome near me and I-ll *ucking 3I%% you/ I had a!so picked up some bad 1# habits from being a bouncer as +e!!, +hich I had to rea!! +ork at to get rid of because the had become natura! to me so I didn3t notice them. &econd, sometimes confidence can be intimidating to a +oman if she3s not used to dea!ing +ith confident men. >r confidence can be intimidating because a confident man has a reason to be confidentG he must have ver high standards and she ma be afraid that she +on3t measure up to those standards. I !ove to dance and have come to be ver good at it. I a!+a s used to +onder +h , if +omen !ike to dance so much, no +omen seemed to +ant to dance +ith me. *he 3d start to +hen I3d grab them, but then the 3d sh a+a . /ina!! I asked a gir!friend of mine +hat that +as a!! about, because she3d done it too. &he to!d me that she +as afraid to dance +ith me because I +as a great dancer. &he +as afraid she +ou!dn3t be ab!e to keep up and +ou!d !ook stupid. "o+ I .ust te!! gir!s to re!aB, and I !ead more than I used to.

6eacoc#ing &uccessfu! peacocking gear +i!!4 6. inspire targets to open ou, and 7. be ridicu!ed b AM>2s.

'o not fee! upset if ou get put do+n b AM>2sG turn this around and consider it a marker of good peacocking. &ome usefu! peacock items inc!ude4 scarves, hats, rings, +rist bands, and neck!aces. If ou don3t +ant to +ear earrings, !ook for magnetic earrings on!ine and put 6-- in our ear!obe and(or carti!age of the !eft ear. &ome PUAs use makeup, or co!or their hair. >ften it is he!pfu! to think of a ce!ebrit ou resemb!e and tr to !ook !ike that person. Lven if on a sub!imina! !eve!, the comparison might garner ou attention. $emember it is a!+a s better to be observed than to observe. 1e!t buck!es are great in that the can be f!ash as the dra+ a +omanFs attention c!ose to our private parts. Dhen a gir! refers to our be!t buck!e turn it into a c!assic seBua! predator comment4 MCe , m e es are up here5 Dhat are ou doing !ooking do+n her, ou diiiirrrt !itt!e gir!. I s+ear, gir!s are such seBua! predators...N *r to have a stor behind each prop, as in its significance to ou. Dhen asked +h ou have a particu!ar neck!ace on, ou can .oke4 M1ecause m face is a +ork of art and I needed a beautifu! frame around it.N P!atform shoes give the i!!usion of height +hich is important if ouFre short. If ca!!ed out about them, use &t !e3s response4 M1ecause the get me more inches of +oman...and I !ike +omanN (said innocent! , not seductive! ). The S"4e!man S4eech ,!om Kill Bill, Volume 2 MAs ou kno+, IFm )uite keen on comic books. Lspecia!! the ones about superheroes. I find the +ho!e m tho!og surrounding superheroes fascinating. *ake m favorite superhero, &uperman. "ot a great comic book. "ot particu!ar! +e!!-dra+n. 1ut the m tho!og O *he m tho!og is not on! great, itFs uni)ue. "o+, a stap!e of the superhero m tho!og is, thereFs the superhero and thereFs the a!ter ego. 1atman is actua!! 1ruce Da ne, &pider-Man is actua!! Peter Parker. Dhen that character +akes up in the morning, heFs Peter Parker. Ce has to put on a costume to become &pider-Man. And it is in that

characteristic &uperman stands a!one. &uperman didnFt become &uperman. &uperman +as born &uperman. Dhen &uperman +akes up in the morning, heFs &uperman. Cis a!ter ego is 0!ark Aent. Cis outfit +ith the big red M&N - thatFs the b!anket he +as +rapped in as a bab +hen the Aents found him. *hose are his c!othes. Dhat Aent +ears the g!asses, the business suit - thatFs the costume. *hatFs the costume &uperman +ears to b!end in +ith us. 0!ark Aent is ho+ &uperman vie+s us. And +hat are the characteristics of 0!ark AentE CeFs +eakO CeFs unsure of himse!fO CeFs a co+ard. 0!ark Aent is &upermanFs criti)ue on the +ho!e human race.N

Shit Tests Domen +i!! often use shit tests to see +hat ou3re made of, to push ou out of our frame and possib! into hers. 'on3t ans+er these !ogica!! . Make our responses fun and reframe her statement so that she understands this is our +or!d and she is !uck to be +e!comed in. A shit test isn3t an I>' (+hen a gir! turns back to her friends or +a!ks a+a ...that3s an I>'). It3s an I>I, because she3s investigating ho+ strong our backbone is. If a +oman finds out ou can3t even stand up to her, ho+ +i!! ou protect her from a!! of !ife3s other threatsE LBamp!es4 &* (shit test)4 Dh are ou ta!king to meE $/ (reframe)4 I !ost a bet. &*4 Are ou ga E $/4 ,eah, I3m a !esbian trapped in a man3s bod . &*4 1u me a drink. $/4 Is that our best pick up !ineE &*4 I don3t date short gu s. $/4 Ce , me neither.

&*4 Co+ big is our penisE $/4 Co+ good is our denta! insuranceE &*4 I need a sugar dadd . Are ou richE $/4 /or sure. I .ust added a ne+ +ing to m cardboard boB. &*4 &o ou3re a biseBua!E $/4 1u seBE Dh +ou!d I bu seB +hen I get it for freeE &*4 A !ot of gu s hit on me because of this tattoo. $/4 $ea!! , gu s hit on ou for thatE I figured ou3d get more !esbians. &*4 I can emai! ou nude pics of m se!f. $/4 Ce 5 &!o+ do+n there, oung !ad . De .ust met. 1u me a drink first if ou3re gonna hit on me !ike that5 1rad P suggests a tactic ca!!ed absurdif ing shit tests. &o take a shit test and respond +ith an absurd eBaggeration, and then return immediate! back to the thread ou +ere ta!king about. /or eBamp!e, if ou start running the 3Dho !ies more3 routine, and she cuts ou off +ith 3*hat shirt is so ug! 53 ou absurdif +ith 3>h m god, this is the fucking ug!iest shirt in the +or!d...but...+ho do ou think !ies more, men or +omenE3 I S4ea# %Gi!l% By Caly' Cere3s a method I3ve been using to he!p dea! +ith a gir!3s nonsense. *his +orks for me in person, teBt, emai! and phone. It is a!so a good +a to turn things seBua!. #et3s sa our target states something !ike4 P,ou3re cra< P P,ou3re stupidP P,ou3re retardedP P&hut UpP P,ou3re such an assP 0a! B4 ,ou kno+ I read, +rite and speak Pgir!P f!uent! . And I kno+ +hat ou rea!! meant b that. C14 DhatE 0a! B4 ,ou3re stupid Z P0a! B, ou got me a!! hot and bothered.P C14 #o!, ou3re retarded.

0a! B4 ,ou3re retarded Z 0a! B, I +ant ou5 C14 #o!, shut up. 0a! B4 &hut up Z 0a! B, stop ta!king cause it +i!! make me rape ou. C14 #o!, stupid, shut up. 0a! B4 ,ou .ust cant he!p ourse!f huhE C14 >ka I +ant ou. $ea!! , as !ong as ou have some attraction there, ou can use this to make an +ords she sa s into +ords ou +ant to hear. 1ut if the +ords are directed at ou, the better its effect. ,ou can use it for shit tests4 C14 I have a bo friend. PU4 I speak gir! and I kno+ +hat that means. C14 DhatE PU4 MI +ant to give ou m number but don3t +ant to seem !ike a s!ut, 3cause I am attracted to ou.N C14 (!o!) "o, that3s not it, I rea!! do have a bo friend. PU4 MI rea!! !ike this gu but I am scared to take chances.P C14 Uh, no. PU4 P"o Z esP C14 (!o!) PU4 Do+, ou +ant it that badE De!! I am not a s!ut and ou have to earn m ca!!s5

C!"tches 'uring the evo!ution from A/0 to PUA, a person +i!! re! on crutches to he!p them a!ong. &imi!ar to partaking in rehab for a sprained ank!e, crutches can he!p get around +hi!e the ank!e is hea!ing, but pro!onged re!iance on them can be detrimenta! to recover . Cere are some eBamp!e of crutches +hich ou shou!d be !ooking for, and abandoning +hen ab!e4 6. A!coho!. AA is something ou need to genuine! s)uash, and not mask +ith mind-a!tering substances. 'rinking to eBcess in order to he!p approach +omen +i!! not in the end assist ou in overcoming AA. 7. &tate pumpers. At times, ou need that shot of espresso to get ou in the mood to go out !ate and be in a ta!kative state. Co+ever ou shou!d +atch out for dependence on stimu!ants +hich ma artificia!! pump our state.

-. Dings. ,ou can accomp!ish great things +hen so!o sarging, but using a +ing does open man doors, such as making 7-sets easier to +ork. Man gu s re! on +ings as a crutch, becoming intimidated if a!one in a venue. A true PUA can sarge a venue +ithout the assistance of a +ing. 1ring in +ings to make for a fun night, and to augment our game, but do not avoid so!o sarging. 8. 2aming ugs. 2oing after C1s can be daunting, and sometimes chasing ugs can be the path of !east resistance. If ou are attracted to the ug, then game on. 1ut if ou3re gaming ugs as a crutch because ou3re too scared to game C1s, ou need to get past this sticking point. 9. Peacocking. &ome gu s don their gear as if it +ere an action figure disguise. *his is great, but if ou3re sudden! caught out in the da at a car +ash neBt to C16@, ou ma fee! naked +ithout the gear and unab!e to run game. 1e ab!e to run game an time, even if ou don3t have our gear on. :. $outines. 2oing in +ith a routine stack can he!p ou re!iab! create attraction, but man gu s re! on the stack instead of !earning ho+ to natura!! vibe +ith a gir!. *he routines become a crutch, and +ithout them, the have no idea +hat to sa to a +oman. 1e ab!e to open on an topic, and vibe off +hat the +oman is te!!ing ou. ;. A!!-gir! sets. MiBed sets scare a !ot of gu s, so the avoid them and on! +ork a!!-gir! sets. >vercome this fear and get used to opening miBed sets. 'on3t assume romantic invo!vement, or that a fight +i!! ensue. Man C1s hang out in miBed sets, and to avoid them +i!! severe! !imit our opportunities. =. &eated sets. It ma be hard to !ock in if a group is sitting, so a PUA ma on! game standing sets. ,ou shou!d a!+a s tr to open these sets, even if the !ogistics ma not be .ust right. If ou don3t open, ou3!! never !earn ho+ to do it. ?. Venue se!ection. &ome PUAs aren3t adept at da game, so the on! sarge at night. >thers are scared of c!ubs so the on! do da game. A PUA shou!d idea!! be comfortab!e running game an time of da in an venue. If ou find ourse!f returning to the same sort of venue, push ourse!f to game in venues that ma fee! uncomfortab!e at first. 6@. Indirect game. *he M- mode! re)uires ou to f! under the radar via an indirect approach. *hough ou ma find ourse!f getting good at indirect, going in direct ma bring about a +ave of panic ou thought ou3d con)uered. #earn ho+ to be direct on our approaches, +ith aggressive kino and strong &>Is. ,ou ma get b!o+n out more, but if the set hooks ou ma be ab!e to avoid a !ot of the effort re)uired in going indirect. 66. 1eing 3in state.3 ,ou ma not fee! !ike going out or ta!king to +omen because ou aren3t in state. 1eing in state can he!p our interactions, but

re! ing on being in state is another crutch. *here are benefits of gaming +hi!e not being in state. ,ou become too tired to care, +hich is b itse!f an attractive attitude. A!so, ou can-t get in our head, and so ou have to go on autopi!ot and be in the momentG ou3re incapab!e of over-ana! <ing ever thing that gets thro+n at ou. In so doing, ou have spontaneous natura! convos +ith peop!e, and ou interna!i<e the ski!! set much faster. 1eing out of state can actua!! be a great too!.

@o"! Com,o!t Eone 2etting good at seduction re)uires ou to constant! evo!ve and to push ourse!f out of our comfort <one. Initia!! this ma mean .ust being ab!e to !eave our home on a /rida and put ourse!f in a bar. Lventua!! as this becomes easier, it ma mean ta!king to strangers, going out a!one, and u!timate! running pick-up techni)ues that seem counter-intuitive or socia!! unacceptab!e. >ne simp! cannot get good at seduction +ithout breaking out of one3s comfort <one. Dhen ou find ou3re comfortab!e +ith a ski!!, move on to the neBt one +hich +i!! advance our sets to+ards the c!ose. Lach pick-up set is !ike a +ork-out set. *o get musc!e, ou must hit the number of repetitions +hich +i!! resu!t in fai!ure of that musc!e. *hen h pertroph and strength gains can occur. Mere! doing -: !ight reps +on3t give ou the same resu!ts. #ike+ise, ou must bring each pick-up set to fai!ure. *hat is, push each set to its !imit4 pu!! the gir!, or e!se make her b!o+ ou out. Cere is a formu!a that app!ies across the board +hen tr ing to move out of our comfort <one4 )tep 9/ #ogica!! get our p!an together. Ano+ +hat ou3re gonna sa (do and +hen. Cave the +ords read to de!iver +hen our instinct te!!s ou to it3s time. ,ou ma need to 3sma!! chunk3 this, eventua!! ending up +ith a string of sentences that accomp!ish our goa!. )tep ;/ "ut up and do it. %ust !ike AA. De kno+ +hat +e must do. De3ve +rapped our heads around it. De .ust can3t pu!! the trigger. )tep =/ $epeat, repeat, repeat. Aeep getting b!o+n out, unti! ou3ve gotten ourse!f on autopi!ot and are tota!! immune to fai!ure. )tep E/ *+eak if something isn3t +orking. 'rop it, fiB it, change the timing in our set.

Chapter "e,en
Pri0ability
"e+ ,ork3s *he %udge has mastered the concept of pri<abi!it , +herein one makes himse!f 3the pri<e3 +orth of being earned b the target. If ou have an )uestions regarding his materia!, *% can be reached at4 the.udge???Kgmai!.com. *% a!so goes b $emembrance of 1eing on the $&' forum +here he3s +ritten an eBce!!ent bootcamp revie+. Cere no+ are severa! thoughts on the sub.ect b *he %udge4 I fee! !ike a !ot of gu s get into this communit , read about something !ike setting a Ppri<e frameP and then get carried a+a +ith it, !etting it mutate their persona!ities. Dhi!e unrea!istic eBpectations and demands might estab!ish ourse!f as a Ppri<eP in our head, it +on3t do an thing but make ou seem !ike an arrogant prick to C1s. At the end of the da ou have to ask ourse!f4 Am I tr ing to convince m se!f I3m a super high va!ue gu >$ am I tr ing to c!ose C1sE Pri<abi!it is !itera!! an Part formP. An art form that has three parts4 6.) 0onversationa! .u.itsu to re-frame the entire interaction that she3s chasing ou. 7.) Making sure she can .ustif chasing ou because ou3re conve ing va!ue through stories and humor. -.) Assuming our ro!e as a man and taking +hat ou +ant +hen ou +ant it. (A!!o+ing her p!ausib!e deniab!it ) &ee, I used to think it +as .ust about J6 and if ou simp! re-framed ever thing she +as sa ing b setting a pri<e meta-frame, ou3d create attraction. 1ut it3s more than that. /or a +oman, she +i!! >"#, accept our frame(rea!it if she tru! sees ou as a pri<e. Additiona!! , she +on3t !et ou esca!ate seBua!! +ith her un!ess ou create some trust, comfort, rapport, and connection +hi!e making her fee! as if she3s )ua!ified herse!f to ou and !ived up to our standards. &o

ho+ do ou bridge a!! this under the umbre!!a of pri<abi!it E Make it an art form. Co+ I go about doing this is b te!!ing stories. >n a '7, I have a canon of topics and stories I thread that sub-com m biographica! stor , bait her to )ua!if herse!f, and a!!o+ me to estab!ish m Ppri<ab!eP rea!it . *hese stories are fair! mundane (I3!! !ist a fe+ as eBamp!es)4 6.) I +anted a $ainbo+ 1right do!! +hen I +as kid but m dad said no because he thought it meant I +as ga . 7.) *he first gir! I fe!! in !ove +ith in ;th grade and ho+ she broke m heart. ('on3t be foo!ed b the s nopsis, this stor shou!d be fi!!ed in the Phumor(romantic comed P genre) -.) Co+ vu!nerab!e I fe!t the first time I trave!ed through Lurope. &ince I3ve to!d these stories on do<ens of '7 to scores of different +omen, I kno+ +here the humorous parts are, +here to pause for effects, etc. &ince these stories pump their 1*, it3s raising m va!ue, but these stories a!so serve to disp!a m persona!it , deve!op a connection, +hi!e a!so disp!a ing a bit of vu!nerabi!it . And, +hat a!most a!+a s ends up happening is an C1 +i!! vo!unteer a stor of her o+n. (If she doesn3t, I usua!! .ust end on a phi!osophica! point and then turn the spot!ight on her b sa ing something !ike, P&o +hat +as our first bo friend !ikeEP). #et her te!! her stor , make some funn remark on it (a p!a fu! .oke that3!! hopefu!! get her !aughing) and once her 1* is spiked introduce *he Point & stem. /or eBamp!e, the first time a gir! )ua!ifies herse!f and I !ike her stor (ans+er, I3!! sa , P*hat +as cute. ,ou3re getting 7 points.P A!+a s, the 3!! react +ith something !ike, PDhatE5 Dhat do ou mean 7 pointsEEP Dhich I rep! , PLver one I meet is on a point s stem. 2et 69 points and I3!! te!! ou about the first time I !ost m virginit - +hich, if ou think the $ainbo+ 1right stor +as funn and embarrassing, +ait ti!! ou hear this one because it +ent do+n in the backseat of m mom3s purp!e minivan55P And, ever sing!e gir! I3ve put on the point s stem has reacted the same +a 4 in - phases4 6hase 9+ >utright shock and the Pho+-dare- ouP face, usua!! te!!ing me I-m the one +ho has to +in points. (%ust don3t react to this, I usua!! .ust !ook at them and smi!e, as if to sa , P>h, ou3!! +ant these pointsP).

6hase <+ Di!!ingness to )ua!if herse!f and .ump through m hoops to +in points. (/or eBamp!e, usua!! a gir! +i!! te!! me some funn stor , and I3!! !augh and sa , P>h man, that +as good. - points5P +here she3!! be !ike, PDait +ait5 1ut there3s more55P and she3!! tr to eBtend the stor because she unconscious! is bu ing into m frame, and, since she3s +inning, she +ants to keep Pp!a ingP). 6hase =+ 0omp!ete obsession +ith the points s stem. (If ou do this right, gir!s +i!! start asking me ever 6@ minutes, PCo+ am I doingE Am I getting points for doing b!ah b!ah b!ahP I3ve even had gir!s (mode!s5) get nervous to the point +here the sa , PI3m sort of nervous because I can te!! ou have rea!! high standards.P "o+, ho+ do ou remain congruent to a Ppri<eP frame +hen ou3re ca!!ing her and esca!atingE I abso!ute! agree it3s incongruent for a gu +ho3s the Ppri<eP to ca!! a +oman once, !et a!one put up +ith her f!ak bu!!shit and(or hesitation to esca!ate. As I deve!oped a stronger and stronger frame, I stra ed further and further from things !ike free<e outs and kiss gambits. I cou!dn3t get either to +ork for me and here3s +h 4 A pri<ab!e gu +ou!d never react to a gir!3s hesitation or gauge if she3s read to kiss him. (I3!! eBp!ain +hat does +ork in a second, but first, an eBp!anation of m third point of m P- points of pri<abi!it P4 Ass"ming yo"! !ole as a man an$ ta#ing 0hat yo" 0ant 0hen yo" 0ant it: (Allo0ing he! 4la"si)le $enia)lity* Lven though I3m setting a frame that I3m high va!ue, assuming the behaviors of a C16@ (in fact, I sto!e some of m best !ines from 6@s), I don3t forget that I AM *CL MA". As a man, it3s ,>U$ responsibi!it to esca!ate, ca!!, !ead, and take risks. *o do this, remove the )uestion mark as a punctuation mark in our vocabu!ar . Dhen ou +ant to move her some+here, don3t ask, PDant to sit some+here e!seEP ,ou .ust go, PCe , I +ant to hear ou better. 0ome onP and start +a!king. Dhen ou +ant her phone number, ou don3t ask her, PCo+ can +e continue this conversation !aterEP (a!though this is a good !ine and have gotten it to +ork in other conteBts), simp! pu!! out our phone, hand it to her and sa , PPut our number in. ,ou3re interesting, +e can hang out again.P 1asica!! , ever thing ou do comes from a p!ace of4 I-m a high value pri8e+ I have hordes o* ,omen vying *or my time+ you Kthe $ L are beginning to impress me so I ,ill give you a chance to seduce me 5o* course assuming she-s

already ,anted you since she sa, you6/ &ide note4 If this sounds arrogant or too-cock , .ust ask ourse!f4 Dhat is our non-arrogant, not-cock attitude getting ouE LBact! . Moving on, ou3re going to have to abandon kiss gambits and free<e outs. *he don3t +ork in this frame. /irst, kiss gambits come off beta (no matter ho+ good our de!iver , C1s +i!! a!+a s sense that ou3re tentative! gauging if it3s oka to kiss her). If I kno+ I have the I>Is, I simp! pu!! a gir! into me as she3s ta!king midsentence and kiss her. If I .ust met a gir!, and I3m not positive if she3s read , I s!o+ do+n m speaking, stroke her hair, and ga<e into her e es. I3ve had gir!s sa to me, PI3m not going to make out +ith ou if that3s +hat ou3re tr ing to doP +hich I ignore and stack into a ne+ thread. &imp! act !ike her re.ection has no effect on our frame or va!ue. *his is +h free<e outs don3t +ork in this frame. *he conve that ou care and are effected b re.ection (even if it does get her fee!ing a sense of !oss). I3ve had gir!s making out +ith me, then te!! me P+e3re not going an furtherP. And m response +as, P0oo!, actua!! I forgot to te!! ou this stor . 2et this...P te!! them a fe+ stories, get them !aughing, introduce some kino, start making out again, and voi!a5 +e3re going further5 1efore I end this section, a +ord on ca!!ing and stor te!!ing. Again, ever thing has to come from a p!ace of high va!ue, but, paradoBica!! , a!so must invo!ve ou taking risks and !eading. *herefore, +hen I ca!! gir!s, I a!+a s do it under some preteBt. /or eBamp!e, m favorite !ine +hen ca!!ing a C1 is, PCe , I3m taking a 9 minute break from m +riting and thought I3d !et ou distract me for a fe+.P A!! our va!ue is embedded in there (i.e. preteBt for ca!!ing, !iving in our rea!it , non-need /*0) so, even though ou3re !eading, esca!ating, and taking a risk ou3re a!so protecting our frame. &econd! , stor te!!ing and .okes, especia!! on the opener, has to come from a p!ace +here ou3re not obvious! tr ing to impress her. (M best stories have 1>M1L' if I make it obvious I3m tr ing to te!! them). 0ome from a headspace that seems !ike ou3re simp! te!!ing the stor (.oke for our or our +ing3s en.o ment. I remember one of m better openers +as on this cute redhead as she took t+o drinks off a bar for her and her friend. As she passed me, I grabbed her, turned to m +ing, and said (!aughing), P>h shit, 0hris, !ook at this...#indse #ohan is back at it again. 'oub!e fisting. Co! shit, take this gir!3s ke s a+a . &he3s gonna get another 'UI...P *his opener busted her +ho!e set open (there +ere actua!! !ike 6@ gir!s

+ith her) because it +asn3t de!ivered !ike I +as tr ing to impress her, it +as more !ike I +as using her as a prop for m and m +ing3s en.o ment... "o+, +hen I +ant to make p!ans, I give the gir! an option of t+o times I3m free. Cere3s ho+ I3d make p!ans +ith an C14 The 3"$ge+ >ka , there3s this a+esome sushi p!ace right near m apartment. I3m !ike sort of addicted to their 0a!ifornia ro!!s so I usua!! tr and eat there once a +eek. I3m going to introduce ou to this p!ace and it3!! b!o+ our mind...hmmm, this +eek I have *uesda or *hursda night free...+hich da +orks for ouE "otice ho+ I presuppose she3s a!read interested in going. *his subcommunicates high va!ue (as if ou3re used to peop!e automatica!! agreeing to spending time +ith ou) +hi!e it asks P+hen she3s freeP (an easier )uestion to ans+er) than P+i!! ou commit to a date +ith meP. A!so, if ou notice, I make it seem !ike I3m more interested in eating at the sushi p!ace than Pgoing on a date +ith herP. Again, this is crucia! for 7 reasons4 6.) It a!!eviates her of undue pressure that ou3re making her the center of our +or!d and that she3!! have to !ive up to these fab!ed standards, and 7.) that ou !ive in our rea!it and have good taste and am inviting her as a guest into that rea!it . *his approach doesn3t +ork 6@@ percent but it3!! get ou MU0C more consistent resu!ts than simp! asking +omen out !ike a chode (I3d sa this +orks about ;9 percent of the time as opposed to the Pask outP method +hich probab! +orked about 7@ percent for me...rough estimates).

Chapter 1i'ht
!peners/ 2outines/ Gambits and %!%s
>peners and routines are grouped together because technica!! there is no reason +h ou canFt open +ith a routine or stack to an opener mid-pickup. /or eBamp!e, if ou sense a !u!! in our convo during comfort, thereFs nothing +rong +ith tossing in a canned opener to !iven things up. Dhat ma be most he!pfu! about canned materia! is it takes our mind off ,hat ou sa , and permits ou to focus on ho, you say it, +hich is a much !arger aspect of communication. In genera! it is best to keep our routines and openers brief to begin +ith, then stack !ater to !onger ones as ou hook the set. $eserve kino routines !ike pa!m reading for our target. *he sign of a good routine is +hen ou hear it de!ivered, ou aren3t sure if it3s canned or spontaneousG in addition, it +i!! be congruent +ith one3s identit , be intriguing and hit s+itches. A !arge part of this is rooting, that is, giving a !egitimate reason as to +h ou3re asking the )uestion or te!!ing the stor . Dhen opening, use Hhe gu sF because itFs not gender specific and some+hat of an I>', as opposed to Hhi !adiesF or Hhi gir!s.F *his +i!! he!p disarm the set. >r .ust run the opener +ithout this intro. *he c!assic +ork is *hundercat3s The 1rt o* 1pproaching. *he ke to these is4 6) be funn and(or fun, 7) be succinct, -) be uni)ue, 8) donFt !ook !ike ouFre tr ing to run pick-up, 9) ground our stor +ith detai!s to make them be!ievab!e. 'onFt run routines as if the Fre scripted. ,our de!iver shou!d seem spontaneous, so crack ourse!f up in the midd!e, put in fa!se pauses to 3think3 about our phrasing or to recount detai!s. Intentiona!! fuck up the de!iver if +hat ou3re sa ing might be seen as bragging or scripted. Dhen a set gives a response, ou have different contingencies. *here are three categories of responses +hich re)uire different contingencies4 positive, negative and confused (credit 1rad P). As ou fie!d test various

openers, ou +i!! deve!op responses (invisib!e threads) ou can use to fo!!o+ up each contingenc . /*0 (/a!se *ime 0onstraints) are important during A6. ,ou shou!d communicate either verba!! or b bod rocking that ou have some+here e!se to be and ou +on3t be there in set for !ong. *his is an I>' and can be used severa! times during attraction to ca!ibrate our I>Is. *he openers and gambits described be!o+ are .ust backbones on +hich ou shou!d hang a stor . ,our stor shou!d captivate, be fu!! of detai!s and hit attraction s+itches, and ma run 9 minutes or more. Use mu!tithread theor to tie various gambits together. A gambit has severa! definitions but for the purpose of gaming means an opening remark intended to begin a conversation, sometimes through 3tripping up3 the !istenerG M ster intended it to inc!ude an game piece inc!uding negs, I>Is or routines. Man opinion openers engage a +oman !ogica!! . *hat is, +hen ou ask for her opinion, she must then access her !ogica! mind to come up +ith a response. Man times, ho!ding a !ogica! conversation +ith a +oman is counterproductive to seducing her. ,ou can avoid this sometimes b spiking her bu ing temp +ith the opener. *herefore, use opinion openers +ith caution, as the ma set a tone for the ear! interaction ou +i!! find difficu!t to escape. *he fo!!o+ing inc!udes a co!!ection of origina! routines and those that have been massive! fie!d tested over the ears. 1>1s are 1its of 1anter +hich are neither openers nor routines, but contain some comebacks or reframes that might he!p ou in fie!d if ou ever encounter a simi!ar situation. If ou have a good 1>1, routine or gambit to share, emai! it to 'ecibe! at rA/0'ecibe!Kgmai!.com. Idea!! , ou can start +ith these as 3training +hee!s,3 but shou!d deve!op our o+n uni)ue openers and gambits as our game improves. Lssentia!! , even though ou might think it +i!! be a cha!!enge to open sets, ou +i!! find even stupid openers that have no situationa! re!evance have the potentia! of getting C1s !aughing and )uick! moving into A7. Ho0 to 4en By The 3"$ge7RoB I can3t te!! ou ho+ man times some A/0 +i!! +atch me ro!! into the set, see me de!iver an opener successfu!! and get the

+ho!e set engaged, then badger me for the rest of the night for me to eBp!ain the LXA0* +ording I used. "o matter ho+ man times I te!! him it3s ">* the +ords, he .ust keeps insisting I transcribe an eBact script +ord-for-+ord. In his head, he be!ieves if he .ust uses the &AML +ords I used +hen opening, it3!! get the same response. And it +on3t. In fie!d I can open probab! +ith about a ?@ percent success rate and on! use t+o t pes of openers4 M, o+n opinion openers, or .ust a )uick 1*-pumping comment off the bat. '>"3* parrot someone e!se3s opener because some guru to!d ou it +orks. I/ ou !ike the opener and think it3s a conversation ou +ant to have, then b a!! means, use it. Persona!! , the t pes of opinions I usua!! !ike to get are about m fictiona! group of friends (+ho I a!+a s have to ca!! in a second), and their cra< !ives in +hich the 4 6) give their numbers out to fat chicks +ho +on3t stop ca!!ing them (can I give them m advice on ho+ to f!akeEE), 7) go to tanning sa!ons, shave their hand!ebar mustaches, then have +hite spots above their !ips but have to go on a date (shou!d I !end them the fake mustache I used for a Ca!!o+een costumeEE Is that being a good friendEE), or -) m friend +ho broke up +ith his 2/ - months ago but she sti!! has his a+esome #ed Teppe!in vintage t-shirt (ho+ !ong shou!d he +ait to get it backEE). *hese are .ust the 0!iffs notes and a!! these openers have -@-second stories I te!! in set. *he ke in de!ivering these openers is to act !ike it rea!! .ust happened. I3m not an actor or an thing so I .ust rea!! concentrate, and tr and fee! the emotions as if these things actua!! happened. Cere3s the structure4 T3+ Caha, gu s. $ea! )uick. I need to borro+ ou for a second and ou3re going to save m friend3s !ife. >ka E &o I gotta ca!! him in a second and stop him from making this huge mistake. >ka oka , I3!! .ust te!! ou. Ce3s going to go on a date +earing a fake mustache5 "o+ +hat +ou!d ou !adies do if a gu +earing a fake mustache sho+ed up on our doorstep for a dateEE HBs+ hahahaha, +tfE5E5E5

T34 A!right, that +asn3t fair. I3!! te!! ou this stor then I serious! gotta ro!!. (2o into -@ second stor ). &o, if ou +ere me, +ou!d ou !end him the mustache or !et him go on this date +ith the +hite spot under his !ipEE HBs+ (ans+er) T3+ ,ou gu s. Are the. Dorst. /riends. LVL$. Co+ can I ca!! m friend and te!! him thatE ,ou gu s are setting him up to LM1A$$A&& CIM&L#/5 1ut ou kno+ +hat, ou gu s are a!so funn in a devi!ish +a . ,ou gu s can ro!! +ith me. *hat3s it (grabs C1s and puts them under his arm) +e3re gonna fi!m a rap video together. (&tacks into ro!e p!a ing) HBs+ Cahahaha ,A,5555 *his is serious! the same structure for an opener I use ever time. It3s4 6) come in +ith a fun energ , engage the group !aughing a bit and tota!! non-need , 7) ask a )uestion but don3t eBpect an ans+er, -) as gir!s are shocked, sa P>ka oka , I3!! te!! ou this 1U*P /*0, stack into animated stor (that is funn and sho+s I3m a good stor te!!er), 8) ask the )uestion again at the end, 9) !et gir!s ans+er (no+ the 3re ca!med do+n and kno+ the situation), :) bust on their ans+er in a p!a fu!, push(pu!! +a , ;) te!! the gir!s the 3re going to do something +ith me (ho+ever, I3m A#DA,& the coo! one and the 3re a!+a s m sidekicks (for eBamp!e, I3m a rapper, the 3re m dancersG I3m a rock star, the 3re m bandG I3m a ce!eb, the 3re m bod guardsG I3m the coo! big bro and the 3re m bratt !itt!e sisters...DCA*LVL$)). 1 the time ou finish the ro!e p!a , ou3!! have done a!! the 'CVing ou need and +i!! be in A-. (Un!ess there3s a $LA##, hot, bitch gir!, and then ou shou!d p!a fu!! neg her or pa her the !east amount of attention) Man Han$s7Mon#ey Finge!s Ce!pfu! if an eBterna! interrupt tries to carr our target a+a , or at an point in the game to up kino. Makes a usefu! !ock-in prop routine. Use man hands if she has !arger fingers (don3t imp! /A*, ho+ever), or monke fingers if the 3re !ike most gir!s and are thin. &!iding a ring on and off her finger has subt!e seBua! tones to it and is a mi!d form of kino. HCe , has an bod to!d ou ou have man handsE I bet our eB-bo friends hated +hen ou gave them a massage because the fe!t !ike another man +as touching them...a!most !ike the +ere going ga . I dunno, .ust for shits

and gigg!es, tr on m ring and see... ou '> have big hands, .ee<. Ce , I3m gonna go check in on m bros, and I3!! see ou in a fe+...F 0onverse! , ou can use, 3Ce , !ook +ho has monke fingers. ,ou rea!! need to put some meat on these bones. Cere...3 and so on. More than !ike! she3!! !ook for ou !ater to give ou back our prop, and the game resumes. The 6"44et Sho0 3Ce , are the sti!! doing those puppet sho+s hereE #ast time I +as here there +as this nice o!d man doing puppet sho+s. Ce had marionettes and a !itt!e 0hihuahua dog +ith a pink skirt on. It +as kinda +eird though. &ome of the puppets +ere !ike MeBican da of the dead ske!etons, and he made them do some freak stuff.3 Classy Ba! .eg PUA4 1ars can be such meat markets. C14 1!ah b!ah, it depends on the peop!e. PUA4 &ome bars attract a !ot of drunk horn gu s, but other p!aces S !ike this one S are much c!assier and attract a more sophisticated cro+d. Dhich is +h IFm so surprised to find you here. Fs Ro"tine Co+ man ?s are there bet+een 6 and 6@@E *here are 7@ ?s bet+een 6 and 6@@. ?, 6?, 7?, -?, 8?, 9?, :?, ;?, =?, ??, ?@, ?6, ?7, ?-, ?8, ?9, ?:, ?;, ?=. 0ount themO+hat, ou on! see 6? ?sE 0ount again. ?? has 7 ?s in it. Myste!y%s Sna44le Ro"tine 3'o fish coughE ,es, the do. I read it on a &napp!e !id. 2ro+ing up I ac)uired a!! these bi<arre facts b reading &napp!e !ids. *hen I come to find out some of these facts arenFt rea!, ou have to go to their +ebsite to see +hich ones are rea! and +hich arenFt. 'o fish cough or donFt the E "ah, .ust kidding, the Fre a!! rea!. /ish do cough.3 Blon$(e* S4elling 4ene! ,ou can use this +hi!e fut<ing around on our ce!! phone pretending to teBt message someone. *his is a variation of the b!ond hair opener. HCe , do ou kno+ ho+ to spe!! b!ondeE 'oes it have an L at the end or notE M friend S +eFre in a rock band together S +ants me to co!or m hair b!ond. 1ut IFm not sure that +ou!d !ook so great, so I +as teBting m eB-

gir!friend +ho is a mode!, to get her opinion. 1ut since ouFre here, I might as +e!! find out +hat a +oman thinks.F *he ans+er is vague and fe+ peop!e seem to kno+ it. 1!ond is an ad.ective, as in Hthat b!ond gir!.F 1!onde is a noun, as in HI dated a b!onde once.F >thers have noted that b!ond indicates men and b!onde refers to +omen. Co+ever, the usages are b!urring and man are using b!ond for a!! meanings. 99s Ro"tine Ce!pfu! if +ritten do+n, but not necessar . 3DhatFs 66B66O676. 666B666E 67-76. 66666B66666E 67-898-76. &ee the patternE ItFs a phenomenon bui!t into nature. And I !earned it from a home!ess gu named 0huck. &ee, I +as +aiting on a movie !ine one da O3 School B"s "eeds to be dra+n. 3&o the asked 6@@ kids to !ook at a picture of a schoo! bus and to sa +hich +a itFs driving4

0an ou guess +hich +a E ItFs going !eft. Dh E 1ecause the said ou canFt see the door. ItFs on the other side.3 Angel vs Devil CereFs a snippet of banter 1ang1ang got into one night. PUA4 (to eBterna! interrupt) >h he!!, here comes troub!e. Interrupt4 Dho meE *roub!eE C14 0an3t ou see her ha!oE PUA4 ,eah, it3s ba!ancing )uite nice! on those horns. ,ou kno+ +hat I hate, ou kno+ the !itt!e ange! and devi!E *he gu s on our shou!ders. Lver one sa s ou shou!d !isten to the ange!. De!! don3t trust either of them. Mine have been s+itching c!othes .ust to fuck +ith me, so I !isten to the ange! +ho3s actua!! the devi! and I get in troub!e A## the time5 'AM" I*, it .ust happened again, I shou!dn3t have to!d ou that5 C14 &o ho+ !ong have ou been rehearsing that oneE PUA4 $ehearsingE >h, about the !ast 9 seconds or so, +h E C14 *hat .ust sounded rehearsed. PUA4 Ce , don3t be hating on me because I3m good there miss .

Goo$ oneG Ba$ one Col$ Rea$ *o a 7 set4 3,ouFre the good one and ouFre the bad one.3 Make the target the good one and the obstac!e the bad one. *his is a subt!e neg because nobod +ants to be Hthe good one.F 9-AG 9-9H 3Pick a number bet+een 6-8 but donFt sa it. Visua!i<e it. ItFs -. "o+ pick a number bet+een 6-6@OitFs ;.3 If ou fai! to guess the right number, sa something !ike 3I never be!ieved in L&P an +a .3 A-Set A!chety4es 3In each group of 8 peop!e, there are 8 archet pes represented. &o these are the king, the )ueen, the court .ester and the +i<ard. /or eBamp!e in the 1eat!es, %ohn +as the king, Pau! +as the )ueen, $ingo +as the .ester and 2eorge +as the +i<ard. &o !et me figure out +hoFs +ho in our group.3 (*hen do a co!d read on the 8 set, ending +ith the target being the .ester). G!a$e School C!"sh Cave our +ing +rite on a piece of paper something !ike HM friend has a crush on ou. Ce +ants to kno+ if ouF!! ta!k to him.F Dhen our +ing s!ips the note to the target +ith a ver serious face, itFs bound to get a !augh. Ce can then bring ou into the set once she agrees. *his chees approach brings back memories of grade schoo! and hits a sentimenta! note that gir!s !ove. The Smelly Gi!l *his is a funn opener that hits the prese!ection and +i!!ingness to +a!k a+a s+itches4 3*his p!ace is prett me!!o+, a !ot different from !ast night (take a pregnant pause, !et the !ine hook). I +as at this part in (nearb cit ). "o+, IFm used to gir!s hitting on me and thatFs coo! (prese!ection). 1ut this +oman comes up to me, and she mustFve been I dunno 9@ ears o!d, 9 feet ta!! at most, and around -@@-8@@ pounds. And she starts tr ing to make out +ith me. I strugg!ed to push her off and get a+a . And the +orst part +as she sme!!ed terrib!e. I guess it +as her perfume or a skin condition or something. 1ut she sme!!ed !ike she .ust got in a shit fight +ith a baboon (pause). And the baboon +on. &o I push her a+a and tr to run to+ards the door. 1ut she runs after me, and since sheFs +earing this +eird !o+-cut b!ouse, her boob pops out +hi!e sheFs chasing me. And IFm !ike Hsee aF and bai!. I +ound up at this dive bar on (street). *hat +as no better. I met a nice actress there,

but after a coup!e g!asses of +ine she became rea!! offensive and obnoBious. &o I !eft her on the side+a!k +ith the '% and ca!!ed it a night. I mean, I have high standards and if somebod is being rude I think itFs fine .ust to +a!k a+a . 'onFt ou think soE3 6eeing Dog 3'id ou see that dog outsideE I think it +as a #abradood!e. I +ent over to pet it, and the bastard tried to pee on me. Dhat do I !ook !ike, a fire h drantE 1ut I guess I shou!d fee! f!attered because he +as probab! tr ing to mark me as its o+n.3 Mall 4ene! &aid over the shou!der as C1 +a!ks a!ong our path4 3Ce , is it .ust me, or does nobod in this ma!! smi!eE Lven the dogs are meanO3 stack to peeing dog. *his opener gives the target the impression ouFre a happ smi!ing gu , even if ouFre not. ."n an$ 6!iest 3Dhat +ou!d be fun +ou!d be if ou dressed up as a nun and I dressed as a priest, and +e +ent to the ma!! and started making out !ike a coup!e of teenagers.3 Who 0o"l$ yo" !athe! $ateI 3Dhich gu +ou!d ou +ant to date mostE3 *hen, go +ith some group of ma!e characters, for eBamp!e4 6) the skipper, 2i!!igan or the professorE 7) $eggie, %ughead or ArchieE -) #inco!n, Aenned or $eaganE Lt cetera. 6"44y Role 6laying 3A+, ouFre adorab!e, !ike a pupp I .ust rescued from the pound. I +ou!d put ou on a !eash and +a!k ou around the park. And then I cou!d teach ou a fe+ tricks, and if ou +ere good, IFd rub our be!! and !et ou s!eep in bed +ith me. 1ut if ou have an accidentO ouFre s!eeping outside. 1ad dog53 (and do ro!! off) The Lemona$e Stan$ (Do!f) 3Me and m budd +ere +a!king do+n Di!shire !ast +eek and +e sa+ the cra<iest thing. De hear this !itt!e kid sa ing H!emonade, !emonade for a buck.F De see itFs this adorab!e !itt!e kid se!!ing !emonade, so +e +ent over. An o!d !ad +as there and +anted a cup. &o the kid takes the do!!ar and

reaches under the stand and pu!!s out this .ug of ;-Up, and pours some into this tin 'iBie cup. *he o!d !ad +as !ike HthatFs not !emonade. %ust give me back m mone .F 1ut the kid started arguing +ith her. Ce said, Hnahah !ook here, it sa s H#emon-#ime f!avored.FF And he +ou!dnFt give her the do!!ar back. I fe!t so bad for the o!d !ad I gave her a do!!ar.3 D!eam inte!4!etations /or some reason there is !itt!e mention of dream interpretation in pickup, but the possibi!ities are enormous. Cere3s one b 'ecibe! ca!!ed the #atcher in the 'ye 'ream 2ambit4 PUA4 Ce , ou seem !ike ou3d be good at dream interpretation because ou3re a ver visua! kinda person. I3m in this fie!d of r e, on a c!iff, and kids are p!a ing. It3s m .ob to stop the kids from fa!!ing over the c!iff. Dhat do ou think this meansE *arget (option 6)4 Ce , that3s the dream from 0atcher in the $ e. PUA4 Do+, ou caught me. I .ust +anted to see if there +as an thing e!se to ou besides our !ooks. *arget (option 7)4 I dunno. PUA4 I think it means I3m a protector of !oved ones (i.e. hit attraction s+itch here). ,ou can take a dream ouFve had or thought up and do the same, such that the Hpunch!ineF is an attraction s+itch. ,ou can make the dream as absurd and comica! as ou +ant to get the set !aughing, but sta c!ear of an thing vio!ent or too disturbing. Eighties Dogs (&+inggcat) 3Ce gu s, I need a )uick opinion about something. M friend .ust got t+o puppies, a Pug and a 1eag!e. &he +ants to name them after an =@Fs pop duoO she +ants to name themO 'U$A" 'U$A"O I think thatFs a horrib!e idea... ou canFt have t+o dogs +ith the same name. 'o ou gu s have an ideasE I +as thinking &onn and 0her +ou!d be a good one, because the Pug dog is a ma!e and the 1eag!e dog is a fema!e. 1ut the Fre ;@Fs, not =@Fs, so that +onFt +ork. Ma be ABe! and &!ash +ou!d be good, but the Fre rock nF ro!! hair band st !e. Mi!!i Vani!!i +as a thought, but those are both gu names. De need a fema!e name. P!us, Mi!!i doesnFt fit a Pug or a 1eag!e.3

Fashion Ti4 (Aooper) %ust go up and .ust te!! them ho+ the +ou!d !ook LVL" 1L**L$ to ou. PDear our hair openP Popen that up one more buttonP or .ust fiB their c!othes. *e!! her +hat +ou!d !ook ama<ing on her. *rain our e e to !ook for imperfections and +hat to do against them. /or the c!ue!ess, get t+o-do<en mode! maga<ines and !ook through the pictures &LVL$A# times so ou get some idea. *r to make up negs for these gir!s and point out +hat +ou!d !ook better on them. *his sets an interesting frame. /irst of a!!, ou are teaching her ho+ to p!ease ou, if she reacts +e!!, praise her for being a good pupp . &econd, it is obvious that ou are the pri<e, that ou have standards and that ou kno+ +hat ou +ant. *hird, it estab!ishes that +omen are a regu!ar part of our !ife (prese!ection). *his is [not[ de!ivered p!a fu! or cWf or an thing, .ust a genuine comment. 3ealo"s Gi!l,!ien$ (&t !e) MCe gu s, I need a fema!e perspective on something. *hisF!! on! take a minute. M roommateFs gir!friend .ust found a shoe boB he keeps hidden in a dresser dra+er, and sheFs rea!! upset about it. ItFs nothing bad, .ust pictures of him and eB-gir!friends on vacation and o!d !ove !etters he got in high schoo! and stuff. 1ut for some reason his gir!friend is freaking out about this and +ants him to get rid of it or sheFs threatening to break up +ith him. &o no+ she +ants him to burn the boB or sheFs !eaving him, isnFt that fucked upEE Is this norma! fema!e behaviorEN Gi!ls Fighting "tsi$e (M ster ) P>M25O did ou see those t+o gir!s fighting outsideE #ike right outside the c!ub... the +ere tota!! going at itG one +as pu!!ing the others3 hair, and the other one dre+ b!ood +ith her nai!s. And the seemed to be fighting over this short gu G he +as standing near them .ust tota!! !aughing5N T0o-6a!t 1iss 4ene! (&t !e) PUA4 Ce gu s, +e3re having a debate and need a )uick opinion on something. If a gu is dating a gir!, and she goes out to a bar +ith her friends one night and makes out +ith a gu .ust for fun, is it cheatingE 2$>UP4 ,eah, it3s cheating. PUA4 >ka , that makes sense. &o here3s the rea! )uestion. And I3!! te!! ou +h I3m asking in a second4 If she goes out and gets drunk and makes out +ith a 2I$# for fun, is it cheatingE 2$>UP4 (the responses +i!! var , but if an gu s sa Pno,P ou can bust on

them for having a doub!e-standard etc.) PUA4 >ka . Interesting. *he reason I3m asking is because m friend over there has been dating this gir!. And she !ikes to go out and get drunk and make out +ith gir!s. "o+, some gu s might be into that, but it pisses him off and he thinks it3s cheating. &he sa s it isn3t. &o +e +ere tr ing to figure out +ho +as right. Blon$ Hai! (* !er 'urden (*')) ,>U4 2u s.. get this.. I need an opinion.. *CLM4 DhatEEE ,>U4 I3m thinking of d ing m hair, *>*A##, 1#>"'L *CLM4 no.. es... no.. (the debate) ,>U4 ho+ about !ike this.. streaks.. etc etc G-St!ing 4ene! (1adbo ) PUA4 Ce gir!s, I need fema!e opinion on something...M friend tota!! fucked up his re!ationship +ith his gir!. Actua!! the are sti!! together...in !ove +ith each other... &et4 Dhat, +hatE PUA4 #ast month, he cheated on his 2/ +ith another gir! from co!!ege, and his 2/ found a g-string from that gir! in the bathroom the neBt da . After a big drama, he to!d her that he actua!! has a fetish of dressing in gir!s under+ear... "o+. A month !ater, m friend te!!s me that his 2/ found that a tota! turnon, and she re)uests from him a!most ever night to dress in her under+ear....he to!d me he fee!s rea!! stupid +a!king around his house in gir!s under+ear......+hat do ou think he shou!d do no+EE Is it time to te!! herEE 0ause the are tota!! in !ove55 2ir!4 ,ou are actua!! asking for ourse!f, aren3t ouEE PUA4 ,es...+o+... es I am sh ... an +a ... +hat kind of panties do ou have on ourse!f no+EE Dhat co!or.. I rea!! !ove pink ones..sho+ me.... Since!e Com4liment (Papa) PUA4 Ce ...are ou someone confident enough to accept a sincere comp!imentE C14 Cee...hee. &ure. PUA4 0oooo!. Me too55 Ce , ou go first. \pointing back to me] /ire a+a . Do I loo# GayI Preferab! used +ith a +ing and +ith a game-sho+ host(part host attitude.

\a] PI need our honest opinion on something... do I !ook ga EP &ome chicks +i!! bust out !aughing +hen ou ask this. P...1ecause something rea!! funn .ust happened, this dude +as hitting on me in another bar5P \b] 1etter is to use this +ith a +ing and change it to4 P'oes M, /$IL"' !ook ga P because it e!iminates the se!f-conscious aspect. *he person +ho +as supposed! hit on must p!a it off as something tota!! funn and even f!attering. Davi$ Bo0ie (*') P2u s, do gir!s think that 'avid 1o+ie is hotE 2et this...m roommateFs !itt!e sister, sheFs ; and ha!f ears o!d, has a CU2L picture of 'avid 1o+ie on her +a!!. IFm not ta!king an =B6@G IFm ta!king a 8-foot b :-foot P>&*L$5 ItFs !ike the first thing she sees +hen she +akes up in the morning. 'avid 1o+ie is a freak !ooking >#' MA"5 &heFs !ike ; and heFs !ike ;@. IFm serious! +orried about m roommateFs !itt!e sisterON Wheelchai! (*') PCe gu s, +ou!d ou date a gu in a +hee!chairE Dhat if it +as a $LA##, "I0L +hee!chairEN Th"g Lovin (.!aiB) MCe gu s. I3m doing a po!!. Dhich is superior... +hich do the !adies prefer more... *CU2 #>VI"3E or... 2A"2&*A #>VI"3E De!!, m eB said gangsta because its more hard-core +hereas thug !ovin is more !ike a hobb . 1ut m other eB said gangsta +ou!d be disrespectfu!, !ike the 3d pisto! +hip ou and run a train on our ass, +hereas thug !ovin, the dude is hard, but +hen it comes to the !adies, he3s smooth and sensitive...he kno+s +hen to step up his !ove game.N *his is one of 'ecibe!3s favorites. If ou3re ta!king about thug vs gangsta !ove and ou3re a short +hite kid +ith acne, it3s so incongruent it3s bound to hook. ,ou a!so can sa ou3re +riting a song and cou!dn3t decide +hich direction to take it. My Little 6ony (.!aiB) 3$emember that shit 3M #itt!e Pon 3E De!!, I +as thinkin about this toda , and I can3t remember... did the have po+ersE #ike, I remember the cou!d f! , but I thought the a!so had !itt!e s mbo!s on the hip or something that gave them po+ers, but the +ere !ike, !ame-ass po+ers !ike &haring and Conor or some shit. M !itt!e sister used to have them and I3d p!a 2I %oes

+ith them, !ike, 2I %oe +ou!d f! into batt!e on M #itt!e Pon , then b!ast 0obra +ith a fuckin machine gun b!ah b!ah b!ah...3 ARE @ D SH@I 3Are ou gu s sh E IFve been standing here ta!king to m friend for !ike 9 minutes no+ and ou sti!! havenFt said Hhi3.3 A!ternative! 4 3Ce , ou kno+ +h ou suckE IFve been standing her 6@ minutes and ou havenFt come up to me to sa hi.3 C L G.E 6E.ER Put a different co!ogne on each +rist and ask gir!s +hich one sme!!s better on ou. 2o back and forth severa! times bet+een arms. 1efore ou eBtend our +rist, each time take a sniff of the +rist ourse!f. Inc!ude the gu s in the set. 0arr a pen and mark the +rist she voted for, te!!ing her ou need to figure out +hich one to bu . DATI.G F R DDMMIES (Cerba!) 2o find the 'ating for 'ummies book. It3s bright e!!o+ and b!ack. /ind the page that has P"LVL$ U&L *CL&L #I"L&P on it, and keep the book open to that page. Da!k up to a gir! 1#A*A"*#, and ho!d the book up in front of our face so she can easi! read the tit!e. &he might start !aughing, depending on ho+ ou do it. *hen s!o+! !o+er the book and read the !ines. P&o... come here oftenP in a super p!a er voice. &he +i!! crack up and ans+er ou. 1reak our PsmoothP !ook on our face and )uick! bring the book back up and read the neBt !ine PDhat3s our signEP. &he +i!! !augh again and probab! ans+er. *hen sa PDo+... this +orks great. ,our turnP. It puts her on the spot. ,ou can f!ip to random pages and do tons of ro!ep!a ... the breaking up stuff is great. DE.TAL FL SS (&t !e and M ster ) 3Ce gu s, I need to get our opinion on something. It3s ver important, and +e need a +oman3s perspective. It3s a matter of !ife and death.. M friend and I +ere having a debate and our ans+er cou!d comp!ete! change m entire !ife....'o ou brush before f!oss or f!oss before brushE "o one kno+sO3 D .8T T DCH ME ('avid '.) Dhen a gir! bumps into ou in a cro+ded c!ub tap her on the shou!der and sa MdonFt touch meN O have something to immediate! fo!!o+ up +ith.

A!ternative! , ou can +hineO3o+++, that huuurrrt. I hope ou have a good !a+ er, sister.3 JH%s M"sic (*+ent siB) 3Ce gu s, he!p me out, I have this song stuck in m head A## da and I can3t remember +ho sings it. it goes P ou spin me right round bab right round !ike a record p!a er right round, round round, etc....P +ho sings thatEEE I +as ta!king to m mom ear!ier toda and she said its #ione! $ichieO but I A">D that isn3t right53 Song St"c# in My Hea$ A favorite opener b 'ecibe! is simi!ar to =@s Music. Approach and sa 3Dhat is the cure for a song stuck in our headE I have the song...3$o!!in3 $o!!in3 $o!!in3...Dhat3s the name of that oneE3 (It3s 'ollin- b #imp 1i<kit). &he3!! probab! sa , M#isten to another song.N *o this ou sa , M*hat DA& the other song. *he first song +as ^insert some !ame unpopu!ar song here_.N &ing that song, then sa , M>h great, thanks a !ot. "o+ I have that song stuck in m head again.N EL2IS 6E.ER (M ster ) 3'id ou kno+ that L!vis d ed his hair b!ackE Dhat +as his natura! hair co!orE 'irt 1!ond. 'id ou kno+ that Prisci!!a Pres!e a!so d ed her hairE I don3t kno+ +hat her natura! hair co!or +as, I3m not 0!iff 0!aven, but can ou picture that these t+o ever coup!e of +eeks +ou!d d e their hair b!ack together around a dirt sink in some sick mass-appea!ing ceremonia! ritua!E I bet peop!e never considered that before ... did ouE3 FAT EL2IS (Di!der) PUA4 Ce gu s, if ou +ere going to hire an L!vis impersonator for our friend3s birthda part , +ou!d ou hire a oung L!vis or a /at L!visE C14 1!ah, b!ah, b!ah. (if she sa s oung L!vis bust on her for being sha!!o+) PUA4 2et this, m roommate !ived in 2race!and for a ear and he said the cra<iest thing. Ce to!d me that the fat L!vis impersonators a!+a s got the hottest chicks, and the oung L!vis3s +ere a!+a s a!one. I cou!dn3t be!ieve it at first, but I thought about it, and it kinda makes sense. I guess +omen .ust !ose a!! contro! +hen the see a fat L!vis impersonator doing Phunka hunka burnin3 !ove.P

1HA1I 6E.ER (superf! ) 3Ce , gu s, m friends and I +ere making fun of some frat bo s, and got into an argument...is khaki a co!or or a fabricE3 (*he correct ans+er is that khaki is a co!or of fabric, and most gir!s kno+ this.) 3&ee, I +as thinking it +as a co!or, but the thing is that ou never see a khaki car or +a!!paper co!or or an thing !ike that53 1I. 6E.ERS (*') Pushing gir!s, grabbing drinks out of their hands, !ight! hip checking them, snapping bra straps, grabbing hats off heads, poke her, tap the opposite shou!der, etcO I%M L ST (*') 3I3m !ost... I can3t find m friends and I3m scared... $emember +hen +e +ere kids and ou cou!d .ust make ne+ friends +henever ou +anted... and ou said 3+ant to be m friendE3 'o ou gu s +ant to b m "LD friendE3 I.TR DDCTI . 6E.ER (i....i) PUA4 (grab unsuspecting C1 b the arm and point at a random dude) P>M2, that gu is PL$/L0* for ou - !et me introduce ou55P (start moving to+ards the gu ) C14 DhatE5 "o.. ">">">.. haha.. Ce!p5 PUA4 (to gu ) *his gir! is so sh , but she rea!! +anted to meet ou5 C14 (2igg!ing h sterica!! ) "o no no... its not true5 PUA4 A+++ come on.. don3t be sh ... .E2ER BE A C D6LE (i....i, *') PA++ - ou are soo cute.. but ou make me &> &A'5 (C14DC,E) (pause +ith pupp dog face) 0os +e cou!d "LVL$ LVL$ be a coup!e5 (C14DC,,,EEE) "ooo.. +e are too simi!ar.. IMA2I"L, +e +ou!d be &> I" #>VL.. and the neBt moment, +e +ou!d be fighting and screaming and thro+ing things.. and then +e +ou!d have C>* MAAL UP &LX a!! over the p!ace.. and then fight, makeup seB, fight, make up seB.. after a +eek +e +ou!d both be in ps chiatric care due to emotiona! drainage5P 6IC1I.G D6 CHIC1S MCi, +eFre picking up chicksN

RIC1I LA1E (M ster ) *his one is used to +ing our budd , especia!! if he3s in a t+o-set and the obstac!e needs to be kept occupied. Use some a!ternative ta!k sho+ current! on the air. PCe , m friend here .ust got invited to be on the $icki #ake sho+. 1ut the theme of the sho+ is &ecret Admirers. *he to!d him he3s got an admirer, but he +on3t find out +ho unti! he3s !ive on the set. &o ma be it3!! be someone cute, but ma be notG it might even be a gu . Dhat +ou!d ou do if ou +ere himEP SEATTLE GF (*') PCe gu s, I need an opinion. M friend met this gir! in &eatt!e, and the rea!! hit it off. *he +ound up hooking up on the first night, and he even hung out +ith her in #.A. over the neBt +eek. &o he3s up visiting her in &eatt!e !ast +eek, and the 3re out on a +a!k. Ce takes a fe+ pictures of them together. #ike rea!! cute ones +ith them together. &ome of them the 3re .ust hanging out, and a fe+ of them the 3re !ike kissing or +hatever +hi!e the 3re out +a!king. An +a , the neBt morning he +akes up, and checks his camera. Ce !ooks at the pictures, and he sees that she3s +oken up before him and gone into it and de!eted the pictures +here the 3re kissing, and !eft the ones +here the 3re .ust hanging out. Ce goes to her and sa s 3Are ou ps choE Dh are ou going into m cameraE3 &he sa s its because she thought she !ooked bad in the pictures, and didn3t +ant him to have them. 1ut he can3t figure out if she3s ps cho or if its !egit that for gir!s the .ust hate having pictures out there +here she doesn3t !ook good. Ce .ust rea!! !iked them because he !ikes her and doesn3t .udge the pics !ike that.P *he gir!s +i!! either sa 4 PIt3s tota!! natura!. I hate it +hen pictures make me !ook bad, especia!! +ith a digita! camera +here ou can .ust de!ete them and take more.P (*he a!so sometimes sa P1ut he3s on! kno+n her a fe+ months. I +ou!dn3t do that on a gu I .ust met.P) -orP&he has a bo friend5P ,our immediate rep! +ou!d be PCe doesn3t care about that. Ce3s bus . Ce .ust doesn3t +ant her de!eting his pics5P SEK@ M .1E@ (*enmagnet) 3'o ou think 0urious 2eorge is a seB monke E 30u< m !itt!e cousin +as +atching 0urious 2eorge on *V esterda , he3s t+o and a ha!f and he

pointed at the screen and said P&eB Monke P. #ike D*/E5E I didn3t teach him that... "> $LA##, I 'I'"3*.3 S6ELLS 6E.ER (M ster ) P'o ou think spe!!s +orkEP &ometimes this +i!! send the +oman off on a !ong b!ab, but if the conversation needs to be kept going, the fo!!o+-up routine is4 P*he reason I3m asking is because m friend over there met a gir! in a c!ub !ast +eek. Ce +asn3t interested in her seBua!! , because she +asn3t rea!! his t pe.P (Cere the +oman might sa P&ure,P in +hich case ou rep! P"o, rea!! 5P and touch her arm or +aist.) PAn +a , she hung out at his house and after she !eft, he found a meta! ring +rapped around a scro!! and some feathers under his couch. De!!, he took it to a magic store and the said it +as an attraction spe!!. And no+, the strange thing is, he can3t stop thinking of her. 'o ou think it3s the spe!! or .ust ps cho!ogica!EP A!ternative4 3'o ou be!ieve in spe!!sE M friend %ohnn +oke up one morning +ith his ne+ gorgeous gir!friend, and he finds this bag of bones under the cover. &o he takes the bag to a +oman +ho se!!s a!! that hocus pocus stuff, and she sa s the bag of bones is a spe!! used to generate attraction in men. "o+, the gir! +as abso!ute! stunning, but before the bones %ohnn +asnFt that into her, but after he found the bones, heFs been mad! in !ove +ith her. &o do ou think the spe!! +orked, or is it a!! nonsenseE3 TATT 6E.ER 3Ce gu s, +ou!d ou ever get a tattooE CereFs the dea!Om nineteenear-o!d sister +ants to get her bo friends name tattooed on her shou!der. (C14 no, no don3t !et her do it) &ee thatFs the prob!em she3s rea!! strong headed and +hen I te!! her not to get the tattoo it .ust makes her +ant to get it even more. Co+ do I dea! +ith that and !et her rea!! kno+ its mistakeE3 Lmbe!!ishment4 3And the +orst part is his nameFs Cerman. Dou!d ou ever date a gu named CermanE 'onFt ou think Cerman is a dea!-breaker nameE I had a friend named Cerman and he cou!dnFt for the !ife of him get a gir!friend. &o he decides to start ca!!ing himse!f *ro , and no+ heFs getting !aid !ike a rock star.3 TEKT MESSAGE BREA1-D6 Is it >A to breakup +ith someone +ith a teBt messageE (*hen make up a good back-stor for this)

TWI. BR THERS ($oss %effries) 3,ou3re at a c!ub and ou meet t+in brothersG the are abso!ute! identica!, ph sica!! . >"L of them has the best hands of an gu ou3ve ever met. *he other is an incredib!e dancer. Dhich one do ou pickE &ame scenario. Again, the t+o gu s are identica!. >ne makes ou !augh more than an one ou3ve ever met. *he other is the most incredib!e kisser ou cou!d ever in a !ifetime encounter. Dhich one do ou pickE &ame scenario4 >ne gu has more mone than 1i!! 2ates. *he other makes ou fee! !ike ou are the most beautifu!, desirab!e +oman +ho ever +a!ked the face of the p!anet. Dhich do ou pickE WH LIES M RE (0hris $ock version) 3Ce gu s, I need a fema!e opinionO +ho !ies more 2u s or 2ir!sEE *he +a I see it gu s te!! the sma!! !ies !ike M ouFre ass doesnFt !ook fat in those pantsN but gir!sO the te!! the big ones... !ike... MIt3s our bab 5N3 C an$ D sha4e$ Smiles (&t !e) &t !e4 &mi!e again for me. C14 um, oka . &t !e (to +ing)4 &ee, she3s a U. C14 EEEE &t !e4 I dated a gir! +ho +anted to be a pop star. And she had a theor that peop!e +ith U-shaped smi!es +ere perceived as unfriend! . And peop!e +ith 0-shaped smi!es +ere perceived as friend! . C14 &o +hat3s a U thenE &t !e4 A U is +hen our teeth go straight back in our mouth (can add Pkind of !ike a horseP if she3s a &C1). A 0 is +hen there3s a big ro+ of pear! +hites in the front. And to m eB, it +as more than a theor . &he actua!! got her teeth surgica!! reshaped from a U to a 0. C14 "o +a . &t !e4 And she had me go !ook at pictures of !ike 0hristina Agui!era, +ho is a U, and 1ritne &pears, +ho is a 0. #ook at the cover of Us or an maga<ine, and ou3!! see that it3s a!+a s a 0 smi!e on the cover. /rom here, me and the target start inspecting the teeth of random strangers !ooking for the perfect 0 or U. It3s fun. 3ealo"s Cat PM friend has been going out +ith a gir! for about three months and the get a!ong rea!! +e!!, the !ove each other heaps, but her cat hates him. #ike +henever he tries to pet it, it +i!! .ust !ook at him !ike he3s an idiot and

+a!k off and one time he !eft his shoes b the door and it pissed on them. Dhat do ou think he shou!d doE De3ve thought of four things 4 6. %ust be nice to it even though it3s going to hate him. 7. Ignore it. -. &a to his gir!friend 4 It3s me or the cat. 8. Dhen she3s not !ooking 3accidenta!! 3 (t+o fingers motion) run it over +ith his car ...P 62C Devil (*') P>h, ou3re getting feist , huhE ,ou kno+ +hat I +ou!d do +ith ouE I +ou!d dress ou up.... in a red.. PV0... [devi![ outfit.. ,ou3d have !itt!e horns !ike this... and a tai!... bitch boots, and..... a pitch fork. "o+ our friend here.. I3d dress her up in a simi!ar ange! outfit.. +ith +ings.. and a fur ha!o.. and I3d ro!! +ith ou gu s on each arm do+n the street.. Lver gir! +ou!d be .ea!ous of ou.. And +henever I3d have to make a decision.. I3d !et each of ou fight over +hich decision is the most fun.. and +hatever one +ou!d be the most fun.. +e3d do that.P .egs Collection A++.. our e es are !ove! ... especia!! the !eft one5 A++.. nice teeth5 Are the rea!E Do+.. ou +ork out.. no+ and then.. Do+.. ou cou!d A#M>&* be a stripper5 ,ou are prett .. ou cou!d have been a mode!.. if s!ight! ta!!er.. and s!immer.. ,ou cou!d be a mode!...!ike a CA"' mode!, I mean. ,ou are prett .. are ou an LX mode!E I had to come ta!k to ou cos ou !ooked so cute.. from over there5 (point) ,ou !ook rea!! seB .. from behind5 A++.. nice hair555 Is it rea!E (pu!!) Ce it moved5 ... Do+.. ou cou!d be a hair mode!.. if ou !ose the sp!it ends5 ,ou are cute.. in a kinda strange +a 5 ,ou got an interesting figure5 ,ou have something on our nose. 30oo! perfume. I think m grann +ears the same.3 P,our hands are so &>/* and 2L"*#L,.. #ike toi!et paperP. P,ou !ook ver stunning, must be the !ightingP P,ou have some rea! beautifu!, gorgeous hair, !ike #assiesP

The C"test Little 1i$ M budd and I +ere ro!!ing do+n &unset esterda and +e sa+ the cutest !itt!e kid. &he !ooked !ike she +as about ;, and had on this adorab!e !itt!e pink skirt and +hite tap shoes, and a bonnet. &he !ooked !ike a !itt!e stuffed do!!. &o m bud sa s +e shou!d adopt this kid because sheFd be a great chick magnet. &o I ro!! do+n the +indo+ and sa , Hhe kid, +hatFs upEF And the !itt!e gir! !ooks at us and gives us the finger. *hatFs #A for ou. Best F!ien$s (E'4an$e$* (*') ,ou gu s are best friends aren3t ouE ,ou have eBact! the same facia! eBpressions. And ho+ I kno+ ouFre c!ose is ever time ou start to ta!k, or I3m ta!king to ou, ou gu s keep !ooking at each other first. ItFs !ike gir! code. Se'"al 6!e$ato! (*') *he method4 &ho+ that gir!s are seBua! predators, and then +hi!e chatting, keep going back to sho+ing them +h +hat the 3re doing is .ust designed to take advantage of ou. *hat3s it. &tep 6 - LXPA"'L' &LXUA# P$L'A*>$ $>U*I"L #a a &*$>"2 humor anchor. *he have to be !aughing out of their minds, so that ou can keep re-using the ca!!back humor through out the pickup. P,ou kno+ +hatE I can3t even trust ou gu s. 2ir!s are predators. 2ir!s are &LXUA# predators5 2u s think that the seduce +omen and have a!! this po+er. ,eah right5 2ir!s choose. *he choose. *he gu s .ust dang!e themse!ves in front of them [thinking[ that the made it happen, but the don3t rea!i<e that its the gir! +ho chose *CLM. 2ir!s are predators.. *he ho!d the cards.. LBamine the evidence. /irst, +hen a gu gets mad at his gir!friend, can he strap on his bitch boots, shove up his push up bra, do up his hair and makeup, and head out to the bar and pu!! a gir! home in under five minutesE ,eah right5 It3s 2I$#&. ,>U 2U,& have the po+er to do that, not us gu s5 (+ait +hi!e gir!s !augh).. Dhat percentage of gu s can do thatE #ook at them (point at gu s).. *he 3re !eaning in and touching, making the gir!s a!! uncomfortab!e, but some of the gir!s !ike them an +a .. 1ut the gu s *CI"A its that the +ere aggressive.. &o +hat, !ike 9R of gu s *>P& can do +hat 6@@R of gir!s can do. &econd, gir!s are the on! gender +ith one organ designed for ">*CI"2 L#&L but seBua! p!easure. (+ait +hi!e gir!s !augh) And on that organ, there

are ten times more nerve endings than an thing a gu has. (+ait +hi!e gir!s !augh) *hat3s +h , +hen 2I$#& have seB, the go (put hands onto hair, and do the fo!!o+ing ver convincing! , !ike Meg $ an PDhen Carr met &a!! P st !e) Puhhhhhh.... oooohhh.... uhhhhhhh..P (+ait +hi!e gir!s !augh h sterica!! screaming their heads off) I'LA##,, *CL $>U*I"L I& &UPP>&L' *> '> *CL />##>DI"24 -sets a humor anchor that can be re-used to keep them gigg!ing throughout the duration of the pickup -gives ou fodder to do Pbusting them on their mannerismsP stuff.. ,ou can no+ tease them on their actions, and tease them on +hat the sa , sho+ing that its a!! designed to take advantage of ou -provides a 0W/ ro!e p!a ing frame for them to p!a in, that resu!ts in them seducing ou -makes the obstac!es(peer group !ove ou, because the think ou3re rea!! fun, and it makes them trust ou +ith their friend that ou +on3t be push -estab!ishes a frame that gir!s are meant to seduce gu s, and its norma!(coo!(fun -conve s that ou kno+ the dea! about socia! interaction -conve s that ou kno+ not to make gir!s fee! uncomfortab!e b being push or tr ing to PseduceP -conve s that ou probab! A$L one of the 9R of gu s +ho can pu!! a gir! home, because .ust imp! ing that ou kno+ +hat3s +rong +ith other gu s3 approaches, suggests that ou kno+ ho+ to do it right -mindfucks her into a frame +here she3s becoming more seBua!! aggressive &*LP 7 - MI&I"*L$P$L*I"2 *CLM A& *$,I"2 *> P$L, >" ,>U Point out rea! I>Is (there +i!! be a !ot), as +e!! as MI&I"*L$P$L*I"2 things that are not I>Is, in order to mess +ith gir!s in the set +ho are not as into ou. -(point) PCe , ou .ust !icked our !ips5N (back off !ike ou3re scared) -PCe , ou3re touching me.. Cands off the merchandise.. I3m .ust tr ing to ta!k to ou.. I .ust +ant to ta!k, and ou3re .ust &I**I"2 *CL$L DAI*I"2 for me to ta!k so I can fee! read for ou, and ou3re not even !istening to +hat I3m rea!! sa ing... ,ou3re .ust biding our time unti! I fee! comfortab!e +ith ou.P -PCe , stop gigg!ing at me.. It3s making me fee! rea!! good.. &top it.. &top being so attracted to meP (this must be in deep attraction, or sounds !ame.. if it3s in deep attraction, it makes her $LA#ITL that she3s attracted

-PCe 5 ,>U3$L A**$A0*L' *> ML5 &*>P I*5 I %U&* DA"* *> *A#A, &*>P 1LI"2 &U0C A P$L'A*>$5P -PCe 5 ,ou gu s think it3s a!! fun and games.. #ike ou can .ust do this, and ever thing +i!! be /I"L.. 1ut ou probab! didn3t even kno+ about the hidden damage ou3re doing.. 'id ou kno+ that ??R of a!! co!!ege-age ma!es +ho get date raped commit suicide +ithin 6 earE 'id ou kno+ that +hen ou3re taking advantage of a gu for our o+n p!easure that he +a!ks around depressed and a!one for the rest of his !ife5 I don3t +ant this to happen to me5 &top it5 "o no no, no+ ou3re !icking our !ips again.. &top stop stop (engaging the group, so ou3re sa ing stop to ever one in the group individua!! ).. MCe!p5P -/or gir!s +ho aren3t as attracted in the set4 PCe , ou3re !eaning a+a but our knees are pointing at me.. ,ou3re trickier than our friends.. ,ou3re tr ing to go in under the radar but our knees are giving it a+a ... >A she3s scaring me the most..P &*LP - - %U&* 0>"VL,I"2 PL$&>"A#I*, &> *CL 2I$#& 2L* *> A">D ,>U, UUA#I/,I"2 ,>U$ *A$2L*, 1U* A## *CL DCI#L $LI"I*IA*I"2 &*A*L DI*C 0A##1A0A CUM>U$ *he idea is that ou3re running a norma! pickup, but using ca!!back humor and the cock W p!a fu! ro!e p!a ing stuff. &o this gives ou the maneuverabi!it to run a nice norma! conversation, but keeping the interaction charged +ith this stuff. -Use Preverse-LVP t pe stuff, so that she3s finding out positive things about ou and bui!ding trust. *he +ho!e pickup !asts usua!! around 8-; hours, start to !a . ,ou3re supposed to be conve ing persona!it during this time. *he accusing-them thing is something ou do as their state drops, or +hen ou see a good opening to do so. It3s not the entire method, since .ust teasing +on3t get ou !aid eBcept b part gir!s. Dith part gir!s, .ust tease the fuck out of them, that3s it. -Uua!if her to ou, and ever time ou act impressed !ean in, and then sa P+ait a minute.. +hat are ou doing.. I can3t ta!k to ou an more, ou3re troub!eP -Ask her arbitrar )uestions about herse!f, and then pretend !ike ou3re hitting bu ing temperature, but then cutting it off because ou3re afraid that she3!! take advantage of that. PPUA4 Dhat3s our signE C14 #ibra. PUA4 >M2 I !ove ou (take hands).... Dait, I can3t ta!k to ou an more.. ,ou3re troub!e.. 2o a+a (push her a+a and turn our back on her and face her friends and sa Pshe3s troub!eP)P -If she does something rea!! impressive, pretend !ike ou freaked out and hit high bu ing temperature, and .ump in and kiss her, then go Paaaah....

+hat are ou doing to meEEEP and turn around and move a+a from her !ike ou3re scared that she manipu!ated ou to do that. -0ondition her (!ike Pav!ov3s dogs) to keep doing things that +i!! seduce ou. &he3!! grab ou, etc.. $e+ard her +ith kino, or +hatever. 1ut then a!so run a+a +hen she esca!ates it too much. Mindfuck her into tr ing to seduce ou. *he gir!s seem to think that this is rea!! fun, because the fee! safe and on their terms, and a!so the seem to find it a turn-on. 1ear in mind, ou3re coming in super-confident ( ou opened them, ou he!d court in the set), so its obvious that ou have a!ot going for ou. &*LP 8 - #A, #>2I&*I0& -&tart acting possib! convinced. Cer friends +i!! start tr ing to convince ou to sta , and the 3!! start )ua!if ing our target sa ing that Pshe3s safe PUA.. don3t +orr .. ou can trust her.. go +ith her..P etc etc.. -Dhen ou +a!k home together, don3t be too eager to keep the .oke going. At the same time, +hen ou get her home, +a!k past our bedroom, and one !ast time sa PCe 5 &ee this is eBact! +hat I3m ta!king about.. Dait in the *V room..P -*hen, grab our b!ankets, and run into the *V room.. *hro+ them on her !ike its a!! funn and .ump on the couch in a +a that makes her !augh (humor disarms esca!ation to pickups.. if ou esca!ate a pickup, but make the gir! !augh +hi!e ou3re doing it, she3!! back+ards rationa!i<e that she +anted ou to esca!ate). *hen sa P03mere c3mere c3mere.... it3s co!d it3s co!d it3s co!d...P (in a funn +a so she !aughs that ou3re basica!! putting her in a ver compromising position). ->nce she3s on top of ou, &*>P *A#AI"2.. It starts getting heav .. 1reathing starts s nchroni<ing.. ,ou3re breathing in her ear ma be and fingers are inter!ocked and ou3re getting c!oser.. *hen sa Puhhh ohhh.. mmmm... ummm.. this is >A I think... uh oh..P and start kissing her. -*ake it from there.. If the .oke is sti!! +orking (it ma be &> P#A,L' b this point, but if it is &*I## D>$AI"2), fee! free to make !ibera! use of ca!!back humor to disarm an !ast minute resistance (misinterpret her #M$ as her .ust tr ing to get ou more comfortab!e) [[">*L4 If the .oke has become P#A,L', then don3t insist on pursuing it. *he +ho!e frame(routine is a!+a s good, but don3t be routine dependent and insist on pursuing it. If its fading a !itt!e bit, .ust move onto something e!se. If its +orking consistent! the entire time, then keep using it. %ust common sense.

Gay Cats (Di!der) Initia! hook4 &tart the stor +ith, PCave ou ever met a ga catEP After this, ou3!! have the undivided attention of our audience. PUA4 >k, get this, m friend &ara, bought - cats some time ago. I don3t kno+ +hat she +as thinking +hen she bought them, but she bought a!! three [ma!e[ cats. It +as so funn . Dhen I +ou!d go to her p!ace to visit her, I +ou!d see the cats spooning each other, sometimes even !icking each other. C14 smi!ing PUA4 "o $ea!! . I to!d &ara P ou kno+ +hat, I think the 3re ga , I mean not ga b birth, but ma be prison ga ... ou kno+. I mean the haven3t seen a fema!e cat in months...+hat are the supposed to doP &o &ara started getting freaked out, its ama<ing ho+ she never thought about it. And +e decided one da that +e3re gonna do something about it, co< the !ast thing &ara +anted +ere ga cats. &o +e embarked on a mission to find a fema!e cat. C14 hehehe PUA4 And &ara had a neighbor that she rea!! hated, he had a fema!e cat, so once +hi!e the gu +as a+a , +e sto!e it and put it in the room +ith three ma!e cats. >n! 2od kno+s +hat happened then. C14 #>#55 Punch!ine4 P&o no+ her neighbor3s cat is knocked up. &o prett soon I think I kno+ +here ou can get our ver o+n !itt!e ga kitten5P Mast"!)ating in the Sho0e! ,ou4 'id ou kno+ that ?-R of gir!s masturbate in the sho+erE Cer4 "o ,ou4 *he other ;R sing. And do ou kno+ +hat the singE Cer4 "o, +hatE ,ou4 >h ou must be one of the gir!s that masturbates. F"c# Ma!!y 1ill (*+ent &iB) ,ou p!a it b pointing out three gu s in the c!ub and te!!ing her M,ou have to fuck one of them, marr one of them, and ki!! one of them. Dhich one +ou!d ou do +hat toEN Ty4e0!ite! F"n *he top ro+ of the t pe+riter is UDL$*,UI>P. If a gir! sa s 3M parents +ere gonna name me 1ett ,3 sa 3M parents +ere gonna go +ith U+ert uiop. It3s the top ro+ of the ke board...the +ere rea! computer

nerds.3 It3s impressive that ou can remember the top ro+, and pronounce it as if it +ere a rea! +ord. (credit an o!d Dood A!!en stand-up bit). Dhat 6@-!etter +ord can ou get from UDL$*,UI>P (repeating !etters are ok)E 3* pe+riter3, of course. Michelangelo 3o#e 3Ce I !ike our tattoo. 'id ou kno+ Miche!ange!o +as into bod artE Ce painted the +ho!e &istine 0hape! on his back...get itE3 =!$ Han$ 3Ce , +hat do the ca!! the -rd hand on a +atchE *he ;nd hand. Dhat3s up +ith thatE *hat3s prett .../U0AL'...UP53 <H Dolla! Bill (Magic Man) PUA4 P,ou gu s +on3t be!ieve +hat .ust happenedP C13s4 PDhatEP PUA4 P*his gu neBt to me dropped a I7@ bi!! on the f!oor as he got up to !eave. Ce didn3t notice and .ust started +a!king to the door. &o I3m .ust about read to pick up the mone and c!aim it for m se!f, +hen m budd here \he3s standing neBt to ou] taps the gu on the shou!der and te!!s him that he dropped the mone . I3m so pissed. Dhat do ou think of thatEP (*he C13s usua!! respond Pa++++, that3s sooo niceP and give our friend kino, +hich is mone because it puts ou right in a p!a -fighting frame +ith the gir!s. *he rest of the interaction usua!! goes something !ike this4) C13s4 PA+++, that3s so s+eet. ,ou so did the right thing \to our budd as the kino him]P Me4 P,ou +ant to fightEP C13s4 P,eah !et3s go. I3!! take ou do+n.P Me4 P,ou kiddingE ,ou3!! be on the ground in -@ seconds.P *hen thumb +rest!e +ith one of the gir!s. As# He! Age #ook at a gir! in the bar and bet our target ou can guess the other gir!3s age. 1efore ou go up to ask the gir! her age, our target ma get a !ook on her face !ike ou3re about to .ump from a p!ane. *his is because it is genera!! considered dangerous to +a!k up to a +oman and ask her age. Dhen ou run this bet, te!! the target ou do this a!! the time and gir!3s don3t mind itG going up on a dare is a '#V but !ooking !ike ou3re socia!! savv and kno+ +hat ou3re doing +i!! be a 'CV.

3e5e)el Close! As ou3re eBiting a set and ou haven3t done a name eBchange, rather than ask for her name, sa 3It3s %e<ebe!, rightE3 *his gets be ond the A/0 forma!ities of a name eBchange +hi!e imp! ing ou3ve met someone named %e<ebe! recent! , and sho+s our indifference. The Mi$get Ma!!iage 3Ce , +hat do ou gu s think of midgetsE 1ecause m sister...she3s getting married to a midget. And if the have kids, +on3t the a!! be midget kidsE I fee! bad sa ing this, but midgets rea!! scare me...and c!o+ns. 0!o+ns and midgets scare the !iving crap out of me. 'oes this make me a bad personE &o ho+ +ou!d ou fee! if ou +ere meE3 Bac#0a!$s TM Ro"tine *his one demonstrates prese!ection. Cave a friend teBt message (*M) ou this message4 3/D'4 'id i !ike fuck dumb another to it send retard a !ike this reading time ass s+eet our took u since. ($ead it back+ards).3 &a , 3Ce I got this *M from a chick I met. &he keeps bugging me +ith these messages and ca!!s, but she3s not m t pe.3 B >"estions Game (B>* PUA4 Cave ou p!a ed the 9 )uestions gameE Cer4 "o. PUA4 >k, !et3s p!a . 1ut if I +in ou have to bu me a drink. And if I +in, I have to bu ou a drink. Cer4 >k. PUA4 &o the ob.ect here is I3m going to ask ou 9 )uestions, and ou have to give me a D$>"2 ans+er each time. If ou give me the 0>$$L0* ans+er, ou !ose. 2ot itE >k. /irst )uestion...(use an thing situationa!, !ike +hat co!or is this .acket, +hat3s the name of this bar, +hat cit are +e in, etc. 'o this - times, each time, pausing to f!uff, having to think about +hat )uestion ou3re on. "o+ +hen ou3re about to ask the 8th )uestion, instead think hard about +hat number ou3re on and sa 4) >k, )uestion number...+ait a minute, ho+ man )uestions did +e doE Cer4 (option one, she3s honest) De did three. Cer4 (option t+o, she tries to be sneak and !ies) Uhh...+e did ten. PUA4 (for option one) A+5 *hat3s right5 I +in5 ,ou o+e me a drink. PUA4 (for option t+o) A+++5 ,ou got me. *e!! me the truth, have ou p!a ed this beforeE5

Cer4 ">>>5 I s+ear5 PUA4 Uh ha5 I got ou5 *hat +as the fifth )uestion. ,ou o+e me a drink. "o+, a fe+ comments on this. If a gir! is not too drunk, this game genera!! spikes her bu ing temp +a up. &he3!! probab! smack ou and a!!o+ some kino esca!ation. &econd, ou shou!d make the point of this game a bet...so then ou have t+o options, bet for a drink or bet for kino. ,ou ma +ish to reserve this gambit for +hen there3s enough attraction, and so ou can bet for a kiss (a rea! kiss). And +hen ou do, don3t make it sound !ike a punishment and sa 3 ou have to kiss meG3 sa instead 3if I +in, I get a kiss. And if ou +in...3 (hopefu!! she sa s 3I get a kiss53 or e!se she picks our poison). Actua!! there is a third option, and that3s having her confide in ou some persona! trait or secret, the goa! of +hich is to deepen the comfort. Another point, some gir!s insist the +on even though ou eBp!ain to them ho+ the !ost. 'on3t use !ogic in these circumstances. Dhen a gir! thinks she3s +on there3s not much ou can do to convince her other+iseG smi!e it off and p!o+ to the neBt topic, or better et reso!ve +ith a thumb-+rest!ing match. And fina!! , use one of our )uestions to kino, such as pu!!ing her hair and asking +hat it3s ca!!ed or +hat co!or it is. Italian Gi!l 32u s, I .ust met this gir! here, but she on! speaks Ita!ian. 'o either of ou speak Ita!ianE I rea!! need a trans!ator53 3 the Ri44e!%s Mi$sentence 4ene! Da!k up to a set and start as if ou3re comp!eting a sentence4 3...and ou, I on! have one thing to sa to ou53 6it)"lls Usefu! opening a seated set in a restaurant4 3Ce gu s, +i!! ou be m o+n persona! pitbu!!s and bite an one +ho tries to stea! m tab!eE I need to go to the bathroom.3 Mi$gets an$ c!ac# PUA4 Ce , +hat3s up +ith a!! the midgetsE I3ve seen !ike - or 8 midgets here tonightE C14 'uuuhhhh...$ea!! E ,ou3ve seen midgetsE PUA4 I am so never doing crack again. "ever...ever...LVL$...again. Cigh five5

>ne can a!so simp! enter +ith the crack opener, +hich is particu!ar! effective if ou have a )uiet(conservative demeanor such that it +ou!d be tota!! incongruent. A!ternative! 4 3Ce , is tonight midget +rest!ing...or +as that &unda E M friends are visiting from out of to+n and I +as to!d the had midgets +rest!ing here.3 The Whole Room Dest!oye! (Style* After attraction is bui!t, te!! the target4 3#ook, I3!! introduce ou to an one in this room S .ust point him out S and I3!! guarantee he isn3t near! as interesting as me and m friends.3 If she dec!ines, she is admitting ou are the best catch in the room that night. Li4stic# 1iss (inspired b M ster ) *his +orks .ust !ike peacocking4 &tep 6. Cave a gir! !eave a big red !ipstick kiss on our cheek. &tep 7. Da!k around the venue and either be opened on it or open +ith it. 6. AM>2s +i!! either sa it3s fake or a gu did it, or something simi!ar. 1e prepared for this. 7. 2ir!s +i!! tr to be he!pfu! b te!!ing ou there3s a !ipstick kiss on our cheek. ,ou can make up a stor , or sa it3s a rash. ,ou3ve .ust been opened, so stack. ,ou ma something !ike4 3It +as m friend...she got eBcited. /ortunate! , I have a !ot of friends, and man of them happen to be +omen.3 -. If gir!s aren3t opening ou +ith it, .ust +a!k up to our target and sa , 3 ou kno+, there3s a huge !ipstick kiss right here on our cheek...3 And then she te!!s ou you-re the one +ith the !ipstick, and then ou stack. Role 6laying 0reating a !itt!e fantas +or!d +here ou and the gir! have some eBciting re!ationship, such as she is a dog and ou3re the master, or ou3re a!! in a rock band together, or ou3re married to each other, are forms of ro!e p!a ing that can be used to spike attraction. >ne subset is future pro.ection, +here ou ma te!! her a stor about +hat kind of cra< fun thing ou t+o are going to do. *hese stories (or p!ot!ines) can be funn , have an emotiona! ro!!er coaster fee! to them, and send out a miBture of I>Is and I>'s that +i!! raise bu ing temp.

Re,!ames an$ othe! B Bs Cer4 M,ouFre not drinking an thing tonightEN ,ou4 M"o, gir!s take advantage of me +hen I drink.N Cer4 MI !ike our pantsN ,ou4 M*hank ou. 1ut .ust because ou !ike m pants doesnFt mean the 3re coming off.N &he spi!!s4 ,ou4 M&ee this is +h +e canFt have nice things.N If sheFs singing a!ong to the music4 ,ou4 MDho sings this songEN Cer4 MOOO.N ,ou4 M>h rea!! E #et3s keep it that +a .N Cer4 I can3t be!ieve ou3re so much o!der than me5 ,ou4 ,eah, 76 is a !itt!e oung for me, but I3ve a!+a s considered m se!f open-minded. Cer4 It3s gir!s night out. ,ou4 ,eah, it3s gu s night out too. In fact, I shou!dn3t even be ta!king to ou gir!s right no+. (/*0, !ock in and stack) Shit Test De,lections Avoid fa!!ing into a gir!3s trap of !ogica!! responding to a shit test, such as 3Are ou a p!a erE3 Instead, go for one of the fo!!o+ing escapes4 6. Ignore the comment and stack, though she ma ask ou the )uestion again !ater. 7. Agree +ith the comment, then comica!! eBaggerate our response, then stack. -. *ake the )uestion and create a simi!ar shit test for her, +ithout actua!! responding to her )uestion. 8. Positive misinterpretation +herein ou make it !ook !ike she3s )ua!if ing herse!f to ou. 9. $espond +ith a non-se)uitur such as &inn3s 3'o ou !ike !emonsE3 or Meho+3s 3-`;Z;7.3 The MG 4ene!s (Style* An opener that starts +ith 3>h m eBamp!e4

god53 +hich hits a 'CV spike. /or

3>M2, dude...+here3d ou get that shirtE I had that same eBact shirt, and I !ent it to a gir! one night +hen she sta ed over, and I never sa+ it again. It3s !ike, I have to get t+o of ever thing, especia!! the c!othes I rea!! !ike, because that +a ou3!! never !ose it.3 (hits prese!ection and befriends the man) 3>M2 (to +ing) +ho does this chick !ook !ikeE (+ing gives a name of a gir!). *ota!! , she !ooks .ust !ike (gir!3s name).3 *hen go into a stor about ho+ that gir! +as our first true !ove in grade schoo!. 3>M2, do ou +ork at the &tandardE *here3s this ne+ +aitress +orking there, and ou !ook .ust !ike her. I thought I3d be rude if I didn3t sa hi.3 Roc# Sta!G Acto!G Athlete o! Di!ecto!I (Style* 3Dho +ou!d ou rather date...a rock star, an actor, an ath!ete or a directorE It3s funn , cause m friend actua!! said she3d rather date a director. And +hen I asked her +h this is, she said un!ike rock stars, ath!etes and actors, the don3t age out...the can direct forever. And the aren3t a!! egotistica!. P!us, +hen the 3re on set, the are the a!pha dog. Actors are !ike their !itt!e puppets, and the director is in charge.3 Al)ino Ga!y Coleman (Style7S0inggcat* 3Ce , m friend3s gonna be here in a minute, and he .ust got out of a #*$. &o +e3re tr ing to he!p him get into another re!ationship, so +e +ant to kno+ +hat do +omen find most attractive in a gu E >k !ike, for ou, +hat is the most important )ua!it in a manE3 C1 gives a response, !ike persona!it . 3>k, +e!!, he doesn3t have the best persona!it , actua!! . &o, besides persona!it , +hat +ou!d ou sa is !ike the sing!e most important )ua!it ou +ou!d !ook for in a gu E3 C1 sa s something e!se, !ike his !ooks. 3De!!, eah, but he isn3t rea!! that attractive. &o ok, aside from a gu 3s !ooks and persona!it , +hat +ou!d consider the number one )ua!it ou +ou!d !ook for in a manE Dhat +ou!d he have to have in order for ou to date himE3 C1 sa s a third )ua!it , and then ou sa that )ua!it doesn3t app! to our friend either. 3Ce3s actua!! rea!! short...!ike this high (gesture to chest !eve!). 83:N I3d sa . And rea!! pa!e, +ith a giant afro. Ce kinda !ooks !ike an a!bino 2ar 0o!eman. 1ut it3s ok, ou3re not rea!! his t pe an +a .3 *he above is +hat &t !e has ca!!ed an e!iciting va!ues routine, +herein the target te!!s ou +hat she seeks in a man.

6DA 4ene! (Deci)el* MCe gu s, I +as .ust +atching this sho+ ca!!ed *he Pick-Up Artist. According to the sho+, if I run a certain routine on ou, ou3!! +ant to go to bed +ith me. &o is it ok if I tr it out on ouE 0oo!. A!right, so gu s. I need a fema!e opinion on something. Dho !ies more4 men or +omenE 5,ait *or responses6 >k...so did it +orkE5 'o ou +ant to s!eep +ith me etEN Blin$ Date (Deci)el* M,ou must be 1renda5 "oE De!!, I +as supposed to meet a 1renda on a b!ind date a ha!f hour ago, and she hasn3t sho+n...I3m .ust p!a ing +ith ou. Dhat3s our nameEN

Chapter 3ine
Chick Crack
*hese routines invo!ve co!d reading a gir! or set. If ou te!! a gir! something about herse!f, +hich ma be a statement that is so vague it +ou!d app! to most peop!e, she3!! get turned on...big time. &ome famous eBamp!es are *he 0ube and &tra+berr /ie!ds. >ther forms are astro!og and for some added kino, pa!m reading. *hese tend to +ork best +hen in deep comfort. *o eBp!ain ho+ ou kno+ an of these routines, ou can sa 3I read this in Vogue... ou kno+, m friends are a!+a s !eaving their maga<ines at m p!ace53 *his subcommunicates prese!ection, since gu friends genera!! don3t read Vogue. ,ou can even thro+ in a .oke about ho+ perfum the a!! sme!!. "ote that +hi!e ou can interpret an thing strict! as presented here, it is often best to create our o+n interpretation in +a s that +i!! move seduction for+ard. &o rather than co!d read a gir! and sa 3I bet ou3re difficu!t to get to kno+,3 ou ma consider !abe!ing her +ith attributes that can he!p ou, such as 3,ou seem adventurous,3 or 3,ou go after +hat ou +ant,3 or 3,ou3re ver non-.udgmenta!3 or 3,ou are passionate and !ove being touched.3 >ften +hen ou )ua!if a gir! +ith positive traits such as these, she +i!! tr to adhere to this characteri<ation.

St!a0)e!!y Fiel$s (Maniac Cigh) *his is a game to find out some things about ho+ chicks see seB. It is a good state transitioner - from f!uff to seBua!! charged conversation. Intro4 Ce , !ets p!a a game5 Imagine ou are a!one in a fie!d, and see a stra+berr fie!d in front of ou +ith tast stra+berries. *here is a fence around the fie!d. Co+ high is itE (Z ho+ eas is this gir! to take seB) "o+ ou are in the stra+berr fie!d, ho+ man stra+berries do ou takeE (Zho+ man partners that person +ants) >k, after ou have finished en.o ing the stra+berries, ho+ do ou fee! about the farmer +ho3s fie!d ou took them fromE (Z ho+ ou fee! to that person after fucking them)

A >"estions Game 3*hese )uestions +i!! te!! ou a !ot about ourse!f -- it3s ama<ing ho+ it +orks, ou might even find things about ourse!f ou didn3t even kno+. I3m not sure that ,>U $LA##, DA"* *> '> *CA*.3 *he 8 )uestions are4 6. Imagine ourse!f in a +hite room ever thing is +hite -- +a!!, cei!ing, f!oor. 'escribe our eBperience. 7. Dhat is our favorite co!or ..describe it , +hat fee!ing does it haveE -. Dhat is our favorite anima!.. Dh E 'escribe it. 8. Imagine ourse!f near a !arge bod of +ater .. describe our eBperienceE Dhat do ou doE3 Ans+ers4 6. *hat is our perception of death and d ing. 7. ,ou see ourse!f +ith the )ua!ities that ou ans+ered to the )uestion. -. *his is ho+ peop!e see ou, +ith those )ua!ities. 8. *hat is our vie+ of seB. "o+ obvious! ou have to probe a !itt!e deeper +hen asking the )uestions so ou can guide them into giving ou the ans+ers +ith enough depth to ana! <e it and give them a core in-depth ans+er. "o+ because the first fe+ )uestions are ver f!uff and genera! it3s eas to get it right and get them ama<ed at ho+ accurate the ans+ers are so b the time ou get onto the seB one (no. 8), ou have got a huge rapport. *he fee! !ike ou kno+ them an a deeper !eve!. &o +hen ou get to )uestion 8 because ou have been right for the !ast pacing statements about +ho the are as a person on a deep !eve! and I reframed that the ma be surprised and find out things about themse!ves that the didn3t kno+ themse!ves. *his opens the gate to be ab!e to fi!! this !ast statement +ith !eading assumptions instead of pacing and the +i!! tota!! agree, and obvious! this is +here ou take the opportunit to !a it on thick about their seBua! be!ongings, desires, etc. Cere is an eBamp!e to c!arif things4 Imagine ourse!f in a +hite room. Lver thing is +hite -- +a!!, cei!ing, f!oor. 'escribe our eBperience. Cer4 Peace, ca!m, re!aBed Dhat is ou favorite co!or ..describe it. Dhat fee!ing does it have. $ed, fier , stands out, passionate Dhat is our favorite anima!.. Dh E 'escribe it. 'o!phin is smart, free, fun, cute.

Imagine ourse!f near a !arge bod of +ater .. describe our eBperienceE Dhat do ou doE I .ump in and s+im Ans+ers *hat is our perception of death and d ing ou fee! at peace ou fee! ca!m W re!aBed. *hat is ho+ ou see ourse!f4 passionate, fier , ou fee! ou stand out in the cro+d. Peop!e see ou as free, smart, cute, fun. *hat is our vie+ of seB, !ove, eBcitement, etc. Dhen ou are +ith that certain gu and ou .ust kno+ deep inside that this person kno+s ou at a deeper and a much more intimate !eve!. ,ou .ust find ourse!f +anting to .ust !et go to a!! the passion and eBcitement and the deep connection ou can eBperience.

The C")e (>rganic) *he cube is a game of )uestions and s mbo!s. It is five simp!e )uestions of imagination that +i!! a!!o+ ou to !ead a +oman deeper and deeper into a seduction. /or the origins of the 0ube a person cou!d read through *he &ecrets of the 0ube, b Annie 2ott!ieb. 1ut, the pick up artist +i!! find that he doesnFt need to understand the traditiona! use of the cube. Ce on! needs to kno+ ho+ to use this secret seduction +eapon. "o+, the 0ube can be used at an time in a seductionO It can be used as a p!a fu! game to bui!d attraction (b teasing a gir! for her ans+ers and making our interpretations funn and unrea!istic.) And, it can a!so be used in the deepest phases of seduction to !ead a +omanFs mind into her seBua! desires (b making our interpretations seBua! and erotic). Co+ever, +hat +e are going to focus on here is using the cube to bui!d trust and comfort. Most pick up artists +i!! agree that the cube serves the greatest purpose for deve!oping this kind of rea! connection +ith a +oman ou .ust met. It starts fun and p!a fu! as a game, and it ends b !eading the conversation into deeper and deeper !eve!s of rapport. 1ui!ding this t pe of rapport is the rea! strength of the 0ube. *he 'esign of the 0ube 1 no+, it shou!d be obvious that the detai!s of the game are not near! as important as ho+ ou p!a . *he structure +i!! have man variations, and ever one +i!! p!a it different! . And thatFs fine. "otice, the po+er of the

0ube isnFt to Mbe correctN or to give Mthe right interpretation.N - *here are no right or +rong 0ubes. ,ou can structure it ho+ ou !ike, and find +hat +orks best for ou. MCave ou ever done the cubeE... >kO I3!! ask ou a set of )uestions, and +hen I3m done I3!! kno+ ever thing about ou. Are ou read E 'o ou have a good imaginationE O2ood.N M"o+, imagine in front of ou is a !andscapeN (IF!! usua!! gesture +ith m hand for them to imagine it in front of them). MAnd in the !andscape there is a cube. "otice +hat si<e is it, +hat co!or is itE Dhat is it made ofE Dhere is itE M>k, neBt ou see a !adder. "otice, +here is it in re!ation to the cubeE Dhat is it made ofE Dhat si<e is itE M"eBt there are f!o+ers. Dhere are the E Co+ man E Dhat do the !ook !ikeE Dhat co!or are the E M"eBt, there is a horse. Dhat does it !ook !ikeE Dhere is itE Dhat is it doingE MAnd, !ast there is a storm. Dhere is itE Dhat is it doingE Dhat does it !ook !ikeEN Dhen she has visua!i<ed the entire image, then meanings. *he are4 0ube Z Cer #adder Z Cer aspirations /!o+ers Z Cer friends Corse Z Cer idea! !over &torm Z Cer cha!!enges and prob!ems ou can te!! her the

,ou can use a desert or a movie theater instead of a !andscape. ,ou can introduce it b sa ing MIF!! kno+ more about ou than even our best friends kno+.N >r Mhave ou ever been cubedEN ,ou can have her c!ose her e es, or dra+ it out. &ome peop!e ma a!so use different meanings. (#adder Z fami! , or co+orkers, etcO) ItFs a!! fine. %ust remember, ou +ant to ta!k about things that +i!! invoke the proper emotions in her, so avoid ta!king about things !ike chi!dren or enemies.

Unrave!ing the 0ube &o, it is one thing to kno+ the ru!es of the 0ube. ItFs one thing to kno+ the meanings, and the images. 1ut, the )uestion remains4 MDhat do I doE %ust make stuff upEN De!!, +hat '> ou sa E [ ,ou can be vague and use genera!ities S %ust ta!k about +omen in genera!, and this +i!! sti!! have a po+erfu! effect because she +i!! re!ate to it. And, she +i!! rea!i<e that ou understand peop!e, ou understand +omen, and ou understand her. LBamp!e4 ,ouFre cube is BBBBBB. ,ou are a ver sensitive person. Probab! ou are a ver good .udge of character and ou can tune into those times +hen peop!e .ust +ant something from ou. Dhi!e other times ou can rea!! fee! +hen a person is being sincere +ith ou. (*his describes an socia!! a+are +oman.) [ ,ou can ask c!arif ing )uestions. Ask her, and she might te!! ou eBact! +hat something means, doing our .ob for ou. Ask her ho+ she fee!s about the ob.ects, or ask ho+ the re!ate to each other. LBamp!e4 Cer4 MM horse is !eaning against the cube.N ,ou4 M$ea!! E Dh is it !eaning against the cubeEN Cer4 MDe!!, itFs .ust not strong enough.N ,ou4 M>h, I see. It seems !ike the men in our !ife havenFt been strong enough. ,ou need a man +ho ou can .ust !ook into his e es and !isten to him ta!k, and ou kno+ that he is strongO LtcO etc...N [ Dhen ou find aspects of the interpretation that rea!! fit her, go into greater detai!. *e!! stories from our !ife that re!ate to her, or give her eBamp!es of ho+ she might eBperience it in her !ife. LBamp!e4 M,ou are a ver creative person, but ouFre not at a point in our !ife right no+ +here ou are rea!! using our creative abi!ities. It reminds me of ho+ I fe!t a coup!e of ears ago. I +as +orking in this .ob that .ust +asnFt creative, and IO. LtcON [ Use things that ou a!read kno+ about her. LBamp!e4 I met t+o gir!s the other night. >ne +as bouncing around dancing, and the other (the one I !iked) +as standing ca!mer. #ater, I ran the cube on her, and she said that her cube +as b!ue. I said MA b!ue cube means that ou are often ca!m and re!aBed. And, sometimes our friends even come to ou .ust to absorb our ca!m energ +hen their !ives are more hectic.N >f course, she !oved it.

[ AndO ou canO. use ourO intuition. ,ep. 2o for it. 1e !ike the en!ightened master +ho has become one +ith his +eapon and a!!o+ the force to f!o+ through ou. ,ou might not on! surprise her, but ourse!f too. [ Aeep our statements positive. In genera!, ou +ant to phrase ever thing as a positive statement. If ou rea!! +ant to te!! a +oman that she has !o+ se!f-esteem and that her !ife is out of contro! and hope!ess, go ahead. 1ut donFt come asking me +h she +as sudden! turned off and depressed5 It ma take some creativit to keep things positive, but it can be done. IF!! give ou an eBamp!e. If she sa s she doesnFt !ike the cube and she doesnFt think it be!ongs in the scene, ou might be thinking Moh crap, she hates herse!fEN "o. ,ou can te!! her M+e!!, +hen peop!e see ou the often +ant ou to fit ou into a categor +ith defined boundaries and hard edges, but thatFs not +ho ou are. ,ou are independent and +hen ou find ourse!f being put into a boB, ou kno+ that itFs not +here ou be!ong.N [ >ne trick for keeping the interpretation positive is to interpret her idea! as being the opposite of +hat she describes. /or eBamp!e4 a +eak and sick! horse means that she has had too man +eak men in her !ife, and she rea!! needs one that is strong and hea!th . [ Add !ots of Aino and strong L e 0ontact. Dhen ou are bonding +ith a +oman on this !eve!, it is important to keep enhancing this eBperience b getting ph sica!! intimate +ith her. [ *ake advantage of the horse. It is a great time to demonstrate that ou kno+ +hat +omen +ant. If her horse isnFt idea!, then te!! her it is an image of +hat she has attracted to her in the past, and +hat she rea!! +ants is actua!! the opposite. As ou describe her idea! man, and get her thinking about it. #ook into her e es and take on that character as ourse!f. &he +i!! natura!! start to see ou as that man. [ 1urst the tension no+ and then +ith a !itt!e cock and p!a fu! comment. 1 making a .oke or teasing her, ou +i!! keep it fun and keep her interested. %ust be carefu! because she ma be in a ver vu!nerab!e state to be sharing +ith ou, so donFt over do it. An eBamp!e4 M*he 0ube means thatO. (pause) O. ,ou +ant m bod . (smi!e)N [ &tart the interpretation +ith a bo!d (but irrefutab!e) statement about +ho she is and +here she is in her !ife. *his can be po+erfu! and +i!! demonstrate our authorit and understanding. [ Use a!! of the !itt!e parts to get a bigger picture of her. *r to get a broad sense of +ho she is as a person, and then ou can use that understanding to !ead our interpretation. [ #ead her into emotiona! states. Using descriptive !anguaging, ou can get her thinking and fee!ing on a deeper !eve!. >ne +a to do this is to take a genera! statement !ike M ou are adventurous.N And then go on to describe

+hat itFs !ike to be adventurous and ho+ it fee!s. M,ou are adventurous. ,ou kno+, !ike +hen ou are in the midd!e of an adventure ou rea!! fee! a!ive. As the eBcitement bui!ds, ou become focused on +hat ouFre doing, and ou get tota!! +rapped up in +hat is happeningOetc.N [ &hare +ith her, and get into the state ourse!f. If ou get into a vu!nerab!e state and revea! things to her, she +i!! fo!!o+ our !ead. As part of this ou ma +ant to re!ate stories that are meaningfu! to ou. [ &hare our o+n 0ube. 'o the cube on ourse!f and be read to share our ans+ers +ith her if she asks. [ Dhen getting started, it ma he!p to memori<e a fe+ ideas that ou can use ever time. /or eBamp!e, ou can a!+a s ta!k about +omenFs intuition, or ho+ she +ants a strong confident man. As ou do the cube more and more, ou +i!! begin to deve!op our o+n interpretations that a!+a s get good responses, and ou can have these in store for ever time ou use the cube. [ Dork +ith her, and go +ith +hat she sa s. ,ou can use ever thing that she gives ou, no matter +hat she sa s. If she sa s that the horse has a great cock, te!! her that her idea! !over +i!! be a great fuck. 2o +ith it. [ &et the mood so that she fee!s good sharing. *here is no need to rush the cube or fee! a+k+ard in an +a . Use our ca!m trust bui!ding tona!it , and keep her fee!ing comfortab!e. [ /ind commona!ities and deve!op our connection +ith her. &ince ou are !earning about each other, this is a great time to find out +hat ou have in common. [ 'onFt fa!! into the trap of being the entertainer. 'onFt proceed to cube a!! of her friends, and her !itt!e sister. ,ouFre not her nove!t ps chic friend. [ Practice to get better. *he more ou do it, the better ou +i!! get, because ou +i!! find that man responses are ver common. 0ube our friends, our mom, our mai!man, +hoeverO [ *e!! her that her cube is uni)ue, and ou can even sa M+e!!, usua!! , that +ou!d mean thisO but +ith ou, I think itFs a !itt!e different.N orO MDo+, thatFs such an interesting image.N *hen, she +i!! rea!! fee! specia!, and she +i!! think that ou are giving her a ver specia! gift. ['onFt revea! ever thing. #eave parts out, or hint that there is something more. A!+a s !eave her +anting more. !urther interpretation: *CL 0U1L $epresents the +oman3s conception of herse!f. A huge cube covering most of the scener means she3s got an inf!ated ego, a sense of high se!fimportance. >ther features of the cube cou!d mean4

*in cube Z_ fee!s sma!!, insignificant, ignored, modest 0ube resting on the ground Z_ genera!! has a firm footho!d on rea!it 0ube far a+a in the distance Z_ /ee!s !eft behind b !ife 0ube f! ing in the air or !evitated Z_ da dreamer, imaginative but unrea!istic 0ube part! above the hori<on !ine Z_ ambitious 0ube be!o+ the hori<on Z_ not ver ambitious 0ube resting on its edge Z_ metastab!e !ife, perhapsE 0ube made of so!id materia! Z_ good sense of se!f-+orth, +e!!-grounded persona!it 0ube made of go!d Z_ *hinks of herse!f as eBtreme! precious 0ube made of g!ass or transparent cube Z_ 0onsiders herse!f pure 0ube fu!! of s!im stuff Z_ Cates herse!f comp!ete! 0ube ho!!o+ inside Z_ fee!s ho!!o+, unfu!fi!!ed in the eBtreme \interesting eBamp!e4 one +oman kno+ ver +e!! imagined the $ubic3s cube, being t+isted and turned b a chi!d. I +as not surprised because she has a sever persecution comp!eB and tota! paranoia, considers ever one e!se stupid and chi!dish (has a ho!ier-than-thou menta!it ), fee!s attacked b the +or!d, and is an emotiona! basketcase] *CL #A''L$ $epresents her c!ose socia! support structure (friendsG fami! in some cases). #ong !adder +ith man rungs Z_ big socia! circ!e, has man friends, outgoing persona!it , sociab!e #adder made of some odd materia! Z_ fee!s her friends are +eird, ver different from norma! peop!e #adder +ith fe+ rungs Z_ has fe+ c!ose friends #adder in a !ess than good condition Z_ be!ieves peop!e around her are fucked up #adder far a+a from the cube Z_ 'oes not !et peop!e get too c!ose to herse!fG keeps a!oof, has a hard she!! around herse!f #adder !eaning against cube Z_ /ee!s she does a !ot of things for her friends, supports them more than the support her, fee!s she has some codependent peop!e around her #adder on top of cube Z_ /ee!s her friends(fami! are overbearing, fee!s oppressed b them #adder much bigger than cube Z_ fee!s sma!! in her socia! circ!ea #adder supporting cube (!ike, !adder under the cube) Z_ fee!s her c!ose associates support her in her accomp!ishments &trong !adder Z_ is surrounded b strong peop!e, fee!s secure in them 1urned up !adder Z_ /ee!s surrounded b tota!! fucked up peop!e +ho are ruining themse!ves *CL /#>DL$& $epresent the p!ace of chi!dren in her !ife. "umber of f!o+ers Z_ chi!dren she has or +ants to have, or has(+ants to have around (&ee [ be!o+) /!o+ers c!ose to cube Z_ /ee!s ver c!ose to the chi!dren she has or +i!! have /!o+ers far a+a Z_ 'oes not +ant chi!dren /!o+ers b!ooming +e!! Z_ /ee!s positive about her chi!dren3s !ives /!o+ers messed up Z_ is surrounded b scre+ed up chi!dren [ #ots of f!o+ers ever +here Z_

Probab! +orks +ith chi!dren, or +ou!d !ike toG (>ne chick I kno+ had thisG she is a grade schoo! teacher) /!o+ers shaking in the +ind Z_ fee!s chi!dren in her !ife have hardships /!o+ers a!! around(over the cube Z_ /ee!s over+he!med b kids /!o+ers separated from cube b the !adder Z_ fee!s her friends(fami! (do(+i!!(might) interfere in her re!ationship +ith her chi!dren 1eautifu! f!o+ers (roses, popp etc) Z_ /inds chi!dren ver beautifu! *CL C>$&L $epresents her thoughts about her !over (or the !over she thinks she +ants or +i!! have). &trong, !arge horse Z_ Dants a protective, strong man 0o!or of horse Z_ Possib! the race of the !over she +ants (the teacher chick mentioned above has a P#atin thingP - her horse +as bro+n) Corse c!ose to the cube Z_ Dants the !over to be ver c!ose to her emotiona!! and ph sica!! Corse +e!! separated from cube Z_ Is reserved about opening up comp!ete! to !overs Corse !icking(sniffing the cube Z_ Imagines(+ishes she3s being doted on &ma!!, submissive horse Z_ Dants a !over she can dominate Di!d horse Z_ +ants a gu +ho is not tamed and +i!! not be tamed *ethered horse Z_ Dants to keep him ver restrained(restricted Corse stomping on the cube Z_ Cas been or fee!s eBtreme! abused b !overs Corse destro ing the f!o+ers Z_ /ee!s the !over +i!! not be good to+ards her chi!dren (sing!e moms probab! have this thing more often) Corse messing +ith the !adder Z_ 0onf!ict bet+een her !over and her friends Corse far a+a or +a!king a+a Z_ /ee!s abandoned Corse separated from f!o+ers b the cube Z_ fee!s she +i!! have to take care of the chi!dren and manage her !over3s re!ationship +ith them Deak horse Z_ envisions being (stuckE) +ith a +imp \eBamp!e4 one chick I kno+ had a horse running around in a confined arena. &he is a contro!!ing, !imit-setting t pe chick +ho !ikes to +atch her man react to her eBperiments +ith his emotions(behavior.] *CL &*>$M $epresents her ideas about troub!es in !ife. &torm in the distance Z_ *roub!es are not over+he!ming her present! &torm approaching Z_ /ears crises in future &torm receding Z_ Cas had troub!es recent! but fee!s the are over Cuge, dominant storm Z_ /ee!s her !ife is in deep shit &torm in the distance, passing a+a affecting none of the other four things in the scener Z_ /ee!s her !ife is re!ative! troub!e-free, has fe+ prob!ems around in her !ife. &ma!! storm Z_ /ee!s secure about prob!ems she +i!! face

Th!ee Smiles (Magnums) An time the chick smi!es, ou can run this routine. It3s best used once ou3ve estab!ished that ou are coo!, and that ou are )uite attractive to her. PCe ... ou kno+... ou have three smi!es.P (usua!! , she3!! smi!e in response to this) Pand there3s a fourth5P (she3!! probab! ask something, and then ou improvise a!ong the !ines of the fo!!o+ing) P,eah, that +as our 3I3m f!attered3 smi!e, and then ou have a... um, not fake... but a po!ite smi!e... then there3s this rea!! genuine smi!e +hen ou !augh, and our +ho!e face !ights up. *hen there3s this smug, 3he this gu fancies me3 smi!e. I3ve a fee!ing I might see that a !ot.P 2uaranteed to make gir!s fa!! in !ove +ith ou. *his is the s+eetest thing an one has ever to!d them. *he +i!! remember it and think about it +hen ou are gone.

6alm Rea$ing Pa!mistr is a comp!eB fie!d, and on! some of it +ou!d he!p the PUA in fie!d. *he fo!!o+ing are some ke points that can be usefu! in kino esca!ationG pick and choose the detai!s that appea! to ou. *his is a kino routine, so be sensua! +ith our touch but not creep . *he ma.or (or dominant) hand te!!s ou +hat she is doing in !ife current! , and the minor te!!s ou +hat sheFd !ike to be doing in her !ife. *here are 8 main !ines. At the base of the fingers runs the heart !ine, then the head !ine in the center of the hand, and then the !ife !ine running a!ong the base of the thumb, and then the destin runs do+n the center from fingers to +rist. Ceart !ine indicates passion and emotion. /o!!o+ the !ine from the pink side to +here it ends. *he !ine often curves to end up at the base of the indeB or midd!e finger, or in bet+een (have her cup her hand to accentuate the !ine). If it stops at the indeB, she is the t pe of person +ho main! thinks of the +e!!-being of others. Co+ever she can be idea!istic to the point of eBpecting too much and become disappointed. If it stops at the midd!e finger, she is more concerned about her o+n state over that of others (mnemonic4 think of f!ipping the midd!e finger to others). If the !ine ends bet+een the indeB and midd!e fingers, she is a +e!!-ba!anced personG she

considers e)ua!! her o+n needs and the +e!!-being of others. If the !ine doesnFt curve but stops short at the midd!e finger, she is a person +ho has difficu!t eBpressing her fee!ings and +i!! often !et her emotions bui!d inside instead of venting them. Cead !ine is the cognitive, prob!em so!ving, reasoning stuff. It cross the midd!e of the pa!m, starting at the thumb side. If it is not distinct, it is because the gir! is not using her menta! capabi!ities to her fu!!est. *he !ength of the !ine has nothing to do +ith her inte!!igence. A shorter !ine means she is a )uick-thinker (shre+d) though often at the eBpense of over!ooking detai!s. A !ong !ine indicates a gir! +ith a more comp!eB thought process (often over-thinking things). #ife !ine runs a!ong the base of the thumb and represents not .ust hea!th and stamina but a gir!3s attitude to+ards her !ife. *he !ength has nothing to do +ith a person3s !ife eBpectanc . *he farther the !ine +anders a+a from the thumb, the more adventurous that person is in !ife. *he mount of Venus is the mound of musc!e at the base of the thumb. *he !arger and spongier it is, the more sensua! a person. #o+, firm mounts indicate a person +ith !itt!e passion. 'estin !ine goes straight do+n the pa!m to+ards the +rist, though not a!! peop!e have one, and the can appear !ater in !ife. *his !ine represents a strong purpose in !ife. If a person kno+s their goa!s in !ife ear! and are determined to achieve them, the !ine +i!! be +e!!-defined. *he !ine does not mean financia! success. *est e!asticit . *ake her hand and tr to bend her fingers back+ards at the knuck!es. If the go back easi! te!! her she is e!astic, or has a go-+ith-thef!o+ attitude in !ife and adapts to change easi! . If she is stiff, te!! her she is stubborn and doesnFt change her mind easi! . &kin co!or. If the pa!m is pink, she has a good temper, is s mpathetic and !oving. If her skin is red, she can have a bad temper and is ver emotiona!. /ingers. If a gir! gives ou her hand to read +ith fingers apart, she is confident and not tr ing to hide an thing. If the fingers are c!osed, she is insecure or tr ing not to disc!ose information about herse!f. #onger fingers are a sign of greater patience, shorter fingers represent impatience or impu!siveness.

"o+ ou can comment on rings, using the finger the +ear a ring on as an indicator of +hat kind of person the are (the $ing $outine). /rom thumb to pink 4 Venus, %upiter, &aturn, Apo!!o, Mercur . *hese gods represent in order4 beaut (art, po+er(confidence(authorit , bount (harvest(seBua!it , hea!ing(he!ping, and +ea!th(commerce. 0ompare b !ooking at the back of the hand the !ength of %upiter vs Apo!!o. *he shou!d be the same !ength. If %upiter is !onger, that person is ver driven but ma be over! so. If shorter, that person ma have been pushed around in !ife, though can a!so take a break and re!aB easier as a resu!t of not a!+a s being in charge. *he base of the hand opposite the mount of Venus is the mount of #una. A !arge mount indicates a strong imagination. If this mount is ver !arge, it means the gir! has her head in the c!ouds much of the time. Dhen done, have them make an >A sign and ask them +hat 2od this isO Uranus of course (think about it). Cere are different +a s of using pa!mistr in fie!d4 6. Introduce the topic as a re+ard for something, !ike kino or )ua!ification(comp!iance. If it3s in attraction, ou ma neg b sa ing she has monke fingers. If it3s in comfort, don3t neg. 7. *e!! her ou kno+ this stuff because ou !earned it from Vogue(0osmo, because 3m friends are a!+a s !eaving their maga<ines at m p!ace3 (subcoms prese!ection). ,ou can offer this or +ait unti! she asks ho+ ou kno+ pa!mistr . -. 'o the routine using a !ot of kino, and +ith a reading of her !ife, !ove and heart !ines. &ke+ the read so as to describe her in terms that he!p the seduction (adventurous, non-.udgmenta!, passionate, etc). 8. *o defuse potentia! shit tests, ou ma end +ith the Uranus .oke, un!ess I3ve rea!! hit home +ith the read, in +hich case I snip and stack. A!ternative! ou never need a reason to start reading a pa!m. &imp! begin +ith 3Dait, ou3re rea!! 7-E3 or 3&o ou3re not from hereE3 and then take her hand and sa 3#et me see something.3

Ci!cle - Rectangle - T!iangle - Eig7Eag (Magic Man) *ake out a piece of paper and dra+ a circ!e, a s)uare, a triang!e, and a <ig(<ag !ine a!! neBt to each other. Make the <ig( <ag !ine !ike a diagona! D. 2ive the gir! a pen and te!! her to dra+ a vertica! !ine through one of the shapes, it doesn3t matter +hich one. *hen te!! her to dra+ a vertica! !ine through another of the shapes, then another, and fina!! through the !ast one. Lach shape represents something different in !ife, and the order that she dre+ the !ines is the order in +hich she va!ues each in her o+n !ife. Cere3s +hat each shape means4 0irc!e - &eB *he shape of a circ!e makes up an >, !ike the > in orgasm or the > a +oman screams +hen she3s having seB. >r the vagina. $ectang!e - Mone A rectang!e makes up the shape of a do!!ar bi!!, a check, or a credit card. *riang!e - &ecurit A triang!e is the shape of a roof on a house, +hich represents she!ter, protection, and overa!! securit in !ife. Tig(Tag #ine - 0reativit A <ig(<ag !ine +ith no defining shape represents her creative pursuits in !ife. *his cou!d be her career, her communit service pro.ects, her artistic endeavors, her book, her rea! estate pro.ect, etc. &o if she dra+s a !ine through the circ!e first, then the rectang!e, then the triang!e, then the <ig(<ag !ine, it means she va!ues seB most important! in !ife, then mone , then securit , then creative pursuits. &o then ou can bust on her for being a seBua! predator. Lven if she picks the circ!e second then ou can sti!! accuse her of tr ing to pick ou up. If she picks the rectang!e first then ou can neg her for being a greed mone +hore.

If she picks the triang!e first then the routine +i!! make sense because securit and she!ter is genera!! the most important thing in a gir!3s !ife. Ver fe+ gir!s +i!! pick the <ig(<ag !ine first, but if a gir! does then she +i!! at !east partia!! identif +ith it as being ver important in !ife. *he routine is a +in(+in situation because if she chooses a rea!istic order of shapes (triang!e or creativit first) then she3!! identif +ith the routine, and if she chooses an unrea!istic order (circ!e or rectang!e first) then ou can banter and ro!ep!a +ith her that she3s using ou for seB or for mone . /rom persona! eBperience, gir!s usua!! choose the circ!e or rectang!e first, so get read to banter. Dorks best during da game or on a 'a 7. *ough in nois bars and c!ubs, most! because ou need pen and paper.

The Lying Game (adapted from &t !e) *his is based on a !itt!e-kno+n gambit of &t !e3s from The Game, p 6:-. Ce used it to stea! his date a+a from And 'ick. A +oman thinks of 8 statements +ithout speaking them, and ou guess +hich statement is the !ie based on visua! cues. &ee these !inks for information on ! ing4 http4((common+ea!th3s(info(!iesbe esight http4((common+ea!th3s(info(>phe!ie3s 6. Ask the target if she3s right or !eft handed. Pa!mistr is a good +a to get this info. 7. /!uff off sub.ect. -. Ask her or her friend if the target is a good !iar. 3>k, +e3re gonna find out. #et3s p!a the # ing 2ame.3 (ho!d her hands) 8. 'uring this test, the target must think of 8 statements about her car or house, in an order, but - of them must be true and one must be a !ie. 9. ,ou sa , 3"o+, think about the first statement, but don3t sa it.3 Datch for visua! cues. If the 3re right-handed her e es +i!! ga<e up and to the right (her right) on a !ie, to the !eft on a truth. :. $epeat unti! ou3ve gotten four statements. ;. Copefu!! , she !ooked right once and !eft - times. In essence, if one

response varied from the other three, use that as the !ie. &o for eBamp!e, if she !ooked right on )uestion -, ou sa 3"o+, te!! me +hat the third statement +as.3 &he te!!s ou, and ou sa , 3*hat +as the !ie.3 =. If she3s ama<ed that ou got it, hug her and te!! her she sucks as a !iar. 'o some future pro.ection re!evant to ! ing. ?. If ou got the +rong one, hi-9 and congratu!ate her on being a good !iar. 'o some future pro.ection, etc.

-It%s yo"! )i!th$ayLLL/ ('ecibe!) Da!k up to some gir! in a big set and sa 3happ birthda 53 or 3is it our birthda E53 or 3It3s our birthda 5553 Make sure she isn3t +earing a birthda tiara. >ne of a fe+ things +i!! usua!! happen4 6. 3"o, it3s not m birthda ...it3s ^gir!3s name_3s birthda 53 7. 3It3s not m birthda .3 -. 3,eah5 It3s m birthda 5553 (she3s te!!ing the truth.) 8. 3,eah5 It3s m birthda 5553 (she3s going a!ong +ith the ro!e-p!a ). 9. I>'. Cere3s +hat ou do in these contingencies4 6. 2o over and +ish the birthda gir! happ birthda , give her a hug. Lven if she3s an ug, or if it3s a gu , sti!! befriend him(her. *his +i!! un!ock the set. 2ame the set, iso!ate the target or not. 7. 3"> "> ">5 *he right ans+er is 3 eah5 It3s m birthda 53 *hat3s ho+ ou get free drinks in a bar.3 If she asks ou for a free drink, te!! her she3!! have to ask one of the chodes standing around for that. &nip and stack. -. Capp birthda to her and hug. 8. Capp birthda to her and hug. 9. $eca!ibrate our de!iver and tr another set. >r sta in the set and go +ith another thread. An +a , once ou3ve done a !itt!e gaming and kino, time to start merging. 3Ce , !et3s go make some friends53 *ake the target to another set of hotties and announce 3Ce ever one it3s ^gir!3s name_3s birthda 5 Dhoohoo553 Merge sets and be the !ife of the fucking part .

Chapter Ten
4ino
Aino is an abbreviation of kinesthesia, +hich refers to touch. Lsca!ating kino means starting +ith ver innocent s!ight touches (brief! putting the back of our hand on a gir!3s shou!der), to more intimate touches. Aino !ets the target kno+ our goa!s are more than .ust seeking friendship, and ou can3t run game successfu!! +ithout esca!ating kino. ,ou kno+ +hen ou can introduce more intimate kino as she comp!ies or pongs our esca!ation (ca!!ed reverse kino). *he end-point of kino esca!ation is seB, +herein ou give her the penor.

B"ying Tem4e!at"!e ,ouFre running game, te!!ing cock funn stories, dis)ua!if ing ourse!f, doing push-pu!! kino. "o+ ou have her emotiona! state pumped, +hich is kno+n as the bu ing temperature (1*). If ou havenFt 'CVd and )ua!ified her, then ou rea!! havenFt generated true attraction. 1* is not enough to re! on to move into comfort, but it does faci!itate !arger esca!ations in kino or bounces. *his is part! +h a PUA can +a!k up to a gir! on the dance f!oor and start making out +ith her +ithin a fe+ minutes, a feat rare! seen in da game +here 1* is !o+. An A/0 ma think 1* is enough to gauge +hen deciding to J c!ose, but the PUA kno+s f!ake rates are high and more +ork needs to be done. In addition, one PUA tactic is to +ait unti! another man raises the targetFs 1*, such as after dancing +ith her, and then enter the set, b!o+ him out, and create kino comp!iance easier. In short, 1* is .ust currenc +ith +hich to bu more comfort and attraction. My T0o Dogs+ Meaty T!eats (Deci)el* An ana!og for 1* is +hen I start to open a package of meat treats for m dogs. M 1oston *errier hears the noise of the p!astic and runs in the room eBcited. "o+, even before I give him a treat, he +i!! speak, spin in circ!es or even p!a m piano. Ce is comp! ing, because I have given him the promise of something de!icious.

#ike+ise, if ou promise to re+ard a gir! +ith something !ike a punch!ine or an other good fee!ing, she +i!! begin to comp! +ith our commands. Cence, pumping 1* is a )uick +a to gain comp!iance from our target, even if she3s not a dog.

6la"si)le Denia)ility (6D* P' is a +a for a +oman to .ustif to herse!f the esca!ation of kino, a!! the +a to seB. &o for eBamp!e, if ou run a ro!e-p!a ing gambit that invo!ves touching her hand and arm, the gir! can use P' to .ustif her comp!iance. *hat is, itFs part of the stor ouFre te!!ing that invo!ves this kino, so she a!!o+s it. #ike+ise, if a man sa s the gir! has Hhi.acked m brain,F she ma not fee! as anBious about s!eeping +ith him, because he has become deep! emotiona!! invested in her and !ike! +i!! stick around after+ards. *his is the gir! using P' to .ustif s!eeping +ith him. A good eBamp!e of P' comes +ith use of a camera in the c!ub. As our +ing takes pics of ou and our target, one of ou can direct her to give more reverse kino or eBhibit more of herse!f 3for the camera.3 1 p!a ing to the camera, she +i!! become disinhibited and comp! more than usua!. *ake a fe+ different poses, each esca!ating to+ards the make-out or eBposed breasts. #et our +ing take his time snapping the picture to a!!o+ ou more kino pinging.

Escalating #ino ,ou canFt +a!k up to most +omen and start touching them in +a s that vio!ate their sense of comfort. >pposite of this, the A/0 ma de!a touching or kissing unti! he gets the bo!dness to esca!ate, but b then itFs too !ate and fee!s a+k+ard. *he PUA tests comp!iance and esca!ates kino according! . /or eBamp!e, pretending to brush a !ash off a gir!Fs face is one +a to see if she +i!!ing to a!!o+ the man to touch her face. Cer P' +ou!d be, Hhe +as being he!pfu! and brushing a !ash off m face, so I a!!o+ed it.F * pica!! , short touches are used first, and then !onger touching can be introduced. &imi!ar! , areas of !ess intimac such as the back of the shou!der and the hand shou!d be touched before more intimate p!aces !ike the thigh and knee.

Aino can be esca!ated via ca!ibration, +ith hand ho!ding, gent!e shou!der touches (first using the back of the hand, then the pa!m), both shou!der grab +hi!e turning her to face ou, and arm-in-arm +a!king. ,ou can spin a gir! out of the b!ue, +hich is Hf!ashingF our socia! proof to the rest of the room in anticipation of gaming others. It is critica! the PUA demonstrate an I>' after esca!ating, and it can inc!ude bod rocking a+a , gent! pushing the gir! a+a , thro+ing her hand a+a , or a verba! I>' such as Hok, get off me,F HdonFt get an ideas,F 3a!right, no+ ou3re freaking me out3 or HthatFs a!! ou get for no+.F *his motion or remark is ca!!ed a ca!ibrator, and it he!ps defuse an unease the target ma fee! after the esca!ation. M*he three things ou need to get !aid !ike a rock star are4 confidence, prese!ection and the abi!it to seBua!! esca!ate.N 1dam %yons 2!ancing a+a during ear! kino can a!so defuse the touch, though !ooking at her during touch is eBpected +hi!e in deeper comfort. "egging during the kino move can dis)ua!if ourse!f. Pushing a gir! a+a during kino +i!! genera!! be better than pu!!ing her to+ards ou.

ASD (Anti-Sl"t De,ense* 2ir!s ma permit ou to esca!ate (ca!!ed passive I>Is), +ithout actua!! returning kino (ca!!ed reverse kino). *his ma not be due to them not being attracted, but rather because of the concept of the A&'. Dhen a gir! is in fu!! iso!ation, she ma return kino more readi! . 1ut +hen she is in the presence of her friends, even in a mini-iso!ation, her A&' is in effect. *hat is, though she !ikes ou she doesn3t +ant to appear to be a s!ut to those around her. If a gir! comp!ies +ith our kino esca!ation, even if she gives mi!d verba! I>'s or shit tests, consider her attracted and continue to p!o+. A&' is sometimes so strong it +i!! prevent her from offering a number eBchange, or sitting c!ose to ou, or engaging in dirt ta!k. It is therefore our ro!e to !ead her, and assume she +i!! fo!!o+. #M$ and token resistance (e.g. she moves our hand out of her shirt or sa s 3+e shou!dn3t be doing this3) during &6 are forms of A&', and as !ong as ou3re receiving passive I>Is, ou can continue to p!o+. Dhen she is forcib! resisting, then ou3ve crossed the !ine and shou!d de-esca!ate. Dhen a gir! kinos a man, this is ca!!ed reverse kino. >ften, A&' doesn3t a!!o+ reverse kino, but if a +oman is confident, drunk or high! attracted she ma give out reverse kino. ,ou can find +a s to bait the convo to e!icit

reverse kino. LBamp!e4 H%ee<, I ate so much toda . M be!! fee!s enormous5F *his baits her to rub our stomach, as ou .ut it out. LBamp!e4 HI bet ouFd probab! kick m ass in arm +rest!ing. #etFs see.F /ee! her arm and then offer up ours, and she fee!s ou up.

T!igge! An'iety It doesn3t get much attention at a!!, but *A is a rea! phenomenon, and a!most as big a hurd!e as approach anBiet . Most gu s kno+ about AA but ma give up on the communit before ever getting a chance to rea!! eBperience *A. 1ut it does eBist and if ou can diagnose it, ou can begin +orking past it. *he basis is fear of !osing the va!idation(attraction that ou3ve .ust cu!tivated. If ou can .ust keep the boat from rocking, get her J, then s!ink back into the night, a!! +i!! be +e!!. *he prob!em is, gir!s !ove to be ph sica!! dominated b gu s, and if ou can3t be that man, the often don3t +ant to see ou again. It a!so means ou are dependent on +omen for va!idation, instead of being interna!! va!idated. *A invo!ves a) sa ing things that te!egraph our seBua! intent, and more important! b) esca!ating rapid! and +ithout regard for being b!o+n out. If ou have the confidence to dominate her, unapo!ogetica!! and +ithout regard for the conse)uences, she3!! genera!! be aroused. &ome gir!s aren3t into this, but most gir!s +ho are attracted to a gu do eBpect him to be aggressive. &he +ants a gu +ho +i!! remove an responsibi!it from her if seB shou!d occur, and our dominance permits this. #ike AA, *A invo!ves .umping into the 3co!d poo!.3 *here is no theor or verba! game ou can use to prepare ou. ,ou get in her face. ,ou have a !ook that sa s 3I am so gonna fuck ou !ater.3 ,ou grab her, move her, pu!! her into ou. ,ou do ">* dep!o +hat $&' ca!!s the purpose!ess hand of doom, +here our hand kind of hovers behind her +ithout intent. ,ou do ">* use our hands to narrate a stor in !ieu of kinoing. ,ou do ">* avoid the make-out +hen she c!ear! +ants it. 1ut ou a!so don3t misca!ibrate and p!o+ +hen her A&' is up or she3s I>'ing ou. Perhaps the best +a to esca!ate is +hen there is a bu ing temp spike. *o become proficient +ith kino, first make it a natura! part of ever interaction from the start, but then associate 1* spikes +ith esca!ation. Dhen she !aughs, grab her. Dhen she makes ou !augh, pu!! her in or s!ap her butt. Dhen ou3re ta!king ear to ear and she3s asking ou about ourse!f, random! go for the make-out.

*A +i!! stop ou dead in our tracks. It3!! prevent the pu!! and make the J +ood. 'iagnosing it is the first step to getting it hand!ed.

Evol"tion 6hase Shi,t (E6S* (&t !e) 6. *e!! her that she sme!!s good and ask +hat she is +earing. *hen !ean in, brush her hair aside, and sniff her s!o+! , moving up from the shou!der to the ear. PMmmm, that sme!!s good. Peop!e don3t pa enough attention to sme!!. 1ut ou3!! notice ho+ anima!s, before the mate, +i!! a!+a s sme!! each other. Lvo!ution has hard-+ired us to respond to certain things. ,ou are +ired to respond +hen someone sme!!s ou.P 7. PIt3s !ike +hen someone pu!!s the back of our hair. ,ou3!! notice ho+ !ions, +hen the mate, a!+a s bite and tug at the end of each other3s mane, right here.P (&ince I3m shaved ba!d, I3!! add here, P*his is +hat I miss the most about not having hairPG if ou have hair, sa , P*his is one of m favorite thingsP.) *hen I run m hand up the back of her neck and grab a fistfu! of hair at the roots and pu!! it, do+n+ards. &he sa s Pmmmm...P And I sa Psee.P -. *hen I ta!k about ho+ Pno one kno+s this, but the most sensitive p!aces on the bod are p!aces that are usua!! hidden from contact +ith the air, !ike the back of the e!bo+ (touching it) and knee (touching it). An p!ace +here our bod bends, t+ists, or fo!ds, there are mi!!ions of sensitive !itt!e nerve endings that re!ease endorphins.N *hen I take her arm, bend it a !itt!e, and erotica!! bite the area on the opposite side of the e!bo+ (that crease +here it bends). &he usua!! gets the chi!!s, and I have her ratif ho+ good it fee!s. \">*L />$ *CL #L&& LXPL$IL"0L'4 If ou don3t kno+ ho+ to erotica!! bite a gir!, !earn before ou do this. ,ou +ant to take a big chunk of skin -- not a !itt!e pinch5 -- and s!o+! and firm! s!ide our teeth together unti! the meet and re!ease the skin. ,ou ma +ant to practice on our o+n e!bo+ first.] 8. After, I sa , P1ut do ou kno+ +hat the best thing in the +or!d isE...A bite...right...here.P And I point to the side of m neck. (Lver no+ and then, I3!! add, that Pthis has to do +ith the fact that it is +here the .ugu!ar vein is most eBposed, and since most seBua! fantasies have to do +ith submission and vu!nerabi!it , it sends a!! the fantas signa!s f! ing.N) *hen I3!! eBpose m neck and sa , P1ite me right hereP as if I LXPL0* her to do it. /ift percent of the time she +i!!. If she doesn3t, I .ust turn a+a ca!m! (punish),

+ait a fe+ seconds, and then turn back and repeat, P1ite me right here.P Usua!! here she +i!!. 9. Ca!f the time, her bite is !ame. If so, I correct her and sa , P*hat3s not ho+ ou bite. 0ome here.P *hen I give her a good bite on the neck and instruct her to Ptr again.P *his time, she A#DA,& does a great .ob. :. "o+ ou !ook her in the e e, smi!e mischievous! (approving! , and sa , ver s!o+! , Pnot bad.P *hen g!ance do+n at her mouth, back up at her e es, and... es...fina!! ... ou...ma ...if ou +ant...and if she3s read ...um...kiss5

6in#y love74in#y 4!omise74in#y o!gy 2ir!s take pink promises ver serious! , so if ou ever need to sea! the dea!, tr to pink promise it. Dhen a gir! re)uests a name eBchange, ou can offer our name but do a pink shake instead of the usua! forma! handshake. If itFs a !arger set, e!! out pink org and engage ever bod in 7-handed pink !ove. *his is a good time to bring in our +ing if heFs been hanging around outside the set.

High-Fives A )uick +a to get comp!iance is a high-five. Use our !eft hand for this to assess her !eft hand for a +edding ring if ou didn3t a!read check. A!ternative! ou can use a knuck!e-tap. More than one high-five in a set !ooks tr -hard. If the attraction is high, ou can ho!d onto her hand a bit !onger, and I>' b tossing it aside +ith a neg or tease.

Gi!l,!ien$ Test (%ugg!er) A great +a to )ua!if gir!s and esca!ate. Dhen a gir! checks our status, P'o ou have a gir!friendEP &a , P*o be m gir!friend (or !over) is a prestigious and eBc!usive thing. *here3s a test.P 0uriosit being +hat it is, she +i!! +ant to take the test. *here are three mu!tip!e-choice )uestions. *ake out a pen and +rite the correct ans+ers on her pa!m but forbid her to !ook. *hen ask her the )uestions +hi!e ou ho!d her hand c!osed.

,ou shou!d make up our o+n, but here are some eBamp!e )uestions4 6. Dhich do ou en.o moreE A sho+er or a +arm bathE 7. Dhat is the seBiest foodE Dhipped creme, choco!ate s rup or stra+berriesE -. Dhat fee!s betterE Aisses on our neck or nibb!ing on our earE *he correct ans+ers are bath, stra+berries and kisses on the neck. Most times she +i!! ans+er the first t+o correct! . *he !ast )uestion is up for grabs. *he crucia! thing is that the !ast )uestion is some sort of intense kino or kissing that ou can do right then. If she gets it +rong4 Dhisper in her ear PI can3t be +ith ou if ou rea!! be!ieve this (nibb!e ear) fee!s better than this (kiss neck).P If she gets it right4 PI3m g!ad ou !ike this (nibb!e or kiss). It is so much better than this (kiss or nibb!e).P Make sure ou kiss and nibb!e before ou !et go of her hand. If she gets a!! the )uestions +rong give her a p!a fu!! hard time about it. *his test is used most! after ou have some connection. If a gir! checks our status it usua!! means she is interested. *he purpose of putting the ans+ers in her hand is so she kno+s, as she is taking the test, that there are correct ans+ers +hich she ma or ma not get right. &he +i!! a!so respect ou for putting the interaction at risk. ,ou are further demonstrating ou are not .ust accepting an gir!. If she cheats b fee!ing out the !etters then she rea!! !ikes ou. ,ou don3t need to ca!! her on it. %ust proceed. 1ut if ou +ant ou can .ust +rite it on a piece of paper, put it in her hand and then c!ose it +ith our hand on top.

Th"m) 0!estling 2ood for ear! kino, such as right after shaking a gir!3s hand. #ead the gir! through the moves to set up the match. 0heat to +in because it drives them nuts. *his one and &t !e3s 9 Uuestions 2ame can be used together. &o if she !oses at thumb +rest!ing, ou can !et her tr to +in at 9 Uuestions because ou fee! bad about her !osing. >f course, she3!! !ose at 9 Uuestions a!so, and +i!! o+e ou that kiss or beer. Another tactic is +hen a gir! gives ou her hand to shake on a name eBchange, take it and immediate! dec!are a thumb +ar. 0ontinuing the chi!dhood games theme, ou can tr a match of rock-paperscissors. >r better sti!!...the s!ap game. In this game, ou put our hands face up and she puts them face do+n (or vice versa), and ou tr to )uick! s!ap her hands. Lssentia!! , an thing that +as fun and p!a fu! +hen ou +ere a kid, is good to use in pick-up.

>+ Co+ do ou +ish a PUA !uck +ith a gir!E A+ ,ou don3t. An A/0 needs !uck. A PUA needs condoms.

Sha!e$ D!in#s o! Foo$ Dhen a gir! offers to !et ou tr her drink (or actua!! ou get her to !et ou do this through subt!e suggestion), this is an intimate hoop that she is .umping through. *hat is, !etting a man she .ust met in a bar share a beer, suck on a stra+ or take a bite of pi<<a ma be a stepping stone to a kiss. 0a!ibrate and go for the kiss if ou fee! itFs on. #ike+ise, ou can take the reigns and start sipping from her drink periodica!! , uninvitedG a!pha ma!es take +hat the +ant.

Stolen 1isses If a target asks for a drink and ouFre in a !arge venue +ith !ots of peop!e, sa Mok, +e!! norma!! if I bu a gir! a drink, she first needs to give me something. &o pucker up.N ,ou can get a kiss from her, then disappear Hto bu her a drinkF and never return. >r if ou are running a good set, ou can bu the drink as a re+ard for the kiss.

H"g Dynamics Cugging is an important form of kino, and a !ot of info is subcommunicated during the hug. Cugs can be given during the pick up as a +a to re!ease possib!e anger after ou overneg the target. *he can be done at the conc!usion of a pickup to so!idif the emotiona! connection that has been created. As +ith a!! kino esca!ation, ou need to be the one to re!ease first. A +oman can I>I or I>' during a hug. /or eBamp!e, a Hpit patF occurs +hen a gir! pats ou on the back during the hug. *his subcoms disinterest or that ou have hugged too !ong, and the PUA ma respond b pushing her off and going into a 'CV routine. A PUA can I>' a gir! a bit at the start of a 'a 7 b giving her a pit -pat, then at the end of the date if things +ent +e!!, give a rea! I>I hug. Dhen she hugs breasts first she is probab! sending an I>I, as opposed to +hen she avoids chest-to-chest contact,

+hich ma be an I>'. If a hug is accompanied b her touching our neck or hair, of if she presses her cheek to ours, or puts her head on our chest, these ma be I>Is.

The E't!ah"g ('ecibe!) ,ou ma find at the end of a date a gir! +i!! give ou a hug...then after 9 seconds she ma tighten her hug for another 9 or so seconds (and mmmm a bit). *his is the eBtrahug. *his is a great tactic that subcoms a +ho!e nother !eve! of affection than a friend! hug. If ou as a man aren3t in tune +ith fema!e emotions ou3!! miss this ( ou shou!d comp! b tightening our o+n hug, un!ess of course ou never +ant to see her again). #ike+ise, at the end of a date ou can initiate the eBtrahug. 0arefu! to ca!ibrate +e!! or it can be seen as need . If she comp!ies she +i!! reciprocate b giving ou the eBtrahug, and if not comp!iant +i!! .ust hug or tr to re!ease or pit pat ou (a!! I>'3s). &o again, make sure ou have so!id rapport at or after 07 to tr it.

T!"st Test (*') Dhi!e speaking to her about an thing e!se, run this comp!iance test. P!ace our hands out pa!m up. If she puts her hands out pa!m up, it is a form of comp!iance but an I>', compared to if she p!aces them pa!m do+n in our hands. "eBt, s)uee<e a !itt!e to see if she +i!! s)uee<e. &tep back a !itt!e and see if she steps to+ards ou. #o+er our open hands and see if she !o+ers her hands. Move her hands in circ!es in the air or back and forth !ike a choo-choo train and see if sheF!! move +ith ou. I>' b thro+ing her hands a+a either at the end or if there is !ack of comp!iance at an step.

Tension test (*') *his can fo!!o+ the *rust *est. $ub her shou!der and !ook !ike ouFve discovered something interesting about her musc!e. &a HthatFs interesting, come her for a secondF and put both her arms on our shou!ders. $each do+n to her back and pu!! her in +hi!e g!ancing a+a from her. &tart

massaging up her back as if !ooking for something ou .ust discovered in her shou!der. $o!! off and ta!k to someone e!se in the set, and give a pit pat to dis)ua!if .

Ancho!ing *his is a techni)ue +here ou can attach an emotion to either an ob.ect, or a touch ou give her. /or eBamp!e, if ever time ou sa something funn , ou touch her arm brief! , she +i!! start to associate !aughter and the positive emotions it brings +ith our touch at that point on her arm. &o if in the convo there is a !u!!, ou can touch that point and start a ne+ thread, and she +i!! instant! reca!! those fee!ings again even though ou are sa ing nothing funn . It is a form of Pav!ovian conditioning. ,ou can a!so anchor an emotion to an ob.ect (see the 2ir!friend *est gambit).

6"lling He! Hai! >ther than LP&, ou can use an gambit that +ou!d create a reason to pu!! the back of her hair. Dhi!e speaking, run our fingers up her nape, !ight! take some hair in our hand and ank her head back s!ight! . *his is a po+erfu! point on the bod for a gir!. 1efore ou !et go, make her sa 3p!ease.3

The To"ch 1iss- ,, A gir! might touch a gu before e.ecting, .ust to soften the b!o+ of re.ection. #ook for it and interpret it as a !ost set. ,ou can use a pit pat as a form of I>' simi!ar to the kiss-off.

Tic Tac Fi!st 1iss Ro"tine (0raig) PUA4 'o ou +ant a mint(piece of gumE C14 >k. (P!ace a *ic *ac or piece of gum in our mouth, but do it in a +a that our fingers enter our mouth seductive! . *hen p!ace the *ic *ac in her mouth in a simi!ar sensua! manner.)

PUA4 &o, I admit I am an Indian giver. I3d !ike m piece of gum back. (2o for the kiss).

Myste!y%s 1iss Gam)it PUA4 3'o ou +ant to kiss meE3 >ption 64 C14 "o. PUA4 De!!, I didn3t sa ou cou!d. It .ust !ooked !ike ou had something on our mind. >ption 74 C14 I don3t kno+ (or) ma be. PUA4 De!!...!et3s find out. (go for kiss) >ption -4 C14 ,es. (go for kiss).

T!a$ing 1isses (Bl"e* Cere are a coup!e +a s to esca!ate to the make-out. As ou3re ta!king to a gir!, pu!! her in, give her a hug, put our hands on her head, ga<e into her e es and then give her a kiss on each cheek. *e!! her Moka , no+ ou o+e me t+o kisses.N #et her reciprocate. If she puts an effort into these kisses, p!ant a kiss on her neck and te!! her Mno+ ou.N #et her reciprocate. 2o for the make-out. As ou3re ta!king to a gir!, te!! her she3s adorab!e. 2ive her a kiss on the cheek and sa Mno+ ou o+e me one.N If she doesn3t put much effort into it, ou sa , P,ou are the +orst cheek kisser in the histor of cheek kissers5 Again5P If she puts more effort into it, te!! her MgoodN and then p!ant kisses on her cheek and neck. *e!! her Mno+ ou o+e me t+o.N #et her reciprocate. 2o for the make-out.

Ho0 to Dse High-Bs By Diggi$oyo As an opener and to raise buying temperature: Dith an energetic vibe, simp! thro+ing our hand up is

enough to initiate a kino ping +ith a +oman. ,ou can a!so thro+ out a verba! eBc!amation such as PCI2C /IVL5P before the s!ap and PA#$I2C*5P immediate! after contact. Dith enough attraction ou can e!ongate the kino b ho!ding hands at the top and(or cur!ing our fingers into hers. To give respect to a woman for answering a question right: C14 Dhat3s our nationa!it E PUA4 2uess. C14 Umm... 2erman and &panishE PUA4 Do+5 *hat3s right5 CI2C /IVL5 5high-*ive6 To ma e fun of a woman for answering a question wrong !credit "ehow#: C14 Dhat3s our nationa!it E PUA4 2uess. C14 Umm... Po!ishE PUA4 ,L&55 CI2C /IVL5 5high-*ive and hold hand6 ,ou are tota!! , tota!! ..... D$>"25 5thro, her hand a,ay6 The high$fa e neg: *he 3high-fake3 in essence is a neg that can be used on an one. &imp! pu!! our hand a+a before the make contact. /or gir!s it3s usua!! best to stick to the high-five, but if ou can get a+a +ith it, a high-fake can be used to neg a gir!. 1ut as +ith a!! negs, make sure to Pthro+ and goP and immediate! change the sub.ect +ith a ne+ thread. '> ">* make it appear !ike ou did a high-fake to get a reaction from her, and don3t give her a chance to Psave faceP or reta!iate. As a tease: Most of the time +hen a gir! is not eBpecting a high five, such as +hen used as an opener, her hand +i!! be !imp and the high-five +i!! be more !ike a high-one. *he best +a to tease her is to sa some variation of the fo!!o+ing (don3t recite this !ine +ord for +ordG .ust get the point across ho+ever +a fee!s natura!)4 P"o+, if I had to rate that high five, I +ou!d give it about a 7. 0ome on5 2ive me a 6@5P 5thro, your hand up again6

*his time she3!! most !ike! ree! her hand back and rea!! tr to s!ap our hand red. *his is a great opportunit for the highfake neg, but not necessar . Against A"%&s: Dhen someone puts their hand up in the air, depending on the situation, it3s a!most a socia! vio!ation to not comp!ete our ha!f of the high-five. &o use this to our advantage. *r to picture this in our head. ,ou have an energetic, fun, carefree vibe and ou thro+ our hand up in the air to give some gu a high-five. *he gu has no choice but to give ou a high-five, and in doing so, appears beta b nature, giving ou the a!pha, dominant ro!e of the interaction. If he refuses to high-five, he sti!! appears beta for being a Ppart -pooperP or Pbu<< ki!!P. Din-+in for ou. A!so, b thro+ing our hand up first, it gives ou the option of performing a high-fake against him if ou fee! inc!ined to. 'ountering the A"%&(s high$five: "o+ the other end of the spectrum. Dhat happens +hen an AM>2 offers ou a high-five. As I said ear!ier, both accepting and refusing the high-five resu!t in appearing beta. And to make matters +orse, if he pu!!s his hand a+a before ou make contact, he3s .ust successfu!! too!ed ou. Cere is the perfect counter. *urn it into a !o+-five5 Instead of bringing our hand up to meet his, put our hand out right in front of ou, pa!m up. 'oing this doesn3t refuse the high-five, it .ust f!ips the ro!es of the interaction. Ce must no+ bring his hand do+n to s!ap ours. It a!so no+ gives ,>U the opportunit to pu!! off the high-fake (or I guess it +ou!d be a !o+-fake). I no+ do this LVL$,*IML a gu tries to give me a high-five.

Mon#ey Feet an$ Bac# Wal#s If a gir! is not that heav and if ou3re in good shape, ou can ask her +hen ou get to our p!ace for her to +a!k on our midback to he!p crack it. Ask her to grab our musc!es +ith her toes !ike she has monke feet. ,ou can then +a!k on her back. *his is a form of kino that is both intimate and et not. >f course, be ver cautious +ith this one, because one or both of ou

can get serious! in.ured ( ou don3t +ant to pop one of her breast imp!ants on the first date).

Massages >nce a gir! !ets ou massage her, or if she rea!! digs massaging ou, then chances are in the right setting this is an I>0. Most gir!s +i!! a!!o+ the upper back to be massaged. 2iving a massage during the initia! da 6 pickup can !ead to rapid esca!ationG ho+ever if the gir! re)uests a massage, don3t immediate! .ump on the opportunit !ike a chump...consider trading the massage for something !ike her bu ing ou a drink. Lsca!ation +i!! inc!ude the !o+er back and eventua!! the butt, and going under her shirt and c!oser to the breasts (massaging +hat are ca!!ed the !ats). If ou aren3t too heav , ou can sit ourse!f on her butt, and this +i!! create some seBua! stimu!ation for her. 'on3t forget to keep +arm the parts ou aren3t +orking on, and avoid tick!ing too often as it +i!! eventua!! redirect the massage from seB to chi!d!ike p!a fu!ness. 'on3t sta on one area too !ong, nor move around too fast. Aeep movements consistent, some+hat firm and medium paced, moving on to the neBt area ever -@-:@ seconds. MiB it up +ith deeper massage in thicker musc!es, and !ight touch in p!aces !ike the back of the neck. *ug on the ear!obe periodica!! . Ho0 to )ecome a Maste! Masse"! in H DaysG H Min"tesG an$ 6!ecisely H Secon$s By D!eam (at The D!eam Lo"nge* I don3t kno+ ho+ or +hen it happened, but at some point I became good enough at massaging +omen that the began commenting on ho+ good the massage +as. >ver time, it became more fre)uent, a!most to the point +here ever gir! I !aid m hands on said something. Cmm, interesting, but +h E I +as doing ever thing technica!! the same, but no+ the comments +ere stacking up. De!! toda , I3ve decided to un!eash the insane secrets.... +ooo>>ooooo55 And as the tit!e imp!ies, this takes virtua!! no time to imp!ement. &o first, some background.

Dhen is a good time for a massageE

De!!, an time rea!! . 1ut, usua!! at night. *he are re!aBing, and high noon usua!! isn3t the perfect time of da to massage a gir! for the first time. Aftera!!, first time3s a charm +ith massages. It3s !ike a second !eve! first impression.

0an ou be more specific +ith the timingE

,eah, rea! specific. Dhen things are set to begin heating up. Deird ana!og , but think of a massage as pre-heating our oven before ou3re going to cook something. It3s not over +hen the beeper sounds, but at that point things can progress for+ard (if ou did our .ob, that is). I3ve found the best +a is to !itera!! (and usua!! out of no+here), te!! her it3s time for her massage. ,ou sa this p!a fu!! , but dominant! and e'4ect her to ro!! onto her stomach. ? out of 6@ times a!! ou3!! have to do after the massage is ro!! onto our stomach and she3!! go to +ork on ou, and ou can en.o a great massage and +arm-up for +hat3s neBt. R 0a!ibrate and continue esca!ating (depends on ho+ horn ou are, ho+ much tension ou +ant to bui!d, and ho+ receptive she3s been thus far).

Are ou actua!! a MasseurE

Ca, no. >ne of m aunts has been a masseuse for most of her adu!t !ife though. And eah, she gives the best massages in the +or!d, hands do+n (pun intended).

'o I need to bu an thingE

Um, no. ,ou can if ou +ant, but no dire need. P*hingsP (inc!uding books, vibrating to s and videos) +on3t make the difference in a massage...you +i!!. &o, enough 1&, !et3s get to it.... 6a!t 9- EnMoyG a44!eciateG an$ e'4lo!e he! enti!e )o$y: *his comes from The 7ay o* the )uperior Man b 'avid 'eida. It3s huge, and not as eas as it sounds. ,ou have to [actua!! [

en.o appreciate and eBp!ore

Cer entire bod . >r it doesn3t +ork. *hat is - ou can3t fake this stuff, and it +i!! take time to reach this point. It3s progressive though, so re!aB and have fun messing up and getting possib! a !itt!e negative feedback. &o +hat does this meanE It can mean a !ot of different things. /or me persona!! , it means to a!most !itera!! PeBamineP her entire bod . *he more senses ou use, the better. 1e curious, a!most !ike a chi!d. 'on3t ignore an thing. /rom her back, to her neck, to her ears do+n her arms, a!! the +a to her finger tips, and back again. Aiss her +here she +on3t eBpect it, sme!! her hair before ou give her ear a )uick nibb!e, fee! her breathe deep! , and !et her fee! ours. Pa attention to an thing !ike a mo!e or birthmark as +e!!. It3s important that ou

en.o appreciate and eBp!ore

Cer enti!e bod . $e-read that in case ou missed it. *his a!so means ou don3t get hung up on one particu!ar area. *his does not mean .ump around !ike a nervous midd!e schoo!er on his first date. It means ou3re not focusing (ph sica!! or menta!! ) on one particu!ar area too !ong. /or the record though, a fe+ areas that +i!! usua!! take their breath a+a ...

triceps sides of breasts (carefu! +ith this one. Las to get caught up on if ou !ove boobs) )uadriceps upper hamstrings (right be!o+ the assG use +ise! ) neck (some+hat, but not as much as the above 8)

I kno+ some of ou are thinking...P)uads, rea!! EP ,ep, not even kidding. #argest bone in our bodies has p!ent of musc!e to massage. 'on3t be sh . More important! , she3!! be prett surprised +hen ou reach there, and become even more surprised +hen she fee!s the sensation from our hands. And es, going for the !egs is a great idea. Massaging the feet +i!! depend on the gir!G some are into it, some hate it, some +i!! .ust tota!! not care +here ou3re hands go after a point G).

6a!t <- Be 4!esentG an$ ,oc"s on the no0: *his part sounds rea!! simp!e, and is, but that does not make it eas for most. ,ou have to !et go of the menta! noise and mind identification. Dhen ou do this 6@@R, ou3!! kno+ it, and so +i!! she (and she3!! be !oving ever minute of it). U!timate! , it !eads back to the previous points4

en.o appreciate and eBp!ore

,ou can not conscious! do these if ou aren3t fu!! present then and there. "o if3s, and3s or butts about it. 1eing present is our greatest gift to +omen, and it takes a massage to a +ho!e ne+ !eve!. It keeps ou s!o+, ca!m, and focused on the - points, +hich +i!! rea!! drive her nuts, and usua!! turns out great for the both of ou. Another thing she3!! sense is that ou !ose the outcome dependence of the night. *hat is, being present and tru! focusing on the massage makes +hat happens !ater, comp!ete! irre!evant on a deep !eve!. &ure, ou3re both probab! getting horn +hi!e this is going on, but it doesn3t matter. *hat3s after the fact, and it +i!! usua!! take care of itse!f if ou can .ust let go: $ead up on giving a massage if ou3re not present! too good +ith it, and ou can conspicuous! p!ace an erotic massage book on our coffee tab!e and sa it +as a gift from an eB. If she opens it open and seems eager, this is an I>0. ,ou ma +ant to have massage oi! around, though it can be mess and is not needed. A !ot of gir!s !ike foot massages, but ou probab! shou!d ask first, since some don3t. In some cases, rubbing a gir!3s dirt stink feet can !ook tr hard and is a '#V. &o probab! the feet aren3t a good p!ace to start. 'uring the massage ou can get more and more intimate, though ou ma +ish to avoid her genita!s un!ess it3s c!ear she3s read for &6. 2oing for petting +hen she isn3t read can !ead to bu ers remorse, though at the moment she is en.o ing the fee!ing. ,our goa! +i!! be to start kissing the back of her neck and shou!ders, and if she is receptive (moaning and s!o+ +rigg!ing are good I>0s to !ook for), ou can tr to get her on her back and proceed to &6.

D"al-In$"ction Massage (&t !e) *his techni)ue +as deve!oped to permit menages (threesomes). 1ring a primar gir!friend and a ne+ +oman to our seduction !ocation and distract them +ith a benign activit !ike +atching a movie. *e!! the +omen that ou .ust !earned a ne+ massage techni)ue4 +hen someone fee!s t+o hands on them the can <one out, but +hen there are four hands the brain comp!ete! freaks out and it opens up a +ho!e ne+ eBperience. Cave the primar !ie do+n and take her top off, and ou and the ne+ gir! massage her back in a simi!ar fashion. After a +hi!e, take our shirt off and a!!o+ the t+o gir!s to massage ou. *hen, have the ne+ gir! remove her shirt +hi!e ou and our primar massage her back. ,ou and our primar begin to make out, ver !o+ so the ne+ gir! fee!s the seBua! energ , then turn the ne+ gir!3s head and begin to kiss her. *hen the primar and ne+ gir! shou!d begin to kiss, at +hich point the game is on.

B"tts Domen are attracted to a man3s rear end. &pecifica!! , the three areas of a man3s bod that +omen find seBua!! appea!ing are the !egs, butts and chest(arms, +ith butts bare! +inning out at 8@R. *his ma be because a strong g!uteus imp!ies deeper penetration +hich ma !ead to greater odds of impregnation. In &6 or &7, it ma be +ise to focus a gir!3s attention to our rear. &!apping a gir!3s butt is a ver dominating a!pha move. 1esides causing a sudden seBua! rush, it demonstrates our confidence. 2ir!s often don3t mind s!apping the butt of a man the .ust met, and ou can bait her to do this.

Ea!!ing 1iss Gam)it ('ecibe!) Dorks to get a first kiss if the t+o of ou are sitting on a couch, ma be +atching *V. ,ou4 Ce , do ou have ear piercingsE (she sho+s ou the ear on our side, ou touch her ear). Cmm...!et me see the other ear. (she turns her head to+ards ou to sho+ her other ear, at +hich point ou kiss her).

3 the Ri44e!%s Ma#eo"t an$ Finge!)ang Techni;"es N 6a!t ne+ The Ma#eo"t After running game on her, ca!ibrate so that ou don3t stab too ear! G if ou3ve been gaming for an !ength of time ou3!! kno+ eBact! +hen to eBecute it4 PDe!! it +as a+esome ta!king +ith ou. It3s so coo! to come to a p!ace !ike this and meet someone +ho3s not our average dits c!ub chick. ,ou3re rea!! different. I +ish +e cou!d chi!! W hang out the +ho!e night. #isten, I have to go, and +e3re probab! never gonna see each other again.N (act a !itt!e disappointed). M1ut I +ant to keep in touch +ith ou. 2ive me our number.N (After ou the get the number, te!! her ou3!! ca!! her, and give her a big hug. Dhi!e in the hug, +hisper in her ear, P&o are ou a good kisser, or do ou .ust !ook !ike oneE #ets find out.P And .ust go for it.) A!ternative! use4 P,ou kno+, +e3re probab! never going to see each other again...but I have an idea. Cear me out, it3s nothing perverted or nast ...'o ou !ike secretsE Cere3s +hat I +ant ou to do. Da!k do+n to that end and turn the corner so our friends can3t see, and I3!! fo!!o+ c!ose 7@ seconds after. De3!! kiss once, then ou go back to our friends, I3!! go back to mine and then !ike I said, +e3!! probab! never see each other again. It3!! be our coo! !itt!e moment, our !itt!e secret.P

N 6a!t T0o+ The Finge!)ang After ou take her to the dance f!oor, run heav attraction materia! (check out m past /$(#$3s for eBamp!es), then transition to se!!ing the fuck out of P*ourist Menta!it P using m o!die !ine4 P,ou kno+, +e3re probab! never going to see each other again...N *he idea behind tourist menta!it is that ou conve the fact tonight ma be the !ast time ou see each other, and that +hatever happens this night doesn3t Pactua!! countP. *his makes her more +i!!ing(accepting that she can eBhibit Pbad gir!P actions and et not be he!d accountab!e for it. >nce ou3re making out, put one hand snug behind her +aist, and the other behind the neck +here the hair ends, and do an evo!ution phase shift hair pu!!. If she3s receptive up to this point, test the +aters b p!acing our hand gent! bet+een her thighs, and tease our fingers a!most coming c!ose to her [[[[[[, but not )uite. If she !ets ou do that +ith no hesitation, take bab steps +ith our hands unti! ou can reach up and under. >nce our hand is inside the e!astic trim, begin to kiss her harder, and tug hair s!ight! firmer but not too hard, and act )uick +ith our midd!e finger, sticking it in ( our

indeB and ring finger used to separate the !ips and he!p guide the +a ). >nce our finger is in, I !ike to kiss her neck. At this point, drop our hand from her hair to her +aist, but keep kissing. *he kissing is prett much a distractor from our hands.

Bi!th$ay 1iss (Deci)el* 3Ce , do ou think our bo friend +ou!d mind if ou gave me a birthda kissE3 *his can be used ear! in attraction if her 1* is up, ou3ve got kino comp!iance and think ou might be ab!e to pu!! off a kiss. /or eBamp!e, a gir! passes ou on her +a to the bathroom and she seems friend! , drunk and +i!!ing to comp! . It doesn3t need to be our birthda , nor does her 1/ need to be presentG it simp! presupposes she has a 1/ some+here in the +or!d. It a!so assumes she is +i!!ing to kiss ou, as opposed to 3he , it3s m birthda , ho+ about a kissE3

6almist!y *his is a great +a to introduce more seductive kino, and is discussed in the 0hick 0rack chapter. 2e!)al 1ino (Deci)el* A +oman can be seBua!! stimu!ated b the +ords ou use, and avoiding seBua! topics during da 6 is a common A/0 mistake. M ster has +arned that ta!king about seB can pro.ect neediness, so this tactic shou!d on! be done once our de!iver is confident and non-need . Ph sica! kino ma not fu!! arouse her if the 3verba! kino3 as I ca!! it isn3t there. Dhenever a +indo+ opens to !ead the convo gent! in the direction of seB, ou shou!d consider !eading it there. Lven if a topic seems aseBua!, there are +a s to bait the target so she +i!! begin a seBua! convo, man times a ver eBp!icit one. *a!k non-cha!ant! about fuck buddies, different seBua! techni)ues ou3re kno+!edgeab!e about or interested in eBp!oring, and demonstrate ou are tota!! non-.udgmenta! about seBua! adventures and practices. ,ou must bring her A&' do+n because +omen are t pica!! afraid of being considered s!uts. 'o research. $ead 3gir! 3 maga<ine !ike 0osmo and Vogue to understand their content and !ingo. 2o to sites that se!!

vibrators and other seB to s, read revie+s of the products, be ab!e to discuss these things +ith authorit even though ou ma have persona!! never used these items. ,ou ma be surprised .ust ho+ +i!!ing most +omen are to ta!k about seB in graphic detai!, once ou sho+ ou are accepting of and unphased b an thing the thro+ our +a .

Will @o" Fee$ MeI (Style* If ou +ant to bounce from a venue to a gir!3s house, te!! her 3I can come home +ith ou...but do ou promise to feed meE3 *his provides a subteBt for going home +ith her to !o+er her A&'. Dhen she starts !isting items in her fridge she can feed ou, ou3re in. Pick something from the !ist, and then bounce to her p!ace for a !ate-night snack, fo!!o+ed b esca!ation.

F"c# Invitations (FIs* (Deci)el* At times, ou +i!! meet a +oman +ho is out in the c!ub c!ear! !ooking to get !aid. As ou game her, she )uick! comp!ies, gives reverse kino, reopens ou !ater and makes seBua!! suggestive comments directed at ou. In certain cases, these are shit tests and shou!d be hand!ed +ith care so as to not appear need or over! comp!iant. 1ut often, these invitations to fuck are genuine, and over-gaming her can ki!! the invitation. >ften, the recipient of the /I is a "ice 2u . 1eing the "ice 2u doesn3t get ou !aid. *he "ice 2u +i!! miss /Is, or ma hear them not kno+ ho+ to act on them. 'on3t suffer from "ice 2u & ndrome. &tep up and be a man. /Is are counter-intuitive to socia! conditioningG a gir! asking a man for seB can be seen as s!utt , +hi!e in fact it ma .ust indicate she3s got high se!f-esteem and goes for +hat she +ants. "ice 2u s +i!! think she3s .ust p!a ing around and +i!! miss the actua! invitation she3s giving him. "ice 2u s +i!! .oke or tota!! disregard the /I. After a!!, it seems too good to be true, rightE And so, an eas !a is !ost. 'ia! up our /I detector +hen out in fie!d. And if there3s mutua! attraction, do act on the /Is. 1e direct. Lven if ou3ve been co and indirect to that point, it3s ok to shift gears and te!egraph our seBua! intent. ,ou can caveman or sa 3,ou and I need to

get out of here...right no+.3 It3s c!ear b this ou don3t mean 3!et3s go to 'enn 3s for pancakes,3 but it a!so isn3t smarm or need . It3s perceived as dominant, +hich is +hat she3s !ooking for. If she dec!ines, then she3s either not horn enough and needs more +ork, or e!se she3s a!! ta!k and .ust !ooking for va!idation. Domen +ho are tru! giving ou /Is he!p +ork the !ogistics to pu!! and reasonab! comp! +ith esca!ation. And don3t overgame this one. If she hands ou her puss on a si!ver p!atter...eat up.

The Whis4e! After ou3ve gotten attraction, !ean in to speak soft! into the gir!3s ear about something. *est her comp!iance to see if she3!! a!so speak into our ear or reciprocate. ,ou can carr out an entire conversation in this fashion, +hich is intimate and creates a bubb!e around ou and her. *he +hisper brings ou a step c!oser to the make-out.

Se'"ali5ation (Deci)el* ,ou can run teBtbook game, and even have reasonab! good kino comp!iance, but to get her seBua!! intrigued ou must seBua!i<e the conversation. *his is a critica! ski!! for &"#s and he!pfu! for getting +omen responsive for da 7s. In seBua!i<ing the convo, ou are not necessari! ta!king about seB, but baiting her to open up about it. Co+ever, if there is a +indo+ to seBua!i<e b direct! stating our seBua! intent, seBua!i<ation permits ou to do this as +e!!. It is recommended ou and our +ings do the fo!!o+ing eBercise, ca!!ed seBua!i<ing the conversation. ,our +ing makes a non-seBua! comment or asks a )uestion and our response seBua!i<es it. :0ample+ a girl asks: Do you like dogsH ,ou sa 4 ,es, I have a dog. *he Fre good for snugg!ing, but +omen are better. >nce I +oke up and something +as !icking m foot. I thought it +as m dog but it turned out it +as m gir!friend. :0ample+ a girl sho,s you her tattoo/ ,ou sa 4 0oo!. 'o ou have an piercings tooE I dated one gir! +ith a nipp!e piercing, +hich +as fun. 1ut one of m gir!friends had a piercing 3do+n there.3 "o+ *CA* +as interesting. 'o ou have a c!it piercingE

:0ample+ a girl brings up reading/ ,ou sa 4 IFm ha!f-+a through My )ecret Garden. ItFs about a!! the seBua! fantasies +omen have. IFm sure ou kno+, +omen are +a more seBua! than men, but our societ forces them to repress their drives. *he points ou +ant to hit are4 O Prese!ection. ,ou have a !ot of chicks in our !ife. O Impu!siveness. &ometimes itFs best to !et our emotions guide ou. O 1eing non-.udgmenta!. ,ou !ove seB, and !ove +omen +ho !ove seB. O Adventurous(eBperimenta! O Passionate O &eBua!! eBperienced. ,ou kno+ much more than the average dude ho+ to p!ease a +oman. O 2iving is better than receiving. If ou satisf a +oman as our main goa!, she +i!! natura!! tr harder to satisf ou. O Conest . If itFs seB ou +ant, be direct and o+n it. "o games a!!o+ed. O Unattached("&A seB is perfect! fine. *here are no eBpectations for commitment here. O 1eing discrete O 1eing decisive4 kno+ing +hat she +ants and going for it O &ome aspect about her is seB , ca!ibrating if needed (3,our Lng!ish accent is seB . "ot as seB as Austra!ian, but seB .3) Lach of the above are !itt!e bricks that come together to bui!d the house of &eBua!it . Domen !ove to ta!k about seBG man times once the start ta!king about it, it3s !ike a runa+a train and ou ma spend the rest of the encounter discussing it. *he ma sa the arenFt into our po! gamous !ifest !e, or +i!! appear disinterested, but itFs a shit test. *he Fve been so conditioned b societ to appear proper, but given the chance (+ith an eBperienced, non-.udgmenta! man) the F!! open +a up. *he ke is for her to be doing most of the eBp!icit ta!king and for her to be getting more eBcited than ou areG the subcom is seB is no big dea! for ou. Using charged +ords !ike 3passionate3 and 3deep, deep connection3 can he!p get gir!s to start chasing ou. Datch 'ecibe! eBp!ain &eBua!i<ation.

The Tic#le An time during our interaction +ith a gir!, ask her if she3s tick!ish, then start to tick!e her. *his is eas to emp!o +hi!e ou give a shou!der(back rub. #ike+ise, start tick!ing +ithout giving her an +arning. *ick!ing a gir! causes her to fee! !ike a kid again, and ma resu!t in a !arge 1* spike +hi!e ou esca!ate. &he ma comp! b te!!ing ou +here on her bod she3s tick!ish, or start reverse kino b tr ing to tick!e ou.

1issing Man ca!! kissing a 3kiss c!ose3 or 3k-c!ose3 but more accurate! , kissing is not a c!ose so much as .ust another step in kino esca!ation !eading to seB. *he actua! kiss is a !earned art, but +here man gu s have more troub!e is ca!ibrating +hen to initiate the kiss during the set, +hen to cut it off and ho+ to interpret it re!ative to the rest of the interaction. Man gir!s +i!! make out +ith severa! men in a c!ub in a sing!e night, and it ma mean abso!ute! nothing as far as her +i!!ingness to s!eep +ith them or even respond to their phone ca!!sG gir!s man not even remember the gu s an hour !ater. A debate eBists in the communit regarding +hether make-outs can harm our chance for a da 7 because the trigger bu er3s remorse. Dhi!e some argue it3s not good game, others +i!! sa ou shou!d go for the kiss +henever the opportunit presents itse!f, particu!ar! if our goa! is the &"#. >ften, trigger anBiet S fear of 3pu!!ing the trigger3 S +i!! stop gu s from going for the make-out +hen the invitations are there. As +ith AA, ou +i!! need to keep pushing past *A to demonstrate to ourse!f that esca!ating is acceptab!e, and no harm +i!! come from re.ection. %ust act unaffected emotiona!! and tr again !ater. *here are numerous kiss gambits (see above), though .ust being assertive +i!! fre)uent! suffice. 1issing By The 3"$ge I think most gu s +ho don3t go for the make-out because the 3re 3stoking the seBua! tension3 are rea!! .ust rationa!i<ing their anBiet about getting ph sica!. *he don3t +ant to risk !osing the bask of fema!e va!idation the 3re en.o ing b .ust being Pfun gu P. I kno+ this so +e!! because I used to be this gu . I rea!i<e no+ that if ou don3t esca!ate out of fear, ou3re going to !ose the gir!. Period. 0onverse! , if ou do esca!ate

LVL" if ou3re re.ected, the gir! is sti!! going to get much more attracted and eventua!! ou DI## get the esca!ation. Aissing is usua!! the $ubicon of esca!ating, and I3ve deve!oped some PstrategiesP to make it as seam!ess as possib!e4 6) I usua!! .ust bring up kissing...usua!! some variation of the e!astic-snap band effect, i.e. P>ka , ou can do B, , < but I don3t kno+ about ou... ou have a nice-gir! face...I !ike nice gir!s...but the do end up in the friend <one...the can3t kiss for shit...kissing is ke for me, if ou can3t kiss then pack our bags...it3s the friend <one for ou...P or some nonsense !ike that. 7) Aissing on the dance f!oor. -) $andom! sa ing, PDoah +oah +oahP and go for the makeout. It3s sort of random and funn . I usua!! don3t get the make-out but the gir!s go nuts and ou get it neBt time. 8) &imp! s!o+ do+n our ta!king, start stroking her hair and ga<ing into her e es. 9) >r, the easiest and most consistent +a 4 %U&* 2> />$ I*. #itera!! , +hen she3s midsentence, pu!! her into ou, smi!e, then kiss. If she doesn3t go for it, but doesn3t !eave, that means she +ants ou. *r again in 7 minutes. If a gir! LVL$ ca!!s me out on this, I go into a %eff -es)ue so!i!o)u !ike P>h, I3m sorr 555 ,ou obvious! don3t understand +hat3s going on here. I3m obvious! not sitting here and ta!king to ou because ou3re hot and ou turn me on. I3m obvious! .ust sitting here ta!king to ou !ike I do +hen I take m grandma to Mc'ona!d3s. Cere, !et3s get ou a %a<< to sit in and make it officia!. &L$I>U&#, though, don3t eBpect me to P1LCAVLP m se!f and pretend I3m not into ou !ike ever other chode ou meet. ,ou !ike me, I !ike ou. ,ou don3t have to kiss me, but it +on3t mean I3m not going to tr ...oh !ook5 *here I go tr ing again...P (go for make out). 2ir!s #>VL this shit. P!ease .ust tr it. ,ou can thank me !ater. :) *he 1!ockbuster Previe+ k-c!ose. Cere3s ho+ this goes do+n. As the gir! is ta!king, ou kiss her mid-sentence. *he kiss is simp! a hummingbird-)uick peck on the !ips. *he on! re)uirements is ou hit her !ips and kiss her fast enough so she doesn3t have time to turn her head. &he3!! probab! sa something !ike, P*hat +as uneBpected5P or PDhere did that come fromEP. Irre!evant. Cere3s the ke though4 ou '>"3* even ackno+!edge the kiss. ,ou immediate! stack into some

bu!!shit stor . &o it goes4 ou kiss, she3s shocked, ou sa , P&o b!ah b!ah b!ah.P &a +hatevs. %ust remain nonreactive. A!most make her )uestion I/ I* LVL" CAPPL"L'. &he3!! be confused, eBcited, a !itt!e angr . Dhatevs. *ons of emotions. ,ou do+n-shift into a chodersation for 7 minutes, then ou do some cherish-!ike esca!ating (i.e. hand caressing, hair stroking) and then go for the 1!ockbuster makeout tongue do+n boner-inducing !ovefest. It3s &> >" +ith this !itt!e move because it sparks so man emotions.

2in $iCa!lo Se'"al Escalation La$$e! *he fo!!o+ing is a +e!!-kno+n series of steps to he!p esca!ate. 9/ :ye #ontact and Initial #onversation ;/ Incidental #lass 9 *he first c!ass of incidenta! kino invo!ves the arms and hands. &haking hands, tapping peop!e on the shou!der and brushing arms are a!! ver common things that +e do on a dai! basis. 'one in an incidenta! manner, i.e. occurring mere! b chance or +ithout intention or ca!cu!ation, it is eBtreme! effective at bui!ding initia! comfort. LBamp!es4 [ Cand shaking [ Arm brushing [ #ight touching on her arm to emphasi<e our points [ Anchoring her arm near e!bo+ to ho!d her c!ose as ou ta!k [ &tanding neBt to her +ith our arm touching hers [ Cigh /ives [ Pa!m $eading =/ (vert #lass 9 *here is an unmistakab!e recurring pattern throughout the 'L#4 incidenta! kino, fo!!o+ed b overt kino. >vert means open to vie+ or kno+!edgeG not concea!ed or secret. Dhi!e incidenta! kino is usua!! done in a conteBt +hich masks our intention, overt kino is not. *he incidenta! kino +hich precedes it creates the fami!iarit necessar for the overt kino to be accepted. LBamp!es4 [ Co!ding hands [ Arm in arm escorting

E/ Incidental #lass ; 0!ass 7 kino invo!ves an contact +hich takes p!ace on her torso or !egs. *his is s!ight! more intimate than c!ass 6, but does not inc!ude erogenous <ones such as her breasts, crotch or inner thighs. LBamp!es4 [ &tanding ver c!ose +ith our !egs touching hers [ &itting c!ose together +ith our !egs touching hers [ #ight! and incidenta!! brushing her abdomen +ith our hands +hi!e ta!king [ 1rief! touching her back +ith our pa!m +hi!e speaking as if ou are pu!!ing her in to hear ou better F/ (vert #lass ; >vert c!ass 7 kino is usua!! done +hi!e sitting do+n. ItFs not necessar , but definite! a smart p!ace to make the transition to sitting do+n. *his c!ass of kino shou!d be done in a protective, a!most romantic manner. LBamp!es4 [ /ronta! Cugging (done best as a positive reaction to her comp!iance) [ Lscorting her through the bar +ith our hand on her !o+er back [ &itting neBt to her and p!acing her !eg over ours [ Co!ding her abdomen on the side +hi!e sitting do+n and ta!king [ P!acing her hand on our thigh M/ Incidental #lass = Cer hair, face and neck are the regions inc!uded in c!ass -. Man gu s make the common mistake of touching these areas too soon, +ith a gir! the first met. 2ir!s are surprising! protective of their hair, face and neck p!acing these re!ative! high on the !adder. Another common mistake is that more eBperienced gu s +i!! genera!! skip this step a!together, on! to face !ast minute resistance !ater on. LBamp!es4 [ 1rushing (or pretending to brush) something off of her face [ *a!king ver c!ose! +ith our face touching hers because the environment is eBtreme! !oud [ *ouching an interesting neck!ace sheFs +earing, mean+hi!e a!!o+ing our fingers to !ight! caress her neck [ P!a fu!! pinching her cheeks

N/ (vert #lass = *he manner in +hich kino is de!ivered in overt c!ass -, is ver direct. It is meant to prepare her for kissing, and is done in a ver s!o+, gent!e and romantic +a . Most of the time ou shou!d be sitting do+n, re!aBed and maintaining a good seBua! state and strong e e contact. LBamp!es4 [ P!acing her head to rest on our shou!der [ Moving our face into her neck and sme!!ing her [ #ight! stroking her face +ith our finger, c!ose in, !ooking into her e es [ $unning our fingers through her hair, c!ose in, !ooking into her e es [ Co!ding her behind the neck +ith our pa!m to the side of her neck, !ooking into her e es :scalation 'amp Dhi!e the above steps from 6-; ma take an +here from -@ minutes to 6@ hours, the esca!ation ramp is ver rapid. *he duration of the ramp shou!d be about 6@ - -@ minutes. &tart the ramp ver )uick! once ou have comp!ete iso!ation in a seB !ocation. C/ 3issing &tart kissing from a ver c!ose proBimit . 'onFt come diving in !ips first from three feet a+a . Idea!! ou shou!d a!read be in a suitab!e position for kissing before ou tr . If ou have overt c!ass - kino taken care of, ouFre probab! in the right spot. A techni)ue for bui!ding seBua! tension - move c!ose! in, s!o+! as if ou might kiss her, and then move a+a and start ta!king about something e!se. *his +i!! bui!d the tension and she +i!! +onder +hen ouFre going to actua!! kiss her. A techni)ue to initiate kissing4 tr p!acing our finger .ust underneath her chin and pu!!ing her mouth to+ards ours. Aissing shou!d be !ight and short at first. ,ou shou!d be the one to pu!! a+a first. 'onFt use too much tongue at first, .ust use it to tease her, and bui!d anticipation. D/ 3issing $er Neck >nce ou have kissed her for a bit, move do+n to her neck. Aiss it gent! , +hi!e ho!ding her c!ose to ou. 'epending on ho+ rough ou +ant to set the mood, fee! free to thro+ in some gent!e biting too.

9O/ Touching the are )kin o* $er ack >nce ou have estab!ished kissing both on her mouth and neck, move our hands to her +aist and underneath her shirt. 0ontinue to ho!d her c!ose to ou, no+ +ith our hands direct! on her back. 99/ )tomach to )tomach "o+ that ou have estab!ished touching her skin, be!o+ her shirt, simp! move our hand to the front, and !ift her shirt, eBposing on! her stomach. At the same time !ift our shirt as +e!! so that our abdomen is in direct contact +ith hers. It seems innocent, but +i!! mean+hi!e trigger intense seBua! fee!ings inside of her. *he on! time she fee!s contact !ike that is usua!! +hen sheFs naked and having seB. 9;/ 3issing her ody Caving her shirt pu!!ed up affords the opportunit of moving do+n+ards to kiss and caress the bare f!esh of her abdomen. &tart kissing her there, a!ong the sides, and move up+ards. *ouching and kissing the breasts is optiona!. It is not necessar , and in some cases can be detrimenta! to our progress. *here are some +omen +ho have a negative anchor to their breasts. Inch to+ard their breasts and fee! her reaction. If she becomes increasing! turned on, then go for it. If she starts to c!ose do+n, skip the breasts unti! ou are a!read having seB. 9=/ Incidentally )timulate &agina Dhi!e ou are kissing her bod , ou can position ourse!f bet+een her !egs and use our midsection to rub against her vagina. If ou are kissing her mouth ou can position our thigh to stimu!ate her vagina. ,ou can a!so be kissing her bod and reach bet+een her !egs and p!ant our hand on the bed be!o+ her. *hen use our forearm to stimu!ate her vagina. *he ke here is that because ou arenFt using our hand or fingers, she has no basis for ob.ection. 9E/ Direct &aginal )timulation *rom ehind 5Inside Panties6 >nce ou have rea!! amped her up b incidenta!! rubbing her vagina, move our hand around to the back and s!ip it inside her panties and touch her naked ass. "eBt, move our hand a!! the +a do+n and reach her vagina. &tart first b touching the area around it. *hen proceed to finger her from behind. Domen never eBpect to have it happen this +a . *r ing to reach our hand do+n the front of her pants +i!! often be resisted, but from the rear is uneBpected and effective.

If she is +earing a skirt or dress, ou +i!! instead move our hand up the back of her !eg, and reach her vagina that +a . /inger her and then proceed direct! to step 6:. 9F/ Direct &aginal )timulation in !ront 2et her heated up b fingering her, and then +hen once she is sufficient! turned on, undo the front of her pants +ith our other hand. ,ou can use the situationa!! re!evant phrase MM hand is being crushedN as ou do it, a!though itFs usua!! not necessar . &ince she is engaged b the fact that ou are fingering her, she +i!! rare! ob.ect to our simu!taneous undoing of her pants. ,ou ma a!so have her undo her pants, b sa ing MUnbutton our pants.N as ou are fingering her. Moving to the front, ouF!! be ab!e to get more penetration +ith our fingers, and get her to the point +here she is practica!! begging for seB. Use a firm Mcome-hitherN motion pu!!ing for+ard on the front vagina! +a!! and stimu!ating her g-spot. 9M/ 'emove $er Pants+ )e0 *he idea is to get her so heated up b fingering her, that she makes a commitment to seB, verba!! or ph sica!! . *here are a fe+ +a s to go about this. /irst! , it is ver important that ou donFt stop fingering her before her pants are off. *oo man times a gu +i!! stop fingering her, and then tr to take off her pants, on! to get more resistance. Dhi!e fingering her ou can sa M'o ou +ant me inside ouEN Dhich +i!! usua!! get a M,es.N response. At that point ou sa M>k, take off our pantsN and continue to finger her unti! her panties are off, and sheFs read to go. Another option is to skip the )uestion and direct! te!! her to take off her pants. Usua!! +ith our fingers bus at +ork, she +i!! be more than comp!iant. Another techni)ue is to ask her M'o ou +ant me to get a condomEN In ?@R of a!! gir!s ou ask this, the +i!! sa M,es.N "ot because the are sa ing the +ant seB, but because the +ant to appear safe and !eve! headed. ,ou +i!! interpret this as the permission to get a condom and have seB +ith her, and it +i!! most !ike! be met +ithout opposition. Additiona! Points4 9/ $igher %evels Unlock 1ccess to %o,er %evels

*he rungs of the 'i0ar!o Lsca!ation #adder ma be treated eBact! the same as comp!iance !eve!s. *he point is, an time ou reach a higher !eve! through situationa! re!evance, it un!ocks the !o+er !eve!s automatica!! . A good eBamp!e of this is in a !oud c!ub or bar, ou can reach in and ta!k direct! into her ear, getting incidenta! c!ass - kino, touching the side of our face to hers. ,ou are speaking to her in a +a that is dictated b the situation, so it is accepted. If ou accomp!ish this +ithout her resistance, a!! !o+er !eve!s +i!! become un!ocked. ;/ :0ecution o* the :scalation 'amp *he esca!ation ramp, +hich consists of steps =-6: is most effective! eBecuted in iso!ation in a seB !ocation. It is not efficient to start the ramp +ith the intention of finishing it at a !ater time. &tarting the ramp +ithout finishing it +i!! !ead to an increase in f!aking and decrease a +omanFs attraction to+ard ou. *his is because these seBua! behaviors +ere formed thousands of ears ago +hen +e +ere sti!! !iving in caves. *he natura! instinctua! urges, combined +ith a !ack of kno+!edge of modern-da seBua! conse)uences meant that esca!ation +ith a +oman +ou!d 6@@R of the time !ead to seB. 1 eBecuting the !adder correct! , ou are matching her genetic seBua! programming and giving it to her the eBact +a that she +ants it. It is acceptab!e to do the first part of the ramp - kissing - outside of a suitab!e seB !ocation, but on! if ou p!an on comp!eting the ramp !ater in that same meeting. ItFs not to sa that kissing a gir! on a non-seB meet +i!! destro our chances, but it certain! +onFt improve them. Aiss-c!oses ma !ook impressive and feed our ego, but arenFt technica!! optimum. =/ Incidental &s/ (vert 3ino *here is a!+a s a )uestion as to ho+ to eBecute these different pieces of kino. In genera!, ou shou!d spend most of our time in the incidenta! phase, getting her comfortab!e +ith contact in those regions. *his pattern of incidenta! fo!!o+ed b overt is a!most !ike a %edi mind trick. Use the incidenta! kino in a ver non-invasive, ver much under the radar manner, and her subconscious +i!! automatica!! accept the subse)uent overt kino. &ince she accepts the overt kino, it is through a process of back+ards rationa!i<ation that her attraction for ou increases. *he ke is to make the overt kino eBtreme! short. Lach overt phase in the initia! !adder shou!d have a duration of 9-6@ seconds. ,ouFre not going to be ho!ding her hand in the c!ub for 9 minutes at a time +hi!e in c!ass 6. Aeep it short and s+eet.

E/ Group %adder Theory *here is )uite a bit of evidence supporting the idea of a Mgroup !adderN concept. Dithin a tight! knit group of gir!s +ho share a Mco!!ective emotiona! stateN +ith each other, it is possib!e that +hatever step on the !adder ou achieve +ith one gir! can transfer over ver easi! to the other gir!s in the group. In a sense, each group of gir!s has a !adder, +hich represents our esca!ation +ith that group. If ou can comfortab! touch and ho!d a gir! at a certain point in the !adder, it creates an imp!icit trust of Mthis gu is coo!N for the other gir!s in the group at that same !eve!. Aeep in mind, ho+ever, this does not inc!ude the esca!ation ramp, a!though it has been observed to happen +ith kissing )uite readi! .

Chapter 1le,en
"e- and the Female !r'asm
*here is not a !ot of information in the PUA !iterature about ho+ to p!easure +omen seBua!! . In fact, for ever mention of seBua! techni)ue, ou probab! cou!d find 6@@ +a s to open a set. Most men have no competence at ho+ to bring a +oman to orgasm, other than through vagina! intercourse. Dhi!e +omen often comp!ain that their man does not fu!fi!! her seBua!! , she ma not discuss this +ith him because she fears hurting his ego. And so, there !ike! are man men +ho think the are better performers than the tru! are. * pica!! , a man +i!! have a preference hierarch in mind4 seB is better than ora! seB, +hich is better than a hand .ob. &o the man ma assume +omen +i!! have simi!ar goa!s. 1ut for man +omen, this is not the case. Most +omen have never been brought to orgasm through seB, but have had c!itora! orgasms. &ome +omen can have ver intense orgasms through manua! stimu!ation of the deep spot. *here is a!so much menta! and emotiona! stimu!ation needed in arousing a +oman, +hich men ma not re)uire for their o+n orgasms. PDe kno+ !ess about the seBua! !ife of !itt!e gir!s than of bo s. 1ut +e need not fee! ashamed of this distinctionG after a!!, the seBua! !ife of adu!t +omen is a 3dark continent3 for ps cho!og .P )igmund !reud And so, a thorough +orking kno+!edge of seBua! techni)ues and an appreciation of fema!e ps cho!og can be of great advantage to the PUA.

STD%s an$ 6!egnancy Dith the po+er of seduction comes responsibi!it . It is irresponsib!e for an PUA to enter the fie!d +ithout bringing condomsG it is !ike going to a shooting range +ithout our gun. "ever enter a +oman ou .ust met +ithout first putting on a condom. 0ondoms are fragi!e, so make sure it has not eBpired or been sitting in our +a!!et or car too !ong. ,ou do not +ant to pu!! out to find a broken rubber. Dhen used correct! , condoms are ver successfu! in preventing un+anted pregnanc . #ike+ise, among forms of

birth contro!, on! condoms can he!p prevent the spread of seBua!! transmitted diseases. It is good practice to take universa! precautions, assuming an partner ou meet cou!d be infected +ith an seBua!! transmitted disease (&*'), and that ou ma contract something from her. *hough it isn3t seBua!! transmitted, fema!e b!adder infections are common fo!!o+ing seB. Domen kno+ this, so don3t be surprised if she .umps up and runs to the bathroom to pee right after seBG this is a he!pfu! +a of reducing her risk of infection. ,ou can get more information from the "ationa! &*' Cot!ine at =@@-77;-=?77 and at their site, or at the 0'0 +ebsite.

Con$oms an$ L")!icants *here are man variations of condoms, inc!uding those that are f!avored, different si<es, those for greater sensitivit and ones marketed to enhance the eBperience such as ribbed. ,ou ma +ant to eBperiment +ith various kinds to figure out +hich gives ou the best sensation. #ateB is the standard materia! used. "atura! (!amb skin) condoms are not re!iab!e in preventing &*'s. $ea!it is a fema!e condom, and can resu!t in a better ride for the man versus a standard condom. /or those +ho are embarrassed to purchase condoms in a store, ou can easi! order them on!ine, often in bu!k. 0ro+n is a good eBamp!e of an ineBpensive but muchadmired condom to have around. 0ondoms made of po! urethane are a!ternatives for those +ith !ateB a!!erg . "onoB no!-? is a spermicide fre)uent! added to condoms. It can be irritating to the vagina, and does cause numbness of the mouth if contact is made. It is an added !eve! of protection, but not a substitute for condom use. &ometimes condoms break. *his can happen if !eft in our car or +a!!et too !ong, if ou tear it +hi!e opening the +rapper +ith our teeth or +hen using it +ith an oi!-based !ubricant. >r sometimes the condom s!ips off into the vagina after ou e.acu!ate or if too much !ubricant is used inside. Lmergenc contraception can be purchased. P!an 1 is a !arge dose of fema!e hormone she can take in the first ;7 hours after seB, and is avai!ab!e over-the-counter (+ithout a prescription) at pharmacies. $U-8=: is another form of birth contro!, but re)uires a prescription. *hese shou!d not be re!ied upon as first-!ine options of contraception. As for !ubricants, man men ma not bring up the sub.ect because it seems to imp! she is not ade)uate! stimu!ated. 'o not hesitate ho+ever to use !ubricants if needed, both for manua! stimu!ation and intercourse. *he t+o main categories inc!ude oi!-based and +ater-based. Dater-based !ubes are

easier to c!ean off ou, our partner and our sheetsG oi!-based !ubes can !ead to condom breakage, so use +ater-based !ubes +hen using condoms. 0!ear !ubes +on3t stain sheets. /!avored or +arming !ubes can a!so be eBperimented +ith. *here are man makers out there, inc!uding &ensura (for her)(&eB 2rease (for him), Astrog!ide, and A-,. &i!icone-based !ubricants have a!so come onto the market. Getting 6leas"!e$ &ince +omen don3t initia!! kno+ +hat ou !ike in bed, or ma be too sh to ask, it can be he!pfu! to sho+ them. *o assist +ith this, a great reference is #ou Paget3s $o, to e a Great %over. *he book graphica!! detai!s various techni)ues used b +omen to give manua! and ora! p!easure, as +e!! as seBua! techni)ues. Put it on our coffee tab!e and casua!! thumb through it +hen she asks ou about it. Dhen it comes to +omen going do+n on ou, some +omen !ove it, some are indifferent and some are not at a!! +i!!ing participants. >ne ke difference is those +ho en.o it !ike being in charge, and have desensiti<ed their gag ref!eBes. A turn-off for +omen is +hen ou thrust ourse!f in and out of her mouth the first time, making her gag. ,ou can indicate our desire for ora! seB b guiding her mouth to our crotch, rough! or gent! depending on the t pe of interaction, and !etting her get to +ork. *his is one time +hen it ma be best to a!!o+ her dominate the esca!ation. /e+ +omen en.o s+a!!o+ing, so do not eBpress disappointment or seem re.ected if she spits. #ast! , fe!!atio is an art-form that man +omen have not mastered, so maintain !o+ eBpectations, and if it doesn3t fee! good then move onto another position for no+, but make sure she fee!s ou3re gratefu! for her efforts. Getting Women to Go Do0nto0n By C!ash Hygiene Put ourse!f in her shoes for a moment. Dou!d ou +ant to perform ora! on a +oman +ho +asn3t c!ean, fresh! sho+ered and trimmedE De!!, the same goes for her. I can3t te!! ou ho+ man times m +omen friends have to!d me about a gu +ho +hen she goes do+n on him for the first time she finds a nast , stink crotch. *ota! turn off. Man +omen I kno+ sa the !ike it +hen a man shaves or at !east trims the area. "o one +ants to forage through a fucking .ung!e to find a treasure... &o being c!ean, trimmed and neat is eBtreme! important.

If ou3ve been out a!! night, dancing, s+eating, etc, and ou get back to our seduction p!ace, and it3s c!ear ou are going to have seB, instead of !eading her to the bedroom, !ead her to the sho+er5 0onsider it part of the seduction. &ho+ering together is eBtreme! intimate. *e!! her ,>U +ant to be c!ean />$ CL$. &he3!! appreciate that effort. P!us, it gives CL$ the opportunit to get c!ean for ,>U. Give an$ get 'on3t eBpect to get head if ou aren3t +i!!ing to give it. *his shou!d be prett simp!e, but again, man +omen I kno+ comp!ain about a gu +ho +ants to 2L* head, but +on3t give it. *hat3s .ust se!fish. Un!ess of course, she sme!!s bad. If she does, odds are, she3s got a east infection or something e!se going on. *he vagina shou!d ">* have strong unp!easant odors. If it does, there3s a prob!em, and es, ou shou!d te!! her. &aid correct! , and +ith concern for CL$ CLA#*C, ou can get a+a +ith it. 'on3t sa , Phe , our crotch sme!!s !ike the pier +hen +hen fishing boats come in.P &a , P,ou kno+, I3m concerned +ith our hea!th. It ma be nothing, as I have a super sensitive nose at times, but something seems PoffP do+n there.P &he3!! ask +hat, and ou eBp!ain Pit .ust sme!!s off and I think ou shou!d see our doctor to make sure ou don3t have an infection or something.P Di!! it embarrass herE ,eah, probab! , so ou might +ant to +ait unti! A/*L$ ou3ve had seB, so it doesn3t ruin the mood. S0allo0ing Most gu s !ike it +hen a +oman s+a!!o+s his cum, but if she doesn3t do that, or has never done it, ho+ do ou get her to go for itE /irst off, man +omen +i!! ">* do this the first time ou3re together seBua!! , and it3s best that ou do not even ask. /or a +oman, that3s a prett intimate thing to do, and the +ant to fee! a PconnectionP +ith ou first. I kno+, ironic. *he 3!! fuck ou, but then think that s+a!!o+ing our !oad is too intimate. It3s best to +ait unti! ou3ve had seB a fe+ times to bring it up. N:&:' pop ,ithout ,arning her/ >ne thing ou "LVL$ shou!d do is simp! PpopP +hen she3s giving ou ora! seB. If she didn3t +ant that, it +i!! piss her off, as it shou!d, and odds are she +i!! not +ant to perform ora! on ou again for a +hi!e, if ever. A#DA,& +arn a +oman if she3s giving ou head that ou are going to cum. *hat +a , she doesn3t fee! PtrickedP into

s+a!!o+ing. Talk to her/ "o, not +hi!e ou3re having dinner at a restaurant5 *e!! her +hen ou3re having seB. &he3s hot and bothered, fee!ing seBua!, and is in the mind space to p!ease ou. *e!! her +hen she3s giving ou head that ou3d !ove to come in her mouth, and +atch her s+a!!o+, and that ou think it3s hot. Man +omen +i!! respond positive! to that. No pressure/ If she doesn3t, or she sa s PI don3t do thatP do ">* tr to pressure her. *hat never +orks. %ust !eave it a!one, and ma be she3!! come around. 0ase in point4 ,ears ago, I had a +oman te!! me PI don3t do that.P I dropped the sub.ect. #ater, she brought it up, and I to!d her I vie+ed it as a ver intimate thing, that it +asn3t dirt or disgusting, but that it +as something I considered important. &he said Pho+ soEP I rep!ied that for me, if I3m going to have a #*$ re!ationship +ith a +oman, I +ant it to be a ver intimate re!ationship, and I cou!dn3t have a #*$ +ith someone +ho +asn3t open to that kind of intimac . *here +as no pressure on m end, .ust the comment that for me, it +as something I fe!t +as important. *hat night... up... she s+a!!o+ed. Cer reason for not doing it beforeE &he to!d me she +as afraid of being vie+ed as being PcheapP or Ps!utt P and that previous gu s had pressured her, +hich she hated. Dhen it +as c!ear this +as about sharing intimac and not about being vie+ed as s!utt and cheap, she +as open to it. Again, +omen +i!! not be!ieve the Pintimac P argument on the first date. Bour diet/ >k, this one is important. If ou cum in a +oman3s mouth, and it tastes nast , she +i!! not +ant to do it again. &o, ho+ do ou make our cum not taste nast E &imp!e. ,ou are +hat ou eat. If ou eat a !ot of shitt food, our cum +i!! taste shitt . It3s that simp!e. 2reas foods, processed foods, fast food, a!! of them resu!t in bad tasting cum. Asparagus, +hich makes our piss stink, a!so makes our cum stink. /ruits, especia!! pineapp!e, actua!! can make our cum taste s+eeter. ,ears ago an eB 2/ and I eBperimented +ith different foods. Dithin a da or so of eating specific foods, the taste change +as noticeab!e for her. &he !oved +hen I ate !ots of fruit, because it made m cum s+eeter. Bour attitude/ *reat her LXA0*#, the same after she

s+a!!o+s ou. If our attitude changes to+ards her, she3s going to regret doing it. In other +ords, thank her after she s+a!!o+s ou, te!! her that +as hot, ho+ much ou en.o ed +atching it, give her praise. *hat is +hat +i!! make her +ant to do it again5 #ast! , and this one ma get controversia!, but I3m going to sa it an +a 4 Don-t be a*raid to kiss her a*ter,ard/ If ou are afraid of our o+n cum, +h shou!dn3t she beE ,ou don3t have to sno+ba!! +ith her, but if she +ants to kiss ou after+ard, and ou shoo her off to the bathroom to use mouth+ash...she3s not going to be as open to doing it again. If our attitude about our o+n cum is that it is gross and disgusting, +h shou!d she fee! an different! E

Se'"al Cali)!ation /or a man to eBce! at seB, he shou!d be creative, have stamina, kno+ his +a around the fema!e bod , introduce ne+ and eBciting methods, and be open to her fantasies and desires. In addition, it is important to be seBua!! ca!ibrated. /or eBamp!e, if a gir! ou3re banging moans, 3I !ove being our !itt!e s!ut,3 a +e!!-ca!ibrated response ma be, 3,eahE ,ou !ike +hen I fuck ou, ou dirt !itt!e s!utE3 A misca!ibrated response +ou!d be to stop fucking and sa in a serious tone, 3"o, bab , ou3re not a s!ut.3 /rom a performance standpoint, ou can be in s nch or out of s nch +ith her. &ee 0atha!3s post be!o+ on ora! seB, and ho+ to !isten to her bod for cues. Another eBamp!e4 if she3s obvious! about to have an orgasm, and ou pu!! out and tr to get a 1%, that +ou!d be seBua! misca!ibration. *hese things !eave a +ake of frustrated +omen. ,ou never +ant a good fee!ing to !ose its impact, or for an area to become numb because ou3ve over+orked it. LBcept for the moments !eading up to orgasm +here consistenc is better, it is a good idea to be on the move during forep!a and seB. Aeep in mind that besides the vagina and c!it, +omen fre)uent! find the neck, ears and breasts erogenous. 1eing +e!!ca!ibrated means kno+ing +hen those regions re)uire attention, and +hen the ma be at risk for over-stimu!ation.

S")7Dom Behavio! 'avid 'eida estimates that =@R of ma!e-fema!e seBua! re!ationships consist of the man being dominant and the +oman being submissive. If this is the case +ith our current re!ationship, ou shou!d take advantage of this to !iven up seB. 'ominant behavior inc!udes commanding our gir! to behave as ou p!ease. It inc!udes 3discip!ining3 her such as spanking her, restraining her or fucking her hard. It a!so ma invo!ve dirt ta!k such as ca!!ing her our dirt s!ut. *hese are things ou can get a+a +ith at the height of seBua! arousa!, +hich ma not +ork outside the bedroom. Co+ever, in a sub-dom re!ationship such as this, this behavior further stimu!ates her seBua!! . It can be difficu!t for a submissive man to become dominant. 1ut if he is +ith a submissive +oman, he shou!d find that dominant drive +ithin him and use it to p!ease her. MMost +omen are seBua!! submissive creatures. *he respond to a dominant man. 1e comfortab!e in that ro!e. Cere3s a good eBamp!e. If she is +earing a *-shirt or a s+eatshirt, pu!! the shirt over her head, but keep it on her arms. *his !ight! restrains her arms. It3s ca!!ed 3*he Cocke shirt trick.3N David )hade An Int!o$"ction to the Female !gasm /ema!e orgasm has been a big b!ack boB (pardon the term) for much of time. &ince a!most a!! researchers have been men, the sub.ect has been misunderstood, +hich has !ead to +idespread acceptance of fa!se premises. /reud began +a back, specu!ating that c!itora! orgasms +ere immature and the shou!d be discouraged in favor of vagina! orgasms. Ce sa+ the c!it as a vestigia! penis, and the on! reason gir!s p!a ed +ith it +as because it3s easier to find. *his concept !asted for decades, and gave man +omen a comp!eB about not being ab!e to reach vagina! orgasm. *hen +ith the +orks of Ainse , and Masters and %ohnson, +e got a better understanding into seBua! practices. Lven sti!!, +hen the 2 spot +as stimu!ated in sub.ects using a U-tip and no orgasm occurred, the conc!usion +as the 2 spot +as not a point capab!e of creating orgasms. *he truth +as, firmer pressure is needed than a U-tip. /ina!! , the book The G )pot set peop!e straight. 1ut even no+, both men and +omen remain c!ue!ess about vagina! orgasm and s)uirting. *he +ork b Masters and %ohnson first demonstrated ho+ +omen reach orgasm, and the stages inc!ude eBcitement, p!ateau, orgasm and reso!ution. /or most men, the p!ateau ma be brief, but in +omen this

phase can be ver pro!onged. *he average man takes 7-9 minutes to reach orgasm, +hi!e for c!itora! orgasm, on average 7@ minutes are re)uired. *his is +h in %apanese s!ang, ma!e masturbation is ca!!ed sen<uri (meaning 6@@@ rubs), and fema!e masturbation is ca!!ed man<uri (6@,@@@ rubs). /urthermore, men in genera! have a !ong refractor period bet+een orgasmsG once their erecti!e tissue softens, it ma be a +hi!e before it can refi!! +ith b!ood. 1ut in +omen, this refractor period can be brief, and man +omen are capab!e of mu!tip!e orgasms. Men are +ired simp! as far as ho+ to induce an orgasm. 1ut +omen have various t pes of orgasms. In the book The G )pot b #adas et a!, three categories of fema!e orgasms are described4 vu!va!, uterine and b!ended. The vulval 5clitoral6 orgasm. /ocus of musc!e response is in the pubococc gea! (P0) musc!e group, triggered b c!itora! stimu!ation. *he orgasm is fe!t in the surface genita!s. *he ma.or nerve is the pudenda! nerve. *he vagina constricts, as described b Masters and %ohnson, ca!!ed tenting. *he uterus !ifts up into the pe!vis. The uterine 5vaginal6 orgasm. /ocus of musc!e response is in the uterus, triggered b 2 spot stimu!ation. *he orgasm is fe!t deep. Ma.or nerves are the pe!vic and h pogastric p!eBus. *he vagina doesn3t tent, but instead re!aBes and the entrance opens. *he uterus pushes do+n and the penis(fingers can be pushed out of the vagina. Masters and %ohnson did not stimu!ate the 2 spot sufficient! to observe this phenomenon. L.acu!ation can occur. /urther, research suggests that different orgasms can be created depending on +hether the tip (P0) or the shaft(base (uterine) of the c!it is stimu!ated. Cigh fre)uenc vibrations tend to get the tip +hi!e s!o+ manua! stimu!ation gets the base. Intercourse +i!! simu!ate the shaft. *he b!ended orgasms occurs +ith intercourse or manua! stimu!ation of the 2 spot, sometimes resu!ting in e.acu!ation. Most orgasms are neither pure! vu!va! or uterine, but are b!ended, occurring a!ong a continuum bet+een the t+o eBtremes. Man coup!es aspire to having simu!taneous orgasms. /or this to +ork, the man shou!d +ait unti! her orgasm begins, and then he himse!f can !et go. It is good eti)uette for a man to tr to ho!d out unti! she has reached vagina! orgasm during seB, though most +omen are not et capab!e of this and so this shou!d not become a source of disappointment or stress. M2etting her to that p!ace of no return is ?9 percent determination and dedication and 9 percent ta!ent. *he ta!ent portion is ver straightfor+ard and simp! re)uires that ou kno+ the topograph of the area and our partner3s !ikes and dis!ikes.N %ou Paget

Women Who Fa#e Men hope to give their +omen orgasms. >ne simp!e reason is the care about their partner. >n an evo!utionar !eve!, a man +ants a +oman to have an orgasm because +hen she does, her cerviB dips do+n into the semen, he!ping to ensure conception. Co+ever, if a man makes it c!ear he is tr ing to give his +oman an orgasm, then this ma create performance anBiet in the +oman. *his can distract her from having an orgasm, and possib! !ead to faking of her orgasm as a +a to re+ard him for his efforts. If a man is taking !onger than she3d !ike, +hether +ith ora! or vagina! seB, she ma fake the orgasm rather than sa 3hone , can ou finish up, I need to get to s!eepE3 *here is no re!iab!e +a for a man to kno+ if his partner has had an orgasm. And because of the potentia! of hurting his ego b te!!ing him she fakes her orgasms, this c c!e can persist for a !ong time. As a man, ou shou!d have an open !ine of communication +ith her. #isten to her verba! and non-verba! cues +hen she te!!s ou +hat +orks and +hat doesn3t. "ever !et her kno+ ou have an agenda to give her an orgasmG instead, make it seem !ike it .ust happened. $ea!i<e that man +oman, un!ike men, are satisfied having intercourse that doesn3t end +ith her having an orgasm. 'on3t insist on tr ing to make her come if she te!!s ou it3s not happening. 1e patient and never rush to the finishG it ma take 7@-8@ minutes of forep!a to put her in the state for an intercourse orgasm. 'on3t ask after+ards if she had an orgasm, though it is a good idea once in a re!ationship to find out +hat ou might do different! if ou have an doubt. "ever fake our o+n orgasm. "ever accuse her of faking. If a +oman admits she faked, thank her for her honest and never become angr b her confession.

The Clit #ocated above the urethra (the ho!e +omen pee from), the c!itoris appears to be simp! a button. In fact, there is much more to the structure than +hat appears above the skin. It has been discovered that about c of co!!ege-age men and +omen cannot find the c!it on a diagram of a +oman3s vagina.

*he c!itoris is the e)uiva!ent of the penis. *he both have the corpus cavernosum +hich congests and s+e!!s during eBcitement, and a g!ans at the tip +hich is high! sensitive. *he ma!e g!ans becomes h persensitive after orgasm. /or +omen, the ma a!so become h persensitive and re)uire a coo!ing-off period before it can be stimu!ated again. 1ut in addition, man +omen are h persensitive even before orgasm. /or these gir!s, it ma be best to stimu!ate the c!it indirect! , b +orking around it or b +rapping it inside the !abia (the other !ips of the vagina). *he c!it +hen stimu!ated !ikes to be +et. *his can be accomp!ished b sa!iva ( ours or hers), !ubricant or b 3dipping into the hone pot3 (+etting our finger in her vagina). *o each side and above the urethra! is the U-spot, +here c!itora! tissue !ies. &ome +omen find the urethra and surrounding areas ver stimu!ating. A good +a of kno+ing +hat kind of c!itora! stimu!ation she desires, ou can observe our partner masturbate. "otice +hat motions she uses, ho+ much pressure she app!ies, +hether she is direct or indirect in touching the c!it, and ho+ often she re+ets. A!+a s err on the side of being gent!e, and !earn if she prefers a bit more pressure, speed or directness. C"nniling"s 0unni!ingus is the ancient art of going do+n on a +oman. 1e a+are that some +omen prefer ou don3t eat them out. *his ma be due to the fact that cunni!ingus in the past has been stigmati<ed. Domen have a!so been conditioned to think that the vagina sme!!s, or that cunni!ingus is

uncomfortab!e for men to perform, and so the ma fee! gui!t. In addition, the position of being spread open in a man3s face makes some gir!s fee! too vu!nerab!e or embarrassed. *here are man positions in +hich to perform cunni!ingus4 6. Doman on her back, man on his stomach. *he variations of this inc!ude her keeping her !egs over his shou!ders, pressed against her chest, spread eag!e on the bed, or c!osed together. Dhere a +oman puts her !egs ma indicate ho+ sensitive her c!it is. 7. Doman on her back, man coming in from above (not :?, though). -. Doman on her shou!ders +ith her !o+er bod up in the air, man knee!ing +ith her butt against his chest. 8. Doman on edge of bed, man knee!ing. 9. Doman in a chair, man knee!ing. :. Man on his back, +oman sitting on his face. *he +oman can be facing to+ards his feet or a+a . ;. Doman on her side, man3s head resting on her inner thigh. =. Doman standing, man knee!ing underneath. ?. Man standing or sitting, ho!ding +oman upside do+n. 6@. Doman on a!!-8s, man at rear. 66. &pecia!t furniture. *o spice things up, ou can perform :?, or simu!taneous ora! seB. *he t+o positions are4 side-b -side, and one partner on top of the other. If the +oman is on top, she can better contro! the depth of penetration b the penis. If she is on the bottom, she can better re!aB. /or most partners, :? probab! sounds seB but is !ogistica!! difficu!t to satisfactori! pu!! off. Dhi!e there are man areas of a +oman3s region ou can +ork on, most +omen prefer ou focus on the c!it. *hat said, ou can var things b spending some time on the !abia, ou can knead her thighs or caress her breasts, and ou can finger her. /ingering can distract some +omen from c!itora! stimu!ation. Dhen in doubt, ask her +hat she !ikes, or ca!ibrate b her non-verba! cues. A!+a s be gent!e at first. Domen tend not to !ike hard c!it sucking, or an amount of biting. /!icking +ith a hard tongue tip can be done in the midst of the action, but genera!! isn3t as preferred as the soft fu!! tongue direct! app!ied. ,ou can hum to add the sensation of vibration. If a +oman te!!s ou ou3ve hit the spot and she3s getting c!oser to orgasm, sta in that position and use that motionG changing at that moment can cause her to !ose focus and have to start over. Various tongue maneuvers have been described4

6. 0ircu!ar, around the c!it. 7. Up and do+n or side to side. -. $unning the undersurface of our tongue back and forth a!ong the top part of the c!it. 8. *racing the a!phabet. 9. &ucking. :. &ucking +hi!e using our tongue on the c!it. A thorough source of eBercises and techni)ues is The %o,do,n on Going Do,n b Marc Michae!s. Going Do0n+ Leve!aging Antici4ation By Cathal I en.o going do+n on a +oman for the same reason the en.o going do+n on me - it3s ver en.o ab!e to kno+ that ,>U are the one providing the p!easure and getting our partner off. Men +ho can do this +e!! are pri<ed possessions to +omen and ou +i!! a!+a s have repeat customers. *he sing!e biggest ru!e is to pa attention to her bod . "ot necessari! to CL$, but to her 1>',. As a!+a s, ou can3t a!+a s trust that +hat a +oman sa s as being +hat she +ants, even in the bedroom. >n to m method4 9: Wa!m He! D4 1egin +ith kissing her, s!o+! moving our +a do+n her neck, stopping there for some sensua! biting. After a bit of this +ork do+n to her co!!arbone and kiss the depression above it, then be!o+ it. Dork do+n her chest and !ick in bet+een her breasts soft! . #icking is a big part of ora! seB, so !etFs break do+n the t+o kinds of tongues ou can use. /irst, ou have a pointed rigid form, and second ou have a +ide, f!at, re!aBed form. *he rigid one is ver strong, the f!at re!aBed one is ver gent!e. &o, ou3re in bet+een her breasts using the strong tongue spending some time there. 'on3t go straight for her nipp!esG begin kissing her breasts and +ork our +a to her nipp!es. ,ou3!! be doing a !ot of teasing there. ,es, this is about ora! seB but before ou get to that ou need to be proper! +arming that area up and this is ho+ it3s done. &pend some time on her nipp!es but not too much. After a +hi!e ou +ant to guide our hand do+n to her vagina, .ust caressing it +ith our finger tips, not app! ing pressure on it at a!!. *ease her for a bit. Dork our mouth do+n her stomach,

but don3t spend too much time here. It3s not that sensitive on most +omen, and man are se!f-conscious about this area. 'on3t !et them get in their o+n head about it. A +oman that gets distracted +hi!e being p!eased needs to be restarted from scratch, so don3t make this mistake. &o, +ork do+n to her thighs no+. &pend time kissing her thighs, moving up to her vagina, but .ust gra<e over it and breath in as ou make our +a over it to her other thigh. Aiss, g!ide our teeth over her skin (avoid sensua! biting on the inner thighG go to the top of her thigh if ou +ant to do that), !ick, etc. *ease her. >nce ou get her hips moving for a !itt!e +hi!e, it3s time to go in for her vagina. <: 6leasing He! "o+ go straight for the c!it5 "o. 1ad monke . 'on3t go straight for the c!it. De a!! kno+ that3s an important spot of the vagina, but that3s the point. Avoid it for as !ong as she can stand. &pend time kissing and !icking the areas around it, !ick be!o+ it, to the side of it, kiss and !ick her !abia, and so on. &he3!! start moving her hips, and groaning +hi!e she thinks P>h, !ick m c!it a!read .P 'on3t, not .ust et. ,ou can actua!! get a +oman to !et out a Pp!easeEP +hi!e doing this for !ong enough. At this point +hen she3s been g rating enough, I3!! p!ace m midd!e and ring fingers inside her, pa!m up, and touch her 2spot. %ust put our finger tips on it. *his is going to be a bit of a sensor for ou. ,ou can rub it a !itt!e bit +ith our fingers. &ome gir!s aren3t too big on fingering, rare! , but pa attention to ho+ she reacts. *hat +i!! be our guide. A!+a s pa attention to ho+ her bod reacts. >nce ou3ve teased enough it3s time to make our +a to her c!itoris. *his I a!+a s start out +ith m soft, gent!e tongue, .ust the tip of it though, moving it up and around. LBperiment for a !itt!e +ith up and do+n, !eft to right, circu!ar, reciting !imericks. /ind +hat she3s reacting to best. "o+, she3s going to begin moving her hips as she +ants !ess attention paid to her c!it due to over-stimu!ation. A!!o+ this to happen, don3t fight it. &he3s guiding ou based off +hat she can fee! and ou can3t. &omething I3ve eBperienced often is +hen a +oman +i!! push her hips for+ard to+ards ou, then dip them do+n and push for+ard again. &he3s tr ing to get the front of our upper teeth to press into the area above her c!itora! hood. Usua!! , the push for )uite a !ot of pressure against our teeth +hi!e ou !ick their c!it. 'on3t fight it, +omen +ho +ant this at a certain point are rea!! he!ping ou a!ong. *he c!it is not .ust a button,

it goes deeper than that and she3s tr ing to get the +ho!e thing stimu!ated +hi!e ou +ork on the tip. Imagine it !ike a gir! +ho3s .ust giving ou a b!o+.ob on the tip of our penisG even though it3s the most sensitive part, ou +ant some attention e!se+here. At times, she3s going to raise her hips, if she moves ou a+a from her c!it in doing this and rea!! sti!! +ants ou to +ork on her c!it, she3!! move her hips back do+n )uick! . &he +as .ust getting into the p!easure and didn3t mean to stop ou, but !et her come back do+n to ou - she +i!! +hen she3s read . If she doesn3t come back do+n right a+a , she .ust needs a moment a+a from the c!itora! stimu!ation so focus e!se+here. After a +hi!e ou3!! fee! her 2-spot start +e!!ing up a bit +ith our fingers, no+ is the time to focus on using the same motion +ith our tongue. *he strong pointed tongue has probab! +orked for gent! f!icking at her c!it, but no+ is the time to use our re!aBed tongue but app! a !itt!e bit more pressure +ith it and keep the motion the same, probab! up and do+n, but s!ight! circu!ar (that3s +hat I norma!! sett!e on). Aeep at it, don3t var our pace, don3t change the motion, even if she sa s Hfaster, harderF - don3t do it. ,ou3re pa ing attention to her bod , not her +ords here. %ust keep stead and ou3!! keep fee!ing her 2-spot +e!! up more as she gets c!oser to orgasm. Aeep this up, +ithout var ing and she3!! orgasm )uite easi! . Domen often times +i!! trip up their o+n orgasms b te!!ing ou to do something different - I used to !isten +hen the 3d te!! me to go faster or harder and it +ou!d a!+a s de!a their orgasm, unti! I3d go back to doing +hat I +as doing before. Aeep doing +hat ou3re doing and +hen ou donFt do +hat she te!!s ou, ou3re .ust driving her even cra<ier and heightening the upcoming re!ease she3s going to fee! as she orgasms. A!so, some +omen are going to en.o our fingers inside them massaging their 2-spot, others not so much, others on! part of the time. &ome en.o an a!!-out finger thrusting as the get c!oser to reaching orgasm. Aeep eBperimenting to find out +hat her bod reacts best to, but +hen the orgasm is getting c!ose, stick +ith +hat has been +orking, or ou3re going to have to start over. =: An$ AgainI After getting her off the first time, keep our fingers inside her for a bit, gent! massaging her 2-spot (un!ess she3s over! sensitive no+ and can3t take it), but make sure ou keep our

hand covering her vagina, move it a bit ver gent! but keep some pressure covering her +ho!e vagina. *his +i!! be our gauge for +hen she3s read for seconds. Move up and kiss her breasts, then her neck and if she3s ok +ith tasting herse!f, a!!o+ her to move in to kiss our !ips. &ome +omen do not +ant to taste themse!ves so !et them go for it. >nce ou can te!! that her c!it is not as sensitive, start over but sta a+a from her c!it for a !itt!e +hi!e. Massage her 2-spot for a bit, kiss her !abia, !ick her thighs +here the meet her vagina and ramp up the p!easure again. *r to give her at !east 7 orgasms this +a , then move on to seB and ou3!! be a god to her. Man +omen don3t even eBperience orgasms. *hink about if ou get one of those !uck gir!s - ou3re no+ her ne+ favorite thing.

Finge!ing A misconception among ineBperienced men is that +hen going manua! on a +oman, he shou!d thrust his fingers in and out, or stuff as man as possib!e inside. *hese tend to be unp!easant. Instead, spend most of our time on the c!it, and then perhaps +ork in other forms of stimu!ation such as the 2-spot and deep spot. #ou Paget in $o, to Give $er 1bsolute Pleasure describes various forms of fingering techni)ues4 6. It *akes -. &he is +ith her back to ou as in +atching *V. Put our midd!e - fingers over her c!it (pointing to+ards anus). &!ip our midd!e finger into her vagina. Move back up so indeB and midd!e fingers caress the c!it. 7. *humb massage. &he is on a!! 8s, ou are behind her. Put thumb inside vagina and massage 2-spot. -. Mini-/ire &tarter. 2ent! s)uee<e her c!it and rotate it bet+een our thumb and indeB finger. ,ou can a!so move it up and do+n (to+ards and a+a from the vagina). And ou can rotate it such that our thumb goes up (to+ards air) +hi!e our indeB finger moves do+n (to+ards skin), and vice versa. ,ou can .ack it off !ike a penis. Man of these maneuvers fee! better !ater during the session, and ma be too forcefu! if done before she is ade)uate! aroused. 8. 'oub!e dut . As +ith J6, her back is to ou. Pu!! our pa!ms and fingers up+ards, beginning at her thighs, then inner thighs, then her crotch (a!ternate hands).

9. *ouring the dance f!oor. *race her !abia in circ!es +ith our fingers. 2ent! pu!! at her !abia. :. ,-knot. >ne hand separates the !ips, the other hand on top massaging her c!it (up and do+n, rotate), and going into the vagina. ;. *he +or!d is our o ster. Doman is on her back at edge of bed, man is on f!oor. Put fingers on mons +hi!e our thumbs massage around her !ips, c!it and vu!va. =. *he scu!ptor, static 0. &ame bod positions as J;. Make a 0 shape +ith our hand. Put thumb into vagina a!! the +a to the +eb, and press the thumb up into the 2-spot +hi!e the other fingers push do+n on the pubic area. "o+ rock the hand so the thumb g!ides side-toside over the 2-spot, or tr rocking so the thumb g!ides front-to-back. ?. *he scu!ptor, d namic gun. Put out our indeB and midd!e fingers !ike a gun. $est our free (non-dominant) hand on top of her pubic area and pu!! up+ards to+ards the be!! button. Put our thumb inside her vagina and rotate our hand so it g!ides a!ong the inside +a!! of her vagina. *hen remove thumb, and put our indeB and midd!e fingers inside the vagina, and rotate our hand so our fingers g!ide up a!ong the other inner +a!!. If this is too difficu!t, use the indeB and midd!e fingers for the entire motion. 6@. 2-man. Insert our indeB and midd!e fingers and massage the 2spot. ,our other hand rests on her pubic area, and can either app! pressure do+n on top of her pubic area, or can massage the c!it. *here is c!itora! tissue underneath the pubic bone, and that can be stimu!ated from above using the non-dominant hand. 66. /rog prince. Make our indeB and midd!e fingers doing 3frog kicks3 inside her vagina, +ith the hand either oriented vertica!! or hori<onta!! . *he De!comed method invo!ves stimu!ating the c!itoris +ith the ver tip of the !ubricated midd!e finger, !ight! touching the g!ans +hi!e passing side to side. ,our pa!m can rest on her pubic area, and our non-dominant thumb can go into the vagina or .ust be!o+ it. *he rate is about 7 strokes per second.

The G-S4ot an$ S;"i!ting *hough this patch inside the vagina +as described in a modern pub!ication b 'r. 2rafenberg (hence the name 2 spot) in 6?9@, it +asn3t +ide! recogni<ed unti! the re!ease of the book The G )pot in 6?=7. &ince the amount of arousa! tissue varies +ide! among +omen, man +omen do not

find this region particu!ar! sensitive, +hi!e others can achieve orgasm +hen it3s stimu!ated. *his has !ead to the m th that the 2 spot does not eBist. *he 2 spot is !ocated on the top surface of the vagina as she !ies on her back, about 7 inches in, and deep to the vagina! +a!! (not in it). It consists of c!itora! tissue, as +e!! as paraurethra! g!ands. *hese g!ands are the fema!e e)uiva!ent of the ma!e prostate, and the re!ease their contents during orgasm. *his f!uid can enter the b!adder and give a sense of fu!!ness. >r +omen can shoot this f!uid out their urethra at the moment of orgasm, +hat is ca!!ed fema!e e.acu!ation. Domen inhibit themse!ves from s)uirting because the confuse the sensation +ith urination. ,ou can he!p educate +omen to get past their fear that the are peeing, and encourage them to e.acu!ate. &)uirting orgasms can be ver intense, though mess , so ou ma +ant to prepare the bed +ith to+e!s. A usefu! demonstration of s)uirting comes from &e more 1utts3 )2uirters ;. *o stimu!ate the 2 spot, she can get on a!! fours. *here are severa! motions ou can s+itch bet+een using our indeB and midd!e fingers4 6. Press do+n firm! and s!ide the fingers in and out of her vagina. 7. /!ick the fingers do+n+ard (come hither) !ike ou3re signa!ing 3b eb e.3 -. $otate the forearm so the midd!e finger s!ides side-to-side. "ote that +ith these ou ma introduce air, +hich can come out as she moves, making noises. 'on3t make fun of her, but it3s oka to !augh +ith her to reduce embarrassment. As her 2 spot s+e!!s ou ma need to app! firmer pressure. Dhen she is on her back, ou can perform simi!ar maneuvers +ith our midd!e and ring fingers. Cer 2 spot is easier to access +hen her knees are a!! the +a back to her chest. If ou are on our knees at her side !eaning over her our arm +on3t fatigue as fast. &he can get onto her knees and ou can knee! in front. 2et our midd!e and ring fingers behind the 2 spot and f!ick (signa! b e-b e). As she gets more eBcited, the stroking gets rapider.

The Dee4 S4ot Much is +ritten about the 2 spot, but man books devoted to fema!e seBua!it make no mention of the deep spot. As a resu!t, both +omen and men often have no first-hand eBperience +ith this form of orgasm, putting ou at an advantage. 'eep spot penetration is one +a to induce s)uirting. *his is covered b &teve P in his 7hite Tiger Tantra instructiona! videos.

*he deep spot is a /risbee-!ike region that is !ocated around the cerviB, and so is a!so referred to as the cervica! ridge. *his ridge can be p!ucked +ith a firm 3come-hither3 motion, both in the front and the back of the cerviB. 0ervica! orgasms can occur, though +omen often do not find massaging of the cerviB p!easant.

Se'"al 6ositions *here are severa! basic positions, and each can have variations4 6. Missionar . Man on top. In coita! a!ignment techni)ue, he presses the base of his penis against her c!it b moving his bod s!ight! higher. *he man then rocks against her pe!vis to grind the c!it, as opposed to going in and out of the vagina. Variations of missionar inc!ude a) he simp! !ies f!at on her, b) she has pi!!o+s under her butt and keeps her !egs +rapped around his +aist, c) he !eans up and back to better access her 2-spot. 7. 0o+gir!. Doman on top, as if riding a horse. In reverse co+gir!, she is turned to face his feet. 'uring co+gir!, the +oman can !ean back+ards. In reverse co+gir!, she can !ean for+ard unti! resting on his !egs, but this takes a p!iab!e penisG the advantage of this position is it a!!o+s for ana! p!a . -. $ear-entr , or dogg st !e. Doman on a!! 8s, man enters from behind. *his hits the 2-spot. In rear-entr , the man can access the c!it. In a variation, the +oman can be f!at on her stomach and the man on top of her. In another variation, she can be standing, hands on the ground. 8. Doman on man3s !ap, facing to+ards or a+a . 9. 0risscross. Doman on back, man on his side, such that her !egs are over his butt. :. Doman on edge of tab!e or specia!t furniture (s+ing), man standing. Cer !egs can dang!e off the edge or be supported on his shou!ders. ;. &pooning. Man enters from behind +hi!e both side-! ing. =. Man and +oman standing. *his is good for a )uickie in a .anitor3s c!oset. In a variation, she can +rap her !egs around his +aist. "ine &teps of the *aoist *hrust Maneuver is a rh thm of intercourse invented b a ;th-centur ph sician. ,ou +i!! a!ternate bet+een short thrusts of 6 d inches, and !ong thrusts of the entire !ength. *he ratio +i!! change such that ou start +ith ? short thrusts fo!!o+ed b one !ong thrust,

then = to 7, et cetera, ending in 6 short and ? !ong. *hen start back at ?to-6.

Anal Se' &ome +omen find this p!easurab!e, man do not. If she is +i!!ing to tr this out, +ork gradua!! into it. "ever 3accidenta!! 3 go into the +rong ho!e during seB. >ne approach is to condition her to be used to ana! p!a during other activities such as cunni!ingus. ,ou can ca!ibrate her receptiveness to this b sensing her reaction as our finger +anders c!ose to her anus. Ana! penetration of an kind is best done +ith !ots of !ubrication, +i!!ingness, re!aBation and patience. Avoid an product +ith anesthetic in it, as this reduces her abi!it to avoid in.ur . "ever put an thing that +as in her butt, into her vagina or mouth. Domen +i!! often en.o butt p!ugs during intercourse, or ana! beads that can be pu!!ed out +hi!e she orgasms. A!! these to s shou!d be thorough! c!eaned bet+een use, and need!ess to sa , ou shou!dn3t share these to s +ith other partners. Ho0 to Get a Woman to 6e!,o!m P an$ Li#eL P Anal Se' By C!ash I3ve had a #>* of success +ith this, and even had +omen I3ve dated +ho, after doing it, began $LUUL&*I"2 ana! seB. /irst and foremost, M>&* +omen +ho have not done it are afraid it3s going to hurt a !ot. Domen +ho CAVL done it have probab! had it hurt because some .erk did it +rong. "o+, if ou3re hung !ike a horse, forget it. ,ou3re not going to be the gu +ho Pbreaks the ass cherr on an ass virgin.P ,ou3re going to have to find a +oman +ho a!read has had ana! b someone +ho kne+ +hat the +ere doing and she !ikes it. *he rest are going to be scared of that huge thing ou are packing. &orr , it sucks but that3s +hat ou get for being hung bigger than the rest of us... >k, so +hen the sub.ect of ana! seB comes up, more often than not, she +i!! respond +ith one of t+o things4 PIt +i!! hurtP >$ PI tried it and it hurt.P M responseE P"ot if it3s done right.P

*he usua!! before...P

respond +ith, P eah, I3ve heard *CA* one

I rep! , P#et me guess, some assho!e s!apped a !itt!e !ube on his dick and then tried to shove it in, rightE >f course it hurt. *hat3s ">* ho+ to do it. It3s a!so ">* ho+ to treat someone ou care about. Ana! seB shou!d be fun, eBciting and p!easurab!e for 1>*C parties, not painfu! or degrading.P *his comment sa s a number of things. It3s te!!s the +oman that I have the kno+!edge and eBperience to do it right. It a!so sho+s I care about her and that ana! seB is ">* .ust about me, it3s about CL$ receiving p!easure as +e!!, as it &C>U#' 1L5 It a!so sa s that this is something +e share *>2L*CL$, not something +here one person is being Pused.P 1ottom !ine, ana! seB &C>U#' be p!easurab!e />$ CL$. If it isn3t, ,>U A$L"3* '>I"2 I* $I2C*5555 Man +omen actua!! orgasm from ana! seB, and have to!d me it3s a PdifferentP kind of orgasm. After making that previous statement, I !eave it a!one. &ome +omen +i!! +ant to ta!k about it. *he genera! attitude I a!+a s have (+hich is true) is that ana! seB is something both parties shou!d en.o , that she3s missing out on something b not tr ing it, that us doing it isn3t a big dea! and if she never +ants to do it, that3s ok too. "o+, if the don3t +ant to ta!k about it, fine. *rust me, eventua!! the +i!!. Lspecia!! if ou3ve been the kind of gu +hom she3s had good seB +ith, +hom she3s had ne+ eBperiences +ith, +hom she trusts, and +ith +hom she fee!s comfortab!e. *hat comment DI## !inger in their heads, and some night, +hen the are fee!ing curious and adventurous, the DI## bring it up... "o+, on to the Ptechni)ue.P $ea!i<e this is a >"L &C>* 'LA#. If ou b!o+ it b hurting her or not !istening to her fee!ings, odds are she +i!! "LVL$ !et ou do it again, and +ho can b!ame herE >n a good note, if ou do it $I2C*, she +i!! +ant it more and more.

Cere3s ho+ ou make it not hurt4 L TS F LDBE /irst and foremost, ou need to use a *>" of !ube. Astrog!ide is good stuff, but it is +ater so!ub!e. &o ou +i!! need to continue to add more, and sometimes adding .ust a fe+ drops of +ater to the area +i!! PreactivateP the !ube and make things s!ipper again. "ot .ust outside, but !ube the I"&I'L as +e!!. RELAKED STATE If she3s not re!aBed, she3s tense. If she3s tense, it3s going to hurt, if ou can even get it in. &o, she shou!d have had a drink or t+o to re!aB. A!so ho+ ,>U approach it can he!p her re!aB. . 6RESSDRE ,ou f!at out te!! her that if at an time she3s uncomfortab!e +ith +hat ou are doing, ou +i!! stop, and then make sure ou do that. #ack of pressure he!ps her re!aB as +e!!. *his a!so needs to be conve ed 1L/>$L ou are in the bedroom. ,our attitude shou!d be that ana! is not something she CA& to do for ou, but rather something &CL is missing out on, +hich, if done right, is true. 6ATIE.CE *ake our time in +orking her up to it. It ma be a progression that takes p!ace over the course of severa! dates, +eeks, or even months. 1L PA*IL"*. ,ou might on! get a finger in for the first fe+ times. *hen !ater, ma be t+o. And so on... If ou rush it, ou +i!! not get the chance again !ater. G SL W >nce ou are in, do ">* start Ppounding a+a .P *ake it s!o+. #et her get used to it. Cave CL$ direct the speed of the movement, etc. #I&*L" *> CL$, and fo!!o+ CL$ #LA'. C MMD.ICATE ,ou shou!d be ta!king to her the entire time, getting her feedback on it, making sure she3s ok, that she3s not in pain. Again, if at an time she3s in pain or +ants to stop, &*>P IMML'IA*L#,.

!IN1% N(T:) Ana! seB is dirt and unsanitar . *here are a #>* of nast bacteria in there, L. co!i being one of them. L. co!i can make peop!e VL$, sick, even ki!! them in high enough doses. Proper sanitation is of the utmost importance. Ana! seB is best if done after she3s taken a good crap, p!us that gives some room for our stuff. A#DA,& +ear a condom. It3s eas to cause microscopic tears in the anus, and so from an &*' point of vie+ having ana! seB +ithout a condom is .ust stupid. *hose bacteria can a!so get inside our urethra and cause prob!ems for ou. "LVL$ go from ass to vagina or ass to mouth, or an +here e!se for that matter. *he moment ou finish, 1>*C take a sho+er together scrubbing the areas +e!! before doing an thing e!se. I3d a!so recommend +earing a rubber g!ove +hen eBp!oring her anus +ith our finger. Dhen ou3re done, ou can simp! toss the g!ove. Cope that he!ps5 "o+ ou ass virgins can go to it5

Chapter T#el,e
Props
A prop is something ou find in fie!d to use, or something ou bring +ith ou. #et3s sa ever one around ou is about to cheers something, if ou3re empt -handed, ou can grab a ha!f-drunken g!ass as if it3s ours, and .oin in the cheersG ou make the drink our prop to enter the set. If a gir! has some artic!e on that ou +ant to neg or tease about, it can be our prop. *hings ou bring into fie!d inc!ude our phone and .e+e!r . ,ou can 3!ock in3 our target b putting our prop onto her so she doesn3t +ander a+a . &he ma +ander off +ith it, so avoid using an eBpensive irrep!aceab!e props. 0e!! phones. A fantastic prop that can be usefu! in man situations4 *akes photos, stores numbers, disp!a s photos for the purposes of prese!ection, protector of !oved ones, adventurousness. Co+ever, resist the temptation to take our phone out to fidd!e +ith +hen ou shou!d be getting into setG it is not an 'CV to have a phone out as if ou3re receiving a message, it .ust !ooks !ame +hen ever one e!se at a venue is socia!i<ing and ou3re standing a!one +ith our phone out.

Lost cell 4hone A44!oach ,ou spot a coup!e C1s sitting at a tab!e, AM>2s a!! around them. Da!k up, !ooking around the area as if searching for something, and then ask if the 3d seen our ce!! phone, since ou3ve .ust !ost it. *he 3!! he!p ou !ook around, +on3t find it, and then ou 3rea!i<e3 ou hadn3t brought it into the c!ub +ith ou. 1 then, the are hooked and it didn3t !ook !ike ou +ere sarging them. &tack to some f!uff about ce!! phones, then into our usua! materia!.

<9st Cent"!y 6hoto Ro"tine Cere is an update of M ster 3s photo routine (he has since started using his iPhone for the same routine). 2o get our ce!! phone and start taking some good pics4 have some adorab!e kid or pupp pics, a fe+ pics of fema!e friends and ou !aughing it up, and some pics of ou doing sport or

adventurous stuff. &cro!! through them +ith our target, casua!! passing b the pics that hit triggers, and +ind up on the one ou +ant to sho+ her (a cute dog ou sa+ toda ). Dhen she sees a picture of a gir! she +i!! often ask 3Is that our gir!friendE3 ,ou can respond, 3*his is a good friend3 and then te!! a 'CV stor about her. A!+a s b!o+ it off as if no big dea!, +hich +i!! p!a into the .ea!ous p!ot!ine and create intrigue. Dhen she sho+s ou pics on her phone, go ahead and t pe our phone number in, and ask her to do the same in our phone. ,ou3ve .ust number c!osed, run some .ea!ous p!ot and sho+n prese!ection, in a matter of a minute.

I Ding 0ith TM If a gir! starts teBting +hi!e ouFre ta!king to her, sa Hoh, that reminds me, I need to teBt m friend. It +as her birthda toda .F &tart teBting +hi!e ou continue convo, !ooking a+a and !eaning a+a . *his +i!! keep her engaged but ping the I>' sheFs giving ou. If ou .ust ta!k to her +hi!e she teBts ou are sho+ing too much interest and it3s a '#V. #ike+ise if ou enter a set that ou suspect might b!o+ ou out, tr a simi!ar approach. If she sho+s I>Is, c!ose our phone and engage. ,ou can ta!k (or pretend to ta!k) on our phone as ou take a seat neBt to a set, and it doesn3t !ook as de!iberate.

The Dog Contest ,ou and our +ing have pics of a dog on our phones, and run a competition to see +hich one is cuter. *his never fai!s to open man sets if the dogs are particu!ar! adorab!e. ,ou can then ask her if she kno+s +hat kinds of dog are safe +ith chi!dren because ou might get another dog and there3re a!+a s kids around in our !ife (hitting provider of !oved ones s+itch).

Ta#e My 6ict"!eG Blon$ie A common! used opener is HI am thinking of d ing m hair b!ond.F If said to a b!onde, ou can ask her to put her hair over our head for a photo that our +ing +i!! take +ith his camera phone. *his a!!o+s for kino as ou can smi!e, cheek to cheek, our arm around her shou!der, her hair over our head. Dhen our +ing sho+s ou the pic and sa s HAhhh, ou t+o !ook so cute togetherF ou neg +ith H+e!!, at !east I !ook cuteF or HAdorab!e, arenFt IEF *his neg can be used +ithout the b!onde routineG instead, ou can have her

p!ant a kiss on our cheek. Another +a to end is +ith the neg4 ML+++...ok, +hatever. I hope ou !ike this one, cause it3s gonna be a!! over the internet b tomorro+5N

Th!ee 6ics Pics can be taken in a series of three, each of esca!ating kino, ending +ith her kissing our cheek (or a rea! kiss if ouFve estab!ished enough mutua! attraction). &o for eBamp!e4 6, cheek to cheek, 7, her kiss to our cheek, -, mouth to mouth. 1efore the !ast pic, our +ing can e!! out the !ine HCe , do something cra< for the camera5F or 3Ce , ou 7 shou!d make out53

Tell Ta!antino he can shove itL ,ou can +a!k around pretending to ta!k on our phone an +here ou ma find ourse!f, to give the i!!usion of socia! proof. Particu!ar! he!pfu! as a gir! +a!ks up to meet ou on a date. >r if ou3re in a cro+d ou can +a!k b a set and e!!, M"o, +e3re not doing it CI& +a . ,ou can te!! *arantino to go shove it5N

6hoto Ro"tinesG C!a5yWilly-style ,ou might get asked b a gir! to take her pic. ,ou can +hip out our o+n camera and take her pic as she3s turning her camera on. *his +i!! confuse her. If someone takes a pic of one of their friends and the f!ash goes off, e!! MCe , ou f!ashed me5N

G!o"4 6hoto Approach a set +here one of them is taking a pic of the others, and offer to take their picture. Aim rea!! carefu!! , then take a stupid picture, !ike of their knees, or the background +ith ma be some hair sho+ing. 'o it a coup!e times. 2o into a stor about ho+ ou asked a dude ou met on vacation to take our pic, but he grabbed the camera and took off +ith it. Lmbe!!ish +hat happened to him. A!ternative! , approach the set enthusiastica!! sa ing ho+ ou3d rea!! !ike to take their pic so ever one can be in the photo together. Aim carefu!! ...then turn the camera off. *urn it back on, and tease the set

about ho+ comp!icated the camera is, then take the photo for rea!. &tack into our usua! materia!.

Hengman%s Came!a Ro"tine PUA4 (after /*0) I +as .ust +ondering if ou can take a photo of me(us rea! )uickE C14 ,eah, sure5 (&mi!e +hen she sa s this. &he3s going to te!! ou to get read to take the picture. Dhen she te!!s ou to smi!e, don3t smi!e. &he3!! ask +h . %ust ignore her and see ho+ the picture came out.) C14 ,ou !ike the pictureE ("eg her on her picture-taking teasing! . $emember +hen I said don3t smi!eE De!!, ask her +h she took it +hen ou +eren3t smi!ing).

Ho0%$ yo" #no0 my n"m)e!I (1rad P) If the gir!s is teBting, pu!! out our phone and +a!k up to her. PUA4 Ce , ho+3d ou kno+ m numberE ,ou .ust sent me a teBt. Dhat, do ou +ork for the phone compan or somethingE I3m standing right here. ,ou cou!d3ve .ust to!d me this. (after some more teasing, sho+ her the screen +hich reads 3u r so hot53 Cave a friend teBt ou this in advance).

Loc#-in 6!o4s A !ock-in prop a!!o+s ou to +ander a+a or ta!k to someone e!se in the set +hi!e ou sho+ disinterest during A7. 2enera!! the target +i!! hang around to give ou our prop back, and +hi!e standing there +i!! overhear our 'CVing to the obstac!es. #ock in props can be!ong to the target. If a target is +earing a scarf or hat, tr to borro+ it for a bit. *his +i!! serve as comp!iance testing, but a!so !ock her in because ou can no+ +ander a+a and she must find ou eventua!! to get her item back.

(ther props: Bottle Ca4s 3Men can easi! get a bott!e cap off their forehead +ithout using their hands. ('emonstrate ho+ to stick a cap on our forehead, then +rink!e

our forehead so it fa!!s off.) 1ut gir!s don3t have this abi!it . >nce I stick this thing on our forehead, ou3!! "LVL$ get it off +ithout using our hands.3 (Co!d the cap to her forehead but then remove it so she doesn3t notice. &he3!! no+ tr to get the cap off her forehead, though it isn3t there. Dorks especia!! +e!! in !arger sets +ho +i!! !augh at her). &ee the chapter on identit , state and frame for more information on peacocking and !ocking in.

6"!ses Man gir!s ho!d ver sma!! or ver !arge purses, so opening them b teasing about their purse can be an eas in. &ery large purse: 3*hat is a pood!e purse. *hat3s right. I kne+ a +oman +ho used to carr around a pood!e in a purse .ust !ike that. #et me see if ou have a pood!e in there... ou do, don3t ou. &ecurit 5 De have a pood!e smugg!er over here53 &ery tiny purse: 3Ce , +e have a +inner of the ver tin purse contest. *hat has got to be the sma!!est purse I3ve ever seen.3 Domen ho!d onto a ver sma!! artic!e ca!!ed a c!utch, not eBact! a purse or a +a!!et, but something in bet+een. If ou spot one, ou can use the above tin purse !ine. &he ma then correct ou +ith4 3*his isn3t a purse. It3s ca!!ed a c!utch.3 *o +hich ou respond4 3Uh, I kno+ +hat a crotch is, and that3s not a crotch.3 3"o, a clutch.3 3,eah, eah. I kno+ +hat a c!utch is. M grandma used to have one, and she beat peop!e up +ith it.3

Chapter Thirteen
A(!Gs/ (i-ed "ets and %oy riends
AM>2s are a!pha ma!es of the group, and specifica!! the refer to the men +ho tr to b!o+ ou out of a set. A!+a s tr to befriend the potentia! AM>2 first, but if he refuses to respect ou, ou ma turn to so-ca!!ed AM>2 tactics to !o+er his va!ue. AM>2s can present a !ot of cha!!enges to our game. &ome of these men are desired b the target (bo friends (1/s), !overs, husbands) +hi!e others hang around but aren3t desirab!e (brothers, co-+orkers or other gu s ca!!ed orbiters). If the target desires the man, ou can continue to run game and ou ma sti!! c!ose (see 1o friend 'estro er techni)ues b *'). 1ut if ou don3t +ant to bother, e.ect from that set and move on. >rbiters are often eas to b!o+ out if ou bui!d enough attraction +ith the target...man times the orbiter +i!! simp! +ander a+a and !eave ou to game the gir!. >ne important tactic is to dis)ua!if ourse!f to the set so that the AM>2 is disarmedG for eBamp!e, ca!!ing our target a knuck!ehead makes it appear as if ou aren3t interested in her. As ou genera!! shou!d open a set b ta!king to and befriending the men, the ma think ou3re ga and hitting on themG to counter this, make mention of our eB-gir!friend and ho+ one of the gir!s reminds ou of her (credit &t !e). *he %udge makes an important distinction4 true AM>2s aren3t +orried about ou or threatened b ou as a ma!e in terms of competition. A true AM>2 !ike *om 0ruise +i!! saunter into a bar, grab a gir! and befriend ou, +ithout eBhibiting hosti!it to+ards ou. It3s the 1M>2 (beta member of the group) +ho often tries to mess up our game b mocking our peacocking attempts, getting mad +hen ou start ta!king to their target, and picking a fight +ith ou +hen ou crack a .oke at them. /or the purpose of this chapter ho+ever, a!! these men +i!! be categori<ed as AM>2s.

Han$ling AM Gs &evera! issues arise in fie!d regarding other men interfering +ith our abi!it to successfu!! run game. Un!ess ou sarge fema!e-on! venues, ou need to be ab!e to adapt to AM>2 interference4

6. MiBed sets. Domen of beaut often surround themse!ves +ith orbiters, so an PUA shou!d be adept at +orking miBed sets. AM>2s might tr to push ou out of a set once ou get in, but for gu s .ust !earning pick-up the bigger issue is ta!king themse!ves out of opening a miBed set because the assume the AM>2 is dating the target. "ever assume this un!ess ou +itness evidence of intimac , in +hich case ou sti!! can open the set for socia! proof but shou!d opt out of running game on her. $ead her 1# before entering to see ho+ she is responding to his I>Is. /or eBamp!e, if she is !eaning a+a , arms crossed, !ooking around the venue but feigning interest, +hi!e he has the opposite 1#, she ma not be invo!ved romantica!! +ith him. 7. AM>2s enter a set ou have a!read opened and then tr to b!o+ ou out or drag a+a the target. $egarding eBterna! interrupts, ou ma opt to comp!ete! ignore the AM>2 and continue to speak to the gir! (disackno+!edgment). *his +i!! !o+er his va!ue. ,ou can +i!d! but positive! misinterpret his comments so as to negate +hatever be!itt!ing tone he ma have thro+n at ou (positive misinterpretation). /or eBamp!e, ou can t+ist comments to imp! he is ga and hitting on ou. *he ke is to be humorous and to not become emotiona!, defensive or offensive +ith our response. ,ou can turn AM>2 into a dancing monke . LBamp!e, Vibe gets compared to 1arr Mani!o+ often4 AM>24 Ce , itFs 1arr Mani!o+5 PUA4 Ce , ho+ a doing, captain5 AM>24 (singing) I +rite the songs that make the +ho!e +or!dO PUA4 A+esome, man5 Ce , give us a dance +ith that song5 AM>24 (starts dancing) PUA4 A+, s+eet5 #ook at m !itt!e dancing monke , ever bod 5 LBamp!e, compare him to a comedian or other entertainer4 AM>24 Ce , itFs 1arr Mani!o+5 PUA4 Ce , itFs $obin Di!!iams. *e!! us a .oke, $obin. AM>24 1!ah b!ah b!ah (PUA gets distracted, !ooks around room, checks his phone, etc) PUA4 CuhE *hat +asnFt ver funn , $obin. Dhat e!se a gotE

D!"n#G ang!y AM Gs By Dale I gre+ up in a some+hat rough rura! area of the countr +here bar fights are rather common, so this is more ho+ to avoid getting into a fight than actua! defense. /irst of a!!, !et me sa that getting into a fight +ith an one these da s is &*UPI', even if ou didn3t provoke it. *he other person (or their friends) ma or ma not have a +eapon on them, but even if the don3t a!! one has to do if grab a beer bott!e b the neck, tap the bottom on something hard, and ou3ve got a fata! +eapon in our hands. 1esides the obvious advice of sta ing reasonab! sober, take note of potentia!! prob!em gu s - the drunk, !oud ones +ho seem to +ant to be a sho+-off. If ou3re going to hit on a gir! the 3ve sho+n interest in, then... 6) Aeep the person I" ,>U$ /IL#' >/ VILD. 7) "ote +hether the are !eft or right handed. Usua!! it3s the hand the 3re ho!ding a drink +ith. If unkno+n, assume right handed. If the person approaches ou, position our bod so ou are c!ose to him, neBt to his dominant strong arm, facing a!most the same direction as him as ou tr to befriend him. 'o this b making !ike ou3re sho+ing him the cro+d, sa ing something !ike P+o+, some cra< +omen here tonight, huhEP so it seems natura! to be turning to face the same +a he is. ,ou +ant to be in this position because it3s near! impossib!e to sucker-punch someone standing near our strong arm. *he best the can do is a hori<onta! shove, +hich is 2>>' because peop!e +i!! see that he is provoking the vio!ence and can be arrested for that act a!one. If, as ou position ourse!f, he keeps moving around to prevent ou from standing neBt to him, LXI*5 Ce is !ining ou up for a punch. If ou can3t eBit or b!o+s eBchange, and ou3re in a c!ub +ith a camera and(or bouncers, te!! him to ca!m do+n +hi!e making a

pa!ms-do+n motion +ith one or both hands. *his signa!s ever one (even a bouncer +atching from far a+a ) that the other person is the aggressor, and +hen it3s sett!ed the other gu +i!! be removed, possib! off to .ai!. If ou dra+ back our fist or get into a fighting stance then4 6) *he other gu is going to CAVL to fight ou, ou3re no+ cha!!enging his ego in front of his friends(gir!s. 7) ,ou3re 1>*C going to get thro+n out, and possib! .ai!ed.

Ty4es o, AM Gs *here are - varieties of AM>2s and our approach to each shou!d be different. 6. *he bu!! AM>2 +ho is .ea!ous and tries to b!o+ ou out. ,ou can take *'3s approach and be the friend!ier gu , +hich is more appea!ing to targets. *his is the easier AM>2 to hand!e. 7. *he rea!! (or rea!! rea!! rea!! ) friend! AM>2. &ome AM>2s enter at such a high !eve! of energ (kino, .oking, voice pro.ection) it is impossib!e to out-a!pha them. 2etting !ouder or friend!ier +ou!d .ust be received +e!! b them and inspire them to raise their energ . >ne approach +ith this is instead to f! under the radar. At some point this energ becomes eBhausting to others, and it ma be best to sta !o+ ke as a re!ief. >ften +onder out !oud to the target ho+ these fe!!as can keep up such an eBtreme !eve! of energ , .oke it3s !ike having free entertainment (makes them dancing monke s). -. Uuiet! confident and +ise ( so!itar et not need . Making the target !augh and being higher energ +i!! often take care of this gu . Dhen a touch fee! AM>2 tries stea!ing our target, ou can usua!! detect the discomfort in her response (caveman +orks if ou3ve run a good game and ca!ibrate). *r not to +orr about this, as it actua!! makes our gent!eman! kino much more appea!ing to her. &he becomes even more receptive to a man +ho isn3t so bo!d and +ho understands boundaries. ,ou can a!so do a protector of !oved ones !ine PIf that gu 3s bothering ou, I can take him outside and !earn him a !essonP (said +ithout an hint of .ea!ous ).

The Deci)el AM G Challenge "orma!! I3!! get a target to bu me a drink, but once in a +hi!e AM>2 comes into the set to take our gir!. *r this diabo!ica! idea4 +hat if ou can get the target to too! the AM>2 into bu ing you a drinkE It is funn seeing our target tr ing to too! the AM>2 to do our bidding. &o here3s the 'ecibe! AM>2 0ha!!enge4 &ee if ou can get the target to convince AM>2 to bu ,>U the drink +hi!e he3s up getting hers (he has to be hitting on her, not .ust some nice fe!!a in a bar).

Th!ee AM G Tactics (Ba$)oy* 6. Ignore the AM>2. #et him get as !oud as he +ants, but sta in the convo +ith the target. Ce +i!! '#V. ,ou can ro!! our e es to the target. If he gets out of hand, te!! her, 3*he gu s here are kinda push . #et3s go sit do+n some+here +e can ta!k.3 7. Ask an open-ended )uestion (especia!! if the AM>2 is kno+n to the target). Use 3Ce , +hat3s our nameE3 or 3Co+ do ou t+o kno+ each other.3 #et him ans+er, then sa 30oo!3 and then retake the convo. >nce his thread gets cut ou3!! be ab!e to reassert our a!phaness over the situation. ,ou have the option of inc!uding him in our convo, or ou can ignore him. -. 2ir!friend 'estro er. 3Ce , +here3s our gir!friendE3 If he admits he has one, he3s b!o+n his chances +ith her. If he sa s he doesn3t have one, ou sa 3Dh notE ,ou3re a handsome gu , ou shou!d have a gir!friend.3

T0o R"les on Mi'e$ Sets (Meho0* $u!e 6. If our target ignores certain peop!e in the set as ou ta!k to her, that gives ou permission to do the same. $u!e 7. Dhen a gu vio!ates socia! norm (e.g. is rude to ou), ou can ignore him. According to #ovedrop, this is a socia! vio!ator. #itera!! , don3t respond to an of his attempts to interrupt ou, other than an occasiona! 3coo!, man.3

>+ Co+ man PUAs does it take to scre+ in a !ight bu!bE A+ *hree. >ne to scre+ it in and t+o to keep a+a a!! the chodes tr ing to stick their fucking dicks into the socket.

Gaming Mi'e$ Sets )y 3 the Ri44e! 1pproaching Lar!ier this ear I did the P/redd 2on<a!e< *echni)ueP and had a+esome !uck +ith it. I sti!! do variations of it if it3s +arranted. >ther+ise, I might sa , PDhat the fuck3s going on over hereEP P#ooks !ike the part is over hereP or the time!ess PCe +a s up gu sEP *he opener doesn3t rea!! matter...it3s .ust used to get ever one3s attention, and once I have, it3s time to +ork the set. Lither +a , once I open and I have their attention (=@R of the time the +i!! a!! turn to face ou to see +hat ou3re about) I go into something observationa!(situationa!. I introduce m se!f to the most a!pha !ooking gu (usua!! ), and proceed to meet ever one e!se if the situation a!!o+s. A!+a s smi!ing and p!a fu!, and giving the subcommunication that I3m here to improve the overa!! vibe of the group. Guys and"or Girls I can make the gu m budd in seconds. I3ve covered this before in m /$ PAicked >ut for 'oing a 1athroom Pu!!.P 2enera!! ou do +ant to open the gu first and I .ust do this out of respect more than techni)ue... ou don3t kno+ +ho he is or his re!ation to the group (1/, brother, co-+orker) so after estab!ishing ou3re coo! +ith him, I transition into, P&o ho+ do a!! ou gu s kno+ each otherP and re-eva!uate m strateg if it becomes potentia!! deterred b re!ationa! info given to me from the gu . Target Dhen I +in over the group and even the gu s are !oving me, I fee! it a!!o+s me to make m intentions kno+nG I don3t go M- and ignore(neg m target or an thing !ike that. I actua!! might sa something !ike PDo+, !ook at this one (in reference to m target), I don3t have to pro+! around an more I found m gir! for the night.N *he one I3ve been doing !ate! is going right up to the gir! I !ike, putting m arm around her, and sa ing to ever one e!se PCe is it coo! +ith ou gu s that I !ike our friend right hereEP (but said

p!a fu!! 5). *hat one sho+s a !ot of ba!!s. If ou3ve been accepted b the group and offered va!ue, ou +i!! be ab!e to get a+a +ith a !ot. Isolating *his one rea!! anno s me. Most gu s sta in miBed sets for DA,,, too !ong, but ma be their agenda is different than mine. #et3s sa for eBamp!e +e3re ta!king about a megaset (the 0asanova 0re+ term to describe a miBed set of 9 or more peop!e). M goa! is to go in, p!uck m gir!, take her ADA, from the group and esca!ate from there as soon as possib!e. >nce I have iso!ated her I kno+ she is A* #LA&* do+n to eBp!ore the possibi!it of hooking up. If she didn3t !ike ou, she +ou!dn3t go off +ith ou. *he M>&* important thing in doing this proper! is bod !anguage. In megasets it3s norma! (and inevitab!e) that subconvos occur. *he +ho!e group usua!! isn3t a!! interacting +ith each other at once, at !east not for too !ong. As I3m ta!king to m target, I s!o+! shift m bod and P!eadP her to position herse!f a+a from the group a!so, but sti!! +ithin the perimeter. I do this so I can ta!k to her and run m game +ithout an one !istening to me and fucking shit up. Dhen I fee! her attraction has spiked, I take her b the hand and suggest +e check out another part of the venue or go meet m friends or +hatever eBcuse. If her friends catch on and ob.ect, I !et them kno+ she +i!! be safe, and that +e3!! be right back, and point to +here I3m taking her sti!! +ithin e e shot. &o basica!! to iso!ate I initiate a 6 on 6 convo +ith the target, shift m bod !anguage a+a from the group in an incrementa! fashion and !ead her to do the same. If ou3re ta!king to someone face to face or side to side and ou start to distance ourse!f a !itt!e, the natura! inc!ination of the other person is to !ean in c!oser to hear +hat ou3re sa ing. 'oing this a step at a time +i!! resu!t in .ust enough iso!ation from the group to prep for the forma! iso!ation from the group entire! .

Han$ling BFs 2ir!s +i!! often not disc!ose their bo friend (1/)(fiancV(husband, or +i!! do so as a signa! to ou that she is +i!!ing to see ou on the side if ou3re discreet. If a gir! mentions a 1/, ou need to decide if it3s because 6) she doesn3t et fee! attracted to ou or is un+i!!ing to cheat on him (in +hich case it3s an I>'), or 7) she is attracted to ou but +ants ou to be discrete (an I>I that communicates !ogistics). Cer !eve! of kino and other I>I pinging shou!d he!p ou determine +hich of these is the case. 2ir!s +ho +ant to s!eep +ith ou +i!! genera!! comp! +i!!ing! +ith our hoops and kino. If

ou think it3s an I>', ou shou!d ignore the comment and stack to another bit of 'CV convo. If it3s an I>I, ou can te!! her 3,eah, I3ve a!+a s found eBtreme discretion to be important in an kind of re!ationship.3 /rom there, do not continue to ackno+!edge her 1/, .ust p!o+ on +ith our game. Cere are other scenarios4 6. If she sa s he is he!pfu! and ver s+eet, start ca!!ing him nice. If a gu is nice, he becomes !ess appea!ing. 3&o that3s great, ou !ike nice gu s. De!!, I guess ou and I +ou!dn3t +ork out.3 ,ou can then stack to bo friend destro ing materia! (be!o+). 7. &he sa s she +ou!d fee! bad if she cheated on him. $espond4 3I have open re!ationships in m !ife because I haven3t found the gir! +ho has hit a!! m s+itches. I appreciate our honest and am honest +ith a!! m gir!friends.3 &he no+ understands that she can have a no-strings-attached re!ationship +ith ou (though ou don3t sa it) and imp! our standards are high and she has )ua!ified. -. &he hopes ou can sti!! hang out. *e!! her ou understand, that she is attracted to ou but ou +ou!dn3t +ant to be 3that gu 3 +ho breaks up a re!ationship. *his makes it c!ear that ou are onto her and our fee!ings are mutua!, so she +on3t put ou into #%1/ (!et3s .ust be friends) <one, but ou t+o can sti!! hang out and see ho+ things go. If ou are going to e.ect from a set and haven3t gotten her number due to the 1/, ou ma +ant to give it one !ast tr +ith4 M+e!!, it3s a shame ou have a 1/ because I +as gonna ask ou for our number.N &he ma actua!! sti!! give ou her J or te!! ou her 1/ !ives out of state, in +hich case, game on.

BF Dest!oying Techni;"es (TD*

A topic of raging debate in the PUA !iterature, * !er 'urden3s bo friend destro ing techni)ues can potentia!! !ure a +oman a+a from her current mate. Admitted! , these +i!! not +ork if a +oman is content in her re!ationship in a!! regards. ackground - a *e, things to remember: 6) Dhen 1/ destro ing ou +a!k a tightrope bet+een evoking too man bad fee!ings and having them anchored to ou, and getting the chick to +ant to dump her 1/. 'on3t forget that our end goa! is to f-c!ose, not to break her up for some other dude to en.o .

7) It is preferab!e that ou don3t make it appear that ou +ant her to dump her bo friend. $ather, make the idea appear to be something from +ithin her. -) Dhi!e 1/ destro ing, ou must direct the convo to make her prompt ou to te!! her ho+ ou +ou!d treat a +oman. Make her +ork it out of ou, because she3s +orked up, and +ants to kno+ if she3s got a fair dea! or not. 8) ,ou must $L/$AML a!! behavior to appear !ike insecure nice gu behavior, as someone +ho is too afraid to be decisive and go for +hat the rea!! +ant, since the are too afraid that the +i!! !ose it once the 3ve been emotiona!! vu!nerab!e (as +i!! be eBp!ained be!o+). A!! behavior can be $L/$AML'. 9) 1 making the gu !ook !ike a P"I0L 2U,P, ou are making him the most seBua!! unappea!ing gu conceivab!e. >nce ou3ve done this, there is ">*CI"2 that he can do to get back into her good books, as ou3ve put him into a predicament +here an thing that he does +i!! be interpreted b his 2/ as being insecure. &o, if he3s too distant, and he makes up for it b bu ing her f!o+ers -_ he3s insecure. If he3s too need , and he makes up for it b getting a !ife -_ he3s insecure. ,ou are tr ing to 'I//U&L his outer g!oss she!!, and give the gir! a +indo+ into his inner +orkings, so that he no !onger appears Pm steriousP in an +a . ,ou make her understand him so +e!!, that she !ikes him more as a person, but no !onger has an seBua! desire for him. :) PA ma.or point though is that if her re!ationship to her bo friend +as so good, +hat is she doing sitting out for coffee +ith ouE *his does not need to be stated b ou. It is obvious. ,our .ob is to find out +hat &CL +ants from ou and ho+ ou p!an to demonstrate that ou can provide it to her through our stories about ourse!f. >f course ou need !ots of stories about ourse!f dea!ing +ith +omen in the same fashion that she !ikes to be hand!ed herse!f. *his stuff seeps in and makes her think of ou as Pher t peP +ithout ou even comp!imenting her once.P (Mr&LX8u",0) The tactic: Dhat ou3re !ooking to do here is tear the gu do+n to a "I0L 2U,, +hi!e making it !ook !ike ou3re actua!! &*I0AI"2 UP />$ CIM5 ,our goa! is to make him one of those gu s that a gir! +ou!d go out on a date +ith, !ike as a person, and fee! bad for having to #%1/ at the end of the night +hen he tries to kiss her at the door. &o ho+ do ou do thatE A!most invariab! , #*$3s have certain prob!ems (+hich an of ou +ho3ve had #*$3s are morbid! fami!iar +ith)4 -.ea!ous re!ated spats (AL,) -neediness -fai!ure to commit or being too distant -abusive behavior (be it ph sica! or menta!) -ps cho!ogica!! +ithdra+a!, to gain certaint in the re!ationship (i.e.4 in #*$3s each part +i!! +ithdra+ to see if the other +i!! pursue periodica!! , to assure themse!ves that the #*$ is so!id. *his is dime store ps cho!og , and easi! observab!e in an re!ationship). -being irresponsib!e (not ho!ding up share of chores, etc.) -not being assertive in bed (AL,)

-being into &WM and other stuff in bed, that the gir! thinks is too far out -getting angr (frustrated +hen he initiates seB and gir! is not in the mood (AL,) -being too predictab!e, not passionate >A, there are some basic ones. I +i!! no+ break these do+n to sho+ ou ho+ I +ou!d rough! respond to an of these comp!aints, in a +a that I appear to be sticking up for the 1/, but am inadvertent! 1/ destro ing him. *his is not the sum tota! of the routine, but simp! the ra+ fue! that ou are emp!o ing. $emember, that ou ma not necessari! +ant to start esca!ating our seBua! state, unti! she is convinced that her 1/ is !ame-assG other+ise she ma potentia!! rea!i<e that ou are tr ing to pu!! one over on her. *his is not the ru!e, but simp! something to be considered based on our eva!uation of the circumstance. %ea!ous 4 P,ou have to understand that this gu rea!! appreciates ou, because ou3re probab! the best gir! that he ever got, or ever +i!! get. I kno+ that ou care about this gu but there3s .ust a certain e)ui!ibrium +here if ou3ve done this gu a favor b being +ith him and he3s not e)uipped to hand!e it, since he kno+s that he3!! never get a gir! !ike ou again if he +a!ks out, that he3s .ust constant! frustrated and panicked that ou3!! !eave. It3s not his fau!t.N "eediness4 P,ou3ve got to understand that for this gu ou are his entire +or!d. Ce cares about ou so much, that ever thing e!se in the +or!d is meaning!ess to him. ,ou are his on! source of p!easure, and +ithout ou he kno+s that he3s nothing. ,ou can3t b!ame him, he .ust doesn3t have an thing e!se going for him, so he needs ou.P /ai!ure to commit4 PIt3s not that this gu doesn3t !ove ou. Ce does. Its .ust that deep do+n he has a fear that ou3re too good for him and that ou3!! rea!i<e it and be !ike, ou kno+.... ou .ust have to dump this gu .... and then he3!! be !eft emotiona!! destro ed because he made himse!f vu!nerab!e. ,es es I kno+ that ou +ou!dn3t do that to him, but its .ust that +ith (B, ,< into consideration - bring up imba!ance struck ear!ier in the convo) he kno+s that ou cou!d get other gu s...!ike me. I .ust think that he3s not an emotiona!! secure person, and ou3ve gotta cut him some s!ack.P Abusive behavior4 PIt3s not that this gu doesn3t !ove ou. It3s that he !oves ou too much, and .ust can3t hand!e it. Ce3s not emotiona!! avai!ab!e, and because he kno+s that ou3re the best he3s ever had, he can3t hand!e a!! of these things that he3s going through emotiona!! . A!! his !ife he probab! +asn3t ver good +ith +omen, and +omen

+eren3t interested in him. &o no+ that he3s got this gir!, he doesn3t kno+ ho+ to hand!e it. (p!us use the he doesn3t +ant to be emotiona!! vu!nerab!e, because he3s such a !oser ass that he can3t hand!e it as per above etc.) Periodic Ps cho!ogica! Dithdra+a!4 P(use combinations from materia! I3ve +ritten.. $ather than do+np!a ing it for the perfect! norma! behavior that it is, magnif it b making it appear to be a sign of insecurit , that is t pica!! disp!a ed +hen nice gu s +ho can3t get gir!s get stuck into a re!ationship +ith a gir! that is too good for them)P 1eing Irresponsib!e4 PIt3s not that this gu doesn3t ,ant to do these things. Its .ust that he3s so over+he!med b a!! of the things that are going on, that he .ust can3t keep up these responsibi!ities. ,es es, I kno+ that B, ,< aren3t that much, but he3s not in an emotiona!! hea!th p!ace right no+, and he .ust can3t hand!e it ( ou mirror this against ourse!f, the image of a $LA#(&*$>"2(0>MPL*L"* man, basica!! tr ing to make him seem !ike a !itt!e bo )P "ot being assertive in bed (*CI& I& AL,, A"' I& VL$, >/*L" *CL 1L&* >"L *> U&L - VL$, 0>MM>")4 PIt3s not that he doesn3t +ant to eBcite ou. It3s .ust that he3s so over+he!med being +ith a gir! !ike ou, that he3s not e)uipped to hand!e our seBua! needs. It3s !ike the t pica! case of the rich daughter +ho marries the !aborer. At first the !aborer is so ecstatic to have this gorgeous gir! (point to her) +anting him.. 1ut in the end, he cheats on her +ith some +hite trash mu!!et haired gir!, because he kno+s that that3s +ho he rea!! be!ongs +ith, and that3s +ho makes him fee! good about himse!f. ,ou shou!dn3t ho!d his !ack of assertiveness in bed against him, because its .ust a ref!ection of his insecurit . Dith the right gir!, an gu can be a stud in the sack. It3s not hard, ou .ust have to take 0>"*$># (perhaps sho+ some contro!!ing kino here, to get her turned on then transition to some C>* seB ta!k, +here ou inadvertent! spi!! ho+ much ou need to take contro! in bed.)P 2u into +eird stuff in bed (&WM etc) +hen she hates it4 PIt3s not that this gu doesn3t !ove ou. It3s .ust that he uses these things to ob.ectif ou, because he kno+s that he3s never had a gir! !ike ou, and probab! never +i!! once ou3re gone. &o he doesn3t +ant to Pmake !oveP, because he doesn3t +ant to make himse!f emotiona!! vu!nerab!e to ou. 1ut he sti!! +ants seB, so he has to turn it into a perverse game, to keep his insecurities from over+he!ming him.P 2u gets angr +hen he initiates seB and she3s not interested (A">*CL$ AL, >"L *> PL0A A*. VL$, 0>MM>")4 P*he thing is, that this gu !oves ou, and he3s .ust eBasperated that he3s comp!ete! impotent to turn ou on. Ce .ust can3t turn ou on, and he kno+s that,

so he gets frustrated. It3s !ike +hen ou +ant to have seB...+ith me.....it3s !ike, I kno+ that it3s m .ob to get the gir! turned on. 2ir!s need a man +ho kno+s +hat the +ant, and ho+ to give it. Dhen a gir! sa s 3no3, but at the same time she !oves this gu , it often means p!ease turn me on more... p!ease, I +ant ou to be more attentive to me. (this tota!! mindfucks the gir!, as it is an LX*$LML#, 0>MM>" part of the #*$ c c!e, that once seB becomes stagnant forep!a near! ceases. I3m ama<ed b ho+ much gir!s in #*$3s PL$A $I2C* UP the second that ou imp! that ou3re attentive even in #*$3s.) 1eing too predictab!e, not passionate4 PIt3s not that this gu doesn3t !ove ou. Ce does. It3s .ust that he3s so comfortab!e +ith ou no+ and fee!s so c!ose to ou, that ou3re more !ike a sister to him. #ike a specia! sister, but someone +ho he doesn3t fee! that he has to do a!! these things for an more, because our re!ationship is so secure and so predictab!e. *here3s no need for a!! that eBcitement, because he kno+s that nothing +i!! change. &ome gu s dea! +ith true !ove that +a . I dunno, for me, I think that if ou rea!! !ove someone, ou have to do B, ,< (estab!ished ear!ier in convo) to keep it fresh. 1ut rea!! , it3s not that he doesn3t !ove ou, it3s .ust that he !oves ou so much that he doesn3t see the need.P #onclusion: &o, remember that ou are focusing on destro ing the gu 3s seBua! appea!, b making him seem too fami!iar and eas to understand. Peop!e genera!! get 3one-itis3 for those +ho are cha!!enging and hard to understand. 1 making the 1/ seem both eas to understand, and ver insecure(nice(beta in the meantime, the re!ationship +i!! !ike! not !ast the +eek. %ust remember not to be the #%1/ +ho counse!s her on her prob!ems. Idea!! , she must be getting both turned off the gu b +hat ou3re doing, and getting turned on b ,>U, and the conversation "A*U$A##, #LA'& *> C>D ,>U A$L 'I//L$L"*, A"' -I'LA#- />$ DCA* &CL DA"*&. *he natura! f!o+ of conversation must indirect! !ead to eBposing our high! desirab!e )ua!ities. &he is getting turned on b the 'I$L0* 0>"*$A&* bet+een ou and her bo friend. ,ou do not offer our )ua!ities direct! , but high!ight them b pointing out that ou understand +here her 1/s negative )ua!ities are insecure. 2etting her to beg ou to te!! her ho+ ou treat +omen is a!! the better, and if it is going +e!! can !ike! be eBpected.

Dith so man +omen out there, ou ma +ant to think t+ice (or thrice) about gaming a gir! +ho3s in a re!ationship. It ma !ead to more drama than ou3re +i!!ing to dea! +ith.

An +oman I3m +ith must have baggage that fits neat! in the overhead bin. ang ang Ento"!age Game *his section is inc!uded here because of the fact that man C1s have 1/s and are )uite !o a! to them. &o +hi!e in a set if ou rea!i<e the C1 +i!! !ike! not be avai!ab!e to ou, consider doing a phi!osophica! shift in tactics and tr to recruit the C1 into our entourage or pivot. Caving a set of hot +omen to ro!! +ith into c!ubs makes a huge difference in ease of opening other sets. 0onstruct a fun entourage for ourse!f from a!! the C1s +ho are current! in re!ationships, but +i!!ing to hang out +ith ou, the !ife of the part .

Chapter Fourteen
Phone and Te-t Game
>nce ou3ve had a 'a 6, ou +i!! out of necessit move into the rea!m of phone(teBt(emai! game, before the t+o of ou can meet up for a 'a 7. A !ot of potentia! re!ationships crash and burn in this nether+or!d, often because of back+ards rationa!i<ation b the gir!, but man times because the man is not ski!!ed at this part of his game. *he term 3dead air3 means the teBt interaction is !eft hanging +hen one part fai!s to respond, thus premature! ending the convo. * pica!! , ou shou!d ca!! or teBt 6-7 da s after the pick-up, and often it3s a good idea to do this the night of the pick-up so ou can either continue the convo, or keep ourse!f fresh in her mind and used to our ca!!s(teBts. &ome PUAs prefer teBting first, then ca!!ing !ater that da (+hether she responds or not to our *M). Use a /*0 during the ca!!, and be the one to end the *M or ca!!. 2ive enough time bet+een our *M responses or ca!!s to estab!ish our non-needinessG ca!!ing(*M too )uick! or fre)uent! ma pro.ect neediness. Daiting too !ong +i!! a!!o+ her bu ing temp to drop or for her to back+ards rationa!i<e our encounter and b!o+ ou off. Aeep our ca!!s and voice messages brief. Maintain our pri<abi!it (sa things !ike 3,ou can see me tonight3 or 3,ou can ca!! me back3 versus 3I hope ou3!! have some time for me this +eek.3) ,our voice messages shou!d be no more than 9 seconds !ong, un!ess ou are creating intrigue +ith an opinion opener sort of message (3Ce , it3s 'ecibe!. Is khaki a co!orE 1ecause I +as .ust having this discussion +ith m friend, and +e cou!dn3t decide if it +as a co!or or a fabric. &o I thought I3d see if ou kne+ the right ans+er to this one. I3!! ta!k to ou !ater.3) If there is some possibi!it she doesn3t have our number, !eave it, but other+ise avoid !eaving it in our message. Introduce ourse!f not b 3Ci, it3s 'ecibe!. De met !ast night3 but +ith a tease or reminder that had been estab!ished. &o for eBamp!e if ou gave her a nickname, ou3d sa 3Ce , Ms. L!f-ears, it3s me, 'ecibe!. I3!! ta!k to ou !ater.3 ,ou don3t need to ask her on a date during our first ca!!. In fact, .ust getting her ta!king about unre!ated topics +i!! make ou a part of her dai! !ife, so +hen ou do ask her out, there +i!! be a natura! fee! to it. A!+a s

speak s!o+! , c!ear! and +ith a deep voice. Dhen setting up the 'a 7, tr to a!+a s invite her a!ong to an event or a p!an ou have previous! schedu!ed. It is best to time bridge to a specific point during our origina! pickup, but if ou canFt ou shou!d attempt this over the phone or b teBt(emai!. If a coup!e +eeks pass bet+een pickup and 'a 7, mention ou ma not remember +hat she !ooks !ike 3so +ear something distinct3G ou are going out +ith her because she made an impression on ou, not because of her !ooks. 6hone Game By The 3"$ge Lssentia!! phoning a gir! is a '#V. *he minute she sees our number pop up on her ca!!er I' screen, she kno+s ou3re interested. Co+ever, the on! +a to get a so!id '7 is to make p!ans on the phone first (I3ve set up '7s strict! using teBt or emai! but those are the '7s that are much more !ike! to f!ake and not sho+). &ince phone game is a ke part of pickup, it took me a +hi!e to deve!op a method that consistent! +orks. Cere3s the 7 step method I3ve found to ie!d the best resu!ts4 Ste4 9: After ou get the number, teBt or ca!! *CA* "I2C*. I kno+ it sounds need , but it3s not. It3s on! need if ou PneedP something +hen ou ca!!. &o I3m not advocating ca!!ing and tr ing to set up a '7 that night, but I do recommend teBting her +ith some ca!!back humor from our pickup. /or eBamp!e, about 7@ minutes into a PU, I usua!! te!! gir!s the 3re going to be Pm gir!friend for the neBt 9 minutes.P #ater, if +e3re in 06 or 07 I usua!! sa , P>ka , ou3re prett coo!...congrats, ou3re gonna be m gir!friend for the rest of the night. 1ut don3t get an ideas, +hen the c!ock strikes midnight this 0indere!!a re!ationship is >VL$ and +e3re gonna stage a '$AMA*I0 breakup.P #ater, after she or I !eaves the venue, I3!! teBt PCe there gf for the night, I had to fight off = gir!s to sta faithfu! to ou...be .ea!.P *he 3!! A#DA,& teBt back +ith something f!irt and ou can vibe for a bit but be the one to go dead air first. Ste4 <: A da or t+o !ater, I3!! usua!! teBt some ca!!back humor

again. Usua!! I3!! sa something !ike, P>M2 .ust sa+ (+hatever) and thought of ou because ou3re (+hatever .oke ou gu s had)..an +a +at u up toEP &ometimes it takes a fe+ hours, but once she responds, ca!! her IMML'IA*L#,. /or eBamp!e, the other da I had some gir! teBt, PI3m fiBing m computerP and I ca!!ed immediate! and said, PI had to ca!! because that computer sounded so seB . *e!! me about it. Dait, actua!! , first I gotta te!! ou about (+hatever our teBt said she reminded ou of).P *his is ke to phone game because +hen she is teBting ou back, ou3re on her mind and her 1* is pumped (a!so the phone is in her hand so there3s no reason she +on3t ans+er the phone). A!so, it transitions ou smooth! into a stor that she3s interested in (because it invo!ves her). It a!so doesn3t come off super need (as if ou3re ca!!ing to get va!ue from her) because it seems !ike ou had a PreasonP to ca!!. Lven if the reason is retarded (i.e. a computer getting fiBed), gir!s +i!! a!+a s !augh if ou de!iver the PopenerP +e!!. /rom there, I usua!! /*0 (i.e. PAn +a I can on! ta!k for 9 minutes because I3m +orking on (+hatever coo! thing ou do), but I thought I3d !et ou distract me for a fe+...P Usua!! about 69 minutes of fun conversation is enough to ensure a gir! +on3t f!ake on the '7 (presupposing ou3re decent on the phone and can bring up !ots of ca!!back humor). A!so, initia!! gir!s are some+hat co!d on the phone (probab! because the 3re used to chodes ca!!ing them and being !ike, PUm, so +hat3s upEP) but if ou get some good .okes in ear! , the 3!! +arm up )uick! . Most gu s get caught up on the number of da s the have to +ait to ca!!, but this is irre!evant. In fact, I think it3s better to ca!!( teBt +hi!e ou3re sti!! on her mind rather than +ait !ike ever other !oser +ho got her number. *he important things to remember about phone game is4 getting her !aughing and reminding her +h she gave ou her number in the first p!ace. *he reason I !ike the teBt(teBt back(immediate! ca!! ProutineP is there3s no chance of getting a VM. &ometimes gir!s +i!! intentiona!! ignore a ca!! or sometimes the 3!! honest! be doing something and can3t pickup. $L2A$'#L&&, most gir!s +on3t ca!! back a gu she met a bar LI*CL$ +a because it3s

a+k+ard. *he other a!ternative I3ve found to +ork is simp! to take a gir!3s number, not give her ours, then ca!! +hen she doesn3t kno+ it3s ou. I started doing this to practice m phone game since most gir!3s reaction is to hang up immediate! (!itera!! I did it to practice ta!king over gir!s +hen the give me their bu!!shit eBcuses). Aeep in mind, ou have to immediate! game them and pump their bu ing temperature to get them to sta on the !ine. I +ou!dn3t recommend this because most super hot gir!s (C1?`) +on3t even pick up a number the don3t recogni<e and ou need $LA##, so!id phone game to get this to +ork. 1ut it3s a good dri!! to tr on numbers ou3re ambiva!ent about an +a . If ou can f!ip a gir! from being co!d to super +arm on this kind of ca!!, our phone game is so!id. A gir! sa ing PDho is thisP is the u!timate make-or-break moment in phone game. It took me a fe+ hang ups to figure out ho+ to ans+er this, but I figured it out. Cere3s one eBamp!e4 HB+ Dho is thisE T3+ De got married in Vegas and ou3ve a!read forgotten me. *hat3s it. ,ou3re going to AA, miss . >f course, this is on! for gir!s I to!d I3m gonna marr in Vegas (+hich, for me, is an gir! I ta!k to for more than 9 minutes). >ther good ones are, P*hat hot gu ou kissed and (+hatever e!se ou did)P or an thing e!se that3s funn , +i!! remind her of +ho ou are, and doesn3t ans+er !ike a chode. "LVL$ A0*UA##, &A, ,>U$ "AML. Dhen I first started, I used to ans+er !ike, PUmm *he %udge, I met ou at (+herever)P and neBt thing I kno+, the gir! +ou!d be !ike, P,eah, can I ca!! ou back (c!ick)P. Dhen ou immediate! get her !aughing then stack, i.e. P>h shit. &ome cra< thing .ust happened and I .ust had to te!! one of m Vegas +ives, get this...P ou3re in. A!! the phone a+k+ardness is gone and ou have her fee!ing the same good emotions she fe!t +hen ou took her number.

*here are severa! ke e!ements that need to be eBp!ored4

6. "on-neediness. If ou3ve been maintaining the frame of an independent man +ith a fu!! p!ate of peop!e to see and things to do, and then sudden! on the phone ou sho+ an eBcess of neediness, ou3re done. 0a!!ing once a da is need , making comments about having !ots of free time is need , picking up our phone the moment she ca!!s back (particu!ar! on a /rida or &aturda night) is need , and ca!!ing her right back is need . ,ou need to remain s!ight! unavai!ab!e and a!oof. 1us gu s don3t tend to sit around +aiting for their phone to ring. Using a /*0 during our ca!! +i!! a!so give the impression ou3re a bus gu . &imi!ar! , she ma tr the 3+e!! ca!! me the da before and I3!! see3 tacticG don3t fa!! into this. ,our time is va!uab!e and ou need a confirmed da and time ou t+o can meet. >ther+ise ou are inviting the f!ake. *he bottom !ine is ou are choosing to speak +ith her and set aside time +ith her not out of desperation or !one!iness, but because she is specia! and +orth it. 7. Intrigue. ,ou3ve taken care to bui!d attraction b 'CVing, and bui!d comfort +ith identit grounding. 'o not at this point s!ip back into our A/0 +a s and make f!uff ta!k or be an !ess fascinating. 0ontinue to open strong, carr our a!pha frame of se!f-confidence and m sti)ue, emp!o push-pu!!, and !eave her +anting more. *hink back to the o!d c!iff-hangers +here the fi!m !eft ou +ith unans+ered )uestions. ,ou shou!d do the same +ith our teBts or ca!!s. A teBt that reads 3>M2 I .ust thought of the best nickname for ou53 +i!! create intrigue and inspire her to respond. As opposed to 3Ce &a!! , m p!ans fe!! thru 7nite, so if U $ free give me a ca!!. >kE3 -. *iming. If ou ca!! or *M too soon, it can sho+ neediness. If ou +ait too !ong, her bu ing temp +i!! drop. In short, there is no right ans+er to the )uestion of +hen to re-initiate the convo, and ou +i!! have to !earn from our eBperience. Advice has been given ranging from the same da to one +eek !ater. $egard!ess, it is t pica!! safe to not use the ver first reconnect as a +a of asking her on a date, though the idea can be seededG instead, ca!! .ust to te!! her about something funn that happened to ou toda . If ou ca!!, !eave a message and don3t .ust hang up. &he ma be ab!e to I' ou on her ce!!, and it3!! !ook +eird that ou didn3t fo!!o+ through +ith a message. Un!ess she responds, don3t even think about ca!!ing or +riting more than once on a given da . And often +ait 6-7 da s before our neBt attempt (or even !onger). *hough some are more persistent, if she doesn3t respond to 7 attempts, she3s !ike! not interested an more, so move on. If she does respond, !ook at the amount of time it took her to ca!! or +rite back, and use this as a gauge of ho+ !ong ou shou!d take to send another message. If it took her a +hi!e to get back to ou, never ca!! her out on it or antagoni<e her about it. &ending a *M at around ? PM makes ou

the !ast thing she thinks about at the end of the da , and the first thing the neBt morning (credit A/0 Adam(Mr. M). 8. 1ui!d comfort. ,ou can use phone ca!!s to get a +oman comfortab!e +ith ou, though don3t eBpect to bui!d more attraction. /ace-to-face interaction is the on! re!iab!e +a to kno+ if our 'CV3s are hitting, and the on! +a to get her used to our touch. &ti!!, ou can bui!d rapport over the phone if getting together +i!! not be possib!e in the near future. *his +i!! contribute to the seven hour ru!e needed before seB. 9. 'ead air. If ou ever teBt something and she fai!s to respond, that is ca!!ed getting dead air. &ometimes it means ou scre+ed up, sometimes she .ust got distracted. A!+a s tr to use dead air in our favor. If a gir! shit tests, don3t respond. If ou get a response that isn3t +hat ou +anted, +ait a +hi!e to respondG !et her +orr that she made a serious misstep. Dhi!e it ma seem a!pha to have the !ast +ord, +ith teBting, a good ru!e is !et her send the fina! teBt. *he fo!!o+ing are some other teBts to reopen. "otice !ack of punctuation, and fre)uent use of abbreviations !ike u for 3 ou3, ur for 3 ou are( our3 and !o! for 3!augh out !oud.3 A!so, t ping !ong +ords conve s a sense of neediness, not un!ike fre)uent! returning to threads +hich had been interrupted during conversation. &omeone +ho is ver bus doesn3t have the time for proper punctuation and !ong +ords, so genera!! conve our message +ith precision and sma!! easi! t ped +ords +ithout eBcessive punctuation. 1e strategic in our use of the eBc!amation mark, since it can imp! emotiona! reactivit . *r to end each teBt convo .ust as ou +ou!d +ith kino or phone convos, +hich can be done +ith 3tt !3 (stands for ta!k to ou !ater). *his imp!ies the convo is over, and if she then responds, such as 3ok, tt !3 that means she !oves ou since it3s not necessar on her part. PUA4 A e ho+ do ou get gum outta our hairE /e!! as!eep and got gum in m hair Cer4 Peanut butter PUA4 2ot an peanut butterE Cer4 !o! no PUA4 &ome he!p u r5 PUA4 Ce red or greenE pick 6 )uick Cer4 $ed PUA4 Mmm going +ith green

PUA4 *hink I .ust found some batgir! underroos for u PUA4 think I .ust sa+ our face on a mi!k carton PUA4 ur si!! ... snakes don3t have armpits5 PUA4 Das that u I sa+ ear!ierE PUA4 >M2 some sme!! gir! came K me !ast nite PUA4 Dhen +e +ere thumb +rest!ing ou +eren3t +earing a g!ove. "o+ I3m pregnant. De need to ta!k. (0redit4 *he %udge($o1) PUA4 A!most got into a bad accident !ast nite. +he+5 TM7email a))!eviations+ chK Mmmm or Cmmm !o! 4) 4( 4o) 4o( ^(()) cZZZ- E Ge) G) G-p K--_---(.)(.) $>/# #MA> tt ! Emoticons an$ Te't Faces MiB and match characters for a variet of faces4 L es... 4 G "oses... 3 [ e Z o Mouths... ^ ( o p ) ( LBamp!es... 4[^ _4Z( 43) chat either 3thinking about it3, or 3 umm 3 !augh out !oudG can use 3haha3 Lmoticons for happ (sad

heart(!ove boot ca!!E +ink +ink +ith tongue rose boobs or scared e es ro!!ing on the f!oor !aughing !aughing m ass off ta!k to ou !ater

b 4[(

B Gep

Gi!ls Fla#ing on the 6hone By C!o I use a tactic that some of ou +ou!d fro+n upon +hen first thinking about it, but it +orks a !ot for me. If I haven3t bui!t an rea! comfort, and she is f!aking on me on the phone, I thro+ a negative frame around her 3making her a socia! vio!ator3 (credit #ovedrop). #et3s script it... Cer4 I3m bus tonight. I have a +ork. Me4 *hat3s a!right, I3!! !et ou make it up to me. Cer4 >h ho+ soE Me4 I3m free this /rida ...after seven though, and then &aturda afternoon. ,ou better not f!ake on me again, because I3m bus the +eek after and I 0ill be taking ou out. At this point, I3ve thro+n it out there that I3m a high va!ue gu that she can3t thro+ off !ike she does +ith A/0s. &he tried to I>' me, but I refused to accept it because I3m a fun, coo! gu . Co+ever this statement must be presented correct! , and ou don3t +ant to be seen as .ust stubborn on the phone and creep , ou have to be !aughing and fun and keeping her happ emotions spiked at a!! times. "o+ there are three +a s she might respond from +here I !eft off4 9* Cer4 I don3t kno+, I3m bus on.... Me4 ,ou kno+, don3t s+eat it5 I3m going to this coo! part on &aturda evening...come to think of it, if ou promise not to embarrass me I3!! take ou +ith me5 Cere she tried to disarm ou again, but ou brushed it aside and asked her to )ua!if . If she does Uua!if at this point, ou3ve sparked attraction again and raised 1* and ou can continue stacking. <* Cer4 De!!...I think &aturda is oka .. Me4 2ood, (serious) but I can3t sta !ong so (humorous) ou better not f!ake on me5

Cer4 Caha5 A!right5 =* (1est case scenario) Cer4 /rida sounds good Me4 >h +ait....no it3s a!right, /rida it is. >h ou better +ear a coat then. [stack[ *his is +hen I have a gut fee!ing about a gir!, and I kno+ she3s attracted but I haven3t bui!t comfort and *CA* is +h she is f!aking. *his probab! +i!! not +ork if there3s no rea! attraction.

Chapter Fi teen
.nternet Game
Inte!net Gaming *hough not considered 3going into the fie!d,3 on!ine dating has he!ped PUAs supp!ement their rea!-+or!d gaming. &ome gu s have had remarkab!e success +ith it. Dhat fo!!o+s are some tips in bui!ding our on!ine techni)ue4 *hese are tips from "e+ ,ork3s ;7off4 /or me, on!ine game is so much easier than rea! !ife sarging I can3t even compare the t+o. I usua!! ta!k about f-c!oses +hen it comes to c!osing, but if ou eBpand that to makeouts, foo!ing around, etc. I +ou!d sa m success rate is at !east =@R on a first date. And I cou!d fi!! m ca!endar from toda to the end of the ear +ith a ne+ date a da , and that is not an eBaggeration. Cere are m simp!e Pru!esP of on!ine game4 (6) Cave a great profi!e. I basica!! brag !ike cra< in m bioG I don3t ta!k much persona! stuff, most! .ust cock funn things !ike PI +ent to UPL"" and even managed to graduateP and I do this and that. A!so, keep it re!ative! short. (7) /ocus on those +ho contact ou first (obvious! not the &pam($ussian go!d diggers). (-) 0hat on!ine(phone(etc as !itt!e as possib!e... ask to p!an a date more or !ess on the first or second e-mai! and if the start dragging it on +ith on!ine chatting(phone convos etc... move on. And keep e-mai!s ou +rite to gir!s &C>$*. VL$, &C>$*. "othing pisses these gir!s off more than !ong +inded e-mai!s from 89 ear o!d gu s +ho +ant to marr them from 7 pictures off the internet.

*he fo!!o+ing is an eBcerpt from a book b Adam&tea!th detai!ing ho+ to construct a dating page. *o obtain his entire book, contact him at his site, datings!edgehammer.com.

Loo#ing li#e yo" have yo"! shit togethe! A picture rea!! does paint a thousand +ords. *hink about this4 &he doesnFt kno+ +hat ouFre !ike +ith kids, or ho+ much mone ou earn, ho+ much of an ama<ing gu ou are. Dhen ou message someone, think for a moment about abso!ute! ever thing that that +oman can no+ see about ou. *his is the !ist I came up +ith, IF!! use M &pace as an eBamp!e (this is in order)4 f Profi!e picture (thumbnai!) f &ub.ect of our message f &creen name f Message teBt I* she clicks on your pro*ile f A!! our photos f Photo captions f ,our Habout meF f ,our videos f ,our friends f ,our computer(C*M# ski!!s f ,our interests and re!ationship status etc. f 0ompanies ouFve +orked for and our %>1 *I*#L&5 IF!! give ou a run-do+n and some pointers to ho+ to make each of these e!ements as good as the possib! can be. In this instance, IFve used M &pace. &ome of the other sites arenFt as f!eBib!e as M &pace, so make our o+n .udgement. If ou treat each of these as its o+n task, our profi!e +i!! stand !eagues above an one e!se3s. 6!o,ile 6ict"!e I3m a massive advocate of having eBce!!ent photos of ourse!f for a +ho!e arsena! of reasons. /irst, itFs a!most the on! +a ou can communicate to a +oman +ho ou are and conve our identit . I recommend changing our Profi!e photo once ever 6@ da s. It sho+s ouFre a fre)uent user, ouFre a!+a s doing stuff and ou have a bus !ife. Dhat I have is a fo!der on m computer ca!!ed HProfi!e PicturesF in there I put a!! of them as I get

them. *hen if I3m having a s!o+ month, I can dig in there and pu!! one out from !ast ear, .ust to keep it fresh. >ne of the main things here is ou +ant our picture to serve a purpose, it MU&* be triggering an attraction s+itch. *he easiest attraction s+itch to trigger using photos is Prese!ection. S")Mect line o, yo"! message As an Lmai! Marketer b trade, I canFt te!! ou ho+ important this is. IF!! sho+ ou +ith a screen shot +hat someone +i!! see4

*he main thing ou can see is the sub.ect !ine. If this is MDo+ babe ouFre hotN, ou can bet an thing itFs not even going to get read5 *he M$L4N is there because the rep!ied, but I actua!! +rote them there. Dhat ou see is !etter for !etter +hat I t ped. *he instinctua! reaction is to c!ick something +ith an $L4 neBt to it because ouFve a!read rep!ied, ouFre in the midd!e of a conversation. ItFs obvious rightE *r it out and see +hat happens. $emember the ob.ective +ith the sub.ect !ine. ,ou .ust +ant them to c!ick on it. *hat is it, not to rep! or give a phone numberO 3"st clic# the s")Mect line. ,ou can +rite an thing5 Cere are some top tips4

To4 ti4 9+ If ou have their name U&L I*, emai! marketers have seen resu!ts go up -7R because of using their first name in the sub.ect !ine. In essence, ou are an emai! marketer and our product is ou. To4 ti4 <+ Use $L4 before t ping an thing. ($emember to check the eBact format of the !etters and capita!i<ation that is used on the specific site ouFre using at the time). It makes her think sheFs a!read sent ou at !east one message. To4 ti4 =+ Make her open the damn emai!5 *his is the on! purpose of the sub.ect !ine. &+ear at her, offend her, !ie to herO 'o an thing - but get her to c!ick the damn !ink. *hink about it, if she doesnFt, itFs game over an +a 5 Sc!een .ame I3m ver unopinionated about screen names. I donFt think the matter ver much at a!!. >n! thing I +ou!d suggest is, if ou have a coo! name. Use it. If ou donFt, ou can come up +ith an a!ias, I sometimes use H&hineF S I3m not sure +here it came about, but IF!! change it from time to time. &ometimes IF!! be Adam, other times IF!! be &hine. Message te't *he content of our message is obvious! the most important thing ouFre going to put together +hen it comes to Internet 'ating. Assuming our message is on her screen, regard!ess of an thing e!se, if sheFs taken it in and read it, the message +i!! generate a response or it +onFt. ItFs Hsink or s+imF time. And I3m going to make ou s+im5 *his is an overvie+. *he on! ob.ective in our message teBt is to get her to either respond b pressing rep! and t ping back, or giving ou her phone number. *hat is it. *his is actua!! .ust simp!e marketing and cop +riting. DeF!! do this b stimu!ating her emotions, then giving her a rea!! eas decision to make. H$espond or donFt respondF the easiest +a to do this b far is asking a )uestion at the end of the message. 2o +ith something si!! and fun and that doesnFt re)uire an thinking po+er at a!! on her part. >ne of the recent ones I used +as4

MMy *riends and I are having a party in a *e, ,eeks and C o* them ,ant a ,ater*ight and the other hal* ,ants mud ,restling/ 1s the party host+ I get the *inal call+ but they?re both *un/ 7hich one do I pickHA *his is great because itFs demonstrating ouFre fun, ouFre hosting parties so ouFre the H!eader of menF. Dhi!e ou havenFt said it, thereFs ver subt!e prese!ection in there too because I3m fair! certain 6: gu s +ou!dnFt argue about a +ater fight or a mud +rest!ing contest. *here must be +omen invo!ved. IFve sent messages to +omen +ith a!most no 'CV stories ( spikes and IFve generated responses because the messages have been so funn or so off the +a!!, the canFt he!p but respond. M suggestion is tr and make them funn . "ot .ust a !itt!e bit funn , (not that ouF!! see this) but tr and make her !augh in her computer chair at home. ,ouFve heard the sa ing Mif ou can make her !augh, ouFre ha!f-+a homeN. De!!, in this case, +eFre a!read at home, but the same princip!e sti!! app!ies. &he !aughs, ou get a message back. $ead her profi!e5 If ou ask an +oman, .ust as I have, +hat +i!! make a +oman respond to a message on!ine, she +i!! te!! ou4 M>h, I need to kno+ heFs read m profi!e.N S *hatFs perfect5 Uuick, simp!e, eas tip. %ust go in her profi!e, !itera!! skimread it, find something ou can *LA&L CL$ A1>U* and pick her up on it. &he sa s Mooooh+ I love sno,boardingGA ,ou sa MBouI sno,boardingI (h+ I took you *or a cheerleader+ maybe you?re not *un a*ter allA &ee, ouFve teased her, ouFve made her do that Mahhhh, I canFt be!ieve he .ust said thatN thing that gir!s do. 1ut, ouFve a!so demonstrated that ouFve read her profi!e no+. &o !etFs break it do+n. If in her mind, ou had to sho+ ou had some kind of va!ue, ou +ere funn and sho+ ou read her profi!e, no+ ouFve .ust got ourse!f a ver positive response5

@o"! Enti!e 6hoto Collection *his is b far the most important asset ou have to +ork +ith if sheFs giving our profi!e a chance and !ooking at it. *he great ne+s is, itFs a+esome fun putting these co!!ections together. "o+, I +ant to eBp!ain C>D to se!ect +hat photos ou use. Mo!e the )ette!+ ,ou +i!! need a minimum of 9@ photos on /acebook and M &pace. >n dating sites, ou t pica!! canFt have that man photos, so make the most of the 6@ or so that ou are a!!o+ed. The 6"!4ose+ *he purpose of the photos is to f!ip those attraction s+itches and demonstrate as best ou can that the #I/L&*,#L that ou !ead is an attractive one, and one that she +ants to be part of. 6hoto Ca4tions Do+, +h does nobod use theseE ,ou can add so much va!ue to our photos .ust b putting a fe+ +ords against it. Dithout a caption, she +i!! decide for herse!f +hatFs going on in the photo (if it isnFt obvious). If so far, our profi!e hasnFt done a great .ob, her opinion of our on!ine identit isnFt that great, so sheF!! assume that itFs not that coo! +hat ouFre doing. Co+ever, if ou te!! her, her opinion of ou +i!! increase. #et me find a photo at random and IF!! sho+ ou.

MMe and <ack in 1lmeria+ )pain: In a bar be*ore I took us all to PPacha? and later partied in our poolA Dhi!e not eBact! the most thri!!ing eBamp!e, it sho+s I3m on ho!ida , IFve made friends, IFve used the H!eader of menF attraction s+itch in that I took ever one to Pacha. *his stuff actua!! happened b the +a , but even if it didnFt. ItFs not ! ing, itFs f!irting...

A)o"t me In m opinion, the more off the +a!!, +ack and abso!ute! ridicu!ous this section is, the better. It shou!d be funn , tota!! cra< , and make her +onder if ouFre for rea!. It shou!d be congruent +ith our identit and our photos. Cere are some pitfa!!s to avoid4 6it,all 9+ It8s not a Q$ating a$8 If +hen ouFve gone to +rite our first one and itFs started something !ike4 MCi, I3m Adam and I3m 9F:N, I !ike toON *hen &*>P5 *his is not a sa!es !etter gu s. I kno+ I keep sa ing Hthe ob.ective isF but each point here has an individua!, uni)ue purpose. *he purpose of this is to Htie ever thing togetherF and reaffirm H+ho ou areF so our 'CV sentences are going to have to be congruent +ith our photos and videos. &o donFt +rite it !ike itFs a dating ad. If ou +ant to mention that ouFre :F6N and bui!t !ike ouFre chise!!ed from stone, then +h not +rite about ourse!f in the third person. 6it,all <+ Be cong!"ent If ouFre a rock c!imbing instructor that !ikes p!a ing video games and socia!ising +ith friends, donFt put on our Habout meF that our passion is p!a ing the XboB-:@. Domen respond to passion, and +hen ouFre passionate about something, itFs a rea! turn on for a +oman. 1ut if ou have a choice to make that HpassionF be rock c!imbing (because itFs our .ob) or p!a ing a computer, trust me +hen I sa , make it the rock c!imbing. 6it,all =+ .ot thin#ing o"tsi$e the )o' ,ou can !itera!! do an thing. Dh not make a f!ip book of ou meeting a +oman and make an animated gif fi!e of it and put that on our page. Co+ about recording a video using our video cameraE Dhat about putting MI3m a ver modest chap, but I3m not going to sit here and te!! ou a!! ho+ incredib!e I am, so I thought IFd get some friends to.N *hen get fema!e friends to record videos or audio sa ing ho+ much fun ou are, or at +orst case, +rite them and .ust inc!ude photos to make it seem rea!. A!! these +eb 7.@ concepts rea!! do a!!o+ ou to step outside of the boB. I regu!ar! have videos of me doing mad stuff on ho!ida , in s+imming poo!s, p!a ing footba!!, in c!ubs, doing co!d approach +ith +omen, drinking, drinking (not at the same time) getting VIP treatment. *his is a!! stuff ou can do. Dorst case, ou bu VIP tickets to a c!ub or something and take a bunch of

photos +ith some friends then make it !ook !ike on our profi!e ou got it a!! for free. ItFs not a re)uirement at a!!, but itFs +orth doing at !east once. @o"! To4 F!ien$s Most peop!e over!ook this. It can serious! be used to great advantage. Peop!e tr to do this but the go +rong and it fai!s miserab! . IF!! use M space as an eBamp!e here4 2o and re)uest a bunch of rea!! attractive but not mode! t pe +omen and put them as our top friends. Dhat most peop!e do, is go find 7@ &uper&!uts or Porn &tars or ce!ebrities, this is +a too obvious and !ooks rea!! sad. 2enuine! attractive +omen but peop!e ou 0>U#' rea!istica!! be friends +ith. Perhaps send them a!! a message sa ing that the +inner gets a Mspecia! surpriseN for the person +ho sends the best HcommentF or H+a!! postF on our page. If on! 9 respond, ouFve .ust got 9 super hot +omen to post on our page sa ing great stuff about ou. "ot on! that, but ou no+ Mo+e herN so go through the motions +ith that gir! and c!ose her. @o"! Com4"te!7HTML s#ills I3m going to sa ver !itt!e on this as itFs not app!icab!e to most +ebsites but IF!! give some genera! pointers. MyS4ace+ Aeep shit off our page... Hthanks for the addF graphics, point!ess comments, an shit ou didnFt put there and adds no va!ue to our page... remove it. 1e sure not to c!ick on crap because ou can get viruses too. Face)oo#+ 'onFt have too man app!ications because it !ooks stupid and anno ing +hen ou accidenta!! re)uest a!! our friends to use it. Aeep it basic gu s. S4elling+ If ou canFt spe!!, donFt eBpect to be fucking 6@Fs an time soon. If ou canFt spe!!, get a spe!! checker and U&L I*. @o"! Inte!ests an$ Relationshi4 Stat"s IF!! +arn ou, this isnFt going to be a content-rich section. *he on! thing to sa about this is be ourse!f. Ans+er the )uestions honest! . I have gone on a mad eBperiment +ith this and rea!! , nothing effects the outcome. IF!! a!+a s sa , incorporate an thing that conve s high va!ue into our dating profi!e +herever possib!e. /or instance, 'o ou smoke, es or no. ,ouFre not going to sa es +hen ou donFt or vice versa because sheF!! kno+ +hen ou start smoking.

Com4anies yo"8ve 0o!#e$ ,o! an$ yo"! 3 B TITLES Dehe 5 A bragging section5 Dh so man peop!e donFt fi!! this in is tota!! be ond me5 Dhat do ou have to hide b not fi!!ing this outE *hatFs eBact! +hat it doesG it screams that ou have something to hide. *his isnFt !ike a 0V +here ou [might[ get found out ! ing and ouF!! be sacked etc. ,ou can t+ist the truth s!ight! . /or instance, if ouFre a bartender, ou might put H1ar ManagerF instead. ItFs harm!ess promotion, ou probab! deserved it an +a . &imp! put, do fi!! this section out. ItFs ver important. It sho+s that ou have our shit together and have a !ife for ourse!f. Put an business ideas do+n +ith ou as HManaging 'irectorF or H0L>F and ca!! the compan something. *r and make it sound a !itt!e better than it is, if itFs a fair! !o+ end .ob. A!so, in a !ot of these +ebsites, the ask ou for our income. M advice is ans+ering it honest! . ItFs not !ike ouFre going to take her to some f!ash restaurant an +a and pa , so ou donFt need to +orr about her !ooking to ou as a sugar dadd . Dhen our a!arm goes off at :.-@am and ou start getting read for our da , this is a part of +ho ou are, +hat do ou do, +hat ou do for a !iving is the beginning of ou creating our identit . Ln.o +hat ou do, and be passionate about it. I use /acebook !ike a champ. App!ications are +here its at. #ook at the page of ever C1 ou add and see +hat the popu!ar app!ications are. About a month ago and here, it +as 1umper &tickers. &o ou add bumper stickers and have fun.

Face)oo# By C!a5yWilly I P/acebook c!oseP !ots of C1s. If one C1 has a uni)ue name and the rest don3t...it3s eas to find the one +ith a name ou can actua!! search for. Make sure a!! of our tagged pictures 'CV ou. &o no s!opp drunk pics. "o pics of ou making out +ith a C1 in a bar. %ust pics of ou having fun and being socia!. A great +a to get an approved friend re)uest is to take pics of the C1 the night before. &he3!! add ou to get the pics. $emember that /acebook !eads ou to a fu!! name and part invites. I3ve gone to parties at C1s p!aces and I sti!! don3t have their number...their phone number doesn3t matter to me.

Inte!net o4ene!s Man +omen do not respond to the mundane openers of 3Ce , I !iked our pic so I thought I3d send ou a )uick emai!. I3m 7:...3 *o catch a person3s attention, sometimes ou need a )uirk opener. Cere is a co!!ection of !ines ou can tr out4 &ub.ect4 Ci again Ce , didn3t +e get married in the 0a man is!ands !ike 7 ears agoEE %u!ie...rightE Co+3s ever thing beenE I sti!! o+e ou that c!ub soda55

Chapter "i-teen
Day 5
My Day < Mo$el By Ro) 3"$ge (a#a The 3"$geG a#a Remem)!ance o, Being* A!right, I3m going to out!ine MB '7, ho+ever don3t fee! ou have to get !ocked into cop ing the LXA0* !ocations or events. /or eBamp!e, +here I bounce her back to m apartment after grocer shopping, ou cou!d bounce her back to our car or +herever e!se ou p!an to use as our seB !ocation. Lssentia!! , a!! ou need to make this '7 to +ork is the under!ining structure. *he !ocations, activities, and times are comp!ete! arbitrar . /I"A##,, one more !itt!e Pnote from the fie!dP before I get into it. Aside from the structure, the most IMP>$*A"* !essons I !earned from a!! m '73s (in order) are4 6.) #L* CL$ 2AML ,>U555555 &o ke 5 *he reason I didn3t bang dates for such a !ong time A/*L$ I had been banging dates +as I got Ptoo good for m o+n good.P >nce I had a ton of attract Pmateria!P and stories to thro+ out, I3d .ust keep ta!king and making the gir! !augh the entire date. &he3d be sitting there getting epic #>#s (and I thought I +as on course for an epic fuck) +hi!e she +as probab! thinking the +ho!e time, PDo+, +h does this gu fee! he has to entertain meE Ce must be a too!...P &o &*/U on dates, our dick +i!! thank ou5 (L,L 0>"*A0* DI*C A &U&PI0I>U& &MI$A I& AL,,,,,55555 1L&* M$>U*I"LN LVATTTT) 7.) 1e aggressive...from the .ump. Conest! , if a gir! doesn3t fee! !ike she3s in danger of getting /U0AL' from the minute she sees ou, ou3re +asting our time and not doing our fucking .ob. 2et some ba!!s and get those crab hands in motion. -.) 'on3t get stuck on bad threads. I3ve had gir!s bait me into $L*A$'L' conversation topics that AI##L' the vibe of the date. "LVL$ LVL$ LVL$ discuss re!igion +ith a gir!. LVL$. (Lven if her re!igious vie+s are abso!ute! insane and ridicu!ous.) I3ve been burned on this more than

once... 8.) 1L ">$MA#. *his sort of goes +ith number 6, but the '7 isn3t time to f!eB our pickup superhero musc!es. 0hi!! the fuck out. 0hodersate if ou have to. Again, I used to sho+ up to '7s +ith m pickup guns b!a<ing and it +as .ust embarrassing. If the gir! sho+s up to the '7, &CL A#$LA', #IAL& ,>U. 0hi!! out, run a !itt!e attract materia! and .ust L"%>, *CL 2I$#. &he has coo! stuff to sa too. &ometimes. GP #>0A*I>" 64 *he Attraction and 0omfort phase4 *he first hour of our '7 shou!d take p!ace here. Idea!! , ou had her meet ou at or near our p!ace (despite +hat a !ot of PUA !iterature advises, I find it3s better not to invite the C1 in right a+a . I usua!! have gir!s bu<< m apartment and I come do+n). Dhen ou see her, give her a hug, eBchange c!iche p!easantries, then IMML'IA*L#, stack into a stor . %ust !ike in phone game, taking the a+k+ardness of the first 7 minutes off the C13s shou!ders is super important in preserving her comfort. I use either the P2rabb Come!ess ManP stor or I improv a stor about something that happened at +ork that da . *he sushi p!ace is 7 b!ocks a+a and the stor fi!!s in the gap bet+een m apartment and the sushi p!ace. >nce +e get to the sushi p!ace and +e sit do+n (1 the +a , if the hostess sa s sit +here ou !ike make sure ,>U choose +here ou sit. In fact, if she starts sitting do+n some+here sa , P&it over here, the vie+ is betterP...remember ou made the p!ans, she3s in ,>U$ rea!it ). Dhen the +aitress comes over, I ask, P,ou !ike beer, rightE A round of &apporo.P If she ob.ects, fine (some gir!s +on3t drink beer), but most are fine +ith it. >nce the +aitress !eaves, begin running attraction materia!. Again, I3!! cover this in the PMaster *heor P but ou shou!d have 6@-7@ canned stories about our !ife that ou3re read to bust out during dinner. A!! these stories shou!d communicate various aspects of our persona!it , +here ou3ve been, +hat ou3re interested in, +hat our friends are !ike, etc. #L* CL$ I"*> ,>U$ $LA#I*,. A!so, in bet+een te!!ing these stories, ou shou!d be constant! )ua!if ing her and baiting her to te!! ou interesting things about herse!f. Co+ever, A#DA,& maintain a strong frame (the first ha!f hour is +here she3s going to shit-test ou and tr to stea! the frame...it3s ke ou constant! remind ourse!f to act !ike a gu +ho has scores of +omen in his !ife and she3s tr ing to +in ou over). &ome of m favorite P'7 dis)ua!ifiersP are4

- P*hat +as such a funn response. M !itt!e sister +ou!d sa the same thing5 In fact, ou sort of remind of m !itt!e sis5 *hat3s so cuteP - PDhat happened to that nice, s+eet gir! I met at the barE Dho I& this person sitting across from meEP - PCmmmm...I don3t kno+ about ou, I don3t kno+ if this friendship is going to +ork out...P - P,ou kno+ +hat, I don3t care about that. *e!! me about...P $old out your hand on the table palm up+ and demand PCand.P 7hen she complies+ inspect her hand+ message it a little+ run your nails over her palm+ then push it a,ay, PMan hands. It3d never +ork bet+een us.P *he ke is constant! push(pu!! and )ua!if her. Usua!! after ever neg or I>' I hit her +ith, I immediate! stack into a funn stor or something that +on3t !et her respond to +hat I said. *his creates a nice Pro!!er coasterP effect, +here she gets upset but then is !aughing a fe+ seconds !ater. A!so, the +a ou shou!d te!! stories on our '7 is ver animated4 SDC1 HER I.T @ DR REALIT@ 5can-t stress that enough6. Dhen the +aitress comes to take our order, >$'L$ />$ 1>*C >/ ,>U. I found ordering something to share is infinite! better than ordering 7 separate dishes. 6.) It3!! save ou mone , 7.) It3s a romantic thing, it3!! trigger attraction s+itches in her brain, -.) &he3!! eat !ess and be more in the mood to get naked than if she3d eaten a huge mea!. *hroughout the mea!, keep threading bet+een 'CV stories, )ua!if ing and baiting statements, push(pu!! materia!, re-framing ou3re the pri<e, and neutra! topics. Again, I3!! deve!op a!! this in the PMaster *heor P but ta!king about neutra! topics (genera! interest stuff) is .ust as important as te!!ing her the hi!arious 'CV stor about the time ou +ent to 2erman for a +riting assignment. It a!!o+s some space for her to process her emotions and sho+s ou3re not tr ing too hard to entertain her. &ome topics of genera! interest I !ike to ta!k about are 6.) Monopoly (the board game), 7.) 2enderre!ated issues, -.) M idea for a Aevin Mc0a!!ister home securit s stem, 8.) *hat gu +ho found his true !ove on the "e+ ,ork sub+a . 2et the ba!! ro!!ing on these topics, spend about - minutes discussing them, then interrupt her mid-sentence and stack back into a )ua!if ing )uestion or a 'CV stor . LBamp!e4 HB+ >h m 2odE A Aevin Mc0a!!ister home securit s stemE #ike from $ome 1loneE *hat is too funn 5 The 3"$ge+ ,o, I had m house burg!ari<ed +hen I +as =. *he took a bunch of m shit and I never forgot that. If m dad had insta!!ed some

s+inging paint cans or !eft some micromachines b +ou!d3ve never happened...

the stairs that shit

HB+ Cahahaha, oh m 2od. Co+ did the break into our houseE #ike did the The 3"$ge+ Dait, I don3t +ant to ta!k about that an more. >ka , if +e +ere going to rob a house together ho+ +ou!d +e do itE And don3t sa something stupid or I3m gonna rat ou out to the cops before our g!orious !ife of crime even begins... ,ou3ve succeeded in phase 6 (+hich is rea!! the on! phase ou have to do an rea! +ork in) if4 6.) ,ou3re in the restaurant for over an hour and she3s not !ooking around or getting rest!ess (a!so, if ou finished our mea! but the +aitress is not bringing the check, that3s a huge I>I as it3s obvious to an outside observer that ou and our PdateP are having an a+esome time and the don3t +ant to interrupt)G 7.) she3s continua!! )ua!if ing herse!f and +hen ou neg her or I>' her she sa s, P"oooooooooP or P&top5 'on3t think that5PG -.) &he3s te!!ing ou ho+ funn (entertaining ou are. >h, and one thing I !eft out. Dhen she gives ou a good ans+er or is I>Iing ou it3s perfect! fine to give her an I>I, &>I, or comp!iment (.ust not on her !ooks). Cere are some I found +ork great4 O P,ou kno+ I3m g!ad +e met. It3s coo! +e got together !ike this. I3m having fun.P O PI !ove that about ou5 "ice, this friendship ma +ork after a!!.P O P>ka , ou3re coo!. Cigh five.P O PA+++, are ou nervousE 'on3t be nervous, ou3re doing fine so far. I !iked +hen ou +ere te!!ing me about...P ) 1nd my all-time *avorite 5reserved *or girls I-m very interested in a*ter they give me an a,esome ans,er 2uali*ying themselves6: P,ou kno+ +h this is a+esomeE 1ecause I "LVL$ meet peop!e !ike ou. I mean, !ook around, this is Manhattan. *here3s so man peop!e ou cou!d theoretica!! have sushi +ith a ne+ person ever night. 1ut ou kno+ +h I3d never do thatE 1ecause most peop!e sa a !ot of shit but never get off their !a< asses and do it. And even more peop!e go through !ife +ith no idea +hat the +ant or +hat the 3re passionate about. Dhen I meet peop!e +ho aren3t !ike that, !ike ou, I make sure to keep them around. &o, +e ma .ust have to do this again sometime...P >ne and a ha!f fina! points before I bounce ou gu s to the neBt !ocation. Point 64 *o+ard the end of the date, start seeding and h ping 7 things4 6.)

,our neBt !ocation, 7.) ,our !ong-term !ock-in prop. *he second point on! app!ies to gir!s ou actua!! +ant to see again. *he first app!ies to gir!s ou +ant to f-c!ose. >ka , the neBt !ocation shou!d be a bar or coffee p!ace, or some+here that ou can ta!k and get some kino going on. I usua!! p!a up the Pu!timate +hite trashP bar do+n the b!ock from m apartment. &ince I make it sound rea!! funn and describe it ver vivid! , C1s A#DA,& +ant me to take them there. As for the !ong-term !ock-in prop, if ou +ant to secure a '- +ith this gir!, start ta!king about a book or movie (that ou o+n) that ou are $LA##, passionate about. /or me, I usua!! over-h pe m favorite book as this divine entit that if the don3t read the 3!! be incomp!ete. I seed the seB !ocation as +e!! b sa ing, P>h, ou +ant to borro+ itE Ma be. It3s back at m apartment, if ou3re good I3!! grab it for ou !ater.P A!right, ou get the point. "o+, Point 6(74 I kno+ a!! ou PUAs are +aiting to hear +hat I sa about the check. %ust pa it. Usua!! , C1s +i!! pu!! out their purses +hen the check comes. Conest! , if I +as rea!! running !o+ on cash and !et them pa , I don3t think it3d hurt me. Co+ever, (and ma be this is sti!! an A/0ism !eft over) I .ust fee! better pa ing for the first date (a!so, +hen the pout about it, I sa , P>ka , ou can bu me a +hite trash beer at the +hite trash bar.P) L CATI . <+ Demonst!ation o, .on-nee$iness 6hase+ Phase 7 is simp!e, but imp!ementing it is critica!. &o, as +e3re !eaving the sushi p!ace, she thinks +e3re headed to the +hite trash bar. $ight as +e +a!k out on the street, I go, P>h shit. I need to pick up some things from the grocer store. >ka , ou can come +ith me and +e3!! have a !itt!e adventure. 0ome on.P 5holding out my arm6. >nce +e enter the grocer store, I start +a!king to+ard ais!e 7 and she a!+a s fo!!o+s. *hen I turn around, smi!e, and sa , P&top sta!king me. 2o to ais!e 6 and pick me out a nice batch of stra+berries. And serious! , if the suck, ou3re fired. 2o5P And I p!a fu!! push her a+a . I usua!! grab a fe+ things and then come find her in ais!e 6. It3s funn because ever gir! I3ve done this to is a!+a s concentrating rea!! hard on the stra+berries as if their !ife depends on picking the best batch (I take it as a huge I>I). *his is a perfect chance to act a!! P!over! P and sneak up behind her, put our arms around her, and ask ho+ she3s doing. I usua!! !ike to sme!! her and comp!iment her on her perfume. >nce she turns around smi!ing, I )uick! push her a+a , P0ome on, !et3s go. I3m thirst for some +hite trash beerP and I +a!k a+a from her. L CATI . =+ S4a!#ing the Se'"al Tension+ "o+, since ou have some groceries, ou have a reason to bounce her back to our seB !ocation. /or

me, this is m apartment. &o, at this point, she fee!s rea!! comfortab!e +ith me, is giving me tons of I>Is, and I3m starting to esca!ate m kino. Dhen +e get into m apartment, I start putting the groceries a+a and invite her to, P#ook aroundP. (Aeep in mind, m apartment is decorated +ith a!! kinds of chick crack4 /rom /rench foreign fi!m posters to m origina! art+ork on the +a!!s to m guitar propped in the corner.) 2ir!s a!+a s bombard me +ith tons of )uestions +hich I never ans+er. Instead, I put m finger over their !ips, go P&hhhhhhP, pu!! them into me and kiss them. Usua!! , the gir!s get rea!! into it and +e start having a !itt!e makeout session. I start kissing them a !itt!e on their neck and ears, and, once the start getting turned on (after about 7 minutes), I pu!! a+a and sa , P0ome on. Dhite trash bar. I3m thirst and +ant to see some mu!!ets.P LBpect the gir!3s e es to go rea!! +ide as if sa ing something !ike, PDhat the fuckEP because the 3ve probab! never had a gu +a!k a+a from them +hen the +ere read to foo! around. Co+ever, I3m h pothesi<ing that I/ I simp! started esca!ating seBua!! at this point, I ma be ab!e to get her naked and foo! around but I doubt she3d bang me at that point. I fee! b having the chance to foo! around but +a!king a+a , ou give her the fina! push she needs to overcome her A&'. Dhen ou3re read to pu!! her, ou3!! have created a!! the space ou need for a '7 f-c!ose. L CATI . A+ The Fo!e4lay Location+ "o, the name is deceiving, I don3t actua!! advocate an genita! stimu!ation - even if I did bi!! !ocation 8 as the seB !ocation. ,ou don3t need to do much at this point because the C1 +i!! be so turned on, ou can !itera!! sa A",*CI"2. At this point, she shou!d be !ooking at ou +ith the dogg dinner bo+! face, agreeing +ith ever thing ou3re sa ing, and )ua!if ing herse!f to ou CA$'. At this point, I usua!! .ust make her +ork a !itt!e harder and frame m se!f as the pri<e a fe+ more times, .ust so she doesn3t get bu er3s remorse !ater on. Co+ever, t+o of the biggest traps(shit-tests usua!! surface at this point. C14 ,ou are such a p!a er, aren3t ouE C14 Co+ man gir!s have ou s!ept +ithE If ou ans+er either of those )uestions serious! , pack it in brother because ou3re not getting !aid. Conest! , ans+ering a )uestion !ike P'escribe our nastiest shitP +ou!d be more attractive than ans+ering either of those )uestions. Usua!! I ignore it the first time she asks. If she brings it up again, here3s ho+ I respond4 HB+ ,ou are such a p!a er, admit it. The 3"$ge+ 5)miles6 Pa-!ease, +hat +ou!d give ou that impressionE

HB+ 1ecause ou3re a smooth ta!ker and The 3"$ge+ 5Puts *inger over her lips6 &hhhhhh, I +as .ust starting to rea!! !ike ou and then ou +ent and ruined a moment. 5)he-ll shut up6 HB+ &o te!! me, ho+ man gir!s have ou s!ept +ithE The 3"$ge+ &top asking, I3m a virgin. ,ou kno+ that. HB+ &CU* UP55 *e!! me55 Co+ man E I3!! bet it3s !ike a mi!!ion. The 3"$ge+ A mi!!ionE >h m 2od, ou3re retarded. *hat3s human! impossib!e. Dho +ou!d have the time to have seB +ith a mi!!ion peoHB+ Ahhhhh5 &top ou kno+ +hat I mean5 The 3"$ge+ >ka fine, since ou3re being so bratt about it, I3!! te!! ou. Is that +hat ou +antE /ine. Co!d on, !et me kno+ do some menta! math here....5holds up *ingers as i* counting6 Are +e counting .ust gir!s or gu s and gir!s...+ait, +ait, and +hat about goatsE >h man, and there +as that time in Vermont +hen I had that co+ org ...shit, this is gonna be a hard ta!! ... HB+ Cahahaha, stop5 The 3"$ge+ ,ou stop5 5Tickles her+ starts making out in the bar6 >ka , enough +ith the +hite trash. I need some c!assiness. &o here3s +hat +e3re gonna do. I have to be up tomorro+ ear! for +ork, but !et3s go back to m p!ace and +e3!! have a g!ass of +ine and I3!! eBp!ain the picture(p!a ou that song on the guitar(give ou that book I +as te!!ing ou about. L CATI . B+ Se'+ At this point, it3s on. *he on! fina! caveat I3!! give is I3ve found the ma.orit of gir!s I3ve brought back have said at one point, PDe3re not having seB thoughP. *his is probab! the most hi!arious statement in the fema!e idio!ect because, if she sa s that, ou might as +e!! put a condom on and put a stop+atch on it because ou3re having seB +ithin the hour. In fact, I got so accustomed to hearing that (usua!! at the eBact same spot, too4 As +e3re c!imbing the stairs to m +a!k-up apartment), that on m !ast '7, I actua!! beat the C1 to the punch and said to her, PCe , +e3re not having seB tonight.P CI#A$I>U&5 &he agreed and then !ater begged me for seB. I +ou!dn3t recommend using that !ine the first time ou tr this '7 structure but tr it after a fe+.

Mon$ay .ight Th!o0$o0ns (Deci)el* /rida and &aturda ma turn out to be bad 'a 7 nights, since man times even if ou set up something her friend ma ca!! her at the !ast minute and she ma decide a night out in a c!ub sounds better than going on a date. Monda "ight *hro+do+ns might he!p ou timebridge to an event that sounds eBciting, +ithout re)uiring ou to spend mone or !ook in the paper ever +eek for some captivating event. ,ou and a bunch of our +ings set up a da of the +eek (Monda s are good since her 1* is sti!! pumped from the +eekend, and besides it3s a poor sarge night genera!! ), and have a +eek! part at a +e!!-kno+n fun venue. ,ou don3t have to te!! her +hat the thro+-do+n is for...in fact if ou !eave it a m ster unti! she gets there, she ma be more interested in going. *he gir! doesn3t kno+ it3s a +eek! thing, ou .ust te!! her ou3re having a huge thro+-do+n +ith a!! our friends, and she3s invited. $ea!! over-se!! it, ma be print up cra< invitations to hand out. *hen have a!! our +ings invite their da 7s to the M"*'. If she sho+s, ou introduce her to a!! our socia!! savv friends and then eBtract to the 3rea!3 da 7, and if she f!akes, ou sarge. Lven if ou don3t set up the M"*', .ust mentioning it on our da 6 can be an attractive bait for her to agree to see ou again.

Chapter "e,enteen
%eyond Day 56 the m&T27F%
PUAs are kno+n for their ski!!s at picking up +omen, but the aren3t as adept at maintaining !ong term re!ationships (#*$s). Co+ever, a reasonab!e goa! of getting good at pick-up is to estab!ish mu!tip!e #*$s (m#*$s) or fuck buddies (/1s), gir!s +ho understand that ou are not monogamous and that both parties are free to s!eep +ith other peop!e. A #*$ is a gir! ou see routine! , sometimes a coup!e times a +eek, and do socia! things other than seB. *here ma be romantic fee!ings, so essentia!! that person can be a true gir!friend. An /1 is seen +ith much !ess regu!arit and fre)uenc , so!e! for the purpose of seB +ith no strings attached ("&A). >ne advantage is, it is convenient to have +omen avai!ab!e to satisf ou seBua!! , +ithout needing to go out and sarge constant! for ne+ partners. In addition, m#*$s imp! a deeper !eve! of connection than .ust seBG the +omen ou se!ect for m#*$s are of high va!ue and +orth spending time +ith for activities other than fornicator . #athal has a reliable model *or converting a lay to an ! : As far as /13s go, I have a bit of a s stem I fo!!o+. I3ve used the same routine successfu!! over and over so here it is. *o summari<e4 6!e FB ($ay 9* Pre-&eB4 *e!! her ho+ it is Post-&eB4 Mo!d the re!ationship FB G!o"n$0o!# ($ay <* &et the frame #eave the door open C!eate an FB ($ay =* Meet($e-game #a again

>ka , no+ in detai!4 6!e FB Tell her ho, it is If ou3re !ooking to convert a !a to an /1, be straight up and honest - but take our time. Dhat I3ve done +ith ever successfu! conversion is, right in the heat of the moment prior to seB, but after forep!a , I sa Pso, I3m not !ooking for an thing deep here, are ou >A +ith thatEP ,ou ma b!o+ ourse!f out or trigger A&'(#M$, it3s a risk ou3!! have to decide if ou are +i!!ing to take. I3ve et to have someone sa no. *r it. ,ou3!! !ike it. *he timing is a !itt!e shad but it3s sti!! being honest +ith them. *he 3re usua!! .ust so +ound up seBua!! from the forep!a that the sti!! +ant the seB and sa that the 3re >A +ith me not +anting it to turn into an thing. Most confident gir!s have the idea that the can change men3s minds on virtua!! an thing +hen the +ant to so it .ust gets brushed aside if the don3t have A&' triggered. Mold the relationship: After estab!ishing that ou3re not !ooking for an thing and giving them some mind-b!o+ing seB, thro+ around some casua!, friend! .oking. 0udd!ing is fine, +omen +ant that after seB so give it to them, but don3t focus on ta!king about the seB or ho+ ama<ing the are - and don3t be a romantic in an +a . Around this time I3!! usua!! attach a nickname to them. 'o ">* under an circumstances !et the nickname be something that can be misconstrued as an insu!t. /or eBamp!e, p!ease don3t ca!! them P&tink P or P$agged AnnP. I think this goes +ithout sa ing, .ust be carefu!. A!! of this p!a fu!ness is set up for the frame of PDe had some great seB, but !et3s not get romantic hereP. FB G!o"n$0o!# )et the *rame *he neBt da I3!! teBt the gir! to accomp!ish a fe+ things4 6) I !et her see that I sti!! +ant to communicate +ith her, 7) I3m not going to pretend !ike +e didn3t have seBG in fact I3m open about ta!king about it, and -) I take the opportunit to 'CV and I>I her to continue momentum and not give her a chance to have an regrets. Cere3s ho+ the teBting usua!! goes4 ML4 Do+ [nickname[, I +as getting in the sho+er toda and it !ooks !ike a badger attacked m back

(Play*ully mention the e0perience and sho, that you-re ok talking about it/ Use the nickname to sho, that you t,o are mildly connected as you have a nickname *or her/) C14 >M2. I3m so sorr 5 I must have gotten carried a+a . #>#. ML4 Ca, don3t get me +rong, that3s fine +ith me. I kno+ I on! attract the +i!d ones. 5I(I+ mild pre-selection re*erence6 If the !eft ou +ithout a bite mark, scratches or an other seBua! muti!ation, .ust mention something !ike PDo+, +hen I +oke up it !ooked !ike hurricane [nickname[ hit m bed5 ,ou3re a freak M *here3s usua!! a &* or t+o to dea! +ith after that. 'ea! +ith them !ike usua! then ou .ust have to... %eave the door open ML4 5Mention something *un about your interaction ,ith her be*ore se0 and ho, much *un your non se0ual time ,as ,ith her/ Do this to disarm her *rom thinking you-re only about se0 5even though you probably are6 and still had *un ,ith her in other aspects/ ! -s are not 4ust people you call that sho, up+ take their clothes o** and *uck you/ Bou still have to have some other interaction ,ith them so remind them that you t,o got along great and have *un ,hen you are together/ 'e-establish com*ort/6 C14 51grees to the good times that night+ etc/6 ML4 De!!, CA' to !et ou kno+ about (the badger attack, hurricane [nickname[). I3!! get aho!d of ou soon, there3s a [insert time-bridge to event[. "o+, the door is !eft open that even though ou3re not !ooking for something ma.or, ou fu!! intend on hanging out +ith her again. C!eate an FB Meet"'e-game Dhen ou do hang out again (assuming that ou successfu!! reestab!ished comfort) ou need to be sure to +ork some attraction again to avoid being #%1/d. Inc!ude progressive kino into this. 'on3t go overboard +ith the kino, ou +ant to send a non-verba! message that ou are sti!! attracted to her but ou are no+ discreet in pub!ic. Aeep push-pu!!ing +ith the kino, bui!d some seBua! tension. ,ou3!! a!most 6@@R of the time be

asked +h ou3re ho!ding back so much and this is so!id go!d +hen it happens. %ust put our !ips up to their ears and +hisper PDe!!, +e3re not dating each other, I .ust !ike being a !itt!e more discreet. ,ou said ou understood that, no+ do I need to take ou back to m p!ace right at this ver moment because ou can3t contain ourse!f for a !itt!e !ongerEP. "o+ ou3ve estab!ished that ou sti!! +ant to have seB +ith her again, even tonight, but ou a!so re-estab!ished that there is no deep re!ationship here, P!et3s sta discreetP in other +ords. *his +i!! get 6 of - responses4 ,es. "o, ou3re .ust driving me cra< 5keep push-pull kino going+ o**er an invite back a little later6 Um, I thought ou +eren3t !ooking for something 5either a )T or you lost it and she-s not interested in being ! -s/ )he-s calling you out/ Treat it like a )T/6 Post-se0")et the rules After having seB again, it is no+ time to be honest again. ,ou +ant to !et her kno+ that ou have fun hanging out +ith her and that there is an obvious seBua! attraction, but ou3re not !ooking for a re!ationship. 1 no+, she usua!! gets that, but !a it out there. &he kno+s ou don3t think she3s a s!ut because ou3ve !aid do+n some )ua!it time +ith her, not .ust thought about having seB +ith her. *e!! her ou3d !ike to hang out more, ou .ust aren3t !ooking for an kind of re!ationship at this point in our !ife. If ou3ve done ever thing e!se proper! , estab!ishing comfort, maintaining attraction, and haven3t made her fee! !ike a +hore, ou shou!d have ourse!f a ne+ /1. %ust keep repeating da - and it +i!! become a norm for the t+o of ou to hang out and fuck at the end of the night. I make sure to !et gir!s kno+ that the can hit me up +hen the +ant to as +e!!. 'on3t b!o+ them off too often +hen the do, but don3t accept ever time either. After a +hi!e the t+o of ou ma start to get out of contact (she got into an eBc!usive re!ationship, or +hatever) then a!! of a sudden one da 1AM5, ou get a teBt(ca!! and ou3re back on.

Chapter 1i'hteen
"ame 3i'ht &ays
The Ri44e! Metho$ By 3 the Ri44e! I tr to go for &"#3s as much as possib!e, and in so doing I3ve prett much stuck to this format (there3s a !ot more to it but here3s the gist)4 6. I go in high energ and tr to spike her bu ing temp A&AP. Use 0W/ and go into kino esca!ation (+hatever...t+ir!s, hugs, high fives, arm around her). >nce I .udge she is reasonab! attracted, I iso!ate. 7. Dhi!e in iso!ation, I start +ith the seBua! ta!k and test the +aters. &o far no comfort materia! at a!!G it3s a!! .ust p!a fu! and gradua!! getting more ph sica!. I tr to keep her !aughing, and avoid an serious ta!k. *he sa going in for the makeout is bad, but after doing this for near! t+o ears, I sa that3s not as accurate as I had be!ieved. >nce I3m making out +ith her, it3s basica!! m cue that she is do+n. It3s important ou keep bumping her 1* the +ho!e time. -. I suggest the bounce and tr to have as man !ogistica! contingencies p!anned out. After I3ve pu!!ed her and kno+ it3s gonna go do+n, m goa! is to keep ta!king and distracting from +hat +e both kno+ +e3re about to do. 8. After I3ve boned her, *CA*3& +hen I start the comfort phase and get to kno+ her. As I !a in bed +ith her, I tr to sta there and fi!! in the comfort gap I created b ta!king to her an +here from -@ minutes to an hour. I !a the comfort do+n prett heav , and I find this +orks perfect! because this is the time most +omen +i!! fee! the most attached to ou. Man gu s +i!! have the inc!ination to get up and !eave after the bust their !oad, but b taking the time to rea!! get to kno+ her and make her rea!i<e this isn3t .ust some random !a , she can back+ards rationa!i<e that this +as a good decision.

F!ont Seat Bang Techni;"e (3 the Ri44e!7$B* 6. Cave her !a do+n in the passenger side, and rec!ine the seat as far back as it can go. 7. 0ome in through the driver side and get on top of her, +ith our knees knee!ing on the edge if the seat facing her. A!ternative! , +hen ou +a!k a gir! to the passenger side, open the door for her !ike a gent!eman, but then c!imb on top of her and c!ose the door behind ou. -. *ake her shoes and skirt(pants off. 8. *hen ou take our trousers off and strap on a rubba. 9. Put her !egs up and over our shou!ders. :. Cer puss +i!! be up b our be!! , and ou can guide her in +hatever e!evation ou p!ease. ;. *he o!d in and out. Lver notice +hen ou get up and +ant to !eave, she usua!! +ants ou to stick around and snugg!e and shit !ike thatE Dh not capita!i<e on her emotiona! state, and do the comfort up big, to assure our chance of another meetingE /or me this is the on! +a to go if comfort had been neg!ected previous! . In doing this, it e!iminates 1u er3s $emorse (most of the time) and ou ma have .ust added ourse!f a ne+ fuck budd . I3m not sa ing this mode! is for ever one, and happens to fit +ithin m st !e, +hich is high risk. It3s been consistent for me and that3s +h I tend to stick to it.

The Sens"al Man By Cathal 'ecibe! asked that I +rite m thoughts on &"#3s, but it got me thinking about something I think is important regarding &"#3s. *his is more about ho+ to be the t pe of man that gets &"#3s, rather than a process to fo!!o+ to get them. Men often think about +hat the 3re !ooking for but forget to think about +hat

+omen are !ooking for. 1eing a )ua!it man isn3t .ust having true 'CV3s, nice c!othes, cu!ture and substance and a!! of the other things +e tr to craft ourse!ves into. *his is +here MM !eaves off and I don3t see much communit ta!k about another cata! st to being a high va!ue, )ua!it man4 being sensua!. >ffering sensua!it is something most men can3t do +e!!, but as PUA3s and natura!s are more eBperienced than A/03s, sensua!it shou!dn3t be a hard )ua!it for an of us to capture the essence of. Most men +ant se0uality, but most +omen +ant sensuality. &ensua! is sti!! seBua!, but seBua! doesn3t a!+a s imp! sensua!. Man peop!e ta!k about esca!ation in a ver !inear +a . #ike it3s a !ine graph shooting into the upper right hand corner in a straight !ine, ma be +ith some p!ateaus. Push-pu!! is important in being sensua!, but it3s ho+ it3s done that3s important. Cere3s a fe+ e!ements of a sensua! encounter and ho+ the 3re p!a ed +ith to make it sensua!. 3issing/ It3s one of the most sensua! things t+o peop!e can do. It3s one of the first things +e do that is tied direct! to seB. *here are different kinds of kisses. &ome are friend! , some are !oving, and some are sensua!. >ne big thing that separates a sensua! kiss from make-out st !e kissing is in the +ords used themse!ves. A sensua! kiss is .ust that, PaP kiss. *his doesn3t mean on! kiss them once, but that each kiss is individua!, not a constant fe+ minutes of s!obbering a!! over each other. reathing/ >ur breath rate te!!s us a !ot about +hat3s going on inside us. It3s even a form of communication in an sensua! eBperience. #etting her hear our breath is a great +a to get her to mirror ours. Dhi!e in bet+een kisses, moving our !ips to her ear so she can hear our rate of breathing go upG it3s a great +a to acce!erate hers. 2enera!! this +i!! cause her heart rate to go up, another thing attached to an seBua! encounter. ,ou3re te!!ing her through an actua! form of communication that ou are fee!ing more passionate. *his +i!! spike her 1* further, not to mention !ike! our o+n. Touching/ Dhen ou run our hands !ight! on a +oman3s skin, ou ma notice ho+ if ou pa attention to man areas but ignore one, +hen ou fina!! make it to the ignored area it drives her nuts. It3s because the areas ou3ve been touching are getting accustomed to the fee!ing, but the area ou3ve ignored isn3t, so it becomes more sensitive. &ensua! touching is best done +hi!e not kissing. 2ive it it3s due focus and it again +i!! sho+ our restraint and contro! over the situation, thus our eBperience.

#ontrol/ I genera!! !ike to be the one contro!!ing, but I3!! treat contro! as something !ike a proverbia! torch that gets passed back and forth. Lven +hi!e kissing a gir! she ma not make her !o+er !ip readi! avai!ab!e for a soft bite, so I3!! reach m hand up and s!o+! s)uee<e her !o+er !ip so it pops out a !itt!e, then bite her !ip and pu!! a+a . I3m contro!!ing that. &he ma +ant to take some of that contro! back and I3!! !et her have it for a moment, but then I3!! take it back. &ome +omen rather me to sta in contro! and that3s fine too. $ead +hat the +ant, pa attention and react to it. *his is another difference bet+een being seBua! and being sensua!. A sensua! man pa s attention to this sort of thing. Ce doesn3t .ust go for +hat he +ants in the interaction. Ce understands that there are t+o peop!e invo!ved. It rea!! takes the interaction to another !eve! and makes it uni)ue, and sho+s the se!f-restraint ou possess, and again, the eBperience ou have. Uua!it +omen do not +ant to go home +ith some hot c!ub gu +ho the kno+ .ust +ants to add another notch on their be!t. *hat3s for bar s!uts. *his isn3t about ho+ to take a s!ut from the bar home. An A/0 can do that. A )ua!it +oman is !ess !ike! to pass on a rare sensua! moment she3s sharing +ith a +e!!-attuned, sensua! man ho+ever. It3s an important )ua!it to have. 1eing seBua! in pub!ic is something man men and +omen fee! mi!d! uncomfortab!e about, main! because the 3re sti!! thinking about those around them. 1eing sensua! is so much different because +hen ou3re in that moment, sensua!it is on! about the t+o of ou. I3m sure ou3ve a!! seen it or been there before, those t+o peop!e +ho are !ocked into each other in the c!ub !ike the 3re the on! t+o peop!e thereG that3s a sensua! eBperience right there and it3s probab! game on for those t+o. And after a +oman eBperiences a sensua! moment +ith someone she3s attracted to, she3s !ike! to have that Poh m 2od, did ou gu s see thatP attitude to+ards her friends, rather than the Puh-oh, ou gu s sa+ that, didn3t ouP attitude. *heir friends +i!! a!so notice that this is something other than .ust some random hookup. *here3s a connection, a sensua! connection that3s undeniab!e and the +ant that too. Dh +ou!d the den their friend of itE &o, approva! is more !ike! to come from them. *his isn3t to sa that a!! gir!s +i!! sa to their friends PDo+, ou3re so !uck ,P and +on3t be .ea!ous and piss . Co+ever it3s more !ike! to get positive reactions from her friends than if ou +ere groping and .amming our tongue do+n her throat in the ding corner of the c!ub.

&o, rather than mention Ptechni)uesP or Pgame p!ansP on ho+ to garner &"#3s, think about !earning to sensua!i<e our interactions rather than .ust seBua!i<e them. 2ood PUA3s aren3t game-p!an fo!!o+ers an +a . *hat3s for gu s .ust getting into this. &easoned men craft eBperiences. $ere are some other notes on things that characteri8e an )N% e0perience: O After a fe+ kisses, te!! her ou +ant to kiss her again but not here. >utside the door of the c!ub perhaps. &omething non-threatening. If ou didn3t !et the kissing go too far, ou +on3t trigger an A&' in her, she3s in the moment and +anting more, not coming do+n from a make-out session that she3!! begin fee!ing se!f-conscious about. O 2o. &!o+! . 'on3t. $ush. $ushing is for gu s +ho don3t +ant to !ose out on possib! s!eeping +ith her. /orge a connection, !ots of unspoken things that are said through our e es, facia! reactions and bod !anguage. If ou esca!ate in a p!o+ing +a , ou3re gonna run out of things ou can turn her on +ith. Pu!!ing )ua!it &"#3s doesn3t genera!! happen in 9 minutes. If it does, congrats, ou most !ike! are the f!avor of the night for a bar s!ut. It genera!! takes time +ith )ua!it +omen, so don3t use up ever bit of sensua!it ou have +ithin 9 minutes. *his re)uires a !ot of restraint, but this s!o+ progression causes intense seBua! tension, and +i!! get her +anting the interaction to proceed to the neBt !eve!. *his is part! due to the fact that she3s used to being moved much faster b !ess eBperienced men. O 2et her to sa P+o+, i can3t be!ieve this is happening,P instead of Pshou!d I be doing thisEP I don3t think that can be stressed enough. It3s the gir! +ho sa s PI3m doing something +rongP +ho isn3t going to go home +ith ou. It3s the gir! +ho can3t stop thinking P+o+, is this rea!! happeningEP that3s a!ong for the ride. O Pu!!ing the trigger. As far as ho+ - not +hen, but ho+ - to pu!! the trigger, tr this. Dhi!e kissing, pu!! a+a and sa Pok, +o+, +h don3t ou gather up our thingsN (or Mget our coat,N +hatever +orks for the situation). If she3s '*/ 5do,n to *uck6 at this point she3!! comp! , but if ou pu!!ed it out too )uick she3!! ask +h . $espond +ith4 PI3d !ike to rea!! kiss ou, and +e3re starting to make a!! these peop!e around us .ea!ous. #et3s .ust get some air for a fe+.P 2etting her outside the c!ub is a damn good start. Dhi!e kissing outside of the c!ub be sure to sa , P+o+, so this is prett intenseP and !et her agree. 0a!! out the fact that ou3re fee!ing the same strong chemistr that she is. After that, don3t kiss her again, but get c!ose and !et her kiss ou. #et a!! that passion +e!! up in her. *he more ou make it bui!d up, the more it bursts out and she3!! be begging ou to take her home +ith obvious I>I3s and cues.

O 0ues she3s read to go. *here are tons of cues for this since ever gir! is different and communicates her intentions different! . &ome +i!! come straight out and sa +hat the +ant, others +i!! do the eBact oppositeG the 3!! get rea!! )uiet and do a !ot of bod rocking +hi!e touching ou. It3s sti!! the same thing. *hink about bod rocking itse!f. It3s an /*0 +hich sa s, MI need to be some+here e!se.N Dhen a gir! does it ear! during an interaction it3s genuine! sa ing, PI need to get a+a from this gu .P 1ut !ate in an interaction +hen her 1* is up it3s sa ing, Pare ou going to ask me to come home +ith ouEP O *he invitation. If ou3re unsure if it3s time to ask her to come home +ith ou, but can3t ho!d back an more, +ait unti! she3s a !itt!e bit )uiet and then tr sa ing, P ou3re tr ing to figure out ho+ to ask me to come home +ith ou.P *hen +ait for it, the co or perhaps fake-shocked !ook, then sa P ou can .ust ask.P If she3s spiked enough and read to give in, she3!! ask and ou can change it to going back to our p!ace. If she sa s her p!ace is no good for +hatever reason, sa Pand ou3re too po!ite to invite ourse!f to m p!ace, I see. C1do+ntofuck, +ou!d ou !ike to come back to m p!ace +ith me tonightE I have a +onderfu! bott!e of +ine I3d !ike to share +ith ou (or some simi!ar form of p!ausib!e deniabi!it ).P Mind ou, none of this is said the +a ou3re reading it - it3s a!! said s!o+er, +ith a purpose. If she sa s that she3s not tr ing to ask ou home +ith her, proceed to ask her to come home +ith ou. &he3s not going to thro+ her drink in our face, s!ap ou, be appa!!ed or an of that if ou3ve spent the !ast 6@-69 minutes sharing a ver sensua! and intimate moment +ith her. ,ou ma get shot do+n, but it +on3t be that harsh. ,ou3!! probab! actua!! get a number and p!ans to meet up again, but she3s not the t pe to go home +ith someone she .ust met, for +hatever reasons she ma have. *his shou!d he!p ou get used to asking and get better at ca!ibrating +hen to ask. O $apport-bui!ding. 1ui!ding !ots of rapport +hi!e sensua!i<ing in theor sounds great, but I3ve never tried it. I have a fee!ing ho+ever that this +i!! turn the situation into something she doesn3t +ant to ruin b having seB too soon. 2reat if ou3re !ooking for a gir!friend, for sure. I3d sa tr it, and if it seems !ike it3s hurting the &"# goa! then drop it. $emember, the main purpose of sensua!i<ing is to create a connection that is passionate in nature...undeniab!e, viscera! chemistr that makes the heart race and the knees +eak. 1ui!ding rapport re)uires +ords and the biggest thing that can scre+ up a sensua! eBperience is opening our mouth for something other than tracing her .a+ up to her ear +ith our !o+er !ip. O &hit tests. 1e read for them. LBpect to hear, P&o, +hat are our intentions +ith meEP or the !ike from her, or her friends asking ou our

intentions +ith her. 'on3t act accused, but rather sta in character and rep! , PIntentionsE *his is as much of a surprise for me as it is ou. It3s not ever night ou find this kind of intense chemistr +ith someone.P &a it s!o+! and sincere! . *he test is to find out if ou do this a!! the time, as if ou3ve got serious game, or if this is for rea!. "orma!! &*3s are dea!t +ith different! , but in this moment it3s more of a congruenc test, and if ou turn the p!a er s+itch on and dea! +ith the &* as usua!, ou3re no !onger a sensua! man to her but a p!a er tr ing to get into her pants. $ere-s ho, I set and set up the sensual man *rame: /rame is something that is tossed around rather !ibera!! in the communit as a term. At it3s most basic !eve! a frame is simp! an Pimp!ied rea!it .P Co!ding a strong frame is an Paccepted imp!ied rea!it .P An o!d MM eBamp!e is4 P'id ou go fishing toda EP (Deak4 no rea! frame set here) PAre the fish biting toda EP (&trong4 frame has been set that the have gone fishing) *his techni)ue is to be done +hen ou3ve a!read begun deve!oping some attraction. *his isn3t approach stuff obvious! G a!! but the first step is done in iso!ation for the best resu!ts. Dhat I do is set up for frames and then set the frames, estab!ishing m se!f as a sensua! man. Cere are the setups and frames I set, a!ong +ith ho+ I do them4 The ,!ame+ *he socia!! savv man Ho0 to set it "4+ 2ame others, ta!k to +omen A"' men, deve!op socia! proof, dress +e!!...essentia!! .ust do +hat ou norma!! do +hen out gaming. De a!! kno+ it gets noticed. *his is +hat happens before ou begin ta!king to our target. Ho0 to set it+ *a!k about socia! d namics, such as bod !anguage mirroring. *his sets ou apart from most men, and is interesting to +omen. It3s eas to guide into this discussion b asking +omen if the !ike peop!e +atching since most +i!! sa that the do. If the sa the don3t, ou can sti!! segue that ou do. *he 3!! sti!! find the mirroring conversation interesting. I find that it is abso!ute! ke to eBp!ain that bod !anguage mirroring is +hat t+o peop!e +ho are comfortab!e +ith each other do, such as o!d friends or !overs. LBp!ain 1# mirroring to her, then once she kno+s +hat it is point out to her +hen she mirrors our bod !anguage a fe+ times. ,ou3re a!so setting the frame that ou t+o are comfortab!e, !ike !overs. 'on3t +orr about the o!d

friends thing, she kno+s +h ou3re ta!king to her. *ake some time to point it out in other peop!e too, t ing in +ith the peop!e +atching discussion thus enhancing our congruenc +ith +hat ou3ve been discussing +ith her. The ,!ame+ *he sensua! man Ho0 to set it "4+ Cave a discussion about sensua!it in genera!. Domen !ove ta!king about this +ith someone the 3ve begun generating attraction for. Ho0 to set it+ *a!k about specific things that are proof ou have kno+!edge in ho+ to 1L sensua!. I use some routines I deve!oped or modified into routines from things I3ve read. Cere the are, fo!!o+ed b descriptions4 ) .3issing 7omen. routine. ) .:rogenous Qones 9. routine. ) .:rogenous Qones ;. routine. After ou3ve done the set up for the frame ou +ant to set, these routines are eas to segue into4 R1issing WomenR !o"tine+ 0atha!4 ,eah, there3s a !ot of simp!e things most men don3t get, !ike .ust ho+ to proper! kiss a gir!. 0atha!4 Domen kiss men the +a the +ant to be kissed, but most gu s .ust don3t seem to understand that. 0atha!4 Most +omen subconscious! compare ever kiss to the best kiss the 3ve had. 0atha!4 &o, in turn b kissing them the +a the +ant to be kissed, then kissing them even better ou no+ give them the kiss the 3!! compare a!! future kisses to. Note: *he above !ines are separated because after each of them she3!! either agree or ask a )uestion. As !ong as ou did our frame set-up proper! she most !ike! +i!! not disagree or shit test ou. RE!ogeno"s Eones 9R !o"tine+ 0atha!4 ,ou kno+, peop!e have erogenous <ones a!! over their bod . Domen for eBamp!e have !ots of them a!! over their neck. 1 simp! reaching up and firm! , but not rough! , grabbing the back of a +oman3s neck 5Rno, grab the back o* her neck in the manner you 4ust describedR6 those <ones can be triggered. 5R3eep holding *or about ; seconds+ smirk a

little ,hen she reactsR6 Another one is their !o+er back. 5Rrun your hand do,n her back and place your open hand at the base o* their spine+ in the small o* their back+ again smirking a little ,hen she reactsR6 RE!ogeno"s Eones <R !o"tine+ 0atha!4 *hose <ones are good, but the best one I kno+ of is the back of the hand. $each out for her hand and gent! grasp it, keeping her pa!m facing do+n. 5R egin running the *ingers on your *ree hand over her hand 4ust brushing the hairs+ occasionally coming in contact ,ith her skinR6/ ,ou see, the back of a +oman3s hands has a direct connection to her breasts 5Rkeep holding her hand and raise your other hand up and point at her breast ,ith all *ive *ingers+ so that your hand is shaped like you are grabbing at her breast/ %et your pinky very lightly touch her breast ,here it meets her cleavageR6/ &pecifica!! the nipp!es 5Rmotion to,ards her nipple ,ith a pinching motion but don-t touch itR6/ 5RNo, continue back to caressing the back or her hand ,ith your *inger tips+ occasionally touching her skin and making contact more *re2uently as you move your hand/ %ook her in the eyes ,hen you do thisR6/ &he +i!! react to this. I3ve et to have it fai!. After doing this for a +hi!e sa , PPrett cra< huhEP or simp! P&oEP An thing that is inviting her to te!! ou +hat she3s fee!ing. If b some mirac!e she sa s that she didn3t fee! an thing but our hand on hers, eBp!ain that some <ones are !ess sensitive than others on different peop!e, but some are over! sensitive on others as +e!!. gggg 1 this point ou shou!d have her a!! hot and bothered, and ou are no+ fu!! accepted as one of the most sensua! peop!e she3s ever been around. *here is another <one in the midd!e of the top ridge of her trape<ius musc!e that is triggered b sensua! biting. "ot a bad time to ta!k about sensua! biting and tie it into that erogenous <one b offering to demonstrate. Move her hair a+a from her shou!der, grasp the back of her neck from the opposite side ou3!! be sensua!! biting, then sensua!! bite her in this <one.

Chapter 3ineteen
.nner Game
32ame3 is divided into t+o parts4 outer game and inner game. *raditiona!! speaking, our outer game inc!udes our routine stack, our kino esca!ation, basica!! a!! the tactics and gambits ou ma use to get the gir!. Inner game is ever thing happening on the inside4 our core confidence, our sense of deservedness, our drive to c!ose and so on. Dhen ou start a!ong this .ourne , ou ma recogni<e the importance of inner game, but ou +i!! tend to put more focus on our outer game. Co+ever +ith eBposure to the fie!d, most men rea!i<e the have more inner game sticking points than the rea!i<ed, and that these sticking points are interfering +ith their success. And so the get to +ork fiBing these issues. In the end, for man +ho are deep! invo!ved in the communit , inner game is +here it3s at. A!! the routines and tactics are no match for an unf!appab!e frame, an unshakab!e sense of confidence and a profound comfort in one3s o+n skin. And for man , it is the difficu!t in surmounting their inner game prob!ems that !ead them to give up and !eave the communit before achieving competence.

Soli$i,y @o"! Inne! Game By Ro) 3"$ge (a#a The 3"$geG a#a Remem)!ance o, Being* 'ecibe! asked me to contribute something on inner game and I .umped at the opportunit . Driting out our thoughts a!!o+s ou pu!! a thread of order from the hapha<ard +a +e think about things, and thus the simp!e act of +riting A1>U* inner game is the foundation >/ inner game. Co+ever, the term Minner gameN is a mis!eading anachronism from the o!dschoo! communit !eBicon. *o me, inner games imp!ies it para!!e!s outer game. Dhat ou spit is outer game, +hat ou fee! DCL" ou spit is inner game. *hereFs some truth to that, ho+ever deve!oping inner game is not as !inear and app!icab!e as, sa , !earning a routine stack or eBecuting an attraction tactic. Inner game is ambiguous, deep-seeded and e!usive. >n the other hand, because inner game is so enigmatic, thereFs not much

turnke advice on ho+ to improve our inner game. Aside s+ooping genera!i<ations, most instructiona! !iterature stops short of out!ining a specific regimen one can practice to improve inner game. And this is probab! for the best, as ever one enters the se!f-deve!opment arena(pickup communit +ith different mindsets, be!iefs, issues, menta! prob!ems, !imitations and socia! handicaps. *eaching an opinion opener is a cookie-cutter so!ution for an one to start a conversation. *eaching ho+ to correct someoneFs thoughts, be!iefs and fee!ings is not universa!. 1ut in an attempt to mitigate this seeming! paradoBica! Minner gameN di!emma, I begin b ackno+!edging inner game is an e!!iptica! and (sometimes) chaotic process but +i!! suggest ver specific and concrete +a s to so!idif our inner game. Probab! most gu s reading this are gu s +ho have some fie!d eBperience. After !earning the +hir! -t+ir! f!ash antics of routines and tactics, gu s rea!i<e the difference bet+een a good night and a bad night isnFt the +ords, the moves or even the structure, but ho+ the /L#* +hen the interacted +ith the gir!s. In a sentence, focusing on inner game is moving from de!ivering fie!d tested materia! to becoming a fie!d tested MA". A!though, fie!d tested is not the right +ord4 ItFs more !ike /IL#' CA$'L"L' MA". *he communit gu s +ith tight inner game are simp! the gu s +ho go out and approach. *hereFs no +a to !earn inner game on the internet or from an e-book or b going to seminars. "or +i!! h pnosis and affirmations give ou the t pe of inner game ou need to attract +omen. *he simp!e truth is that the hard +a is the eas +a 4 ou +ant inner game, go out. ItFs no different than bod bui!dingG a!! the dieting, supp!ements, information and rest is abso!ute! use!ess if ou donFt go to the g m and do the reps. 1ut going out is not the be a!! and end a!!. *here are gu s +ho go out constant! and sti!! donFt deve!op tight inner game. And itFs those gu s IFm +riting for, as much as IFm +riting for m se!f. *o deve!op inner game, +e need a roadmap. #etFs tr to untang!e this m ster and define inner game. After stud ing natura!s, communit gu s +ho are super tight, instructors, MgurusN and other socia!! ca!ibrated, !ikab!e men, IFve noticed simi!arities. /or the sake of this artic!e, IFm going to !imit the discussion of good inner

game to simp! the inner game needed to pu!! gir!s. "o matter +hat s stem or schoo! of pickup ou fo!!o+, fema!e to ma!e attraction is based on four factors4 6.) >ffering va!ue 7.) 'ominant(#eading -.) Lmotiona!! unreactive 8.) 0ore confidence [I +ou!d a!so add a fifth factor +hich is M&eBua!! non-.udgmenta!(openness to seBN because I find this is crucia! for pu!!ing gir!s )uick! , but itFs not abso!ute! necessar to spark attraction. Most communit gu s get stuck at some point in their progress in +hatFs ca!!ed MLntertainer ManN s ndrome (a!so kno+n as Mdancing monke N or M$ona!d Mc'ona!dingN). *his is +hen ouFve !earned ho+ to offer va!ue and en.o the va!idation and fema!e attention ou derive from it, and thus entertain the gir!s !ike a chode then go home a!one to do the five-finger shuff!e. Dhi!e thereFs a condescending stigma attached to these MLntertainer MenN, I donFt think getting caught in this phase for a +hi!e is such a bad thing. ,ouFve effective! mastered one of the four factors needed to create attraction. *hatFs a+esome. Ironica!! , from +hat IFve observed, most natura!s have the other three factors in p!ace but !ack the abi!it to se!f!ess! offer va!ue. (*his is especia!! true of Mpimp assho!esN +ho are masters of Mdominant(!eadingN and Memotiona!! unreactiveN but are va!ue!ess d-bags +ho are socia!! unca!ibrated.) A!though, unfortunate! for Lntertainer Man, offering va!ue a!one +i!! never get ou !aid. Lver. An of the other three factors in iso!ation DI## occasiona!! produce a !a , but entertainment +i!! on! get ou attention, not puss . Lven +orse for the communit gu , Lntertainer Men APPLA$ to be huge pimps. "o doubt ouF!! b!o+ our +ho!e !air a+a if ou can get that bitch turbo C16@ gigg!ing at our routine stack. 0hodes +i!! be ama<ed, forums +i!! g!orif ou. #earning ho+ to offer va!ue is /U" because ouFre !earning ho+ to make peop!e #IAL ,>U. ,ou donFt have to step on an toes. ,ouFre .ust the fun socia! gu , making peop!e !augh and de!ivering good fee!ings.

1ut to get $LA# searing attraction, to get gir!s, to get #AI', ou have to do more. ,ou have to be read to step on toes, get hated on, not give a fuck, to be a MA". Dh E 1ecause being !eading(dominating, being emotiona!! unreactive and having core confidence are going to sub.ect ou to Muncomfortab!eN situations. *his is +here ou tru! cross Mfie!d tested materia!N !and into Mfie!d hardened manN !and. &o !etFs devise a roadmap on ho+ to get there. In m eBperience, inner game is based on4 6.) An under!ining and unanimous positive be!ief s stem that supports our goa!. 7.) A strong bod of reference eBperiences that supports our positive be!ief s stem. -.) An unshakab!e sense of se!f and identit . 8.) A comp!ete !ack of fear or inhibition of risk-taking. >f course there are the c!assic inner game bu<<+ords !ike Mabundance menta!it N and M!iving in oneFs o+n rea!it N but I be!ieve those mindsets are subsumed b the four factors above. #etFs brief! eBamine these four factors before out!ining a turnke s stem to pump up our inner game. 9: A. D.DERLI.I.G A.D D.A.IM DS 6 SITI2E BELIEF S@STEM THAT SD66 RTS @ DR G AL *his can be broken into t+o categories4 6.) be!iefs about onese!f, 7.) be!iefs about societ at !arge. /or the !atter, being a A% and !iterature .unk is actua!! super he!pfu!. Pickup and evo!utionar bio!og !iterature eBp!icit! eBp!ain in unashamed detai! +hatFs going on bio!ogica!! , socia!! , emotiona!! and seBua!! +hen ouFre attracting a +oman. 1 Mseeing the matriBN, ou understand the be!iefs that he!p ou to+ard our end goa! (and hopefu!! that goa! is having seB +ith a +oman ou are attracted to). ItFs not m .ob or prerogative to out!ine those be!iefs here, but IFd recommend ou read up on the sub.ect unti! ou have a thorough understanding of Mthe matriBN and ou accept the be!iefs that push ou c!oser to our goa!s. If ouFre sti!! using +ords !ike Ms!utN or putting an kind of .udgment on the +a a +oman acts, ou have books to read and +ork to do. (More on this !ater.)

1e!iefs about onese!f are more deep-seated and difficu!t to rectif , but the too have to push ou c!oser to our goa!s. An !imiting be!ief ou have about ourse!f MU&* change. In our head, there shou!d be abso!ute! no reason ou can think of as to +h a +oman +ou!d re.ect ou. If ou have a !imiting be!ief about our bod either change it ph sica!! or accept it. &ince be!iefs about onese!f are deep-seated, ou might need more than pickup !iterature and se!f-he!p advice to change our thinking. ,ou kno+ +ho ou are. 2et he!p. <: A STR .G B D@ F REFERE.CE EK6ERIE.CES SD66 RTS @ DR 6 SITI2E BELIEF S@STEM THAT

$eading that, most peop!e +ou!d probab! assume I mean P>&I*IVL reference eBperiences (for eBamp!e, if our be!ief +as MA!! gir!s !ove meN that ou have to accumu!ate tons of reference eBperiences +here gir!s !ove ou.). Co+ever, thatFs ">* the case. *he reference eBperiences IFm referring to are simp! going out +ith our be!iefs and app! ing them to societ at !arge. It doesnFt matter if peop!e accept our be!iefs or not, +hat matters is ,>U accept our be!iefs. As !ong as our be!iefs donFt change in the face of negative (or positive) socia! feedback, ou +in. *ake a tota! ne+bie +hoFs never co!d approached. &a ou te!! this gu MItFs oka to approach +omen ou donFt kno+.N ,ou keep emphasi<ing it and te!!ing him unti! itFs tattooed in his brain. Ce 1L#ILVL& itFs oka to approach +omen he doesnFt kno+, even if he hasnFt done it. Dhen he does, the first handfu! of approaches might go a+fu!. 1ut it doesnFt matter. Ce +i!! find out *CA* CL 0A" '> I*. Period. *he socia! feedback '>L& ">* MA**L$. *he separating factor is that he A">D& (despite socia! feedback) his be!ief 'I'"F* 0CA"2L. /rom there, it +i!! become a se!ffu!fi!!ing prophec as he continues to gather reference eBperiences. As !ong as he keeps be!ieving itFs oka to approach strangers, heF!! keep doing it, and eventua!! his be!ief becomes a rea!it . *oo man gu s fai! at pickup and at deve!oping tight inner game because the fai! at this step. 1oi! do+n ever thing to this simp!e ru!e4 MI kno+ the right thing to do and I do it. Co+ do I kno+ itFs the right thing to doE 1ecause IFm doing it.N ">*CI"2 L#&L MA**L$&. Adapt the mantra MI$$L#LVL"*N for an thing that fa!!s outside our be!ief s stem.

=: A. D.SHA1ABLE SE.SE

F SELF A.D IDE.TIT@

Identit is one of the most s!ipper and misapp!ied terms in the communit . *he mainstream definition of identit is you are ,hat you D(. If ou ask someone to identif himse!f, he might sa , MIFm an accountant. I graduated from 'artmouth. IFm a brother and a son. I !ike eBercise and the outdoors. I en.o B, , and <.N 1ut, for the purposes of this artic!e and the +a I vie+ inner game, identit is ">* those things. Identit is +hat U"'L$#I"L& the things ou '>, because that is tru! ,ho you 1':. &o, take for eBamp!e the person +ho sa s, MIFm an accountant.N Accountant is not their identit . ItFs simp! a man-made !abe! that can be taken a+a tomorro+. *he process that MA'L someone an accountant is +here their identit is derived. *he hard +ork, the dedication, the stud ing for 0PA tests, *CA*F& their identit . *hatFs +hat cannot be stripped a+a from someone. It makes me think of that theor that if the +ea!th of the +or!d +as distributed e)ua!! that itFd be in the same hands +ithin 9 ears. *CA*F& identit . Peop!e +ho are simp! given mone (i.e. peop!e +ho +in the !otter ) have the !abe! M+ea!th N but donFt have the I'L"*I*, to back it up. *hatFs +h the end up s)uandering a!! the mone in a ver short amount of time. Understanding our identit bui!ds on the first t+o inner game factors4 be!iefs and reference eBperiences. IF!! go over specific +a s to understand and bui!d our identit !ater, but for no+ .ust understand the concept4 ,ou seed a be!ief _ ,ou +ater that seed +ith reference eBperiences _ ,ou gro+ an identit In !ess metaphorica! terms4 ,ou be!ieve ouFre attractive to +omen _ ,ou ac)uire reference eBperiences that reinforce that be!ief _ *hat be!ief becomes a part of our identit ,our identit +ou!d eBist regard!ess of !anguage, societ , time, +hatever. If +e sudden! +oke up in the &tone Age, +ho +ou!d ou beE *hatFs +ho ou $LA##, are under a!! the societa! pretenses and !abe!s.

A: A C M6LETE LAC1

F FEAR

R I.HIBITI .

F RIS1-TA1I.G

%ust as the !ast three inner game factors bui!t on each other, the !ack of fear and being a risk-taker is an outgro+th of a strong identit (+hich is an outgro+th of a positive be!ief s stem reinforced b reference eBperiences). Peop!e +ith strong identities are the peop!e +ho !ack fear, +ho venture into the unkno+n, +ho take risks +ith !itt!e regard for their ego or the +a the Fre perceived b others. Dhi!e this is the pinnac!e of inner game and probab! the u!timate goa! of !earning pickup, it direct! re!ates back to the first factor of attraction4 va!ue giving. *o be a *$UL va!ue giver S and not a button pushing Lntertainer Man S one must deve!op himse!f to this !eve! of inner game. /or most (m se!f definite! fa!!ing into this categor ), +eFve eBperienced this MstateN during our most on nights. Dhether ou ca!! it Mbeing in the <oneN, Mbeing in stateN, or m persona! favorite M"IM1U&N, there are nights +hen an interna! 0#I0A goes off inside and +e get that g!impse of se!fa+areness +here +e donFt .ust kno+ S +e actua!! /LL# S our va!ue and it radiates off us. In this state +eF!! take the biggest risks and reap the greatest re+ards. *CL&L A$L *CL "I2C*& #L2L"'& A$L MA'L. /or the best pick-up instructors, the !ive their !ives perpetua!! in this state. Again, I use the term Mrisk-takingN in a conteBt specific to m vie+ of inner game, and it shou!dnFt be confused +ith the +a itFs defined b societ at !arge. In this conteBt, risk-taking and comp!ete !ack of fear means being comp!ete! and utter! disconnected from our ego. *his is a different t pe of fear than fearing for our safet . MLgo fearN is an artificia! fear insti!!ed into us b societ . It certain! has its p!ace and itFs not necessari! a bad thing. It keeps things running in an order! fashion. *here can on! be one boss, one AM>2. *hereFs no term for AMs>2 (A!pha Ma!es >f the 2roup). /ear and inhibitions put ever one in their p!ace and set the bar for heroism high. *o overcome that fear, ou have to be a super tight dude. ,our shit has to be in order. /rom there, ever thing f!o+s. *he four factors of attraction arenFt points ouFre tr ing to MhitN, the F!! simp! b products of ho+ ou !ive our !ife. >f course ouFre going to offer va!ue, dominate the group, esca!ate, remain unreactive and shine +ith core confidence. Co+ cou!d ou notE An thing !ess +ou!d be artificia! and not ou. Dith the four factors defined, !etFs move on to a turnke perpetua!! reaching this !eve! of inner game. s stem for

TDR.1E@ S@STEM F R I..ER GAME DE2EL 6ME.T As +e a!read out!ined, the four factors of fema!e to ma!e attraction derive from the combination of the four factors of tight inner game. /urthermore, the four factors of tight inner game inter!ock !ike a set of nesting do!!s. *o rehash4 strong be!iefs backed b reference eBperiences gives ou an iron-strong sense of identit +hich a!!eviates ou from (ego) fear and un!ocks our potentia! for socia! risk taking. Dhen ouFre a socia! risk taker ou hit the four factors of fema!e to ma!e attraction +ith !itt!e thought to +hat ouFre actua!! doing or sa ing. Attraction is simp! not a choice. 0oo!. Ste4 9+ Ho0 to get A. D.DERLI.I.G A.D D.A.IM DS 6 SITI2E BELIEF S@STEM THAT SD66 RTS @ DR G AL &o, to begin, +e have to cu!tivate strong be!iefs. *his is the MA% stageN +here our +ork is done a+a from the fie!d. CereFs +hat ou do4 6.) ,ou bu a notebook 7.) ,ou +rite on the front page4 *C>U2C*&($L/#L0*I>"&(LXPL$IL"0L& -.) ,ou +rite on the !ast page4 2>A#&(1L#IL/&(A//I$MA*I>"& 8.) ,ou begin +riting on the !ast page 9.) Drite pages on LXA0*#, ho+ ou see an attractive ma!e (keep the four factors of /7M attraction in mind). 'escribe LVL$, detai! :.) Drite our description of our I'LA# +oman. 'escribe LVL$, detai! ;.) ,ou +rite our goa!s in LXP#I0I* detai! =.) ,ou construct a be!ief s stem that +i!! actua!i<e our goa!s. D$I*L >U* LVL$, 1L#IL/ "L0L&&A$,. Aeep in mind both be!iefs about societ A"' ourse!f ?.) *urn our be!iefs into a !ist of affirmations (t pe them out !ater and put them in our +a!!et or other p!ace for )uick reference) If done correct! , ou no+ have *CL VI&I>". ,ouFre no+ a man +ho 6.) kno+s +hat he +ants, 7.) kno+s +hat he has to become to get +hat he +ants, -.) has a be!ief s stem in p!ace that +i!! actua!i<e +hat he +ants and +ho he is going to become. [ If ouFre unsure +hat creates attraction (and ou shou!d kno+ do+n to the most minute detai!) or have !imiting be!iefs about societ and(or +omen

(this step re)uires ou be LX*$LML#, honest +ith ourse!f), IFd suggest reading up on the sub.ect as I a!read mentioned. &tep 64 0CL0A5 Ste4 <+ Ho0 to get A STR .G B D@ F REFERE.CE EK6ERIE.CES THAT SD66 RT @ DR 6 SITI2E BELIEF S@STEM CereFs the hard part. CereFs the part +here most men fai!. CereFs the part +here se!f-deception comes in. CereFs the part that separates the ML" getting it done from the bo s +ho post about number c!oses on !air forums. CereFs the part +here IFm at a!ong +ith probab! ?? percent of other gu s in the communit . CereFs the part that re)uires ou to !ook co!d fear in the face for hours on end and not f!inch. CereFs +here be!iefs. ou must gather reference eBperiences to support our

Most of ou probab! have a!read done this to some eBtent. &ome of ou have pushed our comfort <one and !earned to ta!k to strangers, asked for phone numbers, ma be even gone for )uick make outs or same night pu!!s. *hatFs a+esome. 1ut IF!! bet ou a!so have fears ouFre not confronting. I kno+ IFm gui!t of this. IF!! bet ou A">D thereFs something ,>U A">D ,>U &C>U#' 1L '>I"2, et the thought a!one sends fear echoing through our bod . ,ou donFt need to confront this fear. ,ou can probab! get !aid and never have to face it. >r ma be the !oca! !air has deified ou a!read , +h sho+ them ouFre a mere morta! b admitting fearE Dh even admit it to ourse!fE 1L0AU&L ,>UF## "LVL$ A0CILVL *$UL &U00L&& I" PI0AUP I/ ,>U '>"F* 0>"/$>"* ,>U$ /LA$&. /or me, I rea!i<ed this fear is going out a!one. /or other gu s, IFve seen fear of esca!ation, fear of going to the &"# pu!!, fear of miBed sets, fear of thro+ing in conversationa! seBua! spikes, fear of da approaches, fear of ruining a MniceN interaction b introducing a seBua! overtoneOp!us a ba<i!!ion other fears I donFt need to !ist. I didnFt even have to +rite those eBamp!es. 'eep do+n ou kno+ +hat our fears are. If ou donFt, ouFre in se!f-denia! and shou!d go back to step 6. If ouFre honest +ith ourse!f, keep reading. Cere are our steps4

6.) ,ou +rite our fears in the back of our notebook 7.) ,ou +rite +hat ou think the under!ining cause of each fear is (for eBamp!e, in m case, m fear of going out a!one is not simp! IFm afraid of going out into socia! situations so!o. Ma be itFs because I depend on other peop!e to pump m state. Ma be itFs because I +ant va!idation from m friends. Ma be itFs because m ego depends on hanging out +ith Mcoo! peop!eN to a!!o+ me to fee! coo!. Ma be itFs = or ? other reasonsObut ou get the point). -.) C>"L&*#, assess each of these under!ining reasons for our fear and come up +ith so!utions ou can app! LVL$,'A, to remed them (for eBamp!e, if I think that m fear ma be re!ated to +anting peop!eFs va!idation, I have to set as goa!s to stop ta!king about m accomp!ishments and pickup successesG stop checking to see if peop!e are +atching +hen I approach gir!s, etc.) 8.) &et up a regimen to confront our fear 'I$L0*#,. & stems inc!ude the number of da s(hours ou +i!! spend a +eek confronting our fear a!ong +ith the period of time ou +i!! a!!ot (i.e. number of +eeks(months). &o for eBamp!e, I am going to start going out - times a +eek for 7 hours a night for - months to confront m fear of going out a!one. 9.) ,ou stick to our s stem re!igious! and do not miss a sing!e da , hour or approach. :.) ,ou +rite our eBperiences in the front of our notebook. As I said, this is the most difficu!t step in deve!oping our inner game. *his is tru! +here ou have to do Mthe repsN to make it happen. *his takes an incredib!e amount of courage, effort and se!f-discip!ine to accomp!ish. *he re+ards are comp!ete socia! freedom and seBua! abundance, but, as some ver +ise $&' poster once +rote4 ,ou pa for it +ith the price of our ego. *he risk(re+ard pa off is a!most e)ua!. Dhen ou finish our regimen there shou!d be no socia! fear !eft in our bod . *his is +here ou tru! no !onger give a fuck and have passed the comp!ete indifference thresho!d. If thereFs sti!! fear !eft in our bod after this, restart the process over again. &tep 74 0heck5 ,our inner game is no+ dia!ed, tight. And thatFs it. In t+o steps, become the man. Co+ever, point 8 and 9 of &tep 7 are probab! the difficu!t things ou +i!! ever have to do. &urvive our regimen, and ou +i!! 1L0>ML the man ou +rote about in the back pages of our notebook.

*he b!ueprint of an attractive man is embedded in a!! of us. Armed +ith the bod of pickup !iterature and our notebook, thereFs no reason +h ou canFt be the boss !ord of the universe. Un!earning the bu!!shit thatFs been programmed into our brain is +hat inner game is rea!! a!! about. *o combat the decades of socia! conditioning paired +ith the !imiting be!ief s stem of the +or!d +eighing on our ps che, on! a gargantuan effort can effect a change. ,ou a!read understand and accept this. I kno+ this because ouFre sti!! reading. 1ut no+ itFs our turn. As I said in the first paragraph4 *o make sense of our Minner gameN, start b +riting. 2et the notebook. /i!! its pages. 0hise! our o+n fate. 1e honest +ith ourse!f. 1ecome +hom ou3re meant to be. 1ecome a !egend. 1e!ieve. *he c!ichVd +a to end this artic!e +ou!d be to sa Mgood !uck5N 1ut this is be ond the rea!m of !uck. #uck is a +ord invented b the +eak. 1 peop!e +ho +ou!d never read this artic!e. Peop!e +ho +ou!d never have the ba!!s to even consider +hat ouFre going to do. &o from one man to another, I sa M&U00LL'.N At a!! costs, succeed. &U00LL'.

Managing Limiting Belie,s By Deci)el #imiting be!iefs are negative thoughts ou have in our mind +hich stop ou from achieving our persona! best. *hings !ike 3I3m ug! 3 or 3that gir!3s too hot for me3 or 3no gir! +i!! +ant to drive back to m house.3 *o me, there are t+o +a s of reigning in !imiting be!iefs. 6. Try to prove your limiting belie* is ,rong/ &o !et3s sa I think it +ou!d be inappropriate to bite a gir! on the neck +hen I hug her. M !imiting be!ief +ou!d te!! me the gir! +ou!d get upset. &o I bite 6@ gir!s, and surprising! 6@ gir!s are turned on b it. &o I have, through fie!d testing, dashed that be!ief. *he same can be done +ith socia! pressure issues. If ou go into a )uiet bar and start singing at the top of our !ungs, and nobod cares, ou3!! eventua!! rea!i<e that peop!e .ust don3t give a fuck. >r if ou go out !ooking !ike a mess (+hich I often do) and are sti!! ab!e to get attraction, ou3!! rea!i<e that !ooks don3t matter that much. Lt cetera.

7. <ust assume that anything is possible+ and then try to disprove this/ *hough so!ution 6 has its merits, the prob!em is, no+ ou have to disprove LA0C and LVL$, !imiting be!ief. &o ou ma have a check !ist that sa s4 +omen don3t ta!k to strangers, +omen don3t !ike strangers touching them immediate! , peop!e think I3m ug! , etc. 1ut ou have to go do+n this potentia!! infinite check!ist and cross each be!ief off. *hat can take an eternit . Dhen ou .ust assume that an thing is possib!e, ou3re practica!! done. I can go out !ooking !ike shit, and pu!! a 6@. >/ 0>U$&L I can. If this gets disproven, then so be it. 1ut so!ution 7 is a !ot !ess +ork. &o I recommend ou simp! make positive assumptions about ever thing. Assume ou3ve got !eve! 6@ game. Assume ever gir! ou ta!k to +ants to s!eep +ith ou. Assume ou are of high va!ue. *hen see if the +or!d proves ou other+ise. M#ots of gu s find it eas to esca!ate +ith a :, but +i!! free<e up around ?s and 6@s. 2oing kino on an ug is eas G it3s !ike thro+ing grue! at s+ine. "ut up and start fond!ing those turbos.N Decibel

Fo"! 6hases o, 2al"e By The She!i,, *here is a !ot of discussion on +hat eBact! gives a gu true va!ue or Pinner game.P I have given this some thought and have come up +ith four phases that one must pass through in order to bui!d the kind of va!ue +e can use to attract +omen. I be!ieve that a!! of these are important and that each one must be accomp!ished before the neBt becomes possib!e. Phase 9: asic )el* :steem Phase one is about repairing and bui!ding our basic se!f-esteem. Man of us have suffered harm to our se!f-esteem that makes it difficu!t for us to have a good socia! !ife. *he first step is to take a good hard !ook at our !ives and determine +hat caused this and +hat it takes to repair it. /or man , this might be a chemica! issue such as bipo!ar disorder or it ma be a resu!t of chi!dhood abuse. *his ma re)uire an thing from reading se!f-he!p books to medication, professiona! counse!!ing and therap . Dhatever it takes, do it. ,ou +i!! be g!ad ou did and ou simp! can not move on to phase t+o unti! ou fiB this aspect of our !ife.

Phase ;: Developing an 1ttractive Persona In phase t+o ou +i!! be bui!ding on +hat ou did in phase one b improving the +a in +hich ou interact +ith others. Lmphasis here is on finding a st !e and a disposition that fits ou and is attractive to others. Peop!e +ho have been !uck enough to gro+ up unencumbered t pica!! do this during their chi!dhood and teen ears, reaching a sense of +ho the are and the image the +ant to portra in ear! adu!thood. 0hances are, if ou are reading this ou +erenFt one of those peop!e and ou are doing it a !itt!e !ater - better !ate than never. 'eve!op a core persona!it and our avatar. A!so, recogni<e that man things practiced b PUAs can be incorporated here. *hese inc!ude use of good bod !anguage, being nonreactive, etc. *his a!so inc!udes adopting the traits of a high va!ue gu such as concern for oneFs appearance and getting our !ife in order. Phase t+o is about perfecting our product. Phase =: ecoming )ocially 1ccomplished In phases one and t+o ou have con)uered our inner demons, deve!oped a core persona!it , put our !ife and appearance in order and chosen an avatar. ,ou are no+ read to begin !earning the ski!!s necessar to make friends and be !iked b others. Cere ou +i!! !earn to be socia!! savv and affab!e. I can not emphasi<e enough .ust ho+ important this phase is. Cumans are advanced socia! creatures and the ver core of Msurviva! va!ueN dea!s +ith +here ou stand on the socia! !adder. *his is the sing!e most important )ua!it in fema!e-to-ma!e attraction. Lver thing e!se comes in a distant second. A!so, having friends is important and +i!! enrich our !ife in man +a s inc!uding reinforcing the things ou accomp!ished in phase one. ,ou donFt necessari! need do<ens of friends but ever one shou!d have at !east one or t+o true c!ose friends. $e!ationships of this kind are the ver essence of !ife. A!so, most peop!e have t+o t pes of friends4 true friends and ac)uaintances (or Mpart friendsN). Part friends are of course peop!e +ith +hom +e socia!i<e but are not tru! c!ose. &ome unfortunate sou!s have none of the former and man of the !atter. A!though this ma seem g!amorous, itFs a sha!!o+ eBistence and nothing to +hich one shou!d aspire. $ea!i<e a!so that most of the techni)ues used in PU can and shou!d be emp!o ed here. &hakespeare said that the entire +or!d is a stage and +e are a!! actors upon it p!a ing a ro!!. %ung +rote that +e a!! have t+o faces, one that +e sho+ on! to ourse!ves and another (persona) that +e sho+ to the +or!d. *his is important to understand. Peop!e !ike peop!e +ho make them fee! good about themse!ves and comp!iment their va!ue b bringing

va!ue into the re!ationship. *hings such as non-reactivit , good bod !anguage, kno+ing proper socia! eti)uette, carr ing oneFs +eight +ithin the group and serving to enhance the overa!! image of the group are things ou must offer if ou eBpect to become an asset to a given group. "obod +ants to a!ign themse!ves +ith someone +ho is a !iabi!it to their o+n va!ue. ,ou must !earn to be an asset to others and not a !iabi!it . Phase E: Demonstrating Bour &alue In phase four, ou +i!! begin practicing techni)ues designed to attract +omen. #arge! , +hat this consists of is demonstrating to her that ou are accomp!ished in ever thing discussed in phase three. If ou have accomp!ished the things in phase three this +i!! be obvious to her based on our socia! proof. M ster has been recent! )uoted as sa ing that socia! proof is =@R of pick-up. I think he underestimated its importance. &ocia! proof is much more than .ust sho+ing up +ith a hot gir!. "umerous studies have sho+n that peop!e use menta! shortcuts in man situations and among the most common is the tendenc to re! on popu!ar opinion. Domen near! a!+a s choose a mate based on socia! proof more than an other factor. $ead the M ster Method for more on this. 1efore entering phase four it is imperative that ou comp!ete phases one through three. Dithout these, ou +i!! not appear congruent and ou +i!! !ack the necessar socia! proof that is so centra! to pick-up. $emember, ever thing from this point on is essentia!! intended to prove that ou have the va!ue ou estab!ished in phases one through three. If, and on! if, ou have mastered these phases, ou +i!! have true va!ue and ou +i!! have the +here+itha! to demonstrate it to +omen. ,ou can not skip an of these phases and ou can not .ust dec!are to ourse!f that ou have va!ue because ou be!ieve it. *here is no magic piBie dust that gives ou va!ue. Va!ue is earned through se!f-eBp!oration, se!f-improvement and !earning good socia! ski!!s. If ou tr to skip an of these steps ou +i!! !ike! appear incongruent. ,ou +i!! !ook !ike a !o+ va!ue gu dressed !ike a socia! misfit +ho is tr ing to score +omen +ith a bunch of chees materia! g!eaned from the internet.

Chapter T#enty
Attire
Co+ ou dress is an eBtreme! important part of our passive va!ue. Domen +i!! .udge ou )uite often even before ou open them. Peacock theor sa s for ou to stand out from the cro+d. *hough for some this is good advice, peacocking doesn3t +ork for ever one and sometimes makes ou !ook ridicu!ous. *hink about it. Is our peacocking making our target have second thoughts about +anting to be seen out in pub!ic +ith ouE *he fo!!o+ing is adapted from $usse!! &mith3s book, Men-s )tyle: The Thinking Man-s Guide to Dress/ 0onsider our +ardrobe a +a to beautif the +or!d. Co+ ou present ourse!f can make the +or!d a more p!easant p!ace to !ive in. ,ou +ant our attire and accessories to be an eBtension of our persona!it , though shou!d a!+a s be appropriate for the venue. 1eing under- or over-dressed ma sometimes be a '#V. )hoes/ &ome consider our shoes to be the most important e!ement of our ensemb!e. $u!es are strict regarding forma! situations, much !ess so in informa! venues. Co+ever, certain high-end c!ubs and bars +on3t a!!o+ ou to enter if our shoe+are is not dress enough, so kno+ their po!ic in advance. L!evated shoes can add some height to ou. *hough potentia!! obvious, inch p!atform shoes can be st !ish and comfortab!e. An eBamp!e is 0reepers. #ess comfortab!e but more subt!e are shoes that e!evate on! the hee!, and so are concea!ed +ithin the shoe. An eBamp!e of these is made b *oto, so!d on!ine. Dress pants/ *hough p!eats ma improve the appearance of a man +ith a gut, tr to avoid them if possib!e. Avoid bagg trousers. At the ank!e, the trouser ma be +ide in +hich case it shou!d break, or narro+er in +hich case it shou!d .ust kiss the top of the shoe. A break means there is .ust a hint of a fo!d in the pants !eg above the shoe. ,ou don3t +ant a pronounced fo!d. If ou are going for a break, the back of the pant shou!d be 7 d cm

from the f!oor (about an inch). If ou have a narro+er pant !eg, the !eg shou!d be much shorter. If going to the tai!or, make sure the mark each !eg, not .ust one. &tand as ou +ou!d norma!! stand, s!ight! re!aBed +ith the be!t cinched comfortab! . ,ou can go +ith a cuff, or not. 2et a sense of +hat is fashionab!e current! b checking out upsca!e stores. If ou are short, avoid +ide cuffs. Dress shirts/ If ou are +earing a .acket, the shirt shou!d eBtend 6 cm above the .acket co!!ar and 6 cm past the s!eeve ends. If ou button the s!eeves, the shou!d be snug enough not pu!! past the hands. ,ou ma need to tai!or the s!eeves to be the right !ength. 1oth the shirt and .acket shou!ders shou!d be perfect +idthsG the seam needs to rest at about the top outer edge of our shou!der. P! and thread count refer to the )ua!it of fabric. *+o-p! is the best. *hread count can var a !ot, but the higher the better. /ine shirts ma be as high as 77@. &ta s are the !itt!e p!astic sticks in the co!!ar points. ,ou +ant them to be removab!e. "ever +ear our shirt +ithout sta s in. &ome co!!ars can be buttoned to the shirtG these are eBtreme! casua! and probab! shou!d be avoided a!together. #asual/ *here are some basic princip!es to adhere to +hen dressing casua!. 0ontrast bet+een our top and bottom c!othes is idea!4 bagg top(tight .eans or tight *-shirt(bagg pantsG dark b!ue top +ith !ight gra pants. *-shirts can be matched +ith casua! or more upsca!e attire such as sports coats. *-shirts +ith corporate names and !ogos shou!d be avoided in favor of p!ain shirts or those +ith kitsch designs.

Chapter T#enty-!ne
%iblio'raphy and "u''ested 2eadin's
*he 2ame, b "ei! &trauss (aka &t !e) Mind of M ster , b M ster , #ovedrop and Matador 5video6 *he M ster Method or *he Venusian Arts Candbook, b M ster *he #a guide, b *on 0!ink Interaction $itua!, b Lrving 2offman *he $ed Uueen, b Matt $id!e *he Po+er of "o+, b Lckhart *o!!e "#P4 *he "e+ *echno!og of Achievement, b &teve Andreas and 0har!es /au!kner. A revie+ b d1 can be found here. 0omed Driting &ecrets $evea!ed, b Me! Ce!it<er Pa!m $eading for 1eginners, b $ichard Debster *he 'efinitive 1ook of 1od #anguage, b 1arbara and A!!an Pease 'oub!e ,our 'ating, b 'avid 'e Ange!o $ea! Dor!d &eduction, b &+inggcat *he Art of Approaching, b *hundercat Art of &eduction, b $obert 2reene Intro to &eductive $easoning 6@6, b %ohnn &oporno 5video6

2et the 2ir!5 Infie!d LBposed, b Meho+ 5video6 *radecraft4 *he Art and &cience of 0o!d $eading 0omp!ete! 0o!d, b Aenton Anepper and %. *ank M &ecret 2arden, b "anc /rida Annihi!ation Method, b &t !e 5video6 *he Underground 'ating &eminar, b 1rad P 5audio6 $&' 1!ueprint 'e-coded, b * !er 'urden 5video6 *he %eff &ho+, b %eff 5video6 /oundations, b * !er 'urden 5video6 *ransformations, b $&' 5video6 $eve!ations, b #ovedrop *he Da of the &uperior Man, b 'avid 'eida 2ive Domen Di!d &creaming >rgasms, b 'avid &hade I/ema!e >rgasm, b Marsha!! Mi!!er and 'orian &o!ot Co+ to 1e a 2reat #over, b #ou Paget Co+ to 2ive Cer Abso!ute P!easure, b #ou Paget &)uirters 7, b &e more 1utts 5video6 *he 2 &pot, b A. #adas, 1. Dhipp!e and %. Perr *he #o+do+n on 2oing 'o+n, b Marc Michae!s Men3s &t !e, b $usse!! &mith

Master , b 2eorge #eonard *he /ema!e 1rain, b #ouann 1ri<endine, M' Dhat Lver 1od is &a ing, b %oe "avarro

The *ollo,ing *ilms+ as revie,ed by d + are pertinent to seduction: * + ,ee s D S 7eeks is a fi!m ou +atch different! as an A/0, versus a PUA +ho understands fema!e ps cho!og and seduction, and as a +oman (I +ou!d suppose). *he movie (6?=:) +as directed b Adrian # ne +ho made !lashdance, from a book c!ear! +ritten b a +oman. It has some of those same 6?=@s e!ements !ike !ighting and music +hich +ere in st !e at the time, but no+ are a bit cringe-inducing. *r to forgive this. I3m not giving a+a an spoi!ers +hen I sa the tit!e imp!ies this !ove affair is finite. De can dissect +hat3s going on in each participant3s mind, and figure out +h this re!ationship did not !ast in spite of the intense fee!ings. *his he!ps us understand the game in genera!. F!om he! 4e!s4ective+ Aim 1asinger p!a s L!i<abeth, a +oman +ho +orks in an art ga!!er . &he is passionate about art, and +e can conc!ude is passionate about romance, though hasn3t met a man +ho stirs her fee!ings satisfactori! . *hen she meets Micke $ourke3s character %ohn. %ohn kno+s +hat she +ants seBua!! . In fact, he kno+s better than she does. /rom their initia! encounter, he hits a!! her buttons, puts her through the proverbia! emotiona! ro!!er coaster. Ce does this +ith such po+er and authorit that she ends up da<ed b it. Ce f!irts +ith the 3Provider3 ro!e often, but never enough to make her fee! secure. Ce pushes this the other +a as +e!!, !itera!! to the point of her fee!ing endangered, creeped out but sti!! curious. Ce pi)ues her ever emotion, and in one memorab!e scene he keeps her b!indfo!ded and feeds her a shopping !ist of foods (and es, even cough s rup). 1ut throughout a!! this, he3s not sadistica!! to ing +ith her. Ce3s obvious! partaking in this ro!!er coaster ride and en.o ing ever moment. Ce3s 3p!a ing her3 in a sense, but it comes from a thri!! of spiking these emotions, never as a spectator.

Dhen he brings in another +oman, +e rea!i<e it3s because again he +ants her to eBperience these emotions as much as he does. 1ut she doesn3t see this. /rom her standpoint, the re!ationship fai!s because of her o+n insecurities. &he often gets .ea!ous +ithout reason, and fina!! at his bringing in another +oman. &he tries to !ash out at him b kissing another man. &he doesn3t understand his motives, misinterprets this act as his se!fishness, +hich cou!dn3t be farther from the truth. Cer .ea!ous and insecurit b!ind her, and she breaks it off. >nce again, %ohn kno+s +hat she +ants, but she doesn3t appreciate this. F!om his 4e!s4ective+ *his is +hat happens +hen ou go from attraction to seduction and skip comfort. Dhen it3s too !ate, he tries to in.ect comfort and rapport into the re!ationship. 1ut b then, there is a !ack of securit and trust. &he +as so over+he!med b the seduction that she !et this s!ide. Ce hasn3t genuine! eBpressed his !ove for her, though +e the audience can fee! it. Ce ho!ds to his dominating frame, and in the end this is to his o+n detriment. Cis frame te!!s him to sta firm, !et her come running back. 1ut +ere he to break this frame and chase, he ma be ab!e to sa!vage the re!ationship. De are taught as PUAs to maintain authorit , be unapo!ogetic about our desires, pu!! her kicking and screaming into our frame because that is +hat she +ants. And to a !arge eBtent, this is the right thing to do. 1ut skipping comfort is a huge misca!ibration, and he ends up pa ing the price. $ere is 'oger :bert-s thought*ul revie,/

-yes ,ide .hut Aubrick3s !ast fi!m +as not +ide! appreciated b the genera! movie-going pub!ic, but it is, besides a great fi!m, a good peek at +hat goes on in the mind of +omen. In My )ecret Garden b "anc /rida , +e !earned that +omen routine! have shocking seBua! fantasies the 3re too ashamed of to te!! even their partners. "ico!e Aidman3s character A!ice is one such +oman, +ho te!!s her husband 1i!! (*om 0ruise) her dream of being fucked b count!ess strangers, and another fantas in +hich she +ou!d have given up on ever thing in her !ife to have had one night +ith an anon mous sai!or in a hote!.

1i!! doesn3t understand +omen, !et a!one his +ife. Cad he read /rida 3s book, he3d understand ho+ common it is for +omen to have these perverse seBua! fantasies. Cad he read books !ike The 'ed Tueen and )perm 7ars, he3d understand ho+ ineBp!icab! hard-+ired it is for a +oman to seek the 3#over3 of high va!ue even +hen she is being +e!!-satisfied in ever other +a b the 3Provider.3 Cer o+n reaction to her dream is a combination of sadness to+ards her he!p!ess Provider, miBed +ith scorn and eBcitementG in the origina! screenp!a A!ice envisions 1i!! actua!! nai!ed to a cross as she !aughs at him. *he moment A!ice !a s e es on the sai!or +ho brief! passes her in the ha!!, something primitive is triggered in her. It3s that trigger that PUAs seek to find during their seduction, !est the be categori<ed as the Provider. De understand ho+ inevitab!e this desire is for +omen, so her response is rea!! no surprise to us. Dhen 1i!! has his e es opened b A!ice3s admission, he begins to see ho+ strong the fema!e seBua! drive is. It had been a!! around him though to this point he3d been b!ind to it. &udden! , he rea!i<es and takes ver serious! ho+ driven +omen are, no matter their age or circumstance. &ome use seB for po+er or income, some for escape, others for the sheer .o of it. Dhi!e 1i!! had shrugged off these advances, he no+ sees it3s no !aughing matter. In the end, A!ice gives 1i!! a stern +arning. *o remain satisfied, she re)uires more than a Provider. &he needs a #over. &he needs to be 3fucked.3

/ight 'lub * !er 'urden took his name from the 1rad Pitt character in this fi!m because so much of its phi!osoph resonated +ith him. 1ut *' had no idea at the time .ust ho+ strong! /ight 0!ub ref!ected the PU communit . If ou haven3t seen it, I +on3t give a+a an spoi!ers. If ou had seen it +hen it +as re!eased, it3s time for ou to rent it again. And as ou +atch it, think of the A/0(PUA re!ationship, and ho+ A/0s turn to the communit for guidance, b!ind! accepting its princip!es. #ike the fi!m3s conformist name!ess centra! character (Ld "orton), A/0s rea!i<e the must rid themse!ves of socia! programming, accept 3 ou3re not our fucking khakis,3 take on a ne+ identit .

*he fi!m is saturated +ith great !ines (ma be some of the best in fi!m histor ), but one that is so meaningfu!4 3&e!f-improvement is masturbation. "o+, se!f-destruction...3 Datch and !isten carefu!! . "otice the commona!ities, intentiona! or not. Pro.ect Ma hem becomes Pro.ect Co!! +ood, both +ith the same eBp!oding demise. *he secrec of fight c!ub, the secrec of the communit . A/0s abandoning societ 3s shack!es on! to adopt a ne+ re!igion !ike obedient 3space monke s3 under the spe!! of some charismatic guruG these space monke s run around on missions and don3t use their rea! names (sound fami!iarE). #etting go of the steering +hee! means getting out of our head. 2etting in fights has the same motive as fucking, stripping do+n to the bare essence of +hat it means to be a man. 0ourtne #ove, +ho +as featured in *he 2ame, +as a!so considered to p!a the ro!e of Mar!a. And most important! , ou can u!timate! do a+a +ith the PUA persona and a!!o+ our true inner se!f to be !oved. &ome c!assic !ines4 2od 'amn5 De .ust had a near-!ife eBperience, fe!!as. (after the car +reck) *his is our !ife and it3s ending one minute at a time. M 2od. I haven3t been fucked !ike that since grade schoo!. De have no 2reat Dar. "o 2reat 'epression. >ur 2reat Dar3s a spiritua! +ar... our 2reat 'epression is our !ives. It3s on! after +e3ve !ost ever thing that +e3re free to do an thing. ,ou3re not our .ob. ,ou3re not ho+ much mone ou have in the bank. ,ou3re not the car ou drive. ,ou3re not the contents of our +a!!et. ,ou3re not our fucking khakis. ,ou3re the a!!-singing, a!!-dancing crap of the +or!d. *he first ru!e of /ight 0!ub is - ou do not ta!k about /ight 0!ub. *he second ru!e of /ight 0!ub is - ou '> ">* ta!k about /ight 0!ub. &ticking feathers up our butt does not make ou a chicken. After fighting, ever thing e!se in our !ife got the vo!ume turned do+n. I fe!t !ike putting a bu!!et bet+een the e es of ever Panda that +ou!dn3t scre+ to save its species. A condom is the g!ass s!ipper for our generation. ,ou s!ip one on +hen ou meet a stranger. ,ou dance a!! night, and then ou thro+ it a+a . *he condom, I mean, not the stranger. $ere is some more trivia+ ,hich ,ill probably make you ,ant to go back and ,atch the *ilm again 5caution: spoilers6/

-l Topo A!e.andro %odoro+sk +rote, scored, starred in and directed this eccentric surrea! fi!m in 6?;@, and it remains a !egendar cu!t. Lach shot is !oaded +ith bi<arre, grotes)ue, s mbo!ic and beautifu! images, man too disturbing to +atch. *he initia! premise of the stor invo!ves a bearded man in b!ack, L! *opo, +ho is on a mission to destro the four great master gunfighters in the desert. Dhen he achieves this, he +i!! +in the +oman he desires. *he second part of the fi!m is a 0hristian a!!egor . A!ong the +a , +eFre taught !essons app!icab!e to pick-up. %esson one/ *he man in b!ack comes across a brick to+er, inside +hich !ives a thin man. *his master guns!inger c!aims he never resists bu!!ets, and so the pass through him. Ce is accompanied b a !eg!ess man +ho rides on the back of an arm!ess man. *his duo represents s mbiosis, +hich +i!! be again eBp!ored in !esson t+o. *he !eg!ess man shoots the guns!inger, and the bu!!et indeed passes through him. 7hat ,e learn/ $esistance !eads to fai!ure. 'o not resist. #et cha!!enges pass through ou and then proceed to take the necessar action. Dhether these are token ob.ections, shit tests or bu!!ets, do not be phased. L! *opo must cheat to +in this due!, and +e +i!! !earn that in !esson t+o ou must not cheat. &imi!ar! , +e use routines to hide behind +hen +e first get into the game, but u!timate! +e must be direct and genuine to tru! make progress. %esson t,o/ *he neBt master is accompanied b a +oman. *his man has trained himse!f to be both po+erfu!! strong, but a!so soft and precise. Ce demonstrates his precision +ith his hands and his gun. *his dichotom +i!! be revisited !ater through an image of the cactus, +hich is hard and sharp on the outside but soft and sensua! on the inside. *he master admits he can on! survive because the +oman assists him. It is better to have someone +atching our back, than going it a!one. 7hat ,e learn/ A!+a s seek ba!ance and s mbiosis. Doman is manFs po!ar opposite but a!so his other ha!f. *hough she is ever thing he is not, she is necessar to comp!ete him. Dhen she is in.ured, he dies. ,ou +i!! never be comp!ete unti! ou are !oved. *hough :l Topo is often ca!!ed a misog nistic fi!m, this message emphasi<es %odoro+sk Fs honor of +omen. %esson three/ L! *opo comes upon a pen fu!! of rabbits. Ce enters and p!a s his pipe +hi!e the master in +hite p!a s a stringed instrument. *he

get to kno+ each other through music, that is, nonverba!! . *he +hite rabbits have been d ing since L! *opo has been approaching. *he master te!!s him not to aim for the head but for the heart +hen he shoots. *o demonstrate, the man in +hite shoots L! *opo in the heart, but fai!s to ki!! him. 7hat ,e learn/ Dhen interacting +ith +omen, shoot for the heart and not the head. A corrupt mind ho+ever can take advantage of and destro a pure heart. %esson *our/ *he fina! guns!inger is armed on! +ith a butterf! net, +hich def!ects a!! bu!!ets back at L! *opo. Ce cannot be ki!!ed, and +orse, he doesnFt care if he is ki!!ed. L! *opo cannot defeat this fina! guns!inger, and upset, he runs back through a!! the buria! spots of the prior guns!ingers and destro s them. 1ut even after a!! four masters are dead, the man in b!ack is not content. Ce speaks and poses as if he is 0hrist on the cross. *he outcasts of the +or!d S the deformed and retarded chi!dren of incest S come to his bod and carr him a+a . *hus begins the 0hristian a!!egor part of the fi!m. L! *opo began this .ourne +ith a sma!! naked bo +ho he encouraged to bur remnants of his chi!dhood in the sand. Ce then abandoned this bo to pursue the +oman. In the end +hen he is re.ected b the +oman, L! *opo embraces the innocents. Ce thus comes fu!! circ!e. 7hat ,e learn/ Ai!!ing our foes is an empt chore +ithout sa!vation and en!ightenment. Pu!!ing hot gir!s can be simi!ar! meaning!ess +ithout deve!oping our inner game. &uccess re)uires both meeting our outer goa!s and improving our se!f. 'onFt re.ect +hat is chi!d!ike about ou in favor of +omenG accept our outhfu!, innocent side. %esson *ive/ L! *opo has fa!!en as!eep in a cave, +here the chi!dren of incest have turned him into an ido!. Ce promises to dig a tunne! from the to+n to the cave so that the can be free. Ce is shaved of his hair and !eaves the cave. 7hat ,e learn/ $ebirth into a person of higher va!ue means a!!o+ing our o!d se!f to die and be transformed. %esson si0/ *he man in b!ack visits the to+n posing as a beggar riding in on a donke . Ce rea!i<es the to+n is fu!! of sinners, but digs the tunne!. In spite of a!! the resistance and obstac!es, he persists and frees the outcasts. 7hat ,e learn/ Dhatever our mission in !ife is, pursue it, undeterred b hardships ou confront.

Appendi- !ne
A Crash Course to &earnin' Pick Up
*he fo!!o+ing suggested agenda is intended to he!p instructors provide a !earning frame+ork to he!p teach aspiring PUAs. *his course focuses on night(bar game. 1et+een each !esson there is a one- to t+o-+eek period in +hich the student app!ies the prior princip!es b so!o sarging or taking a +ing in fie!d. Dhi!e bootcamps that occur over a fe+ da s can be he!pfu! in initiating a student to these techni)ues, evo!ution out of the !ong-he!d A/0 mode takes +eeks, and therefore instruction is most effective if it is presented in short !essons over a !onger time period. If a student +i!! be taking a +ing into the fie!d, each person shou!d compose a !ist of positive accomp!ishments and va!ues +hich can be used for accomp!ishment intros. *he student shou!d be ab!e to rave about their +ing in a +a that 'CVs +ithout bragging, and +hich +ou!d be most appea!ing to the set. /or eBamp!e, if the set has nurses and the +ing is a doctor, ou ma +ish to hit that AI. If the set has artists and +ing is a musician, ou ma +ish to instead use that aspect of the AI. 1efore the nightFs sarge, the instructor +i!! revie+ an sticking points or )uestions the student ma have up to this point. 0omfort routines aren3t covered in this introductor course because man A/0s are good at comfort S so good in fact that the 3ve made a career out of #%1/ing. 2etting ski!!ed at comfort routines is reserved for a more advanced course. 6 Introductor seminar(!esson. $evie+ the M- mode!, frame contro! and peacocking. Come+ork assignment4 $ead the MM and this fie!d guide. Interna!i<e the concept of being a!pha and contro!!ing the frame. 0o!!ect peacocking that fits the identit ou +ish to pro.ect. 7 In-fie!d !esson one. >vercoming approach anBiet , !earning openers. Come+ork assignment4 Approach as man C1s as possib!e over the neBt t+o +eeks. 2o to ma!!s and open a!! the C1 hired guns, asking for advice on peacocking accessories. 2o up to random C1s in the ma!! or on the

street and open using some of the openers presented. *r both situationa! and opinion openers. 2o to a bar and run openers on as man sets as ou can. - In-fie!d !esson t+o. $outines. Come+ork assignment4 >pen and run routines on as man sets as ou can. &it do+n and !ist a!! the ma.or events in our !ife or moments +hen ou made epiphanies, and tr to pu!! out stories ou ma be ab!e to embe!!ish upon. 8 In-fie!d !esson three. 'CV, kino, negs. Come+ork assignment4 *ake the stories ou deve!oped from the !ast assignment and spike them +ith 'CV3s. &tart incorporating kino into our approaches. 2et the fee! for negging +ithout insu!ting. 1ecome perceptive to I>Is and I>'3s. 9 In-fie!d !esson four. Moving +ithin a venue, iso!ating, !ocking in, )ua!if ing. Come+ork assignment4 $un game in various venues and incorporate iso!ating the target, !ocking in to sets, moving our target +ithin a venue, and )ua!if ing. Understand the fundamenta!s of A- and comp!iance testing. : In-fie!d !esson five. timebridge(bouncing. 1od !anguage, J-c!osing, more kino,

Come+ork4 Lsca!ate kino through comp!iance testing. Understand ho+ to pro.ect and interpret bod !anguageG revie+ the chapter on 1# and spend time in socia! gatherings observing ho+ others interact. &tart co!!ecting Js. Attempt to set up da 7s or bounce to a ne+ venue.

Appendi- T#o
8elpin' Women Get !ut o Their !#n Way
1ang1ang has created a guide to he!p +omen rea!i<e that the often set up 3roadb!ocks3 to seduction. LBamp!es inc!ude the bitch shie!d and #M$. Dhen a +oman is a+are that she is preventing or de!a ing the seduction and can a!ter her behavior for her o+n good, the PUA3s .ob becomes much easier. 1ang1ang instructs +omen ho+ to recogni<e these misbehaviors.

As PUAs, +e aspire to eBce! in socia! situations, to be acute! a+are of ourse!ves and our surroundings, ever thing from 1od #anguage (1#) to voca! tona!it and vo!ume. It is this a+areness that he!ps us ca!ibrate our game to achieve seduction. 1ut think back for a moment to our da s as an A/0, to ho+ often ou +ere b!o+n out b our o+n !ack of 1# contro!, or b our A/0ish behaviors. Co+ often did ou pro.ect an over! need , tr -hard vibe +ithout even rea!i<ing itE DeFve a!! been there. It shou!d therefore come as no surprise that man +omen are !ike+ise gui!t of shooting themse!ves in their o+n foot +hen it comes to being seduced b a highva!ue man. MA +oman can3t even appreciate a man3s inner )ua!ities if she3s thro+ing up shie!ds and #M$, not approaching, not pinging I>Is, not pushing off !o+ va!ue men...N Decibel Dhat if, as PUAs, +e +ere to use our uni)ue socia! ski!! set and kno+!edge to he!p these +omen get out of their o+n +a and be better at attracting high va!ue menE "o+ do not misunderstand me, there is a fair amount of en!ightened se!f-interest at +ork here. 1 teaching +omen ho+ to recogni<e their mistakes and ho+ to enab!e their seduction b desirab!e men, +e +i!! in fact be making our +ork easier in the process. DeFve a!! seen these +omen and have most !ike! sarged a fair number of them, the beautifu! gir! +ith the M/U0A >//N sign tacked to her forehead...on! she doesnFt kno+ itFs there. DeFve a!! encountered +omen +hose bitch shie!d seems to be h per-sensitive, making it that much more difficu!t to get past and bui!d attraction. Dith a !itt!e guidance, these +omen

can be taught ho+ to keep their bitch shie!d from getting in their +a and to take do+n the M/U0A >//N sign for good. MDithout even kno+ing it, these +omen are b!o+ing their chances +ith great gu s because the Fve come to be!ieve this is ho+ the game is p!a ed.N Decibel A Fe0 Iss"es to Consi$e! 6. C1s assume an gu in a bar is a !oser and therefore +on3t serious! connect +ith him. 7. C1s don3t get approached enough b high va!ue men, !arge! due to AA. -. C1s get approached the +rong +a (e.g. gu s tr ing to get them drunk, then assuming shot Z ob!igation to have seB). 8. C1s kno+ ho+ to send signa!s the are approachab!e, but +on3t be the aggressor and simp! approach. 9. C1 Approach AnBiet . As +ith men, it3s often based on the fear of re.ection or !o+ se!f-esteem. :. C13s +ho are confident enough to direct! approach tend to run into one of t+o things4 A/03s +ho are intimidated b ho+ for+ard the gir!s is or A/03s assuming that if she approached she must be eas . ;. C13s being comp!ete! una+are of +hat their bitch shie!d is, ho+ it3s triggered and ho+ to !o+er it themse!ves. =. C13s una+are that shit tests are I>Is, but can be misread as I>'s. ?. Most I>I3s from C13s are unconscious! givenG making +omen a+are of them so that the can send out I>Is I"*L"*I>"A##, at the right times +ou!d faci!itate the seduction. 6@. C13s are t pica!! better at reading bod !anguage than men, but their perceptions often do not rise to the conscious !eve! so that +omen can turn their instincts into appropriate responses(actions. A44lying the Mo$el to Enlighten Women A6. *he PUA opens the set. C1 must proper! conve that the hook point has been reached through 1# and I>Is to encourage further interaction.

O *each her to use her 1# to encourage or discourage pro!onging the interaction. Lncourage b opening up to+ards the potentia! suitor (turn to face him, mirroring, bitch shie!d do+n, etc.) 'iscourage b c!osing off to potentia! suitor (turn to her friend, be non-responsive, bitch shie!d up, etc.) O *each her to use verba! c!ues to encourage or discourage pro!onging the interaction. Lncourage through !aughter, contribution to the conversation, not shit testing. 'iscourage b being unresponsive to the conversation, I>'ing, mentioning a bo friend, etc. A7. *he PUA 'CV3s to e!icit I>I3s. C1 )ua!ifies PUA and re+ards +ith I>Is and comp!iance. O *each her eBamp!es of the different t pes of I>Is (active vs. passive). O *each her the kinesthetic concept and ho+ to esca!ate(ping kino +hen appropriate. A-. *he PUA )ua!ifies C1 and re+ards comp!iance +ith I>Is. O *each her ho+ to )ua!if herse!f to the potentia! suitor +hen she fee!s attraction to encourage moving into the comfort phase. 1e +i!!ing to be iso!ated. O *each her ho+ to identif comp!iance tests and the importance of comp! ing, versus not comp! ing +hen disinterested. *he interesting thing to note is that the PUA and C1 reverse ro!es in A7 and A-. Dhi!e this ma seem !ike common sense, something that +omen do natura!! and donFt need to be taught, consider this4 Domen I"*L$"A#ITL socia! d namics at a ver ear! age to the point +here the act +ithout conscious! thinking about their actionsG therefore the must #LA$" these behaviors, so that the can transform their socia! ski!! set from unconscious reactions to conscious actions. &ince most men are c!ue!ess +hen it comes to fema!e ps cho!og and socia! d namics, the must #LA$" socia! d namics b stud ing pick-up techni)ues, spending time in fie!d ca!ibrating in order to I"*L$"A#ITL their actions, so that the can transform their socia! ski!! set from conscious actions to unconscious reactions (e.g. deve!oping frame contro!).

0omfort. Dhi!e man A/0s are proficient at creating comfort, often to the point of putting themse!ves in #%1/ <one, there are roadb!ocks to comfort-bui!ding. Domen man times bring resentment and disappointment from previous encounters and re!ationships into the current one, hindering comfort-bui!ding b being c!osed-off and untrusting. Domen shou!d recogni<e that their defensiveness ma be un+arranted, and understand that each ne+ potentia! suitor deserves a c!ean s!ate. &eduction. 'uring seduction, the main roadb!ock is #M$ (&7). Domen instinctive! resist initia! seB for reasons described in the Mchapter. Man men respond emotiona!! , not understanding +hat the anti-s!ut defense or #M$ are. Men ma re.ect the +oman +ho resists, instead of p!o+ing, +hich often is +hat the +oman +ou!d +ant. A +oman shou!d be cogni<ant of the fact that #M$ is hard+ired, and that b not giving in to it, the can seBua!! engage a desirab!e man +ithout unneeded frustration on the part of both parties.

Appendi- Three
!n %ein' Funny
By Ro) 3"$ge (a#a The 3"$geG a#a Remem)!ance o, Being* A coup!e peop!e have been asking me to define this, so IFm going to give a !ength response that hopefu!! covers the MbasicsN of humor. (&ide note4 I +rote for a ver famous humor +ebsite before I got into PUA but never thought MhumorN +as eBp!ainab!eOunti! I sa+ something as abstract as MattractionN +as eBp!ainab!e. &o, in homage to the pioneers of PUA, IF!! offer +hat I can on Mbeing funn N). /irst, humor is the most effective, fastest, and simp!est +a to offer va!ue and estab!ish pri<abi!it . Ironica!! , itFs a!so (in m opinion) the most Machiave!!ian socia! device ever (in fact, itFs &> Machiave!!ian peop!e '>"F* even consider it manipu!ative). If someone is genuine! !aughing at our .okes, thereFs no +a ouF!! get b!o+n out S ever. &o, the structure of this response +i!! fo!!o+ an inverted p ramid, beginning +ith the MhumorousN inner game-t pe-stuff and then dri!!ing do+n into the specifics of humorous banter. F!ame P In m opinion, the funniest person a!ive is Co+ard &tern. 1ut itFs not his content or .okes that make him funn (in fact, reading transcripts from the Co+ard &tern sho+ are ver ">* funn ), but, instead, itFs his de!iver and attitude. *he thing about Co+ard is he .ust says ,hatever the *uck he *eels like and never ,aits *or a response. &ometimes ou '>"F* even kno+ if heFs .oking or not. Lven if his .okes bomb, he doesnFt react. Ce simp! sa s the neBt thing on his mind. 0onverse! , !ook at peop!e +ho are ">* funn . *he Fre the ones +ho are constant! +aiting for reactions or sa ing shit !ike, MI guess ou had to be thereON Probab! the +orst thing ou can ever sa to someone is, MI have the 1L&* .oke for ou.N 0hances are, no matter ho+ funn the .oke, it +onFt get an big !aughs. Dh E 1ecause the .oke te!!er made it obvious CL thought the .oke +as h sterica!, thus te!egraphing his need for a reaction.

*r this eBercise4 *e!! the same .oke to t+o peop!e. 1ut to the first person, sa , MI have the /U""IL&* .oke for ou5N and to the second person, sa , MI heard this offensive .oke the other da . I rea!! donFt find it funn . IF!! te!! ou, but donFt !augh because itFs rea!! not a funn topic.N I guarantee the second person +i!! stif!e a genuine !augh (because he doesnFt think ouFre !ooking for a reaction) +hereas the first person +i!! on! give ou a courtes !augh. (Un!ess of course the .oke ouFre te!!ing rea!! sucks.) Co+ this re!ates to the fie!d4 Dhen te!!ing a .oke, '>"F* +ait for a reaction. &imp! sa the funn !ine and stack or do a takea+a , /or eBamp!e, over the +eekend, m +ing +as getting b!o+n out off the opener. As I +a!ked b the hosti!e set, I said over m shou!der, M,ou cou!dFve been a !itt!e nicer to him. Ce .ust got mo!ested b a /A* gir!.N *he gir!s started cracking up and the set +as back on. Is that !ine rea!! so h sterica!E ">5 1ut I said it in a +a that imp!ied I +asnFt !ooking for a reaction. I kno+ this is basic stuff and re!ates to frame contro! (!iving in our o+n rea!it ), but itFs +h so man gu s fai! at being funn . If I simp! +rote up a transcript of Mfunn !inesN I A">D IFd have tons of gu s +ho +ou!d go into the fie!d, use the !ines, then comp!ain to me that the !ines MarenFt funn ,N because the te!egraphed the +ere !ooking for reactions so the !ines +ou!d bomb. *CI& I& DC, A">0A A">0A %>AL& A$L $L*A$'L' A"' 'LA' 1A1, %>AL& A$L CI#A$I>U&5[ Dith Mknock knockN .okes, ouFre te!egraphing MCe 5 *his is a .oke5N +hereas +ith a Mdead bab N .oke, itFs so fucked up ouFre ">* supposed to !augh (so ou do).
RDisclaimer: In some instances MAnock AnockN .okes can be funn as in the case of4 M3nock knock/ DhoFs thereE !at chicks/ /at chicks +hoE 7ho caresHG They?re *atGA (because .okes about fat chicks are A#DA,& funn ...it3s a Universa! #a+ of the Universe) and dead bab .okes A$L ">* funn an more because the Fre so p!a ed out, the !ost their taboo and no+ A$L reaction-seeking.

Attit"$e(s* P >nce ou adapt a non-reaction-seeking frame, ouFre read to tr on Mfunn attitudesN. Un!ike the under!ining frame, +hich +i!! A#DA,& be non-reaction seeking, our attitude can change in different situations. As a )asic !"leG the )est attit"$e to acce4t is one $iamet!ically o44ose$ to the one e'4ecte$: &o, again, to cite an eBamp!e from this +eekend, some drunk hoo!igan(thug (comp!ete too!) started screaming at 7 of m gir! friends (for prett much no reason) and then started screaming at me that IFm on! hanging out +ith them to Mget m ' +etN and that IFm Ma ga ass puss N. 1ecause the gu +as so irate and barking such uneducated babb!e, the MhumorousN attitude to take +as for me to speak

!ike an erudite co!!ege professor. &o I !ooked the gu in the e e, smi!ed, and said, MDo+. ,ouFre !ike a 2reek phi!osopher5 ,ou tota!! broke do+n m secret game p!an +ith that artfu!! constructed s !!ogism5 *hatFs !ike Aristote!ian !ogic, bro. *o cite ou, since I am, in fact, one Hga ass puss F therefore I am !ogica!! tr ing to get Hm ' +etF +ith these S +hat +as our term againE S Hskank-ass bitchesF. 1ravo, P!ato5 ,ou, m friend, are a scho!ar A"' a gent!eman.N Dhi!e this cou!d fa!! under 3sarcasm3, I think MattitudeN is more than simp! being ironic or f!ippant. *o offer some eBamp!es, if a gir! keeps ca!!ing ou a Mp!a aN, itFs funn to accept a M'on %uan !overN attitude +here ou te!! her ou +rite !ove sonnets and chise! ice scu!ptors of +omen ou fa!! in !ove +ith. If ou and our +ings are obvious! estab!ished, c!ean-cut gu s, itFs funn to sa ou Mmet in prisonN +hen C1s ask ho+ ou kno+ each other. If an AM>2 is screaming ho+ much he hates our peacocking, sa ing M2!ad ou !ike itN in the most disinterested +a +i!! A#DA,& get a !augh because itFs so uneBpected. (I cou!d keep giving eBamp!es, but think itFs better if ou consider attitudes ou cou!d assume in different situations ou find ourse!f in so itFs more congruent.) Content P Lven +ith a so!id frame and the right attitude, ou sti!! need Mfunn N content. I cou!d devote an entire section to content because itFs probab! the most difficu!t aspect of humor to master. Co+ever, sticking to a fe+ guide!ines +i!! ensure ou get big !aughs. 9/6 Pop culture re*erences U *his is probab! the most important one to interna!i<e and +i!! instant! transform our humor. Dhenever ouFre te!!ing a stor , figure out ho+ to make a funn pop cu!ture reference or metaphor and ouF!! A#DA,& get a !augh. *o give a stupid eBamp!e4 I +as .ust ta!king to m friend on the phone and eBp!aining to him ho+ I got b!ack out drunk a fe+ da s ago and +oke up covered in m o+n vomit and someho+ c!imbed into m !oft bed +ithout setting up the !adder. (I kno+Othis is funn (embarrassing as isO) &o hereFs ho+ I described it for maBimum effect4 5Taking the attitude ,aking up like this ,hen you?re ;F years old is a great li*e accomplishment and I?m totally proud o* mysel*6: M'ude, this b!ack out trumps a!! previous career drunken b!ack outs. &pecifica!! , I guess drinking an absurd amount of vodka no+ turns me into &piderman because I someho+ used m &pide senses to c!imb into m !oft bed +ithout using the !adderObut it gets even betterOso m !ast conscious memor +as getting into a cab and then I comp!ete! b!acked outObut, +hen I +oke up, it +as so freak because I +as covered in m o+n vomit +ith no !adder to

get do+n from m bedOdude, this shit fe!t !ike a scene from &ADOI s+ear, I thought I +as gonna fucking dieOI +as +aiting for that scar !itt!e c!o+n to pop out of m kitchen riding that freak !itt!e tric c!e and sa , MCL##> %U'2L, DA"* *> P#A, A 2AMLEEE 5In scary voice6 /iguring out ho+ to get do+n from that bed made me rea!i<e ho+ much I va!ue !ifeOthe Lggo +aff!es I ate after I got do+n tasted different someho+. I fee! !ike I have a ne+ !ease on !ifeON ;/6 e speci*ic U More detai! A#DA,& means more humor. Dhatever detai! ou can add S +hether it be the co!or of something, the +a something !ooked, the brand name of something, DCA*LVL$ S the harder peop!e +i!! !augh. (*his sort of ties into the pop cu!ture references since making a pop cu!ture reference '>L& specif and detai! our stor (.oke). I cou!d cite end!ess eBamp!es here, but !eave it up to ou to figure this out. Co+ever, .ust to use m Mb!ack out disasterN eBamp!e, !ook at ho+ much !ess funn this +ou!dFve been had I .ust to!d the stor +ithout the specifics4 M'ude, this b!ack out trumps a!! previous career drunken b!ack outs. &pecifica!! , I someho+ c!imbed into m !oft bed +ithout using the !adderObut it gets even betterOso m !ast conscious memor +as getting into a cab and then I comp!ete! b!acked outObut, +hen I +oke up, it +as so freak because I +as covered in m o+n vomit +ith no !adder to get do+n from m bedO I s+ear, I thought I +as gonna fucking dieO/iguring out ho+ to get do+n from that bed made me rea!i<e ho+ much I va!ue !ifeOthe breakfast I ate after I got do+n tasted different someho+. I fee! !ike I have a ne+ !ease on !ifeON =/6 lo,ing things out o* proportion U *aking something thatFs frivo!ous and making a big dea! out of it +ith a stor and(or a huge eBtended metaphor is funn . Again, m aforementioned eBamp!e of +aking up from a b!ack out and getting a ne+ !ease on !ife demonstrates this (oh, .ust in case ou cou!dnFt figure out the sarcasm, m bed is on! !ike ? feet off the f!oor so itFs not !ike there +as an rea! danger). 1ut ou can app! this concept at A", point in the pickup and itF!! amp!if +hatever ouFre doing. /or eBamp!e, if I ca!! a gir! a Mf!a aN (a fema!e p!a a) because she said something I HmisinterpretedF as a f!a a comment, that might get a chuck!e or a )uick, M"oooooooN. 1ut IF!! get a huge 1* spike if I go, M&hit, this chick is such a f!a a. IF!! bet ouFre !ike #i! Aim, ou have a bunch of mans!aves that dance around ou in our rap videos and shit. >h man, IF!! bet ou make gu s cr a!! the time. I kno+ our t pe S ,ouFre one of those hone s getting mone p!a ing fe!!as !ike dummiesON

5!or those o* you ,ho caught that+ my ne0t pointI6 E/6 Tuoting song lyrics in serious conversation U A!+a s a+esome. (Again, re!ates to the Mpop cu!tureN reference.) If ou do this +ith the right de!iver , ou can get a+a +ith A",*CI"2. #ike, if a gir! is getting mad at ou, sa , MCereFs the thing. De started out friends. ,eah, I mean, it +as coo! but it +as A## pretend.N A!so, another great one (to )uote again from m !ast eBamp!e) is, if a gir! ca!!s ou out on using a pickup !ine, sa , MPick up !ine5E "o +a , if I +as tr ing to pick ou up IFd ask +hat our interests are, +ho ou be +ithE #etFs seeO+hat e!seO*hings to make ou smi!e, +hat numbers to dia!ON 51nd her response beings me to my ne0t pointI6 F/6 Making absurdly ,rong assumptions U "ever give a straight(honest ans+er (at !east not in the A phases). &o, if ou use one of m eBamp!es mentioned in the !ast eBamp!e, and the gir!s goes, M>M2555 Are ou )uoting Ae!! 0!arksonE5E5E5N ,ou sa , MDhatE "o. *hatFs &hakespeare. 2od, didnFt ou read Much 1do 1bout NothingE5 'o ou have an cu!tureEN *his a!so +orks great for gir!s +ith accents. If a gir! has a strong Lastern Luropean accent (+hich I !ove Mbt+N), I a!+a s sa , M>h +o+. #ove our accent. #emme guess, ouFre from 0hina.N Wo!$ing P /ina!! , the +a ou +ord things +i!! enhance our humor and eek out a!! the potentia! from our frame(attitude(content. Incorporating funn +ords(phrases is simp!e. Aside from !istening for funn +ords in ever da situations (i.e. f!oo< , abomination, atrocit ), I a!so +rite do+n an phrase I think is humorous. *his is +h reading books !ike P&eB, 'rugs, and 0ocopuffsP is great. /inding peop!e +ho understand humor +i!! serious! up our game and no one +i!! ever kno+ ou3re stea!ing phrases from them. Using over-the-top +ording is a!+a s funn . &o, if a gir! sa s something stupid, rather than te!!ing her, PDhatE5P sa something !ike, P*hat +as profound! retardedP or P*hat +as a comp!ete atrocit .P Again, I cou!d !ist off p!ent of Pfunn P +ords or phrases, but I3m confident ou gu s can bui!d up our o+n Pfunn vernacu!ar.P Concl"sion - *his is tip-of-the-iceberg stuff but it3s enough to get ou started and get ou !aughs. If ou don3t kno+ ho+ to vibe and be funn , ou3!! never get !aid (sorr 5). 1ut, don3t +orr 4 humor and PfunninessP can be !earned so 2>>' #U0A5

Appendi- Four
Decibel's Day 9 (odel
*he mode! I3ve deve!oped +orks best in !o+-energ bars and c!ubs, as opposed to A'' dance c!ubs. *he ne+ gu s I go out +ith +onder +h I hook so )uick! and so!id! , and it3s because I eBchange deep va!ue ear! on in the set. It3s ama<ing +hat peop!e +i!! te!! tota! strangers in a bar, but once the do, the 3re Cooked. *his mode! is )uite a bit different than M-, +hich continues to +ork on ver attractive +omen +ith high se!f-esteem. M mode! can app! to ?s and 6@s, but is !arge! usefu! for 3the gir! neBt door,3 our average =s and under, +here M-3s negging and being eBtreme! indirect can b!o+ ou out. /or one thing, ou must a!+a s spike bu ing temp from the beginning. #o+-energ dra+n out opinion openers ma not +ork here. ,ou +i!! use the 1* garnered on our approach to he!p hook. Attraction is un!ike A7(A- of M-, in that ou aren3t necessari! sho+ing active disinterest in the target, though ou ma if she is ver attractive. *he standard princip!es of co!d approach and socia! d namics (push-pu!!, ca!ibration, comp!iance testing, etc) a!! sti!! occur in the background of our encounters as needed. 0omp!iance occurs ear! , even during our approach (e.g. Da!king up to a +oman and te!!ing her to ho!d our drink for a minute). It is important that the set understand from the start that ou are the center of the interaction, are se!f-va!idated, and others are present to serve our purpose. Un!ike M-, )ua!ification occurs ear! in set as +e!! +ith token statements that imp! ou have high standards. $apport-bui!ding occurs before ou reach true Uua!ification, +here ou +i!! make unmistakab!e remarks that Uua!if , as opposed to the vague )ua!ification ou performed ear!ier in set. As +ith M-, go to Uua!ification on! once she has sho+n sufficient I>Is. If she fai!s to do so in a reasonab!e amount of time, ou must either go back and emphasi<e attraction, or continue to get deeper into 0omfort. Aino esca!ation +i!! reduce the risk of #%1/. 9: S4i#e )"ying tem4e!at"!eG ca"se con,"sion: HCe , +hatFs up +ith a!! the midgets hereE IFve seen !ike - or 8 midgetsEF HI am so never doing crack again. "ever ever LVL$ again. CI2C /IVL&53

HCapp birthda 5F (to the gir! not +earing the birthda tiara) &ituationa! .okes4 Pick up a cand!e and sa H+hat is this, a mo.itoEF If our cand!e is b!o+n out H+hich one of ou b!e+ out m cand!eE IFm tr ing to have a romantic evening over here5F *e!! her some chode! gu in the corner !ooks !ike some ce!ebrit +ho doesn3t !ook at a!! !ike him, and ask her to get his autograph since ou3re too nervous. 0onfuse our target. If the bar doesn3t serve food enter +ith 3Ce , ho+ are the pork chops hereE3 &tack stack stack. 'on3t give her time to !ogica!! consider responsesG do make her eventua!! understand ou3re kidding. If she returns va!ue, ou can re+ard her +ith 3>M2, /I"A##, some peop!e +ith a sense of humor. I3ve been to 7@ bars tonight and nobod out there !aughs an more.3 <: Tease an$ stac#: ,our usua! attraction stack. ,our goa! is to hook the set, that is the +ant ou to continue ta!king to them. *his is different from the Cook, +hich is the goa! of 9-;. Dithin this, ou pursue J- and 84 =: Gain com4liance: *his demonstrates our dominant a!pha ro!e in the re!ationship. If +earing a hood , she needs to put it on. *ease about !ooking !ike a hobbit. &pin her Cigh five *ake a sip of her drink *ouch items of her c!othing(.e+e!r *e!! her to ho!d our drink for a minute >ther kino comp!iance tests A: See# ;"ali,ication: *his demonstrates ou have high standards and screen potentia! mates. H,ou !ike dogs, donFt ouE (she sa s es, ou pause to process) 0oo!.F H>h man, ouFre not !ike one of those ^B <_ peop!e, are ouEF H,ou seem !ike the adventurous t peF etc. 1C$$ +ou!d be inc!uded in this, as it doesn3t have the po+er of a sincere Uua!if ing remark.

B: C!eate !a44o!t )y val"e-4inging an$ st!ategic vi)ing: 'o not intervie+, but go on a fact-finding mission. 'etermine +here she !ives(gre+ up, +hat she !ikes to do for fun, +hat she does for +ork, +ho the peop!e are +ith her (+a point). Investigate, and +ith each bit of data, contribute an insight(va!ue of our o+n. 2iving her va!ue inc!udes making her !augh, think, and fee! good in some +a , va!idating her, touching !ight! in a non-threatening +a , demonstrating appreciation for her cu!ture, strugg!es and achievements. I ca!! this 3strategic vibing.3 Dhen a gir! offers va!ue, ou can respond b 4 6) 'CVing, or 7) 2aining comp!iance, or -) &eeking )ua!ification. /or eBamp!e, if a gir! sa s she has a tattoo, responses of the above ma inc!ude4 6) &ho+ing her our o+n tattoo and giving a stor behind it that has 'CV spikes embedded. 7) *e!!ing her to sho+ ou her tattoo, even if it3s hidden under her c!othes. -) *easing her +ith 3>h, ou3re not one of those biker chicks, are ouE #ike ou ride our motorc c!e around the suburbs and terrori<e !itt!e kids, and smash mai!boBes +ith a baseba!! bat.3 *his dis)ua!ifies her and makes her +ork to )ua!if herse!f, setting her in our frame. >f course, +ith each of our responses, ou can do some combination of the above. As ou do the above (9-6@ minutes), the target is becoming tru! Cooked. *his phase creates comfort, +hich is not the same as 0omfort (06). Dhi!e creating rapport and doing strategic vibing, pursue J:. ?: Detect I Is: &ta s and ta!ks to ou in an intimate fashion Pecks, reverse kino, smi!es and !aughs, vo!untari! )ua!ifies, offers her name, goes on her o+n fact-finding mission, provides !ogistica! info. >nce she starts touching her hair, or if man other I>Is are present, go to J;. S: Since!e >"ali,ication: Un!ike the prior vague )ua!if ing remarks, Uua!ification is persona!i<ed to our target and is a feedback on +hat ou have discovered from J9.

Admire her positive attributes (not her !ooks). $e+ard her for sho+ing I>Is and attempting to )ua!if herse!f. Use our usua! A- )ua!ification statements. J: Isolate i, yo" haven8t al!ea$yG an$ )egin Com,o!t: At this point ou have reached the Cook, the point +here the target has eBchanged enough va!ue +ith ou to fee! ver comfortab!e +ith ou. At this point, ou cou!d !eave the set and she +i!! be receptive to ou reopening. >r if she meets ou again, she +i!! remember ou because of the depth of our interaction. *he Cook is un!ike the hook from M-, +hich is mere! the point at +hich A6 transitions to A7 because the set is some+hat interested in +hat ou have to sa . *he Cook is much stronger an a!!egiance. Mini-iso!ation is ade)uate but not idea!. If being +inged, he shou!d position himse!f so our obstac!e(s) arenFt +atching ou game the target. *his he!ps !o+er A&'. 0ontinue to bui!d rapport, gain trust, esca!ate kino, )ua!if her. $un usua! comfort routines. &hou!d !ast 7@--@ minutes. #eave her intrigued and +anting more. #ead our convo into seBua! territor once rapport is estab!ished, +hat I ca!! verba! kino. *he combination of !ight kino +ith seBua!! eBp!icit conversation creates a great amount of tension. &ee the Aino chapter on this and seBua!i<ation. 1e+are4 0omfort can ki!! a set5 It is a communit ism that the game is p!a ed in comfort. Co+ever, ou must ca!ibrate and run comfort at our o+n risk. Man times the best sets are based so!e! on high attraction(bu ing temp and seBua!i<ation. &o if ou3re finding ours sets fi<<!ing out or gir!s f!aking, reconsider our use of comfort. F: Win$ $o0n o! escalate: &eed the timebridge, converse some more, timebridge, /*0, eBchange Js, converse, e.ect +ith a hug and one !ast )ua!if ing remark. 0onverse! , kiss or pu!!. ,ou can go indirect and use an M- st !e of gaming. >r ou can sho+ interest immediate! b having dominant kino and bod !anguage. &ince te!egraphing intent and interest through ph sica!it is an I>I, ca!ibrate +ith fre)uent verba! I>'s. *he discrepanc bet+een ph sica! I>Is and verba! I>'s is a form of push-pu!! +hich +i!! cause attraction. Datch d1 eBp!ain his mode!.

Appendi- Fi,e
The d% Archi,es
The *ollo,ing is a chronological compilation o* selected posts by Decibel/

B7=H7HJ: Smiling at a F"ne!al &ad! , I had to go to the funera! of an emp!o ee3s mom esterda . /unera!s he!p remind peop!e to en.o the no+ and be thankfu! for +hat ou have. As I +a!ked do+n the !ine of fami! members, I rea!i<ed as I greeted each, I +as smi!ing. &udden! m !ogica! mind said 3Ce dumm . ,ou3re at a funera!. &top smi!ing53 I have gone about -@ ears hearing peop!e sa 3,ou never smi!e.3 &o as part of getting into PU I have forced m se!f to smi!e +hen I greet peop!e, and +hat I rea!i<ed esterda +as that I have achieved unconscious competence at this ski!!. >f course, socia! inte!!igence needs to override this, but it3s nice to kno+ I3ve made progress +ith this goa!. *here are 8 !eve!s peop!e ta!k about regarding ski!! ac)uisition4 6. Unconscious incompetence. ,ou are doing things +rong and don3t rea!i<e it. 7. 0onscious incompetence. ,ou rea!i<e ou3re doing it +rong. -. 0onscious competence. ,ou are doing it right, but ou sti!! have to think about it. 8. Unconscious competence. ,ou3re doing it right, +ithout thinking about it. I go out and sarge night! a!most never in state, comp!ete! tired from getting up at :AM. Dh E 1ecause I +ant m pickup to be automatic. I +ant to achieve unconscious competence +ith ever thing I do. LBhaustion forces ou out of our head and puts ou on autopi!ot, and as ou ac)uire our ski!!, it embeds on a deep subconscious !eve!.

B7=97HJ: Ta#ing .e0)s into the Fiel$+ AA I3ve gone in fie!d +ith !ots of gu s ne+ to the communit , and I have one primar gripe night after night4 Dhenever their AA kicks in, I hear eBcuses. 3I3m not gonna open her if that3s her mom.3 3*hat3s probab! her bo friend. Ce3!! kick m ass.3 3*he 3re probab! +aiting for their bi!!. Dhat3s the pointE3 >r +hen I give someone an opener I3ve used 6@@@ times, the te!! me it3s not a good opener5 03mon I3ve gotten da 7s b asking about pork chops and puppet sho+s, so I kno, the +ork. >f course, these are the ne+b3s !ogica! mind covering up for their AA. Dh add another +a!! bet+een ou and the setE ,ou3re afraid to open. ,ou3re AA is too high. >k, then sa that5 "o+ I3m encouraging ne+bs .ust to admit it. 3Ce , m AA is too high to open that set.3 2reat, that I understand and can +ork +ith. &o m advice is if ou3re gonna take gu s in fie!d, te!! them ou fu!! be!ieve in AA and ho+ cripp!ing it can be. If a gu can3t open because of it, he shou!d sa so. 1ut he shou!d never create eBcuses or rationa!i<ations, because b doing so he3s heaping !ogica! reasons on top of i!!ogica! ones, and he isn3t rea!! confronting the rea! issue at hand.

?7?7HJ: Ta#ing .e0)s into the Fiel$+ Let%s )o"nce An issue I3m seeing is something akin to premature e.ectu!ation that A/0 Adam ta!ks about. 2u s open a fe+ sets, !ook around and don3t see an thing e!se sarge-+orth , and then +ant to !eave the venue. *he neBt venue ma be a 69 minute drive a+a , but the sti!! +ant to check it out. Dhen the get there, the 3re usua!! .ust as unsatisfied, but no+ have +asted a bunch of time. It seems to come from a desire to 3hunt3 as opposed to 3fish3 for gir!s. 2u s starting out seek )uantit of sets, not )ua!it , +ith genera!! no concept of endurance. M advice has been to fight an temptation to !eave a venue .ust because it3s a !itt!e s!o+. >ften +hen a p!ace is s!o+, ou provide a!! the eBcitement b being the supercoo! dude. &o +h not use this to our advantage and befriend ever one in the p!ace, gu s and gir!sE And +h not +ait for more

peop!e to arrive, and use the proof ou3ve .ust earned to game the ne+ peop!e. M strateg has become that of +orking a room and then using proof to open hotties (A/0 Adam ca!!s this metagame). I3ve a!so heard other PU2s ta!k about .ust hanging around, out-!asting friends, and then pu!!ing the target. *his ma take hours of not active! sarging, but p!a ing it coo!...basica!! becoming a part of her socia! circ!e over the course of --8 hours. And as *' reminds us, gir!s +i!! much more +i!!ing! bang gu s in their socia! circ!e than a re!ative stranger.

?79<7HJ: Ta#ing .e0)s into the Fiel$+ The Set3ac#e! ,ou3re running tight game, getting her 1* up, ho!ding court...then our ne+bie +ing +ho3s been a +a!!f!o+er sudden! s+oops in, '#Vs ou, and tries to game our gir!. >f course, he crashes the set and both of ou get b!o+n out. &o nobod 3s taking her home tonight. It3s the set.acker, the dude +ho3s supposed to be our a!! , but +ho is too timid to actua!! open or too spa<<ed out to +ing correct! , and .ust thro+s himse!f into our set and f!ops around !ike a fish out of +ater, reeking of anBiet and desperation. >r sometimes, the actua!! do have game and get our chick3s J. ,ou gotta set do+n the ru!es +ith these gu s, but even then, sometimes the have troub!e p!a ing fair. I3ve been out +ith a !ot of ne+bs and natura!s. *he natura!s often are predatoria! and are +aiting for ou to spike 1* .ust so the can come in and take her a+a . ,ou don3t +ant to bicker +ith him or b!o+ him out, so it3s a tightrope. 'o ou AM>2 him and tr to recover the set, or !et this one s!ide and have a )uiet chat +ith him !aterE Lither +a , if he doesn3t p!a b the ru!es...no more gaming +ith him.

?79S7HJ: Ta#ing .e0)s into the Fiel$+ Desensiti5ing ,ea!s I am deve!oping +a s of getting ne+bs out their she!!, to stop caring about ho+ others vie+ them, and to react +ith indifference. Part of this is inspired b "#P. Cere are a fe+ +a s I +i!! tr out these desensiti<ing tactics4 6. #oud noises. 0!ap or e!! something near the ne+b3s ear, to scare him. "orma!! , he +i!! turn sudden! or start!e. 1ut the ne+b needs to train himse!f to react s!o+! . A !oud c!ap shou!d cause him to s!o+! turn his head and not be start!ed. 7. 1erate the ne+b. &imi!ar to actua! bootcamp or footba!! practice I3ve seen, and chime in here if ou have eBperience +ith this. 0a!! the ne+b names !ike 3bitch3 and 3assho!e.3 At first, he ma fee! hurt, but eventua!! he needs to become immune to these put-do+ns. -. Push the ne+b. A gu +ho is a!+a s centered +i!! not !ose his ba!ance. Ce +i!! remain upright and stab!e. &omeone +ho is not centered +i!! fa!! back or anticipate the push b !eaning into it. 8. 'issociate. A ne+b gets b!o+n out or can3t approach. Cave him immediate! take that moment and dissociate from it. Vie+ it in b!ack and +hite, fogg , off in the distance, then run the scene over from this P>V. Ce shou!d a!so run the scene back+ards as it rea!! happened, vivid! and from his o+n P>V, but super-fast.

FR+ San Diego S7=-S7B7HJ As ou ma kno+, m /$s tend to be more about concepts rather than HI said this, then that, then I banged her.F &o not much happened per se, but I !earned a s!e+ and deve!oped some ne+ ideas. ItFs a !ong report since it covers - da s, but I think itFs en!ightening. Time7Date ;(-(@=-;(9(@= Location &an 'iego, various bars around the 2as!amp district Logistics Me and $obocat ($0) visiting Adventureindustries, 'a!e and various !oca!

PUAs What 0ent $o0n ;(-(@= &tarted off at a c!ub ca!!ed Iv , +hich is the e)uiva!ent of one of those !oud Co!! +ood dance c!ubs. ,ou kno+ the p!aceOchicks +ith !o+ se!f-esteem or a grudge against men get a!! do!!ed up and hang out +ith each other shutting gu s do+n. In short, the gir!s arenFt there to get !aidG the are seeking va!idation. *hese are +hat I ca!! HmovingF venues, +here sets are constant! on the go and thereFs often some dude +ith a f!ash!ight making sure peop!e donFt b!ock traffic. In contrast there are HstandingF venues +here gir!s stand or sit and donFt do a !ot of +a!king around. ,ou can stop moving sets, but remember "e+ton4 an ob.ect in motion tends to sta in motion. *hese are A'' venues, and in m eBperience ou have to have high passive va!ue (be that bright shin ob.ect) to bring these sets to a stand-sti!! and a!!o+ proper gaming. *his venue reminded me +h M ster deve!oped his high! indirect game, +hich IFd !ong ago abandoned. *o game these gir!s, ou must go eBtreme! indirect4 open the ad.acent sets, bui!d proof, ro!! off into the target set but at that on! +ork the obstac!es, dis)ua!if , neg, /*0. I conceived the - &et $u!e. 2o in and ta!k to our targets direct! (using an indirect opener if ou so choose). If three sets b!o+ ou out +ithout hooking, reca!ibrate to the venue and emp!o strict MM. As a !ast resort I deve!oped *he 1oogie, +hich goes !ike this4 PUA4 Caha, he so ho+ do ou gu s kno+ each otherE C1s4 I>' I>' I>' Pu!!s out ce!! phone I>' PUA4 >h, coo!. (starts to e.ect) Ce , bt+ (!ooks in)uisitive, points to her nose) ou have a boogie (e.ects). ItFs a sniper neg and shou!d he!p !o+er her va!ue and make her doubt her appearance, +hich is her house of cards. Ma be ou can reopen !ater, ma be not, but at !east ouFve done something to counter her I>'s. Man times the move a+a before ou eBpect it, in +hich case .ust e!! HDait +ait +ait5F and then run *he 1oogie. After -@ minutes of this nonsense, I informed m cre+ the Iv +as not sarge-+orth , and +anted to bounce. De then +ent to % 1ar, a much me!!o+er, sophisticated venue in a s+ank hote! (genera!! good p!aces to sarge). >pened a fe+ sets, then one of the &an 'iego gu s named Drench asked me to +ing so he cou!d reopen a 7set. I took the ; (C1 P*) and he gamed

the = (her cousin). M gir! +as a ph sica! therapist, and since I am in a simi!ar !ine of +ork it +as a huge 'CV. *his brings up the concept that 'CVs are sub.ectiveG m career +as a big se!!ing point for this gir!, but the t pica! part gir! probab! cou!dnFt give a fuck. *ai!or our 'CVs to the target. Aino +as on from the start, but it +asnFt unti! I started to seBua!i<e the convo that the interaction made a noticeab!e turn. IF!! get to seBua!i<ation !ater. In this case, +hen she commented on another gir!Fs !egs being hot, I turned this into an invitation for a --some. Dhen gir!s notice ho+ hot other gir!s are, I do a positive misinterpretation that she +ants me to he!p initiate the --some. In this case, she got bashfu! and said H>h, no no noF and I said, H>k, not our t pe thenE *hatFs coo!.F *his sets the ground+ork that ouFre eBperienced +ith --somes and if sheFs interested, ou can make them happen. *his chick is into sports and fitness. Dhen a gir! sa s sheFs ath!etic, seBua!i<ation +ou!d have ou sa the fo!!o+ing4 H>k, so ou must have a great bod . #etFs have a !ook. &tand upOok, !etFs see the butt. Mmm, a!right, IF!! give that an =. (if she comp!ains about the !o+ score, have a fee! and upgrade b @.9) >k, but IFm more of a tit manO!etFs seeOprett good.F *hat sort of thingG keep pushing the enve!ope and see ho+ far sheF!! )ua!if her bod to ou, but donFt seem need or creep . &ubcom ou have high standards and can have our pick of gorgeous +omen. After that point, she +as tota!! into me. I ran m +aff!e )ua!ifier (H&oO ouFre smart, ath!etic, and cuteObut the big )uestion isOcan ou make +aff!esEF) +hich subcoms I need a gir! +ho not on! meets m high standards but can make me breakfast tomorro+ morning after I go home +ith her tonight. &he )ua!ified the !iving crap out of this, going on about her ne+ 1e!gian +aff!e maker. &igns that a sarge is going +e!!4 she insists on giving ou her number, and she canFt stop touching our butt. If ouFve esca!ated and seBua!i<ed correct! , +omen +i!! be thro+ing themse!ves at ou. ,ou might not pu!!, but sheF!! probab! respond for a da 7. ,ou a!+a s +ant her chasing ou +hen ou !eave her, giving her .ust enough to remain intrigued seBua!! . C1 P* !eft because her cousin +as getting bored +ith Drench and +anted to go. I timebridged to &aturda night. De teBted a coup!e times &aturda , but since she didnFt make it do+n to 2as!amp +e didnFt meet up. I !eft her +ith an open invitation to hit me up +henever sheFs in #A. ;(8(@= 1eing %u! 8, the usua! venues +ere prett dead. *ried some da and night game, but nothing spectacu!ar +ent do+n.

'uring the da , me and $0 hung out in #a %o!!a. I created this eBercise and I recommend it to ou and our +ing. ItFs ca!!ed seBua!i<ing the conversation. 5)ee kino chapter on se0uali8ation6/ Datched the fire+orks from a rooftop bar ca!!ed A!titude. *he C1 I gamed didnFt +ant to bounce +ith me to the neBt venue, and nobod +inged me on the obstac!e. &o in spite of massive attraction, I e.ected and the cre+ +ent to &tingaree (+hich IFm to!d is sarge heaven). 'ead there, +ent back to % 1ar, dead, ca!!ed it a night. &ome+here in there I got incredib! b!o+n out b a !arge miBed set, !ike the ver first one I opened. It +as then that I rea!i<ed there is something ca!!ed $oom Perspective. Co+ does the $oom as a co!!ective entit vie+ ouE Dhen I got b!o+n out, the A/0 ma have had his fee!ings hurt, or tried desperate! to recover the set, or started a fight +ith the dudes +ho +ere !aughing at him. 1ut +hat does the $oom seeE ,ou .ust entered a set, and sudden! ever oneFs !aughing. *he $oom doesnFt kno+ that the Fre !aughing at ou and not +ith ou. It doesnFt matter. &mi!e and e.ectG the $oom +i!! think ouFre the !ife of the part . ;(9(@= 1ack in action. De hung out at 'a!eFs beach house. 1ut since &' banned a!coho! on the beach, the C1s +ere sta ing a+a . I had brunch +ith a coup!e, and the gu +as in the communit before getting monogamous. Ce had a concept he c!ever! ca!!ed the %'2/ pheromone. >nce he committed to his #*$, gir!s +anted to s!eep +ith him. *his is because he began to emit the %ust 'onFt 2ive a /uck pheromone, +hich is a huge turn-on to +omen. 0hecked out Airport #ounge at night (as seen in Meho+Fs vids) but nobod there et, so +ent back to % 1ar. Dorked the room, got some fun convos going and eventua!! sett!ed in +ith C1 #ovescoke (+ho does !ines at home once in a +hi!e because coke he!ps her gain insight into situations). &he is a massage therapist. De eBchanged some massages and (in spite of her bo friend +ho +asnFt present), she comp!ied +ith a!! basic kino. C1 #ovescoke taught me a !ot. In fact, I no+ see that in the c!assroom +e ca!! the fie!d, +omen are the educators. *he are constant! offering usefu! information about ho+ gir!s process the +or!d. De can take that and use it in future sets. /or eBamp!e, C1 #ovescoke and I had some conspirac +here +e observed ho+ peop!e +ere dressed. Prett bo s +ith tight shirts +ere c!ue!ess seBua!! G the +ere a!! about p!easing themse!ves, and their shirts represented ho+ tight the must fee! inside their chest (her seBua!i<ation, not mine). I can no+ take this !itt!e insight and use it to co!d

read other dudes in the future. I rea!i<ed there are various !eve!s of va!ue eBchange. *he most superficia! +ou!d be something !ike HCi m name is %oe.F HCi, IFm 0ind .F *hen, a bit deeper va!ue eBchange +ou!d inc!ude each part sa ing +here the !ive or +hat the do for a !iving. 'eeper va!ue eBchanges inc!ude something seBua!. I sho+ed a pic of one of m gir!friendFs tits, and C1 #ovescoke sho+ed me a pic of boobs on her phone. Another seBua! eBchange of va!ue inc!udes one sneak trick I thought up +here I te!! a gir!4 HDhen IFm +ith a gir! and IFm not tota!! fee!ing it, if she ^B <_ to me, I turn into a raging seB fiend. *hatFs !ike m +eak point5F At this point, she sa s H/or me, +hen a gu starts ^B <_ itFs game over. I have to have seB.F &o for C1 #ovescoke, having her nipp!es sucked +as her seB trigger. In this +a , anti-#M$ too!s can be e!icited from each gir!. As I said, prett sneak . Dhi!e I +as ta!king to her, I began !eaning in and speaking soft! into her ear. &he did the same back, so that soon enough our cheeks +ere touching as +e spoke. *his is one step in esca!ation to the kiss. Lven if ou arenFt discussing an thing terrib! private (in this case, it +as about drug use, so there +as some p!ausib!e deniabi!it in effect), itFs effective to soften our vo!ume and !ean in to her ear. I reopened the set !ater b m se!f. Dhen I started ta!king to $0Fs target, it +as !ike meeting C1 #ovescokeFs dad in the !iving room before the first date4 I had to start a!! over +ith the shit tests and intervie+ing. /ortunate! , I +as tr ing out some ne+ anti-intervie+ tactics (credit 0ro) (HI didnFt kno+ this +as an intervie+. Am I getting paid for thisE &erious! , +hat channe! +i!! this be onEF) Aeep teasing if she keeps intervie+ing, unti! itFs c!ear ho+ socia!! inept sheFs being. ,ou donFt +ant to start )ua!if ing or .umping through a series of hoops. 1ut ou do need to +in over the obstac!e, even if ouFve a!read covered this ground +ith our target. I gamed them for a +hi!e, but once I mini-iso!ated C1 #ovescoke, her friend eventua!! got bored and rea!! drunk. C1 #ovescoke to!d me (in so man +ords) that $0 hit prese!ection too hard and if he +anted to have seB +ith her friend he needed to coo! it. If a target doesnFt eBp!icit! sa she +ants to fuck, sometimes ou can get this out of the obstac!e. $0 had +andered off. Dhen a pu!! is impending, our +ing shou!d be nearb . &o the !eft. What yo" $i$ 0ell *his +eekend +as a great !earning eBperience for both me and $0. *he more ou go out and push the enve!ope, the more ou !earn +hat ou can get a+a +ith.

What yo" $i$ 0!ong an$ co"l$ have $one )ette! *here are a!+a s +a s to tr pu!!ing. *he !ine for the gir!Fs bathroom +as !ong at % 1ar, and +e +ere sta ing upstairs in the hote!. $0 cou!d have offered his target to come up and use our bathroom, and then esca!ate there. Dhen m 7-set +ith C1 #ovescoke decided to take a cab home, I shou!d have offered to drive them back. the! comments IFve set aside timebridge menta!it and no+ go out +ith &"# menta!it . ItFs a +ho!e nother !eve!4 ou are uncompromising, aggressive and a!+a s !ooking for the best gir! +ith the best !ogistics. ,ou can minimi<e comfort and .ust re! on seBua!i<ation and attraction. Cit on gir!s5 C1 #ovescoke to!d me she hates &an 'iego men because the donFt kno+ ho+ to hit on gir!s. 2ir!s +ant thisG give it to them. >ne ne+ opener that +orked +e!! for me +as4 HCe , is this the best bar for peop!e +atchingE ,ou !ike to peop!e-+atch, rightE De!!, of course ou do. Domen are a!! vo eurs.F *his immediate! seBua!i<es the convo and gives ou a reason to be approaching, and sets up a conspirac p!ot!ine. I a!so !earned to use the fo!!o+ing because of a!! m b!o+-outs at Iv 4 H&o, IFm visiting from #A. I thought because m first night I +ent to Iv , &an 'iego had no !ove for me.F Cere, the sets started )ua!if ing ho+ friend! the and &an 'iego +ere compared to #A. *his is a cha!!enge +hich compe!s other+ise unfriend! peop!e to start +arming up to ou. &o no more b!o+-outs. I ca!!ed this m "o-#ove-In-&an-'iego campaign, but ou cou!d .ust as easi! use +hatever to+n ouFre in even if itFs not far from home. *here is some aspect of *ourist Menta!it here tooG a gu visiting a to+n +i!! !eave and ma never come back, so this can permit a +oman to misbehave for that night. ,ou +ant our gir! to start touching ou, so ou can find +a s to bait the convo to e!icit reverse kino. LBamp!e4 H%ee<, I ate so much toda . M be!! fee!s enormous5F *his baits her to rub our stomach, as ou .ut it out. LBamp!e4 HI bet ouFd probab! kick m ass in arm +rest!ing. #etFs see.F /ee! her arm and then offer up ours, and she fee!s ou up.

J79=7HJ+ Ho0 to have a goo$ night A )uick note on +hat I think constitutes a 3good night3 out, and ho+ to avoid 3bad nights.3

6. &ta se!f-amused. 2u s running the same canned stack over and over are not se!f-amused. 1ut being spontaneous and situationa! makes the night fun. As ou get b!o+n out a!! over the room, ou sti!! +a!k a+a +ith fond memories, because ou kept ourse!f !aughing the +ho!e time. 7. LBpand our rea!it . #earn things about ourse!f, +omen and peop!e in genera!. &ome of the simp!est concepts !ike prese!ection can be mindb!o+ing +hen ou see them in effect. -. $ecogni<e our &Ps and push ourse!f outside our comfort <one. &et a ne+ persona! best for ourse!f. Lven if it3s .ust getting our first J, it serves as a mi!estone ou3!! a!+a s remember. 8. /ee! va!idated b +omen. #ook past the b!o+-outs and focus on the I>Is ou got. *here is a !ot of negative se!f-ta!k in the communit , and so it3s eas minimi<e our sma!! successes +ith !adies and focus on the big goa! of getting !aid. 9. Ln.o giving va!ue +ith no eBpectations. 1e charming, funn and kind. If +omen don3t +ant to accept our va!ue, consider it their !oss and move on. 'on3t tr to t+ist someone3s arm to take our va!ueG there are p!ent of peop!e out there +ho are easier to p!ease, and spend our time +ith them instead. #ike+ise, if gir!s don3t reciprocate and offer va!ue, don3t think an thing of it. :. &ta the fuck out of our head. 'on3t keep kicking ourse!f for scre+ing up the !ast set. 'on3t keep tr ing to 3p!a 3 our target. 1e in the moment and feed off of +hatever our target is giving ou. %ust en.o each interaction and stop over-ana! <ing it a!!. *he time for that is +hen the night is over.

J7<?7HJ+ Ho0 )ig is yo"!:::!ealityI Dhen +e get into PU most of us have a specific rea!it . It sa s things !ike 3gir!s on! +ant monogam ,3 3be the provider +ho bu s dinner and a movie,3 3it is our !ot in !ife to take +hat is given to ou.3 1 contrast, there is the other rea!it , ca!! it the PUA $ea!it or +hatever name suits ou. *his rea!it sa s 3+omen don3t mind having po! gamous #*$s,3 3don3t be the Provider, be the #over,3 and 3don3t accept +hat fa!!s in our !ap...go out and make things happen.3 #iving in the chode rea!it is fine for some. It3s safe, the can hide behind their +a!! of eBcuses and never fee! endangered. Dhen the fina!! get into

a #*$ the 3re gratefu! some : or ; finds them attractive, and +i!! even marr them .ust to have compan , seB and to fu!fi!! +hat fami! , friends and societ sa is norma!. 1ut me and m friends prefer the a!ternate rea!it . I +on3t ever accept an thing that is not up to par. I3!! re.ect i!!-meaning va!ue-takers, gir!s +ho can3t appreciate me, or an re!ationship that isn3t hea!th . And I3!! keep searching for +omen +ho do meet m eBpectations, because 0omen a!e in a)"n$ance. Dhen I approach a +oman, it is a given that she is attracted and +ants to s!eep +ith me. *hat3s not even in )uestion. M ne+ rea!it sa s ou can co!d approach a 6@ and get her )uick! into bed +ithout bu ing her dinner, +ithout supp!icating in an +a , +ithout compromising our va!ues. I am the shit and gir!s need to +ork for m attention. &o no+ from this ne+ perspective I see ho+ much bigger m rea!it can be. I3m sure there are +ise peop!e out there +ho have an even grander rea!it , +ho better understand the vastness of the universe and kno+ +hat is fu!! possib!e. And then there are those +ith ver tin rea!ities, +ho strugg!e to appreciate even the most basic beaut that3s in front of them, +ho +e!come !one!iness, anguish and suffering as inevitab!e. *he haven3t et s+a!!o+ed the b!ue pi!!. I recommend ou make our rea!it as big as possib!e.

J7<S7HJ+ Fea!lessness+ a #ey to victo!y Dhen ou sit do+n and have a bo+! of soup, ho+ much fear do ou fee!E 'o ou have to think t+ice about itE *a!k ourse!f into itE 1!ast !oud music to get ourse!f into the mindset to eat soupE Probab! not. Dhen ou +a!k up to a turbo hott , ho+ much fear do ou fee!E &hou!d be the same. #ike eating soup. A huge ke to success is fear!essness. And a big hurd!e +e face is fear...fear of esca!ating too fast, fear of re.ection, fear of the AM>2.

*he %udge recent! to!d me about a set +here he +as AM>2d b a dude +ho tota!! thre+ him off-guard and in so doing, commandeered the set. Co+ did the AM>2 do thisE 1 kissing *% on the cheek. *e!! me, if ou needed to take a set over, +ou!d ou have it in ou to kiss the orbiter(AM>2 on the cheekE Dh notE /ear of !ooking )ueerE /ear of getting beat upE In the game, fear is not our friend. *o be tru! a!pha, ou must +a!k +ithout fear. It is attractive to +omen, and it can3t be faked. ,ou must saunter into private parties as if invited, ou must pu!! gir!s into !ocations that are off !imits, ou must confront scar gu s +ho +ant ou gone, ou must go up to +omen +ho seem unobtainab!e and act !ike ou o+n their ass. Dithout fear. 1ut fear is a defense mechanism, and it3s there for our o+n protection. It can be hea!th . 1ut !et3s compare it to chronic pain. If ou +ere to sprain our ank!e, the pain is our bod 3s +a of sa ing 3Ce , stop +a!king around, dumbass.3 *he pain gets ou off our ank!e so it can hea!. 1ut man times, once the in.ur reso!ves chronic pain can set in for no hea!th reason. /ear, !ike pain, to an eBtent is hea!th . 1ut it can a!so turn into a chronic irrationa! condition that serves ou no purpose. In pain management, there is a concept ca!!ed desensiti<ation. If ou repeated! touch a painfu! area, ou become desensiti<ed and thus the pain stops being as bothersome. Use desensiti<ation in fear management as +e!!. I3m not a big be!iever in dai! affirmations. I am the shit. If I have to keep convincing m se!f ever da that I3m the shit, then I rea!! don3t be!ieve it. Affirmations are fine for starters, but there becomes a point +hen ou3re .ust tr ing to convince ourse!f of our o+n merit instead of rea!! be!ieving it. &imi!ar! , ou can fake being fear!ess to start the process of desensiti<ation, but sooner or !ater, ou must stop faking it and start !iving it. %ust !ike eating soup.

F7?7HJ+ FR+ Halitosis o, the A4ocaly4se Time7Date ?(9(@=

Location *he 2riffin and 1igfoot 1ar in #os /e!i< Logistics Dinging # sander, Datanabe and Megatron 2uest appearance b 4 U! sses and gu s from &anta Monica #ounge What 0ent $o0n *he evening started simp! +ith a teBt message from me to # sander4 d14 7nite +e !ord # sander4 ,es5 d14 6@ K 2riffin. #eave chode K home # sander had been choding out hard !ate! , and tonight I +anted him to bring his best game, +hich he did. I spend a fe+ hours g!ued to m *V p!a ing the game Destroy all $umansG then take off +ith Arctic Monke s b!asting. Arrive at 6@ and meet up +ith the fe!!as. *he threat of the chode s!ap hovers in the air, but this night I decide to be eas on them. *his night I resort on! to sco!ding and name-ca!!ing. De descend on the venue !ike a s+arm of !ocusts. Lver one is in a ta!kative state. De !ord. *he ta!ent is average, but one chick catches m e e. &he has 0!eopatraFs hair-doo, so she is dubbed C1 0!eo. I !ike her dress and so I te!! her4 d14 #ove this dress. ,ouFve got c!ass. 1ut I canFt hit on ou. ,ou arenFt 76. Co+Fd ou sneak into the barE &he sa s sheFs o!der than 76. $aG )illy mu**in+ you 4ust 2uali*ied and you don?t even kno, it/ IFm a bungho!e. I chode it up, esca!ate a bit, introduce her to # sander. &heFs not giving me much va!ue to +ork +ith, but then sudden! 4 0!eo4 ,ouFre a 0apricorn. d14 "o. 0!eo4 PiscesE d14 IFm a #ibra and ouFre a #eo. 5Don?t ask me ho,+ but I can guess signs like D out o* 9O times/6 0!eo4 ,es.

d14 >f course. M +ho!e fami! is #eos. 0!eo4 &o do ou fee! the need to put !abe!s on thingsE d14 "ot at a!!. ,ouFre enigmatic. *hatFs a good thing. If I cou!d read ou !ike a book I +ou!dnFt be ta!king to ou. DeFre no+ speaking c!ose, face-to-face, and as I start to amp it up, her friends intervene and pu!! her to the bar. 'idnFt get a chance to reopen. # sander and I +ork a 7set of so-so Asians. /or kicks, I dep!o the c!a+ +hich seems to freak her out, but sheFs incapab!e of escape. I te!! her sheFs seB as fuck S a lie S and she !ooks !ike she +ants to peepee her pants and ca!! her momm . &heFs too sma!!G I toss her back. "ote to se!f4 I need to start acting this +a around turbos too. I te!! # sander !ater +e need to bounce. Datanabe has +orked the room but M* keeps taking his targets. I te!! him HItFs good to be ab!e to +ork the room. 1ut no+ reopen one gir! ou !ike and pu!! her. And if ouFd esca!ated, M* +ou!dnFt be stea!ing our targets.F Ce agrees it +as his o+n fau!t, but the thought of pu!!ing is outside his rea!it for no+. 1ut not for !ong. # sander has reopened an Ita!ian gir! a fe+ times, so I suggest +e take them to 1igfoot do+n the street. Ce agrees. I tr +inging, but ever time his obstac!e opens her mouth, a stench so unho! and evi! b!asts out. M gut is in knots from it, and I have to stand about 6@ feet a+a and speak via megaphone. Ca!itosis of the Apoca! pse. De +a!k to 1igfoot. CeFs been steadfast! +orking on kino, though itFs never enough for m satisfaction. An time he asks me ho+ he can respond to something a gir! sa s, I te!! him4 H*here is on! one right ans+er4 kino. "evermind ho+ to respond. %ust kino. Aino the !iving fuck out of her5 "eBt time I see ou in set for -@ minutes ou better be making out. *a!king is the interrupt in our game.F Ce agrees. An +a I !et him +ork his target +hi!e I sta c!ear of CoA. I need p!ent of venti!ation to be around this chick. M stomach knots start to unrave!. I?m pa,ning this girl o** 1)1P/ De enter 1igfoot and fortunate! thereFs a 7set at the bar, one of +hom is one of the cutest gir!s of the night. I approach +ith m ne+ !ad friends, then )uick! rid m se!f of them and open the 7set. De hook, I p!o+. C1 #itt!e Mermaid (she +orks at 'isne and +e agree that Arie! is hot).

d14 De +ere .ust at the 2riffin. I !ike the bar, but I have a prob!em +ith the bathroom. #M4 Dh E d14 *here are no !ocks on the doors. If I +ant to get intimate +ith someone, sometimes I canFt get an privac . Peop!e are +a!king in and out. #M4 Cahahaha5 d14 CuhE Dh is she !aughingE #M4 ,ou are so charming5 d14 I kno+. IFve put a !ot of +ork into it. ItFs off and running. A coup!e rea!! strange dudes covered in tats but dressed in b!ack suits stand there staring at her for a good 69 minutes. &taring !ike sheFs a fucking *V set. 0reep . I e.ect, one moves in. Ce sta s there even +hen I reopen, p!o+, and she tota!! ignores him. *his has never happened to me. Most gu s vapori<e, but heFs not budging. Ce doesnFt sa much. Ce .ust stands there and stares. "ice game, budd . Datanabe did his best to take him out, but the dude +as persistent. At one point she !eaves for the bathroom and I te!! her to see if the door !ocks (+ink +ink nod nod. &he gets the subteBt that I intend to bang her in a sta!!, and she !aughs. 2ood gir!). &he !ater te!!s me she can get - guests into 'isne !and. d14 A+esome. DeFre going. (Cand her m phone) #M4 I donFt remember m number. d14 DtfE #M4 De!!, I have a bo friend. d14 *hatFs great. De shou!d hook him up +ith m gir!friend. #M4 Ma be +e shou!d. d14 'oes he !ike ba!d gir!sE De!!, sheFs not tota!! ba!d. %ust thinning a !itt!e on top. #M4 Uh, no he doesnFt. 1ut heFs in &ingapore right no+. d14 I see. #M4 Dhere is our gir!friendE d14 >h, sheFs a!so in &ingapore. #M4 ,ouFre making this up5 d14 I actua!! have ? gir!friends. &ee, there are seria! monogamists and there are para!!e! po! gamists. #M4 Dhich are ouE d14 IFm a para!!e! po! gamist. #M4 IFm a seria! monogamist +ho +ants to be a para!!e! po! gamist. d14 I figured.

(&he had ear!ier to!d me ho+ >0' she is but ho+ frustrated she +as over it. I to!d her that having been that +a m se!f, she shou!d re!aB, go +ith the f!o+ and act norma!. I to!d her I don3t +ear a +atch because 3Dherever I am is +here I +ant to be, and I3!! !eave +hen I3m good and read .3 &o her seBua! comment +as tota!! in !ine +ith her persona!it ). d14 ,ou rea!! shou!d act out of character and be impu!sive. #M4 I shou!dObut I canFt. d14 De!!, ou better te!! this gu 5pointing to hoverchode6/ IFm sure our bo friend +ou!d be happ to kno+ ou3re !o a!. IF!! be over there if ou change our mind. *t !. I hang out +ith m homies. *hen +e sp!it. U! sses invites us over to his pad do+n the street for +ine and meat. As me and # sander are +a!king to our cars, a teBt from Datanabe comes in4 HIt has been brought to m attention b m genera! hea!th practitioner that ours tru! has the o!e hiv. thatFs right aids. bummer huhE Cave a great night5F # sander and I are stunned. 1ut then things .ust donFt seem right to me, and I +onder if itFs a hoaB. Datanabe !ooked happ a fe+ minutes prior to the teBt. And +ho sends out a mass teBt !ike thisE Megatron has a t+isted sense of humor, but heFd never p!a a .oke !ike this. De drive to U! ssesF p!ace and then ca!! Datanabe. It goes to voice message. De ca!! Megatron. Ce te!!s us Datanabe had had his phone sto!en. M ster so!ved. &ome peop!e are rea! fuck-ups +ho need to get a c!ue. De ce!ebrate !ife at 0!ub U! sses. Dine and meat, po!itics, and ho+ to proper! fuck a gir!. *his !ifest !e rocks. What yo" $i$ 0ell Lh, not much. What yo" $i$ 0!ong an$ co"l$ have $one )ette! I get the bo friend card A #>*. ItFs never an I>' or shit testG the gir! honest! is !o a! and doesnFt +ant to cheat. IFm sure if you had a 2/ ouFd +ant her to act the same +a . IF!! p!o+ past it no+ a fe+ times, but there gets to be a point +hen it isnFt +orth the effort. If a gir! is tr ing to avoid the gui!t of cheating on her 1/, then IFm fine to !eave her be. Dith #itt!e

Mermaid, I suggested the pu!!, tried to timebridge, but she +as a no-go. I think a make-out +ou!dFve f!o+n, so neBt time IFm +orking to+ards that, even +ith a skinhead creepster breathing do+n our necks.

F7<H7HJ+ It%s a)o"t )oth I kno+ this topic has been beaten to death, but good game means tight inner game A"' outer game. Dhen I +atched the 1!ueprint, I thought m game +as prett good. 1ut 1P got me thinking that I +asn3t actua!! getting the resu!ts based on m core identit (confidence. If gir!s +ere attracted to me, there +as a!+a s the possibi!it that it +as m routine, m peacocking, etc. &o after the 1P, I stripped m game a!most comp!ete! do+n. *he goa! +as to make sure that gir!s +ere into me for ML, not an sort of crutch I3d been re! ing on to gain attraction. I +anted so!id core confidence, and if I +asn3t getting the success I sought, I kne+ +hat eBact! to b!ame. I +anted to +ipe m s!ate c!ean and restructure m entire approach. *he prob!em is, as I3ve been going out re!aBed and confident, m subcoms being better than ever, m in-fie!d success has rea!! taken a hit. #ast night I got b!o+n out b ever set. *his doesn3t affect m state, but as a tactician, I have to ana! <e this and see +h I3ve been regressing so hard these past coup!e months. Dhat I rea!i<ed is the obvious - tota! game invo!ves dia!ing up our inner game, but that isn3t enough. ,ou have to sti!! use a!! the too!s in our too!boB. I rea!i<ed I3d given up seBua!i<ing, strategic vibing, comfortbui!ding, and have on! depended on being present and in state. 1ut after this transformation happens and ou don3t start imp!ementing the tried and true tactics, a!! ou3re doing is f!uffing. And +e a!! kno+ ho+ seB that is. &o after a bunch of sou!-searching, it3s become c!ear that I need to get m se!f back to the foundations of good outer game.


F7<B7HJ+ The 0o!l$ is !o"n$ It3s not f!at. It3s round. I have abso!ute certaint eBperience. in this notion in spite of no actua! first-hand

Dh is thisE 1ecause since I +as a bo , peop!e have been dri!!ing into m head that the +or!d is round. I3ve seen pics from space, g!obes, teBtbook descriptions. 1ut granted, this is sti!! a!! second-hand information. It +as not a!+a s the case. #ong ago Mesopotamians used to think the +or!d +as f!at. *he be!ieved it, and fear of fa!!ing off the edge ma have prevented eBp!orers from sai!ing off to go have a !ook. *his concept da+ned on me recent! +hen I +ondered +h some gu s take !onger than others to eBce! at seduction4 for some, the +or!d is and a!+a s has been f!at. /ear keeps some gu s from sai!ing to the peripher G their be!ief that the earth is not spherica! is .ust as deep! seated as m be!ief that it is. It3s not something ou can reason a man into. Ce +i!! simp! not +e!come something this bi<arre into his rea!it , and even +hen he goes to take a !ook for himse!f, it ma take ears before he is so convinced of his findings that the form a true be!ief. /or -= ears I be!ieved the earth +as f!at. *hen a sho+ came on *V te!!ing me, 3Ce , ou kno+, it3s round. 2o take a !ook.3 &o gradua!! over the course of the past ear I3ve been convincing m se!f of +hat "#P ca!!s the territor , and undoing m conviction in the map. 1ut it3s been a !ong road to this point. Lver negative reference eBperience has fed into m !ongstanding be!ief. If a gir! f!aked it +as never because gir!s are .ust natura!! f!ak (+hich +e no+ kno+ to be the truth), but that the +ere responding to something about ML. Dhen I didn3t approach a gir!, I had no idea it +as due to AA, but b!amed m se!f as socia!! inept. And so on. Lach re.ection and hurd!e fed into m o!d +a of thinking. And as m map became more vivid, m fear and aversion intensified, further keeping me in m p!ace. "o+ +henever I hesitate in fie!d, I te!! m se!f 3the +or!d is round.3 And !itt!e b !itt!e I3m starting to be!ieve this.


9H7B7HJ+ A!e yo" a close! o! a lose!I *here are on! t+o +a s a set can end4 ou can !ose it, or ou can c!ose it. *he +ords !ook the same, but the menta!it behind each is +or!ds apart. ,ou can rea!! on! get good at consistent! seducing +omen b thinking !ike a c!oser. Cere are some +a s to kno+ +hich categor ou3re in4 6. A !oser !ooks for eBcuses not to open, not to game, not to pu!!. Ce +i!! se!f-sabotage +ith reasons !ike 3oh, there3s no p!ace to !ock in3 or 3oh, she3s driving her friends home tonight.3 A c!oser thinks 7 steps ahead, creative! figuring out +a s to shoot do+n her ob.ections or to b -pass !ogistica! hurd!es. 7. A !oser basks in the g!o+ of fema!e va!idation, happ to go home a!one because he3s 3improved his ski!! set.3 A c!oser is not content +ith .ust getting attraction and va!idationG if he isn3t c!osing he isn3t comp!ete! satisfied +ith his night. -. A !oser sett!es for a J +hen a pu!! can be had. A c!oser rea!i<es once a gir! is out of his sight, her 1* drops and the chances of c!osing drop. And so, he pushes that interaction as far as he possib! can...that night. 'espite the common misnomers, A "UM1L$ I& ">* A 0#>&L, it3s .ust one part of timebridging. And A AI&& I& ">* A 0#>&L, it3s .ust a rung in the esca!ation !adder !eading to seB. 8. A !oser puss foots around, dep!o ing a!! sorts of amusing tactics and shenanigans that ma be entertaining but do nothing to make her fee! he is seB-+orth . A c!oser makes it ver ver c!ear +hat his intent is - to get !aid and takes fu!! responsibi!it for +hat is about to happen. 9. A !oser fai!s to esca!ate as the +indo+s open. A c!oser +i!! not on! p!o+, but pr +indo+s open to a!!o+ him the chance to esca!ate. I am not hating on !osers hereG being a !oser is a necessar part of the transformation most gu s here +i!! go through on the path to being a c!oser. I am reminding ou not to get stuck too !ong in !oser mode +hen ou shou!d have the c!oser mindset. 1efore ou can become a c!oser, ou must

think !ike a c!oser. A c!oser is hungr , a c!oser is uncompromising, a c!oser 0#>&L&.

9H79H7HJ+ Women a!e in ABD.DA.CE 'o ou rea!i<e ho+ man hot +omen there areE *here3s a shit !oad. I3ve been doing this for a ear and a!most never run into the same hotties on different nights. 1ut have ou rea!! interna!i<ed this factE #iving a !ife of abundance, as +e sa in the communit , doesn3t mean ou necessari! have +omen coming out our ears, but it does mean ou fu!! understand that there are +aaaaa more chicks out there than ou cou!d rea!istica!! game. &ome gu s are gaming +ith the opposite mindset4 scarcit . I3m gonna break do+n the difference4 6. If ou get a J from a gir!, ou ca!!. And teBt. And ca!!. And ca!!. And teBt. And she doesn3t respond. &he doesn3t ca!! back. ,ou do this for +eeks. ,ou go to +here ou met her hoping she ma sho+ up again. ,ou are !iving in a scarcit rea!it . *he gir! on the other hand has so man options for seB and dating that she doesn3t need to take our ca!!, respond, or go out +ith ou. &he ma not even remember +ho ou are and she3s certain! not sitting around thinking about our ass. &he is !iving +ith an abundance menta!it . ,ou +ant to have her menta!it . *here is a !ine dividing being persistent and not kno+ing +hen to !et it go. /ind that !ine. 7. If a gir! gives ou attention and ou get her attracted, ou fai! to give strong statements of intent or to esca!ate seBua!! . ,ou don3t +ant to !ose the set b being too aggressive. Dh the fuck notE *here3s another hott +aiting for ou on the other side of the bar, but ou3ve ac)uired a mini-oneitis. "ot good. Cer attraction to ou is meaning!ess. &he3s a stranger in a bar. Dh shou!d ou even 0A$L +hat she thinks about ouE Dh ...because ou3re in scarcit mode. -. Lver gir! ou meet is a potentia! !a . ,ou ma even AM>2 our +ing to game her. ,ou ma not even be a!! that attracted to her !ooks or persona!it . If ou3ve adopted an abundance mindset, ou +i!! find other ro!es for her in our +or!d. Make her a friend. Invest time in her socia!

circ!e. 2et the ug3s phone number and use her as the gate+a into that circ!e. "ot ever gir! has to be a 3target.3 &trategi<e !ong-term and don3t !o+er our standards or neg!ect our friends and +ings for some bird. 8. ,ou do manage to get the gir! out on a da 7. $ed f!ags go up. &he3s c!ing . &he3s got a bad temper. &he makes it c!ear she +ants a sugar dadd . >r ma be ou suspect she has a fi!th t+at. 1ut do ou ho!d back in spite of +hat our instincts are te!!ing ou, or do ou bang someone .ust because she3s a +arm ho!eE ,our penor is a gift, and ou shou!d grant it to +omen +ho are +orth of it. 9. ,ou are ever so carefu! not to sa an thing that might offend her. ,ou constant! agree +ith her. ,ou don3t tease her or ca!! her out on things ou find +eird or disagreeab!e. ,ou begin investing in the conversation much more than she does. ,ou3ve no+ entered the intervie+ phase of the re!ationship, and sad to sa it, she3s the one doing the intervie+ing. ,>U must be a!+a s screening CL$. Caving a scarcit menta!it !eads to need behavior and a!! the subcommunications that go a!ong +ith it. And nothing turns +omen off faster than gu s +ho sme!! !ike desperation and fear. If ou rea!! tru! don3t give a crap, it3!! sho+. And +omen +i!! !ove ou for it.

9H7997HJ+ 6!emat"!e EMect"lation I think A/0 Adam coined this phenomenon. I see it a !ot in fie!d and I3ve been gui!t of it in the past. 1ut be!ieve me, +ork through it and ou3!! be much happier. A set is going rea!! +e!!. &he3s !aughing at our humor, comp! ing, giving ou I>Is up the +a<oo. &o do ou pu!! or at !east get the JE "o, ou e.ect. ,ou reopen again. Ma be she3s as receptive as before, but often times, not. ,ou game a bit more, not as eas to spike 1*. ,ou e.ect. ,ou reopen one more time. &he cou!dn3t care !ess about ou, and ou !eave et again. It3s .ust !ike baseba!!. &trike one...ok, not great but she3!! give ou another

shot. &trike t+o... ou better hit a home run neBt time, sonn . &trike three... ou3re done. If a gir! is attracted, 2AML her. *r not to e.ect if ou think she3s '*/ and ou !ike her. Di!!ingness to +a!k is a strong s+itch, but man times in the interim her 1* drops, or some other dude s+oops in and games her. ,ou3re a!!o+ed to reopen her once. After that, sta in set and get the digits or seed the pu!!(bounce. &o +h do gu s suffer from premature e.ectu!ationE *he root can be issues !ike trigger anBiet , deservedness, and most common! a desire to not do an thing to ruin the attraction ou3ve cu!tivated. *his is one part scarcit menta!it , one part va!idation-dependence, one part being in !oser mode (search m posts for further discussions of these). 'oing some honest sou!-searching +i!! he!p sort out the cause. &ometimes it3s because our +ing is bored or has e.ected, and ou3re thinking more about his +e!!-being than our penor3s. Cere3s +hat ou can do about it4 6. Dhen ou fee! the urge to e.ect, &*>P. "othing is more important than gaming her. ,our +ing +i!! be .ust fine... ou can teBt him !ater to catch up if needed. ,ou don3t "LL' +ings to get !aidG don3t turn them into a !iabi!it . P!ant our feet there and don3t !et them move. 7. Cer attraction doesn3t matter. Adopt an abundance menta!it . It3s super that for the first time in our A/0 eBistence ou3ve got a hot gir! !aughing, doing spins, kissing our cheek. Props. 1ut don3t get addicted to that fee!ing, because it3s ego-based. /uck the ego. -. If ou run out of things to sa , start hitting on her. *e!! her ho+ much ou +ant to bang her $I2C* ">D, comp!iment her rack and ho+ nice it3!! !ook +rapped around our cock !ater on, or do some random kino !ike hairpu!!ing. &ta out of our head and get in touch +ith our mascu!ine po!arit . 8. If she I>'s, ou can brief! I>' back. 1ut get to the reason +h it3s happening4 ou aren3t +orking hard enough to keep her attracted. &pike 1*, 'CV, esca!ate. 'o the things that cause her circuits to !ight up. 1ut e.ecting +hen she starts sho+ing signs of disinterest is !ike +aving a +hite f!ag and retreating +ith our tai! bet+een our !egs. 9. Make out +ith her. &top ta!king, start doing. Make her horn , not so much +ith our +ords but +ith our dominance. Push ourse!f past the point of no return. &ink or s+im, .ust pu!! the trigger and see +hat happens. ,ep, ou3!! risk !osing a!! that !ove! va!idation, but so be it.


9H79B7HJ+ 6sycheG 2isce!aG 6eno! *his is the socia! artistFs triad4 Cis Ps che. Cis Viscera. Cis Penor. *his is some rea! m stica! shm stica! ne+-age bu!!shit. >k, dig this. 6syche A!! the stuff going on in our head. I mean /reud3s definition here, subdivided into4 6. Id. *hese are our unconscious, instinctua! drives. 7. &uperego. *his is our conscience, taking into account socia! norms and mora!it . -. Lgo. 2overns the above 7 conf!icting forces. 1ut on another !eve!, has to do +ith our pride, the undermining arch-enem of our se!f-confidence. 2isce!a *his is our gut, inc!uding our heart and our co.ones. 6eno! ,our mascu!ine po!arit O our seB drive. #et3s !ook at some eBamp!es of ho+ these three forces interact, oka E 1pproach 1n0iety /or the most part, this is a viscera! response. ,ou see a perfect 6@ standing in the free<er section, and ou unsavori! crap our pants. ,our mouth gets dr , our pa!ms +et. ,ou free<e up. *his is a gut reaction. &ocia! artists train themse!ves to s)uash it, but that3s .ust their Ps che momentari! dominating their Viscera. *rue, a sma!!er part of AA is the ego tr ing to protect itse!f from humi!iation and shame, but the prime factor of AA is a hard-+ired viscera! response. Cere, the Penor ma make the suggestion to approach, but it has !itt!e sa in the actua! approach for most gu s. *herein !ies the prob!em. Man gu s ne+ to the communit +i!! subvert their Viscera and a!!o+ their Ps che to push them into sets. 1ut in the process, the Penor a!so gets ignored. %et

your Penor approachG >+n our seB drive and manifest it from the moment ou !ock e es +ith her. Gaming Man gu s are out there Hrunning gameF instead of tr ing to fuck +omen. *he approach tons of gir!s the arenFt rea!! turned on b , get phone numbers to feed their ego, run game void of an seBua! chemistr or esca!ation. *he +rite /$s fu!! of Hgetting I>IsF and +itt banter, but in the end !eave empt -handed. ItFs a!most as if the donFt +ant to get !aid. &eduction shou!dnFt be p!a ed !ike a chess game, though !ots of gu s inte!!ectua!i<e the process. Ma be the .ust fee! safer to remove their Viscera a!together from the processG the heart doesnFt have a po!iceman to protect it, +hi!e at !east the Ps che has the ego. ,es, gaming can be inte!!ectua!! cha!!enging, but !etFs not !ose sight of the reason +eFre out there4 to get puss . 2o into fie!d C>$",. 2et in touch +ith our mascu!ine po!arit and !isten to it. 2et out of our head. &urprising! , man gu s arenFt !istening A* A## to their Penor +hen tr ing to seduce +omenOironic but true. (ne-itis ,ou meet a hot chick and then keep thinking about her. "otice the +ord thinking. "evermind that our gut te!!s ou she isnFt +orth the energ . Ceck, our Penor ma not have much to do +ith itG do ou rea!! +ant to connect +ith this chick on a prima! seBua! !eve!, or is it .ust our ego seeking va!idation and attractionE >ne-itis is an obsession, an end!ess echoing feedback !oop of the Ps che. ItFs a subset of outcome dependence, and doesnFt represent a hea!th ba!ance of the triad forces. LBtinguish it. 1lphaness Cave ou ever seen a gu in fie!d do something incredib! ba!!s E #ike +a!k up to a gir! and tota!! dominate her ph sica!! . *his a!pha behavior is driven b Penor, Viscera and id. *here is no superego or ego at p!a G these either donFt eBist or have been successfu!! muted. At times, the ego must come into p!a to avoid incarceration or fist fights. 1ut for man successfu! socia! artists, esca!ation common! invo!ves actions and comments bordering on socia! deviance. *o become this person, ou must dia! our ego do+n - +a do+n - start to erase +hat ouFve been taught b socia! conditioning. 'isregard the red f!ags te!!ing ou our ego ma get bruised as a conse)uence. /ear of esca!ation is ca!!ed trigger anBiet , and !ike AA it arises !arge! from the Viscera.

CereFs the dea!. "eBt time ou find ourse!f indecisive in fie!d, break things do+n into this triad. And figure out ho+ much each of the forces is contributing to our actions. Is our Penor being heard or is it being stif!edE Are ou ignoring our VisceraE Is our ego dictating +hat to doE Ana! <e the conf!ict, seek the right ba!ance, then act.

997<7HJ+ Dames 0ho shit test I !ove getting shit tests. It !ets me kno+ the gir! probab! gets hit on a !ot and tries to be se!ective. It a!so gives me the opportunit to sho+ her +hat I3m made of. ,ou take a dude +ho hasn3t studied PU and isn3t an uberPUAgeek, he +on3t kno+ that he3s being tested, +h the +ords are coming from her mouth, and ho+ to respond. Ce3!! fai!, as man of m A/0 buddies do even +ith gir!s that are good to go. I +as chi!!ing +ith 'amian and the bo < !ast night and one of them got a !itt!e frustrated +ith shit tests and a!! the cra< mind games +omen p!a . I broke it do+n for them... I3ve been reading 'avid 'eida !ate! , and he had some +ise +ords on the sub.ect, chapter -@ 3Dhat she +ants is not +hat she sa s34 3,our +oman probab! tests ou in this +a a!! the time. Cer u!timate desire is to fee! our fu!! consciousness, our trustab!e integrit , our unshakab!e !ove, and our confidence in our mission. ,et she +i!! rare! ask ou direct! for these things. &he +ou!d rather tr to distract ou from our truth, and then fee! that she cannot - that ou ho!d fast to our truth +hi!e ou continue to !ove her.3 In short, +omen genera!! aren3t gonna outright ask ou if ou are a man of integrit , truth, commitment, passion. *he +ant to prove it to themse!ves. *he do this b tr ing to shake ou and see ho+ ou respond. If ou fa!ter and veer off course from our purpose, she +i!! be disappointed and +i!! !ose faith in ou. 1ut if ou prove ou3re unf!appab!e in our be!iefs and va!ues, she +i!! be dra+n to+ards ou. 2ir!s are turned on b this. It is hard-+ired. It3s the same effect a nice rack has on a gu , providing rep!icative va!ue information.

Dhat3s +orked for me is to vie+ gir!s as m !itt!e pupp dogs. ,ou p!a +ith them, and some ma bite, but ou never react emotiona!! . ,ou .ust think it3s endearing she3s tr ing to attack +hen ou cou!d so easi! discip!ine her. &ome gir!s +i!! shit test the !iving crap out of ou. I respond teasing! , dismissive! , authoritative! . If ou respond !ogica!! , ou3re done. 'emonstrate subcoms of a man +ho seeks approva!, ou fai!. 2et angr or defensive, attraction fades. 1ut on a deeper !eve!, this is about those +ords 'eida is using4 consciousness, integrit , !ove, mission. Ask ourse!f these )uestions, and if ou don3t have ans+ers, ou must do some sou! searching4 Dhat rea!! resonates +ith ouG +hat is our missionE /or me, it3s he!ping others. Cence +hat I do for a !iving and the fie!d guide. I eBpect nothing in return, and +here +ork is concerned, I make ver !itt!e mone . 1ut at the end of each da , I can come home fee!ing victorious because I3ve he!ped peop!e. *hat is m mission, and it3s undeniab!e if I3m ever tested. Are ou a man of integrit E If ou sa ou3re gonna do something, do ou do it or at !east die tr ingE >r do ou make eBcuses, procrastinate, !ie. *his is +h I don3t commit to a diet, because I A">D I +ou!dn3t be ab!e to adhere 6@@R to it. 1ut if I make p!ans +ith a +ing to meet up, I +i!! drag m se!f out of a sound s!eep to get dressed, drive there and +ing him. M +ord is the truth. *his is about keeping a pact +ith ourse!f. 'o ou !ove +omenE Are ou ta!king to +omen because ou adore the feminine po!arit and !ove to surround ourse!f +ith itE Dhen ou get into bed +ith a +oman, do ou ravish her out of !ove, or are ou seeking se!fgratificationE Are ou authenticE If ou find a +oman attractive, do ou !et her kno+E >r do ou p!a par!our games in an attempt to trick her. ,ou can successfu!! game chicks b re! ing on routines and tactics, but is that fu!! re+arding to ouE Dou!dn3t ou rather set aside a!! that c!utter and .ust be our best se!f, giving va!ue and attracting her to our core identit E In the communit , +e sa 3fake it ti! ou make it.3 If ou are not a man of integrit , !ove, authenticit , etc, es it is possib!e to sti!! 3foo!3 gir!s into being attracted to ,ou (or more accurate! , some ca!cu!ated predetermined facade of ,ou). 1ut if ou A$L a!! of the above, there is abso!ute! no faking it. ,ou are simp! present and conscious, and +omen are genuine! dra+n to ou. *he can shit test a!! the +ant, but +hen ou3re acting +ith purpose and c!arit , it is IMP>&&I1#L to fai!.


9<7A7HJ+ 9H things it too# me =F yea!s to lea!n a)o"t 0omen #et me run do+n the top 6@ most important things IFve !earned about the opposite seB and ho+ to re!ate to it. I +ish IFd kno+n a!! this at a ounger age, because I ruined a !ot of (potentia!) re!ationships. And fee! free to add our o+n discoveries. >k, here goes4 6. Be a se' machine: ,our .ob is to turn out happ gir!s. Dhen ou meet up +ith a gir!, ,>U are not getting !aid. &CLF& getting !aidOby you. 'on3t .ust masturbate into a vagina. Make it our mission to kno+ about and ho+ to de!iver a!! the various fema!e orgasms. Lver gir! is +ired different! , so !earn )uick! +hat each gir! fantasi<es about and ho+ the !ike to reach orgasm. And give it to them. >n a consistent basis. 1ecome high! competent and the +i!! keep coming back for more. 7. Be 4!esent: #ive in the no+. 'onFt d+e!! on +hat she said or did. 'onFt dream about +hat might be. 2ir!s !ive in the moment, as dictated b their emotions. If ou put too much stock in the past or future, ou +i!! diffuse our focus on the moment. 2ir!s tend to be erratic, inconsistent and i!!ogica!. 2o +ith it. #earn to !ove it. -. Women a!e not men 0ith vaginas: "othing ou kno+ about an thing +i!! he!p ou understand +omen. /orget it a!! and begin the process of tru! understanding +hat makes +omen tick. &top resenting +omen for +ho the are or ho+ the act. 'ifferent seBes, different brains, different behaviors. If ou canFt embrace and fa!! passionate! in !ove +ith the fema!e po!arit , ou have +ork to do as a man. 8. Lea$: It is not a gir!Fs responsibi!it to take our numberG she +i!! rare! ca!! it. It isnFt her .ob to initiate esca!ation. It isnFt up to her if a conversation gets boring or the date sucks. *his is a!! ,>U$ responsibi!it . ,>U. The MA.. #ead, in ever thing ou do. &ure, get her opinion, ask for suggestions. *hatFs coo! and open-minded. 1ut at the end of the da , it is up to ou to augment each moment so the fina! resu!t is satisf ing for both parties. 9. She is not 4!o4e!ty: &!aver +as abo!ished after the civi! +ar. 'onFt sp on her. 'onFt do drive-b s. 'onFt go through her ce!! phone. $espect her

privac at a!! times. Make it unmistakab! c!ear to her that ou +i!! A#DA,& respect her privac . 2ive her room, !et her breath, donFt push push push unti! she canFt stand it an more. If the gir! is unsatisfied +ith ou and cheats, ou need to fiB things on our end. ,ou mustFve done something +rong some+here. Ma be it +as in choosing a gir! +ho is inc!ined to manipu!ate, !ie or cheat, but again, that choice rested on our shou!ders. :. Women love to ,"c#: *he .ust donFt +ant to fuck chodes. &top thinking seB is some kind of carrot +omen dang!e in front of ou to get ou to do something. &he ma act that +a , but the truth is she +ants it .ust as bad or more so than ou. Man +omen are not seBua!! !iberated, or have terrib!e !ong-standing issues that p!ague their drives. And so in those cases ou need to decide if putting in the hard +ork to surmount these barriers +i!! pa off. 1ut understand that seB isnFt something that is bartered, bought or traded, since for seBua!! !iberated gir!s having seB is +in-+in. ;. Women love to ,"c# @ D: After a!! the gambits, tactics, bootcamps, b!ah b!ah b!ah, the truth is ou and ou a!one can become seB-+orth . 2et a!! that shit out of our head that te!!s ou ou arenFt of e)ua! va!ue or are unattractive. Imagine ever gir! ou meet in bed +ith ou, then go about making it happen. *he +i!! thank ou. =. Have no e'4ectations: I a!+a s used to assume a!! +omen +anted monogamous #*$s. *he +ou!d a!! +ant to meet m fami! . *he a!! +anted kids and marriage. *hen I rea!i<ed there +ere a !ot of gir!s +ho '>"F* +ant those things. Lven the ones +ho said the +anted a!! that +ere perfect! content going home +ith a stranger in a bar. "ever assume gir!s +ant a serious commitment. "ever eBpect our re!ationship shou!d move in that direction. *ake things one da at a time. ?. Cele)!ate yo": *ake o+nership of our identit , and broadcast it proud! to the +or!d. If there are parts of ou that arenFt satisf ing, get to +ork fiBing them. 1ut a!+a s seek va!idation, contentment and state from +ithin. "ever !ook to +omen for these. *he donFt +ant that responsibi!it . *he ma turn to ou for these, but it is so the can .oin ou in the ce!ebration of ou. 6@. Women a!e in a)"n$ance: *he +or!d is fu!! of beautifu! and inte!!igent +omen +ith great persona!ities. ,ou .ust need to arm ourse!f +ith the confidence and ski!!s to go out and meet them. Dhi!e it is eas to be!ieve that our eB-gir!friend +as our !ong-!ost sou! mate, the truth is there

probab! are man seduce them.

other ver

simi!ar gir!s out there +aiting for

ou to

9<7<H7HJ+ C!eate a Monste!Tan AL6HA Monste! A !ot of dudes +ho get into PU have a hard time being a!pha. *he come from a hardcore A/0 background +here itFs common to be rapportseeking, submissive and supp!icating. &urprise, surprise, gir!s donFt genera!! find those behaviors seB . &o ke to becoming attractive to gir!s is to act !ike an a!pha ma!e. *he +ord a!pha gets thro+n around a !ot, but ou t pica!! kno+ it +hen ou see it. ItFs *om 0ruise +a!king into a room, no trace of hesitation or fear in his actions. 0harismatic, giving va!ue, authentic in his +ords. Lnvied b men, adored b +omen. &o +hen ou go into the socia! !ab +e ca!! the fie!d, and ou piece together our A!pha Monster, here are some of the traits ou shou!d thro+ in, a!ong +ith eBercises to he!p get ou there. 6. Ac;"i!e imm"nity to social 4!oo,. C pnotica, back in the da , +ent for a +hi!e +ithout bathing, and +a!ked up to peop!e +ith a di!do on his head. Ce +as tr ing to e!iminate that concern he had about +hat peop!e might think of him. *his is an eBtreme eBamp!e. >ther eBamp!es, !ess bi<arreO a. Dhen in a venue of an kind (best if a )uiet one) start singing, c!apping, e!!ing or making noises. *' ca!!s this unstif!ing ourse!f. b. 'ance inappropriate! . If ou see a big set, .ump into the midd!e and f!ai! around !ike ouFre insane. c. 0rash and burn our sets. Make up stupid openers and run routines that +i!! probab! make gir!s run a+a from ou. d. Lsca!ate too hard and creep gir!s out. *his ties in +ith J7 be!o+. 7. Dominate. *here are +a s verba!! and non-verba!! to assert dominance. A subset of this is assertiveness, or taking(standing up for +hat ou +ant. *hese are some dominant behaviors4 a. 0ontro! the convo. If she goes in a direction ou donFt +ant to go, snip and stack into something ou +ant to ta!k about. A!+a s set the agenda.

b. 0ontro! the frame. *his is so important, I made it J-. 1ut technica!! itFs a form of dominance. c. 1e ph sica!. #et our hands be crabs. #et them roam into her hair, neck, back, shou!ders, eventua!! her butt and so on. 'onFt +ait for permission to esca!ate. %ust do it. d. Vio!ate her persona! space. 2et a!! up in her gri!! in no time f!at. 1reak do+n an space barrier she has, from the moment ou +a!k up. e. Invite ourse!f to sit do+n +ith a seated set. Make them make room for ou. f. &a +hat ou mean, mean +hat ou sa . If a gir! is seB as fuck, te!! her sheFs seB as fuck. 1U*, do it in a +a that is socia!! +e!!-ca!ibrated. 'onFt be a dbag. -. 6!actice ,!ame cont!ol. 2ir!s +i!! tr to +rest!e the frame a+a from ou. ItFs not that the particu!ar! +ant the contro!. &ome do, but most of the time +hat the Fre doing is testing ou to see ho+ dominant ou are. *he +ant ou to dominant them. *he donFt +ant ou to re!in)uish the frame. A c!assic +ork on frames is M$ea! Dor!d &eductionN b &+inggcat. Lver aspiring PUA shou!d read that one. a. If a gir! asks ou a )uestion, first make her guess. Dhenever she asks ou to guess something, donFt do it. b. 1e !ess reactive than she is. 2et used to using fe+er +ords and more )uiet e e contact, grins and facia! eBpressions. Aeep our hand gestures a !itt!e tempered compared to hers. *his sets the frame that she is +orking for our attention(attraction. c. 1e more re!aBed and comfortab!e than she is. #ock in so ouFre !eaning against something and sheFs facing ou. &ame as +ith being !ess reactive, this sets up the frame that ouFre the pri<e and sheFs pursuing ou. d. 1e i!!ogica! and non-reactive +hen cha!!enged. &heFs tr ing to thro+ ou off guard either +ith shit tests or !ogica! threads that break her o+n state. 'onFt fa!! for it. $edirect ever thing back into our rea!it , our frame. 8. Be "na,!ai$ to )!ea# !a44o!t. &heFs some gir! ou .ust met in a bar, so +h +ou!d ou compromise our be!iefs or va!uesE Dh +ou!d ou befriend her +ithout her earning itE a. 'onFt hesitate to disagree +ith her. 0a!! her out on something ou think is si!! . b. 'o take-a+a s, bod rocking, !et our e es +ander a+a +hi!e she ta!ks to ou, and other c!assic I>'s.

c. Use our voca! tona!it . *his is hard to eBp!ain in +riting, and *im i!!ustrates it in his /!a+!ess "atura! video. *here are t+o a!pha +a s ou can ask a )uestion. /irst, donFt ask it. &o instead of Hhe , +here do ou !iveEF ou state H ou donFt !ive around here.F ,ou make statements that she +i!! infer are )uestions. &econd, ou can ask a )uestion +ithout the usua! up+ard inf!ection that ou usua!! hear at the end of a )uestion. Instead, !et the inf!ection go do+n+ards. (A!ong these !ines, sometimes +hen IFm asking a )uestion via teBt message, IF!! !eave off the )uestion mark. *he content of the teBt is perceived as a )uestion, but the absent )uestion mark makes it more a!pha.) 9. S4!ea$ o"t. A!phas treat ever venue a!most !ike his !iving room. a. *ake up room. #et our arms hang over ad.acent chairs. b. 1e !oud, but not so !oud that it seems ouFre tr ing to ca!! attention to ourse!f. c. Cave open, vu!nerab!e bod !anguage. "ot on! are ou taking up space +ith our hands on our hips, but +ith our !egs spread apart +hen standing, ou sho+ ouFre unafraid of taking one in the ba!!s. :. Gain (o! ente! 0ith* social 4!oo,. a. $o!! in +ith a posse. *his on! +orks if4 a) ou have gir!s around ou, and(or b) ou are bringing the part . A bunch of chodes standing in a corner fearfu!! !eering at gir!s dancing doesnFt count. *he room shou!d be spectating ou and our group. b. Make friends in the venue. Merge sets, be a socia! butterf! , act !ike itFs our birthda part . Cave the room bu<<ing as ou +a!k b . 2ive va!ue out +ith no agenda or need for reciprocation. %ust fee! good about making peop!e !augh and smi!e. c. Use pivots, pa+ns and fema!e +ings. A!phas are prese!ected. 2ir!s +ant their genes, and itFs readi! apparent to other +omen. ;. Be cong!"ent. *his one is not eas to !earn. It has to come from spending time in the fie!d. As ou start imp!ementing a!! of the above, ou +i!! stop faking it and start becoming it. 1ut unti! then, as !ong as ouFre incongruent, ou +onFt be tru! a!pha. a. &top using too much damned canned materia!. &pitting one routine after another is disingenuous and bordering on dancing monke . Dhen ou genuine! vibe, ouFre being congruent. Dhen ouFre running a bunch of

!ines that arenFt re!evant to +hat sheFs sa ing or thinking, or +hat our true intentions are +ith her, ou donFt seem congruent. b. Cave a good time. If ou are doing a!! the above behaviors, but ou sti!! reek of fear, our subcoms +i!! be!ie ou. &o stop fearing and en.o ever interaction. 'onFt think about the outcomes, focus on the process. c. 2et out of our head. Dhen ouFre drunk, shit .ust comes out of our mouth. &ame for +hen ouFre in our car singing at the top of our !ungs. ,ouFre in the moment, not fi!tering ever thing. A!phas have no need to fi!ter, because the sa +hat the mean and mean +hat the sa (see 7f). =. Be sel,-con,i$ent. 'estro our ego. A!phas have confidence in themse!ves. *he donFt !et their egos run amok. If ou hear ourse!f bragging, make it stop. If ouFre not pushing ourse!f outside our comfort <one because our cre+( our friends( our +ings might think !ess of ou, recogni<e it and then push ourse!f even harder. Lgo +i!! subvert our se!fconfidence. ItFs counterproductive and decided! un-a!pha.

97<B7HF+ Ass"m4tions Usua!! peop!e sa 3+hen ou assume ou make an 3ass3 of 3u3 and 3me.33 Carhar. Dhi!e that might be true in the business +or!d, in PU, it isn3t. In fact, making assumptions - positive assumptions - +i!! on! he!p our progress. *he ma hurt our individua! sets, but as ou move our focus a+a from the outcomes and to+ards the process, positive assumptions +i!! on! he!p. "egative assumptions +i!! a!+a s hinder ou. Assuming attraction is on! one eBamp!e of a positive assumption. >thers are4 &he +ants me to make out +ith her &he +ants me to pu!! her to m car and fuck her &he mentions her 1/ on! as a shit test, but actua!! +ants to pu!! A!! gir!s in the c!ub are there to get !aid, no matter +hat the sa ,ou can end an of the above +ith....obviouslyGG. "egative assumptions4 2ir!s +on3t !ike me because I3m ba!d(short(fat(pimp!

I !ive too far a+a and gir!s +on3t drive out there to see me .ust for seB I3!! need to have mone (a good car(go to the g m 9 times a +eek &he +on3t be attracted unti! I run m 'CV stack Another term for these is 3!imiting be!iefs.3 2u s +ho get rea!! good often have a de!usiona! be!ief s stem. *heir rea!it seems de!usiona! to outside observers, but it is so friggin strong that +omen can3t he!p but be sucked into it. *he one +ith the stronger rea!it +ins, and a!! rea!it is sub.ective. $eca!!, peop!e he!d on bitter! to the 3rea!it 3 that the earth +as f!at. &o if ou approach a set +ith a negative assumption !ike 3I need to demonstrate m va!ue and then test out comp!iance to see if it3s ok to esca!ate3 ou +i!! set up a se!f-fu!fi!!ing prophec +hich +i!! b!o+ ou out. Ma be a particu!ar set or series of sets +i!! be ok +ith this mindset, but again that is outcome-dependent thinking. Process-focused thinking doesn3t care +hat happens in a setG it +ants +hat +i!! get our overa!! ski!!set on the track to master . And it ain3t this sorta stinkin thinkin. 1ut no+ approach +ith the positive assumption of 3I don3t need to demonstrate va!ueG I AM va!ue. 2ir!s !ove me...obviouslyGG I .ust need to assume attraction and then figure out if she3s up to m standards.3 ,es, this ma not get ou into a !ot of sets...at first. 1ut a funn thing happens +hen ou maintain this mindset. >ver time, ou start to be!ieve it, interna!i<e it, !ive it. It becomes congruent. ,our subcoms a!! fa!! into p!ace +ith that of a high-va!ue man (assuming our verba! game is a!so that of high va!ue, not dbag). &ets open...!itera!! re+ard this mindset. ,ou ma te!! ourse!f, 3I can assume attraction and keep te!!ing m se!f I3m attractive, but I .ust don3t be!ieve it do+n deep.3 1ut here ou3re using t+o terms interchangeab! 4 be!ief and assumption. ,ou be!ieve in 2od. *hat3s more than assumption, it is +ho ou are. At this point, I3m .ust asking ou to assume, not be!ieve. ,ou +i!! ac)uire be!ief through positive reference eBperiences. Aeep assuming that attraction is there and keep opening. ,our bad subcoms +i!! correct +ith practice and se!f-ana! sis. ,ou ma need advice from +ings or professiona!s, but eventua!! as our epiphanies accrue there +i!! be a transformation. In summar , !ooking for I>Is is o!d schoo!. It3s beta and reactive. Assuming attraction is a!pha. ,ou ma crash and burn a !ot at first, but ou +i!!

autocorrect and gain ca!ibration ski!!s +ith fie!d eBperience, honest introspection of our sticking points, and disso!ution of our ego. >f course, being a tota! douche and tr ing to assume attraction +hi!e ignoring the fact that most sets aren3t receptive is not +hat I3m ta!king about here. A!+a s humb!e ourse!f to the fie!d.

97<B7HF+ Me I +oke up in the midd!e of 7@@; rea!i<ing I had 7 friends (both from high schoo!), hadn3t had a gir!friend in 7 ears, and had spent ever night p!a ing video games, do+n!oading porn or +atching "etf!iB. >r some combination of these. I +as -=. M parents had gotten me The Game +hen it came out, but I put it on the she!f since I hate to read. *hen VC6 sho+ed the PUA6, and a !ight bu!b came on. I read The Game and the MM. I spent a +eek doing that, as +e!! as getting more info from the +eb, and then I +ent out that /rida faithfu!! using a!! I3d !earned. M first night - in fact, the ver first gir! I opened - I got a k-c!ose. A +eek !ater she +as in m bed, top and bra off, giving me token resistance. In honor of the ;-hour ru!e I (incorrect! ) didn3t p!o+ to the !a , and sent her home. >A, so this stuff +orked. *o backup, I3!! give ou some idea of m socia! ski!!s. I3ve spent m entire !ife mumb!ing and not making e e contact. I heard 3 ou shou!d smi!e3 a!! da , ever da . If ou put me in a room of peop!e, I sat there !istening, but not contributing. I often +ent to the park in m 7@s, sitting on a bench +atching peop!e, again not ta!king to an one. Prett much after co!!ege for about 6: ears I didn3t speak to man peop!e eBcept m gir!friends. And as for those, the re!ationships !asted 7 +eeks to a coup!e ears. *he norma! gir!s +ere 7 +eeks, the ps chos +ere 7 ears. "one of m #*$s consisted of me se!ecting a gir! I +anted to date based on her persona!it or other )ua!ifications. *he t pica!! approached me, and I then asked them out on dates. *he +ere a!! prett cute or hot. I3ve a!+a s had high standards in that dept, even if I fe!t I didn3t deserve to. &o. ,ou go into fie!d thinking ou3re gonna start being this mack dadd

p!a a. "o prob!em. 'rop some negs, move gir!s around, get their Js. 1ut +ait. ,ou can3t even approach because ou have AA. Cmm, never kne+ I did, because I never rea!! tried ta!king to random gir!s in pub!ic. I get to +ork on AA, 9-; nights a +eek. >pen, open, open. 6@@@s of sets. 2radua!! , it goes a+a . >ver the course of a ear, I can comfortab! +ork a room. "ot .ust no AA, not .ust comfortab!e in the venue, but actua!! having a great night, !ike it3s m birthda . *hen I go to +ork on m subcoms. I +ork on making L0 +ith ever person I meet. Ver tough habit to break, but I do it. *his takes man months. I pro.ect in !oud c!ubs, I stand up straight, I keep m hands at m sides, I smi!e, etc. Undoing -= ears of rea!! rea!! bad habits that subcom !o+ va!ue and !o+ se!f-esteem. I deve!op m PUA :th sense S the abi!it to read subt!e nonverba! cues and to ca!ibrate appropriate! . *his +as not hard since I3d been sitting there +atching peop!e most of m !ifeG that +as the one remnant of m A/0 !ife +hich has paid off. I fie!d tested various tactics, from openers to #M$. I he!d no attachment for an particu!ar set, coming at it !ike a scientist in the !ab, determined to figure out socia! d namics and ho+ I fit into the matriB. I take an inner game .ourne . At first, I +as hiding behind routines and an avatar. I +ent out and acted !ike M ster , Meho+, 1rad P, +homever. "ecessar at first, but c!ear! a +a of avoiding putting m rea! identit on the !ine. *his +as gonna take +ork. #ove me or hate me, I become determined to .ust 3be m se!f3 +ithout a!! the c!utter of routines and accessories. I dec!utter and simp!if m approach, and it3s a re!ief. 1ut it means being unreactive to +hat peop!e might think of me, of asserting m se!f, of going after +hat I +ant undeterred. Again, !ots of tough inner game +ork. I read man books, inc!uding stuff b 'avid 'eida, Lckhart *o!!e and a bunch of PU gurus. It a!! seeps into m ps che and there3s a deep shift. Most of m epiphanies have been documented some+here, either on a forum or in m fie!d guide. In short, chasing tai! takes a backseat to .ust tr ing to be 3norma!3 and at peace +ith m se!f and m !ife. A!! the chaos in m !ife situation sti!! eBists, but I no+ have a !ightness of being. *his is the biggest p!us so far of being in the communit (in addition to a!! the ne+ friends I3ve made).

Dhen I started, I +as ab!e to !eave a!! m +orries at the door and go into 3game mode.3 1ut I +anted to 1L game, not do it. &o I evo!ved further. "o+, m +orries aren3t even +orriesG prob!ems are i!!usor and on! eBist if ou !et them. I no !onger sit at home +ishing I had friendsG I donFt ever accept m eBcuses or inactionG I sta fu!! in the moment and outside m head. I3ve gotten so much more from being in the game than I3d ever eBpected +hen I came into it. >f course, it3s been a rough .ourne fu!! of tests and disappointments, but the end resu!t proves it is +orth the perseverance. Meeting me no+, ou +ou!d never be!ieve I +as the person I +as +hen I +atched that VC6 sho+. IFve come a !ong +a , but IF!! be the first to admit I have sti!! a +a s to go on m .ourne . *hatFs ok, I have m +ho!e !ife to get this sorted out.

<7<J7HF+ Remin$e!+ Col$ a44!oach 4ic#-"4 is ,"c#ing ha!$ Dhen I got into the communit in 3@; it +as prett underground and there +eren3t a !ot of active! gaming gu s around. &ince then, it3s eBp!oded !ike mad. 1ut during that time, I3ve seen a huge turn-over of gu s. *he attrition rate is rea!! high, and it3s because4 a) most gu s can3t hand!e the inner game +ork that needs to be done b) gu s !eave the game for a monogamous #*$ c) other factors !ike +ork and schoo! get in the +a d) gu s get discouraged +hen the don3t get the resu!ts as fast as the thought the +ou!d I think no+ is a good time to remind a!! the ne+bs that co!d approach pickup ma be one of the hardest ski!!s ou3!! ever attempt. It doesn3t he!p if ou3re in #A, the f!ake capita! of the +or!d. Lven after a!! the interactions I3ve run, it never ceases to ama<e me ho+ tough this is. And I don3t mean getting a coup!e !a s a ear, I mean +eek! . #ike a t pica! da at the office. *hat ski!! !eve! can take ears to achieve. Most! I3m ta!king to the gu s out there ,ithout tons of passive va!ue4 o!d gu s !ike me, short gu s !ike me, past +hite gu s !ike me. &ure, ta!! good-

!ooking gu s have issues too, but the genera!! don3t need to +ork as hard as the rest of us. /irst, ou need to get past a!! the cra< inner game shit. #ike thinking gir!s don3t !ike to fuck, or that someho+ seB is a bargaining chip a!! gir!s use to get things the rea!! +ant, or that ou don3t deserve hot babes (p!eura!) in our !ife. Inner game +ork is a process that never ends. *he biggest inner game hurd!e for most, AA, probab! takes out ?@R of gu s +ho tr this out. "eBt, ou need to figure out ho+ to speak 3gir!3 +hich is a +ho!e nother !anguage unto itse!f. 2u s don3t usua!! think in terms of push-pu!!, or emotions or ca!ibration. De think gir!s shou!d be !ike gu s4 go up, te!! them the 3re hot, ask them if the +anna fuck, go fuck. 2ir!s are so friggin comp!eB, it makes our heads spin. %ust !earning to understand ho+ gir!s process stuff, and to then accept this and +ork +ithin their frame+ork can be a giant step. After ou get the basics of ma!e-fema!e conversation, ou need to !earn ho+ to esca!ate right. "ot coming across !ike a creepster, but a!so touching enough to get her turned on. And ou need to p!o+ past her token ob.ections +ith dominance and confidence, and past our o+n trigger anBiet and "ice 2u s ndrome. After a!! that, even +ith rock-so!id inner game, ou &*I## need to get her seBua!! attracted. I3ve gone out and tried to get b on inner game a!one, and it3s not enough. *here are magica! +a s to get gir!s attracted so the 3!! take ou home or !ook for+ard to our ca!!G ou can run teBt book game, and sti!! not get hotties responding to ou on that !eve!. *here are no routines, openers or tactics that3!! get ou those resu!ts consistent! . It is a!! of the above and more. &o m point is, decide right no+ that getting good at interacting +ith and seducing +omen is something ou +ant to accomp!ish. Accept that this is not a ski!! that ou3!! master in +eeks, months or possib! ears. It ma be a !ife-!ong .ourne . It ma mean !oads of pain and re.ection. And accept that this .ourne , this process - and not the outcome - is our u!timate re+ard.

=7<F7HF+ E'c"se Management 9H9 De a!! come up +ith eBcuses not to do stuff. Lven +hen +e3re in the <one, that !itt!e voice can come on and tr to derai! us. *he +orst gu s are those A/0 friends of ours. ,ou te!! them about the game, a!! the coo! tactics, meeting hot gir!s, going on dates. And the a!! have a bunch of eBcuses +h ou suck, the game is manipu!ative, the gir!s are a!! s!uts, and the 3re .ust fine either p!a ing DoD night after night, or banging the same !o+va!ue ug for - ears. 1ut that eBcuse-spe+ing menta!it fo!!o+s man of us into the communit too. De see that &C167 turbo surrounded b 9 thugs, and +e don3t approach. >r +e see a 7-set pa ing their bi!! at the bar and +e don3t approach. >r +e don3t get a J or go for the pu!!, et cetera. LBcuses are counterproductive. In a!! but the rare occasion, the eBcuse is not a ref!ection of rea!it , and even if it is, so +hatE If a gir! is ta!king to her bo friend, is that reason enough not to socia!i<e +ith themE "o, it3s not. &o +h do +e spit so man eBcusesE *he reason is se!f-preservation. It3s not that opening that miBed set +i!! get our ass +hooped for rea!. It3s high! un!ike! . More !ike! , ou3!! get re.ected b the set, and our ego +i!! be bruised. And so +hen I sa se!f-preservation, I3m referring to our egoic mind. ,our ego can3t stand the re.ection. 1 caving in to our eBcuses, ou aren3t doing our bod an favors....ust catering to the Lgo. &tep 64 'on3t hate, appreciate. *he eBcuse is a form of se!f-preservation. "o+, ou can !isten to the eBcuse if ou so choose. ,ou can argue +ith it or va!idate it. 1ut +here +i!! that get ouE ,ou3!! .ust end up fee!ing a bunch of resistance and angst. &o... &tep 74 Cear the eBcuse out. %ust !isten to it. 'on3t tr to argue +ith it. 'on3t va!idate it either. >k, that !itt!e voice has had its sa . P'on3t open...she3s too hot for ou.P P'on3t open... ou3re having fun ta!king to our +ing.P P'on3t ask her to come home +ith ou...she3!! probab! sa no.P 2ood. "o+... &tep -4 &et the eBcuse aside. and &tep 84 'o +hat needs to be done. 2o open. Lsca!ate. 2et the J.

Dhatever our instincts or our drive are te!!ing ou to do, do it. #isten to our core and do its bidding. ,our ego ma suffer enormous! in the process. 1ut the ego is there on! to undermine our se!f-confidence and progress, so strive to s)uash it.

A79S7HF+ 6!esence A +hi!es back I +as getting f!akes through the roof. #ike, one +eekend I had 8 f!akes. &o I asked m +ing # sander if this meant I +asn3t as a+esome as I thought I +as. I mean, if I +ere rea!! this great catch, +h cou!dn3t I get gir!s to sho+ up for a da 7E Dhat he to!d me has stuck +ith me. Dhich is, it3s not ,ho you are, but ho, you broadcast it. I rea!i<e no+ a huge factor behind unresponsiveness is our fai!ure to !eave the gir! +ith a strong sense of our presence. And presence is a p ramid of three things. Cere the are... 6. &tarting at the base of the p ramid, ou have ME (for !ack of a better +ord). It3s a!! m core va!ues, be!iefs, identit , passions, missions, and a!so +hat I !ook !ike, m avatar, m bank account and price car. A!! that crap. It a!! makes up ME. Me is not particu!ar! f!uid. Dho I am toda +i!! be prett much the same as +ho I am tomorro+. M core is not apt to change from da to da . *he prob!em A/0s run into is thinking Me is the most important thing needed to get the !adies. As in 3I don3t understand. I%M so fucking great. Co+ come gir!s can3t appreciate ME for +ho I amE3 And so the beat gir!s over the head +ith Me. Me is a big b!unt ob.ect, !ike a hammer. ang bang bangG 7hy don-t they love "-HG 1ut Me is not enough. ,ou ma have the best resume on the p!anet and be a tota! saint, but that .ust +on3t cut it. &orr . 7. More important, and higher up on the p ramid of presence, are

cong!"ence an$ acce4tance. If ou are not congruent, or if ou resist, Me +on3t be a!! that memorab!e. I3m a doctor, but +hen I got into the game I a!+a s resisted te!!ing peop!e this. "o+ I accept it. &ame for m height. I resisted ta!king about it. "o+ I accept and ta!k free! about it. I tota!! accept +ho I am. $esistance !eads to being incongruent. I don-t accept that I am 0+ y+ 8 and so I-m gonna act someho, di**erently/ *ada...incongruence. A!ong those !ines, if our inner and outer game are not congruent, ou !ose. If our verba! communication doesn3t match our nonverba!s, ou get shot do+n. ,ou are mere! a beta emu!ating an a!pha unti! ou reach a !eve! of tota! congruence. And +hen ou do, presence fo!!o+s. 2u s +ho are cock (funn dbags !eave a sense of presence +hen the tota!! accept +ho the are and sa things congruent! . &o here +e see that Me can be a tota! ass (as eBtreme as 0har!es Manson or %im %ones), but none of that matters if there is fu!! congruence and acceptance of onese!f. I3ve kno+n peop!e born +ith missing !imbs, and those +ho get amputations. *he ones born amputees have no sense of grief or anger, no resistance. *heir missing !imb is not something the consider re!evant to their attractiveness. *hose +ith ac)uired amputations ho+ever can spend the rest of their !ives grieving their !oss, and can turn it into a ma.or obstac!e to attraction. *he difference boi!s do+n to acceptance. Lmbrace +ho ou are, our best )ua!it and our +orst. Lven if ou think peop!e +i!! consider ou a nerd, o+n it. 1e 69@R nerd. If ou3re an .erk, be 69@R .erk. *r ing to do+np!a a trait is incongruent and resistant. Lven if it3s a f!a+. ,up, I3m a mamma3s bo . ,up, I3m !ooking for a suga mamma. ,up, I !ove chasing skirts. Dhatevs. It3s our rea!it . 1ring gir!s into it and never apo!ogi<e for +ho ou are. *CA*3& the gu gir!s +i!! remember. "ot some +ish +ash puss +ho3s ha!f-ashamed of +ho he is. -. At the tip of the p ramid is the abi!it to effective! broadcast Me. It is the most important aspect of presence. /ar more important than Me is kno+ing ho+ to te!! gir!s +ho I am - or more accurate! , ho+ to make them *eel +ho I am. I guess +e3d ca!! this 4e!sonality.

Dhi!e Me is a big du!! hammer, persona!it is a fine! tuned, sharp knife. It takes sma!! maneuvers and !itt!e effort for persona!it to +ork. &ometimes it3s so fine +e can3t te!! ho+ or +h it +orks. Me is something I can improve +ith effort if I so choose. 1ut I +ou!dn3t suggest ou fret a!! that much over it. *here are p!ent of gu s +ho don3t +ork out, don3t +ork, !ive +ith their parents, have crapp cars...getting !ots of gir!s. *his is because these gu s accept +ho the are, are fu!! congruent inside and out, and kno+ ho+ to broadcast their core effective! . Meanh+hi!e, there are man , man successfu!, good-hearted men sitting a!one at home night after night. Instead, focus on the top t+o tiers, and ou +i!! deve!op much greater presence.

A7<?7HF+ The = Elements o, Game *here are on! - ma.or e!ements to game. *hat3s it. *hree things ou need in p!ace to get gir!s to sho+ up on a da 7 and fuck ou. /orget ever thing e!se ou kno+, this is a!! ou need. A!! the other tactics and gambits .ust feed into these - e!ements, !ike streams into rivers. Cere the be... 6. 6RESE.CE. I out!ined this recent! . As a reminder, presence is a p ramid. *he bottom is Me, the midd!e is congruence and acceptance, the top is persona!it . Presence is measured in depth. &o ou can be deep! fascinating to a +oman. ,ou ma not have to spend much time +ith her for her to fee! our presence. 7. C MF RT. 2ir!s need to fee! comfortab!e +ith ou. "ot .ust that, but the need to get a sense of ou as a rea! person, not some dude she .ust made out +ith in a c!ub. 0omfort is most! a time-based variab!e. A !itt!e depth to it, but most! time. &o the chode in the office can spend = hours a da +ith the office hottie, da after da , and eventua!! +ear her do+n so she goes out +ith him. Lven if he has no strong presence, .ust b spending a !ot of time +ith him, she +i!! fee! comfortab!e. >f course, too much comfort and ou3re in the friend <one. -. FDC1I.ESS. I can3t think of an other +ord that +ou!d apt! describe

this. It3s !ike horniness, seB-+orthiness, seB drive a!! miBed together. It is +hat makes her fee! the urge to drop to a!! fours and take it from behind b ou. A ver prima!, anima!istic drive. "ot ego-based !ike giving ou a hand .ob in the c!ub. 1ut a true desire to fuck our brains out. /uckiness is not measured in timeG ou can pu!! a gir! to the bathroom in a fe+ minutes. It is not measured in depthG gir!s aren3t usua!! a !itt!e horn for our penor or ver horn . It3s !ike a togg!e s+itch4 >", >//. ,ou can be fingering a gir! +ho is getting c!ose to orgasm, then break her state and have to start a!! over. &o fuckiness can come and go ver ver )uick! . &o +hat is fuckiness measured inE /orce. #ike 1>>M5 &he +ants to fuck. A massive sudden eBp!osion inside her mind that makes her +i!d +ith passion. >r 1>>M it3s gone .ust as fast. >k. &o. "o+ that ou kno+ +hat the - variab!es are, ho+ do ou contro! themE De!!, presence I a!read discussed in depth, so revie+ that thread. *o get a gir! comfortab!e, ou spend a !ot of time +ith her. 9 minutes in set isn3t enough. &pend 69, 7@, 8@ minutes in set. #et her get to kno+ ou. Dhether ou vibe +ith her or run comfort routines, make sure ou spend time bui!ding her comfort !eve!. And !ast! , to get gir!s fee!ing fuck , be dominant ph sica!! . Makeout. Vio!ate her persona! space. #ead her around. A!! that stuff that fires her circuits. ,ou don3t need a!! these variab!es in e)ua! amounts. And some ou can even skip. If ou have massive presence and are rea!! good-!ooking, ou don3t need much comfort, for eBamp!e. 1ut start t+eaking around +ith these three and see +here our +eakness is. 1 +orking on those areas, I bet our responsiveness +i!! improve.

Appendi- :
%an'%an''s Guide to %ein' a %etter &o,er
*here is so much more to seB than .ust finding a +i!!ing ho!e and getting ourse!f off. Unfortunate! , for a !ot of +omen, this is the attitude of a ma.orit of men that the meet. *he +a I see it, one of the simp!est things a man can do is to be proficient at p!easuring a +omanG simp!e, es, but the return on the investment is immeasurab!e. *he prob!em stems from the scarcit mindset of most men, meaning that the rare! have seB, therefore +hen the do find a +i!!ing partner, the have one thought in mind and that is of getting themse!ves off. Dhat these men fai! to rea!i<e is that +ere the to take their time and ensure that their partner had an ama<ing seBua! eBperience, it +ou!d certain! !ead to man more. *here are so man parts to a satisf ing seBua! eBperience, so as to not over!ook an of them, !etFs start +ith the basics4 1ISSI.G &imp!e, rightE If ou think so, ouFre doing it +rong. Aissing is in fact something that seems so simp!e that it is often not given the proper attention to be done correct! and in a +a that +i!! start a +oman on her +a to an ama<ing orgasm. Co+ do I kno+ thisE De!!, I happen to have been fortunate enough to have brought a +oman to orgasm, simp! b kissing her. *rue stor . Aeep reading and ouF!! understand ho+. Man +omen +i!! te!! ou that the t pe of kisser a man is is a ver good indicator of the t pe of !over he +i!! be. If a man is rushed and forcefu!, she +i!! get the idea that he +i!! be the same in bed, in a hurr and not +i!!ing to take the time re)uired to bring her to orgasm. Co+ever, if a man takes his time and ensures that the eBperience of kissing is an incredib!e one, she can on! imagine ho+ ama<ing having seB +ith that man +i!! be. *he point is, *AAL ,>U$ *IML, and avoid making these common mistakes4 'ushing O Aissing is not a boring previe+ ou have to sit through before the feature presentation of seBua! intercourse. It is a ke part of the stor !ine of the feature presentation +hich if

skipped over or rushed through +i!! resu!t in the audience (in this case the +oman) being comp!ete! unsatisfied +ith the overa!! eBperience. (ctopus 1rms O Aissing is a &L"&UA# eBperience for a +oman. &L"&UA# eBperiences are a!! about the &L"&L& and therefore can be ruined b too much of a good thing. *he tendenc of most men is to tr to get as far as the can as fast as the can, so +hi!e the are kissing or Mmaking outN +ith a +oman, their hands tend to be a!! over the p!ace, tr ing to stea! a fee! of a breast or tr ing to subt! +ork their +a into a +omanFs pants as if the +i!! go unnoticed. A!! of these are simp! distractions to a +oman +hen done premature! , thereb !essening her overa!! eBperience and !o+ering the amount of arousa! +hich can be achieved. />0U& on the activit at hand, secure in the kno+!edge that +hen done correct! , ou +onFt need to tr to find our +a into her pantsG she +i!! open the door for ou. Tongue Drilling O *here is a time and a p!ace for ever thing and +hen first eBp!oring kissing a ne+ partner, the !ast thing a +oman +ants is his tongue .ammed do+n her throat +ithin the first 7 minutes. *here are t+o t pes of kissing, sensua! kissing and deep kissing. *he former is +here ou shou!d focus at first. *he use of the tongue shou!d come into p!a 2$A'UA##, over the course of the session, gaining steadi! in intensit unti! seBua! intercourse is imminent. 1/D/D/ O *o increase the sensua! eBperience of kissing a +oman, both for ou and for her, immerse ourse!f comp!ete! in the eBperience, in the moment or the ">D, as if that +as a!! that there +as, the on! thing that mattered. Make a conscious effort to active! avoid these common pitfa!!s and ou are a!read one step ahead of the ma.orit of mediocre men, and +e!! on our +a to being a better !over. 1ISSI.G TECH.I>DE As stated previous! , but it bears repeating, *AAL ,>U$ *IML. &tart out s!o+! , keeping in mind that anticipation of something often adds to the eBperience, so use this to our advantageG it +i!! a!so come into p!a !ater on +hen ouFre going do+n on her, but more on that !ater.

Variet tru! is the spice of !ife so donFt .ust !ock !ips and think thatFs a!! there is to it. Var things !ike pressure and position to get her +anting ou to go further. *race her !ips gent! +ith our tongue, gent! bite her !o+er !ip, part her !ips +ith our tongue unti! ou fee! hers coming to meet ours then pu!! back. If her tongue fo!!o+s ours into our mouth, ouF!! kno+ ouFre doing it right. At the beginning, keep our hands above her +aist and off of her breastsG thereF!! be time for that !ater. 0oncentrate on other erogenous <ones +hich t pica!! get !ess attention !ike the back of her neck at her hair!ine, the sides of her face and the nape of her neck. Lven her !o+er back, .ust above the !ine of her .eans but under her shirtG gent! running our fingers a!ong, bare! touching her skin can send a chi!! right up her spine. *his is a ver persona! eBperience and ever one shou!d deve!op their o+n st !e. Cere are a fe+ things that can be miBed and matched, and shou!d be a part of ever oneFs techni)ue4 Tease O "ot a!! kissing has to be open mouthed. *ake some time to ho!d back, but keep our !ips bare! touching hers, gent! rubbing together. If she tries to push for a kiss, pu!! back s!ight! , then kiss her. *his t pe of cat and mouse teasing +i!! not on! increase her desire for more, but it +i!! give ou subt!e c!ues as to +hen she +ants to go further. Touch O "ot .ust !ips. *ouching her eBposed skin +i!! +ake up her senses and he!p to heighten her eBperience !ater on +hen the stimu!ation is on a seBua! !eve!. #o+er back, shou!ders, upper arms, neck and hair!ine (from the back, under the hair) are a!! p!aces to target. ,our touch shou!d be hard enough to fee!, but .ust bare! above a tick!e. It ma take some tria! and error to get the amount of pressure right, but itFs +orth it. %ips are lips O Cer tongue is the c!it. *he same ru!es app! to kissing that do to going do+n on her. *his ma be the sing!e most important thing to remember. Most men go right for a tongue do+nG the same men +ou!d go straight for her c!it if the +ere going do+n on a +oman. As ou get better at going do+n ou +i!! !earn that the amount of time ou spend a+a from the c!it is a!most as important, if not more important, than the time ou spend on her c!it. *he same app!ies to kissing. *he amount of time ou spend +ith her !ips and a+a from her tongue is .ust as important as introducing our tongue to hers. In the end, if

ou can kiss her in a +a that gets her thinking about ou going do+n on her and then go do+n on her +hi!e remembering ho+ ou kissed her, ou +i!! have increased the !eve! of sensua! eBperience ten-fo!d. L"2A2I"2 CL$ MI"' I" *CI& DA, I& A& IMP>$*A"* A& &*IMU#A*I"2 CL$ 1>',. F RE6LA@ Man of the same princip!es that app! to kissing sti!! app! here, especia!! , *AAL ,>U$ *IML. *he ma.or mistake made b most men at this point is focusing on getting in her pants, thinking that this +i!! be the fastest +a to seB. Co+ever, in actua!it , the opposite is a!most a!+a s true. 2oing straight into her pants +i!! !ike! cause too fast an esca!ation +hich is an a!most surefire +a to over+he!m her and cause her to pu!! back and put an end to the session. *hese concepts +i!! keep ou moving in the right direction4 7ork *rom the top do,n/ O *hink in terms of 8 !eve!s4 /ace, 1reasts, #egs and Midsection(2enita!s. ("o, thatFs not out of order.)

Dhen a !eve! is our focus, the neBt !eve! is being M+armed upN through gent!e(!ight stimu!ation.

Pa

attention5 &he +i!! !et ou kno+ if ouFre moving too fast or too s!o+ and +i!! give ou c!ues as to +hat she +ants. *he speed at +hich ou progress +i!! depend great! on the individua! +oman so PA, A**L"*I>". 0a!ibrate.

[De a!read covered /ace in the Aissing section above so +eF!! go on from there.[ Tease the @target/A O M*argetN refers to the most sensitive part of the !eve! ou are at4

/ace Z *ongue 1reasts Z "ipp!es #egs Z Cip seam +here the !eg meets the torso

 Midsection ( 2enita!s Z 0!it

O Dork to+ards a bui!d up of stimu!ation, increasing in intensit unti! ou reach the target. *his bui!d up if done correct! , +i!! resu!t in the +oman desperate to have ou at the target !ong before ou get there, +hich +i!! increase the p!easure she fee!s +hen ou fina!! do. *he concept of P!easure 'e!a is a ver po+erfu! thing. CD..ILI.GDSN [(*his is optiona! and not something +hich ever one en.o s, both men and +omen. If ou are one of those +ho do en.o it or if our partner does, keep reading.) %ust !ike there are genera!! t+o t pes of fema!e orgasm, Interna! and LBterna!, there are genera!! t+o t pes of +omen, those +ho respond better to Interna! &timu!ation and those +ho respond better to LBterna! &timu!ation. Ano+ing +hich one ou are dea!ing +ith is the first step in giving her the best orgasm sheFs ever had. Interna! +omen +i!! tend to have high! sensitive c!its +hich +hen stimu!ated a!most over!oad them +ith sensor input. It has been described a!most as a tick!ish t pe of fee!ing rather than one of seBua! p!easure. *his doesnFt mean that ou cannot stimu!ate these +omen eBterna!! , but it re)uires the right techni)ue. LBterna! +omen +i!! tend to have troub!e achieving orgasm during intercourse due to !ack of sufficient c!itora! stimu!ation. >ften times, these +omen +i!! Mon! cum +hen sheFs on topN due to the friction the can use to stimu!ate their o+n c!it on the !o+er part of our stomach +hi!e the ride ou. Introducing these +omen to an interna! orgasm +i!! produce an eBperience for them +hich is much more intense than +hat the are used toG ou .ust need to get them past the sensation that comes +ith 2-spot stimu!ation. Dhen stimu!ated correct! , a +oman +i!! eBperience a sensation +hich she ma fa!se! interpret as an over+he!ming urge to urinate. &he doesnFt have to urinate, itFs .ust +hat the sensation is te!!ing her. *his can cause her to ho!d back and stop herse!f from eBperiencing the orgasm for fear of embarrassment. &ee the discussion on s)uirting in the &eB chapter. 1 addressing this, ou can assuage her fears as +e!! as have her ask ou ho+ ou kno+ these things (+hich is a good thing). If sheFs +orried, ou can suggest she use the bathroom and can even go so far as putting do+n a to+e! to assure her that there +onFt be a mess. Dhen she doesnFt urinate, but instead has the most intense orgasm of her !ife, sheF!! thank ou. >ver and over and over.

Dhen going do+n on a +oman, itFs important to kno+ +hich t pe of stimu!ation she responds best to. If our head is bet+een her !egs, chances are good that sheFs a!read given ou the c!ues ou needed during forep!a . 'id she respond +e!! to ou touching her c!it, or did she respond more intense! +hen ou put our finger inside herE PA, A**L"*I>"5 *he fo!!o+ing approaches +i!! give ou a good foundation on +hich to bui!d our o+n persona! techni)ue4 Internal ,omen O &tart off +ith gent!e stimu!ation. $efer to the kissing techni)ue section, M#ips are !ips.N ,our main focus at this point shou!d not be her c!it, but rather the area .ust to the !eft side of it. /ocusing our tongue here +i!! cause indirect c!itora! stimu!ation, the t pe needed to offset an oversensitivit . O 0ontinue the eBterna! stimu!ation +hi!e beginning to stimu!ate her 2-spot. *his is best done b introducing our finger, t pica!! the midd!e finger as it is the !ongest, +ith the pa!m face up, cur!ing the tip of the finger to+ards ou as if making a Hcome hereF t pe motion. *o ensure ou can get sufficient pressure (+hich +i!! var +ide! depending on the +oman and her bod t pe) ou can use our other hand, p!aced on the top !o+er part of her pe!vis, to both pu!! back the hood to eBpose her c!it as +e!! as to app! gent!e do+n+ard pressure to bring the +a!! of the vagina c!oser to our finger. [">*L S take care to not app! too much pressure or to be too b!atant about +hat ou are doing, or it +i!! fee! eeri! simi!ar to +hat her doctor does during her routine pe!vic eBam. ">* the best image for her to have at this point. O >nce ouFve stimu!ated her 2-spot, ou shou!d be ab!e to increase the amount of stimu!ation to her c!it. 1ut do so s!o+! , a !itt!e bit at a time to gauge ho+ she responds. >ver+he!ming her at this point can put her off her orgasm, so !ess is more. Pa attention and use the c!ues she gives ou to ba!ance the amount of interna! and eBterna! stimu!ation. &ome +omen +i!! prefer more of one than the other, so ca!ibration is ke . :0ternal ,omen O &tart off +ith gent!e stimu!ation. $efer to the kissing techni)ue section, M#ips are !ipsN. As +ith Interna! +omen, our focus at the beginning shou!d not be her c!it, but for different reasons. Dith Interna! +omen, not focusing on the c!it serves to avoid overstimu!ation caused b oversensitivit . Cere, not focusing on the c!it a!!o+s ou to pro!ong the sensua!

eBperience +hich in turn +i!! serve as a MP!easure 'e!a N techni)ue. P!easure 'e!a techni)ues he!p to bui!d intensit , b bringing a +oman to the peak of sensation, .ust prior to orgasm, then coming do+n s!ight! before being brought up to the brink againG eBcept this time, the peak +i!! be higher. O Interna! stimu!ation can be introduced at this point. Co+ever .ust as oversensitivit can be a stumb!ing b!ock +ith an interna! +oman, the perceived urge to urinate can be a stumb!ing b!ock +ith an eBterna! +oman. *hat is not to sa it +i!! be so in A## casesG again ca!ibration is ke . /o!!o+ the motions out!ined in the second step under Interna! +omen above. If she seems to not en.o the ne+ sensation, ca!ibrate and ba!ance the eBterna! and interna! stimu!ation to favor her c!it. >ver time, ou can increase the interna! stimu!ation as she ad.usts to the ne+ sensations she eBperiences. O Dith c!itora! stimu!ation there are a number of techni)ues4 s!o+ and gent!e, hard and fast, circu!ar motions. Co+ ou get there is up to ou, .ust remember these t+o things4

/rom the beginning of stimu!ation to approaching orgasm, va!iety is yo"! ,!ien$.

>nce she is c!ose to orgasm, consistency is #ey.

Dhat this means is that during the rise in stimu!ation, continuing +ith the same motion can cause a desensiti<ation of the c!it, making it harder for her to reach c!imaB. In the beginning, fee! free to use different techni)ues, but remember to PA, A**L"*I>" and ca!ibrate according! . >nce she has gotten c!ose to orgasm (more on ho+ to te!! in a bit) itFs time for ou to find the one techni)ue she responded to best and keep doing that. 0onsistent pressure and speed is ke to getting her over the peak and have an ama<ing orgasm. "ever be afraid to think outside of the boB and deve!op techni)ues of our o+n. /or eBamp!e, going do+n on a +oman as if ou +ere making out +ith her can be an intense sensation for her and resu!t in a po+erfu! orgasm, as it +i!! engage both her mind b reminding her of ho+ ou +ere kissing her. *he effect +i!! be !asting, because +hen ou find ourse!f kissing her again another time, guess +hat she ma ver +e!! find herse!f thinking aboutE 1I"2>5

SIG.S @ D8RE

. THE RIGHT TRAC1

Domen +i!! not a!+a s be confident enough to te!! ou +hat the !ike or +hen something fee!s good, but the +i!! A#DA,& !et ou kno+. It is ,>U$ .ob to be ab!e to pick up the c!ues she gives ou and proceed according! . &ome of the things to !ook for4 O 0hanges in her breathing (deeper and faster are better) O 0hanges in her skin tone (most +omen tend to f!ush red in the face and chest .ust prior to and during orgasm) O 0hanges in her movement (+hen she starts moving more than she had been or in a particu!ar direction, she3s found a spot that3s being hit that she !ikes. 'o ">* fight it. Dork +ith it and +hen in doubt, #L* CL$ #LA'5) O Aissing (this +i!! often increase or become deeper the c!oser she gets to orgasm) Pa ing attention to our partner in this +a +i!! he!p ou ca!ibrate our techni)ues to the individua! ou are +ith in a +a that +i!! he!p her have a more intense orgasm than she has had before. R D.D TW In some cases ou can get her right back up again. * pica!! the second +i!! take !ess time than the first, 1U* the AL, to having that +ork is to comp!ete! change our techni)ue from the end of the first orgasm to the start of the second. /or eBamp!e, if ou +ere using )uick stimu!ation of her c!it +ith a fair amount of pressure to get her off the first time, &#>D and soft +i!! get ou there the second time, and vice versa. If her c!it is too sensitive after the first orgasm, interna! stimu!ation +i!! take her mind off of her c!it and get her started to+ard her second orgasm. After that, +hen she3s a!most there, ou can go back and stimu!ate her c!it as +e!!, +hich usua!! gets the .ob done fantastica!! .

Appendi- ;
The %lueprint
By 0en Coo# (a#a Tyle! D"!$en*G Real Social Dynamics

TD held a *our-day seminar in %/1/ to e0plain his lueprint/ The program is a trans*ormative process+ so it is highly recommended that you ,atch it/ 7hat *ollo,s is a cursory overvie, o* the concepts presented/ *' rea!i<ed one night that his pick-up success +as based mere! on a she!! of routines and tactics, and that his inner se!f +as serious! f!a+ed. &o he set forth tr ing to figure out ho+ to not '> pickup, but to 1L pickup. Ce devised the 1!ueprint, the purpose of +hich is to create a comp!ete identit !eve! change as a man, so one never needs to +orr about AA or performing. Men and ,omen are e2ual/ Much of PU is based on the concept that +omen are higher va!ue than men, and tactics are used to raise our va!ue( !o+er her va!ue. *his concept is entire! +rong. Most 4eo4le in the 0o!l$ 0al# th!o"gh li,e in a 0al#ing $a5e: *he don3t kno+ +hat va!ues the have, +ho the are, and are contro!!ed b others. *he things men think +i!! get the gir! are misconceptions, inc!uding mone , appearance, romance or friendship first. )ocial conditioning/ De don3t kno+ ho+ things +ork. Airp!anes. 1ui!dings. &ociet . De assume others kno+ ho+ these things +ork, and +e genera!! defer decision-making and authorit to societ . De are conditioned to do this. It is both a gift and a curse. Make it +ork for ou. ,ou +i!! !isten to someone and think it3s true if that person seems certain, is centered, and others agree +ith him. *herefore, this concept4 I$easG no matte! ho0 st"4i$G can s4!ea$ li#e 0il$,i!e: Appreciate societ , but distinguish +hat is rea! and not, and don3t !ook to others to kno+ ho+ to think or act. *he root of attraction is VA#UL.

Va!ue is an thing that gives ou good emotions, he!ps ou survive or he!ps our kids to survive. Men and +omen have different va!ue s stems. &hortterm va!ue for a man is appearance. /or +omen, it3s resourcefu!ness, decisiveness and confidence. *hese are manifested via subcommunication. *herefore it takes a second for a man to become attracted, but it takes a !onger time for a +oman to gain attraction. In short, men are visua!, +omen are behaviora!. Most +omen are better at reading subt!e subcoms, but men can train themse!ves to be as good. Domen read these subcoms from second to second and in rea! time, so a +oman3s attraction can change .ust as sudden! . *his is not the case for a man3s attraction to a +oman. &ubcoms are far more important than an thing ou can !ogica!! sa to a +oman. De have become a spectator societ . De a!!o+ others to have the g!or and are content +atching them. De can3t re!ate to other aspects of the +or!d because +e never eBperience them eBcept through *V. 1e!ieve in a !ife of our o+n design, and turn off the *V. 2o for the g!or for ourse!f. Ignore +hat others ma think. Dhen ou see a ne+ gir!, our mind asks if ou3re good enough, so ou3re !ooking to societ to see if ou have enough va!ue. 'ictate our o+n standards. A!+a s come from a p!ace of high standards and abundance. *his +i!! affect the subcom to a +oman and she +i!! seek our va!idation. 'on3t !ive in reaction to others. "ever compromise our va!ues. De start off !ooking for tactics because it gives us the immediate resu!ts. Dhen +e rea!i<e +e aren3t getting the resu!ts, +e !ooks at the princip!es. In the +or!d of PU, this means +a!king up to an person and being centered and confident, or 3 ourse!f.3 If ou can3t do this, there is +ork to be done. The sel, is al0ays coming th!o"gh: As !ong as ou3re coo!, ou can sa the dumbest things and peop!e +i!! bu it. ,ou can have the +orst bod !anguage and materia!, but if our inner game is tight, it +on3t matter. 2al"e If ou have !o+ va!ue, nothing e!se about ou matters. If ou3re high va!ue, peop!e +i!! focus in on one good aspect in spite of other bad f!a+s. Domen +i!! rationa!i<e and impose good )ua!ities on a high va!ue man in spite of negative attributes. Va!ue tends to be the most important attractor. *he $A& ($eticu!ar Activation & stem) fi!ters out +hat is of no va!ue, and focuses on +hat is of va!ue. *his is automatic. PUAs can !earn ho+ to use the $A& of others in their favor.

)ituational value/ >n its o+n, it has no va!ue, but in a specific situation it ho!ds va!ue. )ituational con*idence/ An environment can make ou fee! tota!! confident... ou assume va!ue. #ike a '% in a c!ub or a professor in c!ass. Ano+ing ou have va!ue prompts ou to fee! more attractive. ,ou go outside our head, and are in the moment. *o the contrar , ou micromanage and sta inside our head +hen ou fee! ou have no va!ue. 1eing outside our head fee!s natura! and is attractive. Ln.o ourse!f, sa +hat3s on our mind, be detached from outcome, ro!! +ith it, be present, assume ever one is our friend. *he ke to making peop!e !ike ou is to eBpress our persona!it free! . &ta out of our head or ou DI## !ose the gir!. Reactiveness $eacting to others is handing our po+er a+a . &omeone +ith core confidence can en.o the moment regard!ess of his situation, as opposed to someone +ho re!ies on situationa! confidence. Dhoever has the most peop!e reacting to him and is the most indifferent is the most attractive person. 0ore confidence a!!o+s ou to enter an socia! setting b ourse!f and have a good time. Love #ove is not caused b someone e!seG ou cause it ourse!f. ,ou take a concept of a person and ob.ectif that person or turn them into something the aren3t. #hode love/ Ce has a gap in his se!f-esteem, and this gap gets p!ugged b another person and he then fee!s 3norma!.3 *his is a form of situationa! confidence. PU1 love/ "on-attached to outcome, has abundance persona!it . Domen appreciate a man offering va!ue, not !ooking to fi!! a gap. A!+a s be se!f-fu!fi!!ed, independent of +omen. *his is +hen !ove +i!! enter our !ife. I$entity Identit re!ates ou to and separates ou from our socia! environment. Identit is ho+ +e process the +or!d. It can he!p ou or ho!d ou back. ,our sense of identit stops ou from being the person ou +ant to be. Much of our identit is arbitrar . It gets shaped at a oung age b positive and negative inf!uences. ,ou did not deve!op most of our identit b ourse!f. Much comes from socia! feedback, dependent on va!idation b others. ,our core essence is a!+a s there, but our persona!it traits are often in reaction to our environment. De create a se!f-image based on +hat peop!e sa about us, especia!! those +ho seem sure of themse!ves. *here is socia! pressure that

motivates ou to be a certain person. Im4!ints 0onscious and unconscious impressions in our mind of +hat a coo! person !ooks !ike. *hese are imprints in our mind that generate a reaction. @o"! sit"ation is al0ays changing an$ as it $oesG yo"%!e loo#ing at social ,ee$)ac# to ,ig"!e o"t ho0 m"ch val"e yo" have an$ 0hat !ole is a44!o4!iate at that time: ,our mind is !etting or not !etting ou be a certain person. State 1eing in state is !iberating. 1eing positive, dominant, natura!, ever thing c!icks, ou are the source of good emotions, tota! abundance, nothing cou!d go +rong. >ut of state means other peop!e are the source of good emotions. ,ou fee! a!ienated, !ike ou3re bothering peop!e b ta!king to them. 1eing in state subcoms va!ue, abundance and authenticit . If ou find ou aren3t in state, go through the motions an +a . "ever monitor state. 'on3t resist it if ou find ou aren3t in state. 'esistance4 It is the emotion ou fee! +hen ou +ish that the rea!it in front of ou +as some different +a . It can manifest in the form of anger or depression. If ou +ish ou +ere in state, resistance is created. ,ou are resisting the rea!it that ou aren3t in state. "ever resist the "o+. 1ut kno+ +hen ou need to change rea!it and take right action to correct it. $esistance puts ou more out of state. ,ou are identif ing +ith the emotion +hi!e ou shou!d be .ust accepting it and taking right action. *hat +hich ou resist...persists. *o get into state, cu!tivate4 6. $ight action 7. "on-resistance Con,licting !ealities ,our sense of rea!it !ets ou predict things about the +or!d, inc!uding ho+ peop!e shou!d treat ou. A man and a +oman each have a strong sense of rea!it . *hese are unspoken in the d namics bet+een them. >ne is screening, the other is tr ing to impress. *his can be obvious or subt!e. *he one going more into their head to eBert effort is the one reacting or tr ing to impress. Dhich person +ou!d fee! emotiona!! affected b the other person3s

acceptance, and +ho +ou!d fee! no changeE Dho is !osing their concept of +hat3s coo!, and +ho fee!s no changeE Dho is changing the +a the ta!k, and +ho sets the toneE Dho is having .ust as much fun +ithout the other person thereE *hose +ho are unreactive are non-need of va!idation b others, not thro+n b the rea!ities of others. "onreactive means being eBpressive and ourse!f, on our o+n terms. 'on3t a!!o+ gir!s to push ou into the ro!e of reacting or impressing. &ta upbeat, positive and ou. In genera!, be tota!! deaf to negativit . Co+ever, don3t take on the ro!e of asserting our rea!it over others. *rust in our facu!ties. Most peop!e don3t trust themse!ves and must !ook to others for guidance. 2ir!s +i!! do congruence testing to see ho+ rooted in our rea!it ou are. As ou react to others, ou are sa ing that ou va!ue other peop!e3s opinions more than our o+n facu!ties. In contrast, if ou a!!o+ comments of others to bounce off ou, ou trust ourse!f more. Social 4inging Most un,avering certainty V %east emotional reactivity J Dominant reality &omeone +ho is doing socia! pinging is !ooking around the +or!d for +hat is right. 1ut eventua!! more attention is given to the one +ith the dominant rea!it . Men invite +omen into their rea!it . Domen go from man to man eBp!oring their rea!ities. &he +i!! gravitate to+ards the man +ith the rea!it that gives the most good emotions. A 4illa!s o, a st!ong !eality 6. Co+ strong our be!iefs are. Dho ou are. &tatus. Identit . 1eing unreactive. 7. ,our va!ues. >pinions, humor. "ot intimidated b a gir!3s !ooks. ,ou are screening. -. Persona! boundaries. ,ou kno+ +hat is acceptab!e behavior from others and demand it and respect from them. 8. Co+ ou eBpect others to act around ou4 the shou!d be fun and va!ueoffering. If a +oman isn3t meeting our va!ues, ou don3t pa attention to her. 1ui!d our rea!it !ike ou bui!d musc!e. *ear it do+n and !et it rebui!d. #ean into our fears, pushing our capabi!ities. #earn to !augh at ourse!f. #et go of caring about +hat peop!e think of ou. /ind the !esson in ever difficu!t eBperience. 6ola!ity Mascu!ine po!arit is our grounding amidst emotiona! chaos, the magnet

that dra+s +omen. Act through our o+n intentions. ,ou see something ou +ant, ou take it. 'ictate the energ around ou. Domen have mascu!ine and feminine sides. A +oman can on! eBp!ore her feminine side if she3s +ith a man +ho is secure and congruent. 0ongruence tests check for4 6. ,our strength of rea!it 7. ,our abi!it to assert ourse!f as a man 1eing centered and dictating the energ dra+s peop!e in. Act through our o+n intentions. *his is deve!oped over ears of removing a!! the programming that3s gotten ou to act +ithout our o+n intentions. 1eing authentic +i!! a!!o+ ou to pass a!! tests. Men shou!d a!!o+ her to pu!! him, but then regain their center, as opposed to chasing. *his is done b demonstrating our mascu!ine po!arit 4 1eing at home in the environment 0arr ing ourse!f +ith tota! confidence, even p!a fu! cockiness &e!f-amusing Moving the convo in the fun direction "ot taking orders, responding to nonsense, or needing to .ustif

ourse!f

The di**erence bet,een men and ,omen: Man Z action. 2ir! Z reaction. Domen +ant to eBperience a range of emotions. Men have a s+eet spot (happ , eBcited, seB, chi!!). Domen dra+ state from the environment to fee! this variet . Men dra+ state from +ithin, so f!uB is minimi<ed. $ea!i<ing this, men need to dra+ motivation from +ithin, not the environment. *he po!arit comes from s!o+ing do+n our rea!it and becoming centered. ,ou are connected to our mascu!ine po+er. LBperience consciousness +ithout being se!f-conscious. 'on3t be a doer, but !et things happen through ou. *he environment is chaotic. ,ou must find a grounding force +hich is primari! +ithin. &eeking reactions from others is !ooking for state from the environment. Dhen ou are in habit of dra+ing state from +ithin, a gir!3s reactions do not affect ou. Thin#ing 0!ear our head +hen ou approach a +oman, and .ust fee! good. Dhat ou sa is va!uab!e because it comes from ou. Dhat makes it interesting is not the content, but because ou find it interesting. Dhi!e thinking can be an asset, in meeting +omen it3s our greatest hindrance. ,ou shou!d have a chi!d!ike 3I see, I take3 attitude. #isten to the gir! instead of thinking +hat to sa neBt. 'on3t tr to .udge, compare, !abe!

or interpret her +ords. 'on3t fee! compe!!ed to fi!! in the gaps in the conversation. 'on3t resist tension. 1e fu!! present. *rust our facu!tiesG the are our autopi!ot. *here is no need to !ook back at past events to reference se!f. *rust the +ords +i!! come +ithout straining to+ards an outcome. Wal#ing th!o"gh the 0o!l$ 0ith ease *he convergence of the above concepts to make the +or!d a !ight p!ace to be in. Move +ith the current of the +or!d, not against. ,ou aren3t better or +orse, .ust an important part of the +ho!e. ,ou +i!! be se!f-forgetting, not se!f-conscious. Peop!e +i!! !ook to ou as a source of grounding energ . *his is about being+ not doing. Antici4ate$ !es4onses Assume peop!e +i!! !ike ou for +ho ou are as a person. 'on3t seek approva!. #ess attractive +omen have bitch shie!ds because +hen a high va!ue man approaches she assumes he3s to ing +ith her. *he verba!i<e their doubts because the have !o+ se!f esteem. *his is her anticipated response. *his keeps her rea!it intact. *his is a se!f-fu!fi!!ing prophec . *hrough our be!iefs, the rea!it in our head becomes the rea!it of our !ife. *herefore, a!+a s assume the best in others. 0reate a se!f-fu!fi!!ing prophec +here +omen !ove ou. Peop!e +i!! get sucked into this rea!it . *his +i!! protect our state +hen shit tested or AM>2d. Lven if our comeback isn3t the better ans+er, as !ong as ou be!ieve it is, our state +i!! be intact and ou3!! pass the test. *he se!f-fu!fi!!ing prophec +i!! come to eBist. Mic!o)ehavio!s *hese inc!ude subcoms !ike bod !anguage, e e contact and tona!it , and ver subt!e cues !ike pupi! di!ation. *he point isn3t to understand and manipu!ate a!! of these behaviors. *he point is to be fu!! f!o+ing in the moment so a!! these microbehaviors +i!! occur natura!! . Attraction +i!! occur as a resu!t. /!inching or retreating into our mind is caused b doubting ourse!f. Anticipating responses on! +orks if ou do not retreat into our head. Cave fun, so ou get out of our head. 'isconnect from the kno+!edge +hen in fie!d. Have a val"e-giving min$set 1e!ieve that +omen +ant seB as much as ou, and so ou3re offering va!ue b ta!king to her. Dhen ou are a!+a s giving va!ue and not taking va!ue, the subcoms +i!! make +omen see ou have integrit .

F"lly )elieve in yo"!sel, *rust in a foreign set of bearings. Dhen +e decide to take on ne+ bearings, +e must then gain reference eBperiences so +e can trust these bearings. A bab gets up and !earns to +a!k b persevering, +ithout crises. Lventua!! the bab !earns, has anticipated responses of +hat it takes to +a!k, and then interna!i<es this, and is in the moment so he never has to think about +a!king again. PU is .ust !ike !earning ho+ to +a!k. ,ou must obtain reference eBperiences so ou can trust the bearings and then interna!i<e them. &econd-hand kno+!edge and socia! conditioning te!! us not to ta!k to strangers, etc. Dhen +e start out at game +e haven3t had 6st hand kno+!edge of +hat is socia!! acceptab!e. The ne,bie-s parado0: #ike putting in a contact !ens, +e must !earn not to f!inch. Dhen a ne+bie approaches he3!! get negative eBperiences because he doesn3t have an un+avering be!ief. 1ut to gain reference eBperiences ou need an un+avering be!ief. ,ou must fu!! be!ieve ever thing ou do +orks, and be tota!! indifferent if it doesn3t. ,ou must fee! that PU is 3no big dea!3 and that an one can do it. In fact, surpass be!ief and move to understanding. Co+ do ou get out of ne+bie3s paradoBE *he ha!f-+a point bet+een tota! be!ief and fear is indifference. ,ou can3t cu!tivate tota! be!ief. ,ou can gather reference eBperiences that it doesn3t matter +hat peop!e think of ou. 2etting shot do+n ever night +i!! reinforce this. Lventua!! ou +i!! cross the indifference thresho!d, tru! !etting go of outcome. &udden! , peop!e become nicer and open up. A +oman3s s stem is designed to on! respond to ou if ou3re confident because this indicates success +ith other +omen. Cer s stem +ants to prevent putting out chode babies. ,ou must scramb!e our brain +ith so man reference eBperiences that it eBp!odes. ,our mind is a!+a s !ooking for norma!, permissib!e behavior. As ou do something and find it is norma! and permissib!e, our mind rea!i<es ou can do it, and ou become unstif!ed. Sti,ling &tif!ing te!!s ou not to eBtend be ond a certain range. 'on3t !et our voice get too !oud, take up other peop!e3s time, take up too much space. Dhen ou stif!e, our unconscious mind keeps ou do+n in unusua! ne+ environments. 1e ab!e to detect our stif!ing, and unstif!e if it happens. *he difference bet+een a good and bad night can be our !eve! of stif!ing. 1eing unstif!ed gives a richness to our voice and 1#, +hich is +hat a +oman is responding to. 'on3t tr to be confident, but be indifferent and

unstif!ed. As ou cross the indifference thresho!d, ou get a better ne+ identit . Lventua!! a c!ick happens, +here ou rea!i<e this ne+ identit is better, and a !ot of microbehaviors then occur automatica!! . Social vi)ing Vibing is a habit ou deve!op. ,ou shou!dn3t be !ogica! or tr ing to prove ourse!f. Peop!e are addicted to negativit or positivit , +hich are emotiona! states. ,ou can condition ourse!f to be positive. 1eing in a !ogica! state makes it hard to be in an emotiona! environment (!ike a c!ub). Vibing is non!inear(i!!ogica!, as is +it. 1eing re!aBed a!!o+s images to arise in our head so ou can respond in a +itt +a . ; bearings you must trust: 6. 2ir!s can !ike ou .ust for ou. 7. &eB is inevitab!e. &eB is good to b!o+ off steam or cement a moment, but is not a big dea!. &eB .ust a!+a s +inds up happening. Interna!i<ing this is ke . The RIt $i$n%t 0o!#R moment *hings aren3t going +e!! for ou but ou see +hat +ou!d fiB it. &o ou set out to achieve these goa!s, often to eBcess. ,ou find then that it didn3t +ork, and ou sti!! aren3t happ . Insanit is +hen ou get +hat ou +ant and ou3re sti!! not satisfied. Caving an abundance of seB can sti!! not be satisf ing. ,ou can create a fa!se identit , getting the admiration of others (such as being a 3pick-up artist3). 1ut this is starving our se!f-esteem +hi!e feeding the ego. ,ou are more distant from our rea! se!f +hi!e strong! identif ing +ith the PU persona. *his +i!! be ok during ear! game but it +i!! b!ock the c!ose because ou3re not being ourse!f or acting through our o+n intentions. Ego vs sel,-esteem Most peop!e don3t rea!i<e that confidence and fee!ing good about one3s se!f are the defau!t state. Cappiness is our defau!t state. ,ou can be happ +ithout a!! the other things ou3ve tried to obtain. )el*-esteem/ Indescribab!e, !ike sou!. 1orn +ith it. &e!f-sustaining. :go/ Dhen se!f-esteem becomes +ounded, ou seek a rationa! substitute...mone , po+er, status, +omen. As a kid ou approach peop!e +ithout AA. ,ou3re happ a!! the time. 1ut then ou get +ounded, for man reasons. *o protect ourse!f, ou come up +ith !ogica! +a s to fee! good. *his is based on comparisons to others, and the ego deve!ops from this

perspective. *he ego is fa!se. Most peop!e don3t have perfect memoriesG memories are t+isted to get the resu!t ou +ant. *he ego seems huge, but is ver tin and stuck in the front of our perception. *o get past it, ou must di!ate our perception. :go consists o*: 6. #ogica! evidence. 7. >pinions. -. $ationa!i<ations. 8. 0omparisons. *he ego she!ters us from the unkno+n, but !ife is the unkno+n. De create an identit based on our +ounds. *he ego needs constant reference materia! to support it (obtaining things !ike +ea!th and +omen to tr to hea! the +ound). &e!f-esteem is fee!ing good no+ on our o+n. ,ou make an identit out of an o!d +ound, thinking it3s uni)ue, +hi!e in fact man other peop!e share the same +ound. *he ego is the scar that forms around the +ound. Accept the +ound, and the ego +i!! go a+a . Accept our f!a+s, accept the f!a+s of others. 1ecome comfortab!e in our o+n skin. The !es"lt is anti-climactic: *he resu!t can never be as good as the doing, the "o+. /ee!ing good no+ +orking to+ards a goa!, and fee!ing good +hen ou reach the goa!, are the same thing. >ffering va!ue makes the process +orth-+hi!e. &eeking reaction to feed the ego is va!ue-taking. Va!ue offering is attractive. *aking va!ue is a repe!!ent. )el*-amusement/ >pen b making ourse!f amused. 1ring the part . 'on3t tr to +edge ourse!f into her part . 1e authentic. "eeding to feed the ego is eBhausting. *his state is obtainab!e but not sustainab!e. Lgo-based confidence cannot achieve permanence.

3o# 'o orth and sar'e<

Decibel