This course is copyright 2013 with all rights reserved.

It is illegal
to copy, distribute, or create derivative works from this course
in whole or in part or to contribute to the copying, distribution,
or creating of derivative works of this book. When you pur-
chased this course, you agreed to the following statement:

“©2013, All Rights Reserved. You understand that the in-

formation contained in this course is an opinion, and it
should be used for personal entertainment purposes only.
You are responsible for your own behavior, and none of
this book is to be considered legal or personal advice.”

© 2013, All Rights Reserved First edition by Bobby Rio (TSB Magazine)
and Rob Judge (Date Hotter Girls, LLC) © 2013, All Right Reserved
 TABLE OF CONTENTS
Introducution to Seductive Storytelling ................................ 5

PART 1: Adding to the Vibe: Make Sure Your

Stories Work FOR You, Not AGAINST You ................................. 11
1A. Teaser Sentence: How to Introduce a
Story and Gauge Her Interest ........................................................ 12
1B. Accordion Theory: Keep Your Stories
Fluid so They Add to the Vibe ............................................................16
1C. Conversation navigation: Control the
Vibe by Steering Toward Loaded Topics..................... 20

PART 2: Building the Foundation: The Attitude,

Categories, and Inspiration of Seductive Stories 22 ....

2A. Faking It Ruins Stories: Be Vulnerable,

Not Cool When Telling Your Stories .......................... 23
2B. The Main 4: Choosing the Right Seductive
Story for the Right Moment of a Seduction ......... 26
2C. Avoid Obvious and Passive: The Two
Killers of a Seductive Story ................................ 38

PART 3: What Makes a Story Seductive: The

3-Element System for Flawless Storytellings..42
3A. Motivation: What a Character Wants
is the Seed of a Story..................................................................... 44
3B. Conflict and Consequence: When a Char-
acter Struggles the Story’s Heart Beats ....................... 50
3C.Resolution: TheResultoftheCharacter’sQuest
Causes Change and Gives a Story Focus ....................... 60

3
 TABLE OF CONTENTS

PART
fect Descriptions
 to Moments that Need
It.............................

APPENDIX: Pulling It All

Together.....
4
 INTRODUCUTI ON TO
SEDUCTIVE STORYTEL L I NG

T hink back to your school days, back when you had that
dreadfully boring teacher for that horribly tortious class
(yeah, THAT one). Now remember the time that teacher
walked into class and annonced, “Today we’ll be watching
a movie that relates to our lesson.” And
remember how it was as if the gods of entertainment were
smil-ing down on you from the hills of the Hollywood because
the movie was something you ACTUALLY wanted to see.

How awesome was that? Seriously. It probably felt like the edu-
cational equivalent of winning the lotto.

To have the luxury of relaxing at your desk and being ENTER-

TAINED for an hour-long class is a feeling that holds a special
place in every student’s heart. When given a choice between
be-ing TOLD facts or being ENTERTAINED by facts, we always
pre-fer the latter. As Kipling remarked, “If history were taught
in the form of stories, it would never be forgotten.”

This introduction, however, isn’t about school or teaching

history or anything remotely academic. Instead, it’s to
introduce you to the best—and most SEDUCTIVE—way to
convey your personal “history” so that it’s “never forgotten.”

While every guy reading probably relates to that sublime “mov-

ie-in-class” moment, most of us soon forget the sentiment when

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 INTRODUCTION

interacting with women. Rather than give women the luxury

of relaxing and being entertained by who we are, we do what
every other guy does: report the facts of who we are to her.

“I work for such-and-such company, went to blah-blah-blah

school, like this-and-that activity.” Sound familiar? For most at-
tractive women, it’s worse than familiar—it’s dreadfully bor-
ing and not memorable. Just as you probably don’t remember
much from that horribly tortious class, guys who convey their
identity by reporting facts are quickly forgotten, as well.

That’s why learning to tell a seductive story is an invaluable

as-set to your success with women. If you can captivate a
wom-an’s attention, stir her emotions, and entertain her with
the facts about your life through stories, not only will she
savor your time together and really get an understanding of
who you are, you’ll also remain on her mind long after the
conver-sation or date is over.

Though, you probably already knew that. After all, you’re

embarking on a course titled Seductive Storytelling, which
means you obviously acknowledge storytelling’s immense
importance in attracting women. What you probably DON’T
yet know is that telling a great story is completely within
your reach. Most guys assume storytelling is some esoteric
talent, reserved for the few of us blessed with innate
creativity and charisma.

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 INTRODUCTION

That is just so not true. The FIRST step to becoming a seduc-

tive storyteller is to forget whatever preconceived notions
you may have about storytelling as being some lofty
endeavor that requires divine inspiration. At it’s core, every
great story answers one of two simple questions:
1. “What changed?”
2. “If nothing changed, why not?”

If you think of books you’ve read, movies you’ve seen, or sto-

ries you’ve heard, here’s what they ALL have in common: it
in-volved either HOW the main character CHANGED or WHY
the main character DID NOT CHANGE. If you’ve ever heard
some-one tell a “story” in which nothing changed nor was
there an explanation WHY nothing changed, then you didn’t
really hear a story at all—you either listened to someone’s
reporting (at best) or rambling (at worst).

“Change” does not necessarily mean a Kafkaesque metamor-

phosis that alters a character’s entire being. Seductive stories
often involve subtle changes, like learning a lesson or revers-
ing an opinion. Of course, you may have stories that are more
significant such as why you changed career paths or what in-
spired you to get serious about your fitness. The beauty of be-
coming a seductive storytelling is that YOU have the freedom
to decide what stories you want to tell, stories that best con-
vey YOUR identity to the woman you’re getting to know!

Before delving into the course specifics, it’s important to iden-

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 INTRODUCTION

tify two other immutable storytelling elements: 1.) a charac-

ter’s motivation and 2.) the conflict that ensues when that
motivation is pursued. These elements are covered in depth
in this book, particularly in Part 3, but for the purpose of this
introduction it’s important you understand the significance
of these two elements in almost EVERY story.

A character’s motivation and the resulting conflict are often

what makes or breaks a story. Think of it in terms of this
basic formula:

Every day (character) did _______(1)_______ until the

day (character) wanted _________(2)________. Be-
cause of that, _______(3)________ happened, which
led to____(4)______. And that’s when/why/how (char-
acter) ______(5)______.

1. What pre-changed character was like before story

2. Character’s motivation
3. Conflict
4. Consequence of conflict
5. Change

A common symptom of a boring story is predictable character

motivation, which inevitably leads to an uninteresting conflict.
To ensure your stories ARE NOT boring or predictable, we
are going to challenge YOU to REALLY CONSIDER what
motivates the characters you describe in your stories.

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 INTRODUCTION

We’re not, however, advocating you lie or invent character

motivations. NEVER do we advise that you to lie to women
or tell fake stories. This is NOT a course on fiction. Moreover,
the purpose of telling a woman your stories is to express
your TRUE identity, which creates rapport. Nothing destroys
rap-port and violates a woman’s trust faster than a liar…

That being said, getting in the habit of digging a layer deeper,

so you delve beyond the predictable and the obvious, is a skill
that will benefit you well beyond storytelling. When you RE-
ALLY examine people’s behavior with the intention of deci-
phering the NON-OBVIOUS MOTIVATION behind a decision or
action, you begin to understand people on a very deep level.

And since YOU are going to be the main character of SO

MANY of your seductive stories, giving careful thought to
the DEEP-ER reasons motivating YOUR OWN actions will
make you more self-aware, more insightful, and just a more
attractive guy to be around.

So before you officially begin this course, please realize that

much of your storytelling success or failure will rest on how
closely you adhere to the Greek aphorism. “Know thyself.” In
Part 3.1, you’re going to learn a concept we call “Cool Vulner-
ability.” Stories people never forget are the stories that are
honest and truthful. (Sometimes painfully so.) The truth and
honesty of a storyteller comes less from facts and more from
feelings and insights. Emotional honesty and insightful truth

9
 INTRODUCTION

should guide your quest in becoming a seductive storyteller.

Let’s get started.

An explanation on some of the word choices used in this book:

Whenever we describe the person whom a story is primarily about (a.k.a.,
the protago-nist), we chose to use the word “character.” In a personal
narrative, even though you’re telling the story in the first person (i.e., the
“I” perspective), the “character” is still you.

We hope that by using a word like “character” you start to view yourself as
a “story element,” which might give you the “emotional space” needed to
discover a story possibility that may not have been apparent otherwise.

Furthermore, for simplicity, we consistently refer to the “character” using

masculine pronouns (e.g., he, his). Likewise, the “listener” is consistently re-
ferred to as “she.” We do NOT mean to assume that you will never tell a
story about a female character or that your only listeners will be women.
The ONLY reason we chose these pronouns was for clarity and simplicity
purposes. We anticipated that most readers will be men who want to
improve their sto-rytelling abilities so they can better relate to women, and
so we chose pro-nouns accordingly.
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