Hypnotic Seduction - Weave Mesmerizing Stories To Generate Irresistible Desire
Hypnotic Seduction - Weave Mesmerizing Stories To Generate Irresistible Desire
SEDUCTION
George Hutton
mindpersuasion.com
©MindPersuasion
Contents
Introduction
Rules
Course Structure
Why These Structures Work
Content vs. Structure
Broken Stories
Nested Stories
Nuts and Bolts
Image Streaming
Bare Bones Structure
Increasing Desire - One
Increasing Desire - Two
Increasing Desire - Three
Increasing Desire - Four
Increasing Desire - Five
Increasing Desire - Six
Increasing Desire - Seven
Intimacy - One
Intimacy - Two
Intimacy - Three
Intimacy - Four
Intimacy - Five
Intimacy - Six
Intimacy - Seven
Generate Passion - One
Generate Passion - Two
Generate Passion - Three
Generate Passion - Four
Generate Passion - Five
Generate Passion - Six
Generate Passion - Seven
How To Use Effectively
How To Practice
Final Words
Free Mind Programming
Contact
Mind Persuasion Kindle Books
Introduction
Why Hypnotic Patterns?
Imagine you wanted to build a birdhouse. But all you know about birdhouse
carpentry was that you had to use nails, wood, maybe some paint, and there
should be some kind of enclosed structure with a door. Further, when you tried
to build this contraption, you did it with a blindfold. You had to feel your way
around, cutting and nailing haphazardly. Would you produce birdhouse, or
would you produce a trip to the emergency room, with you explaining to the
horrified doctor why you thought it was a good idea to start sawing things in half
while blindfolded?
OK, goofy metaphor. How about this one. Let's say you wanted to go to an
amusement park. And you had a good idea that amusement parks are near big
parking lots, so you figured if you just checked out all the large parking lots in
your neighborhood, you'd find it eventually. And supposing you picked up your
buddies and explained your plans? Would they agree it was a good plan, and
relax and wait for you to eventually find the amusement park? Or would they get
out of the car, call an Uber and leave you behind?
OK, that didn't make any sense. Let's try another metaphor. Let's say you
watched this really cool cooking video on YouTube. It was about thirty minutes
long, (and you got kind of bored halfway through) but at the end, the guy ended
up with a really delicious looking chocolate cake. So there you are, a couple
days later, in your kitchen. You think there were some eggs in there, and maybe
some flour, and the chocolate came from somewhere. You've got half a cartoon
of chocolate milk so you figure that'll do. You throw in some other stuff just in
case (better safe than sorry, right?) and mix it all up and stick it in the oven. Or
maybe it was supposed to be in a frying pan. Anyhow, you check it an hour later
and it's a burnt, smelly mess.
OK, OK, that didn't make any sense either. Or did it? This is about the extent of
what guys do who try and create romantic or sexual desire in females. The
bumble around haphazardly, and hope that the end product is a girl who wants to
get busy. And they nearly always fail.
Three Types of Seduction
We can take three separate categories of guys and their attempts to get girls
interested in them. (We won't count the strategy of sitting on the sidelines and
waiting for it to happen magically). Then we'll find they are all trying to do the
same thing, only with different levels of success.
Regular Dating
This is when guys do anything they can to spend time alone with the object of
their desire. This is really not much better than the "sitting on the sidelines and
hoping strategy." In that the guy is leaving much of the process up to random
chance. He acts a little bit "nicer" than usual. He tries to be a bit more
"friendlier" than usual. The idea being that simply by spending a few hours here
and there together, the girl will start to "like him," although how and why that
happens isn't understood. An equivalent metaphor would be a tribe of ancient
cavemen piling up a bunch of dry leaves and hoping for lightning to strike in
hopes of getting a fire started. This is better than not doing anything, but it's still
pretty hit and miss. Sure, they could a put up a big tall pole in the middle of their
pile of leaves, and keep the leaves dry if it starts to rain (which would increase
their chances) but ultimately, they'd be at the mercy of the gods.
Naturals
These are guys that are naturally attractive to a large number of women. They
don't have to do anything. The way they talk and act naturally is enough for most
women to become attracted. Lucky for these guys, this creates a very wonderful
self-sustaining loop of seductive success. The more girls they find looking at
them with eyes of lust, the more they build their belief that "all girls dig me."
The more they have their belief, the more girls will fall for them quickly. This
also creates massive amounts of social proof. The natural walks into a place, and
not only are all the girls checking him out, but they also notice each other
checking him out, which creates intense subconscious competition. This triggers
the Cialdini Law of Social Proof and Scarcity at the same time (one guy, many
girls) and this guy doesn't even have to lift a finger. Make some flirty eye
contact, say, "Hey," and he's in like Flynn. Since you're reading this now, I'm
guessing this ain't you.
The Future You
Then there's you. Or the future you. Somebody who will soon understand that no
matter how a girl falls for a guy, it always follows the same structural process.
She goes through the same series of emotions. The same feelings which lead to a
conscious understanding of "I want this guy." Because you will soon understand
this, you will have the best of both worlds. While Naturals are rarely ever
worried about "getting some," they also are always unsure of exactly what it is
they are doing. They're naturals, which means they've never really thought about
how they do what they do. For most girls, this is OK. Naturals show up, pick
from the hottest girls in the place, and away they go. But if he happens to come
across a girl who's not moved by his natural seductive powers, what then? Since
he doesn't really know how he works his magic, when his magic doesn't work,
he's no better off than those guys on the sidelines waiting around for magic. But
when you understand that deep romantic and sexual desires are a result of certain
emotions a woman must feel before feeling what she describes as "love" or "love
at first sight," and you understand how to create them, you'll never worry again.
Sound good?
Rules
Before we get started, we'll need to know what to never do. And when I say
never, I mean never ever do. It is a common mistake, and the reasons for it are
beyond the scope of this guide. It will help if we understand how both men and
women are wired, and what "attraction" really means.
Hunger
What is hunger? It is a feeling that spurs us to action. To eat something.
Anything? No, not anything. It compels us to eat certain foods. Because Mother
Nature knows that we humans are as dumb as rocks, and if we had to actually
remember to eat we'd starve, she gave this never-ending feeling in our guts that
force us to eat if we wait long enough. This feeling which drives our behavior to
satisfy that craving is an instinct. Something it always there. A raw feeling. We
satisfy it, of course, by eating. In the caveman days, we ate anything that we
could. But nowadays, we have a lot of choice. We may be hungry, but we can
afford to shop around. Buy or cook what we want. Unless we are really starving,
we tend to be pretty picky. Imagine you were hungry, and you're at your local
food court. Chances are there would be some things you liked, and some things
you didn't like, right? When given lots of choices, we are very picky about how
we satisfy our hunger. Let's say for the sake of argument, that you're looking at
the cheeseburger shop. You've just decided to buy the Triple Heart Attack
express, which comes with eighteen slices of cheese and half a pound of bacon.
Then you hear a voice to your right.
"Wait! We really want your business! We've been watching you for the last few
minutes, it would make is so happy if you bought something from us! Please?"
And further imagine that person got down on their knees to beg. You were
curious, so you looked up at their shop. BroccoliOn-A-Stick. And let's suppose
that person was really, really, desperate. They said they'd do anything if you
bought some broccoli from them. Now maybe, if they were really screaming and
even threatening to go up to the roof and jump off, you'd buy some broccoli. Not
because you wanted some, but only to get them to shut up. Think about this
question. Think deeply. Is there anything that person could do or say that would
make you want broccoli more than the cheeseburger? Probably not.
How Attraction Works
No doubt you've heard the famous line, "Attraction isn't a choice." Which is
absolutely true. This is true of all of our human instincts. We can't choose to be
or not be hungry. We can't choose to not be scared out our mind if we woke up
next to an angry rattlesnake. We can't choose to not be thirsty if we find
ourselves lost in the middle of the Sahara Desert. We can't choose to not feel
wonderful relief once we finally find a quiet tree to take a leak against.
Understanding the concepts in this guide will be a lot easier if you see attraction,
meaning sexual and romantic desire, just like any other instinct. You can't talk
yourself into it, you can't talk yourself out of it.
How Guys Become Attracted
It's been said that guys are visual creatures. This kind of misses the point. We're
not any more visual than females. In fact, in some areas, we are LESS visual
than females. It's just that what makes us attracted (or not attracted) to a female
is done primarily through our visual senses. Meaning what makes guys attracted
to a girl is how she looks, plain and simple. Sure, other things can augment that,
but ninety percent of that initial desire comes from her physical appearance.
Why is this? Because her physical appearance is all our ancient brethren needed
to know to see if she was capable of having healthy kids, or not. That which
drives male attraction are the same things that gave our ancient cave ancestors
the most chance of having kids that lived long enough to have kids of their own.
It's got nothing to do with social conditioning. She has to be relatively slim, and
her breasts have to relatively firm, and the more symmetry she has, the better.
Several pages could be filled with examples, but suffice it to say that all a guy
needs to become physically attractive is a female that appears to be physically
attractive. And when it happens, a guy doesn't have a choice. If she's not hot,
there's nothing she can say that will make him think she is.
How Girls Become Attracted
Girls are different. They become attracted through personality. Conversation
skills. Social skills. Why? Because while a woman has to be young and healthy
(sorry ladies, that's about all that was important to our caveman ancestors) a man
has to be socially capable. He's the one that's got to bring home the bacon every
day for the next decade while the kids are growing up. If she messed up and
chooses the wrong guy, she's in for some serious problems, at least from a
caveman perspective.
She Must Decide
The girl must feel the attraction building from the inside out. She's got to feel it
for a while. Sure, nowadays plenty of girls sleep with guys they aren't really
"attracted to," since it is socially acceptable. But to actually crave a guy, to think
about him when he's not around, to want to be with him any chance she has, she
has to feel that attraction welling up within. And it has to feel like it's her choice.
This brings us to the most important, unbreakable rule in this guide. One that if
you do break, will destroy all your forward progress and force you to start over
again on level one with another girl. What rule is that?
Never Talk About Seduction
As much as girls love the feeling of being in love, they are hypersensitive to any
idea that some guy is going to "trick her." Any feeling on her part that you are
trying to talk your way into her pants (which you absolutely are, make no
mistake about it) will ruin everything. There are only two ways to go about
seducing her. Be a straightforward, confident player. Or put the patterns so
deeply into your communication that she'll have no idea why she's falling so
hard for you so fast.
Confusing Variables
Human communication is very complicated. There are plenty of things going on
consciously and unconsciously. To try and keep track of all of them, even some
of the time, is impossible. For our purposes, let's imagine a guy who has a decent
track record with females. He's been with a lot of girls. Not quite a natural, but
higher than average. He picks up a book on Seduction Patterns and plays around
with them. Some of them are pretty blatant, and it's clear they are metaphors for
sex. But when he uses them, he's playful and confident. They work, and the guy
attributes it to the patterns. But was it really the patterns? Or his confident and
playful delivery of the patterns? If you take a pattern that is pretty sexual, but
you deliver it with even a hint of nervousness, it's going to come across very
creepy. Some patterns are blatantly sexual, and will only work with guys that are
absolutely comfortable talking about blatantly sexual things.
Better Safe Than Sorry
Even if you do have your fair share of success, and your fairly confident in using
some pretty blatant patterns that any girl with half a brain will know are
metaphors for sex, it's better to steer clear. One reason is that she'll have a clear
understanding that you talked your way into her pants. Meaning the next day she
might not feel so hot. Two is that if you are having an "off night" for one reason
or another, you'll go from mad success to failing creep in no time. Blatantly
sexual patterns only work if you are 100% confident and congruent. If you are
only 90% on either, you'll go from winner to loser very quickly.
Deep Patterns
The patterns you will be learning in this guide are not sexual. At least not on the
surface. They are designed to be used so if she does catch a whiff of sexual
innuendo coming from them, she won't think it's coming from you. You will
have very plausible and believable excuse, one she'll believe. So let's review the
most important rule.
Never Talk About Seduction
The surface structure reason for you talking to her can never have anything to do
with sex. If she ever stops you in the middle of a conversation and asks, "What
are we talking about?" The answer can never be sex, which means you must
always have another answer ready. And if you use these patterns you will.
Meaning if she ever thinks you are talking about sex, you'll show her it was her
mistake to think that. Seriously. And she'll believe it. But that requires you stick
to the number one rule. Never ever talk about sex or seduction or anything
related. The idea is to build up the desire so deeply within her that she is as
obvious as she can be with her desire for you. She will be the one apologizing to
you the next morning when she wakes up and feels a little guilty for coming on
too strong. However, this will only happen if you promise yourself, here and
now, to never talk about sex or seduction. Leave it up to her to come that
conclusion, on her own. If you use the patterns in this book correctly, she will.
Course Structure
This guide will be short on theory and long on tools. The bulk will be patterns
you can use, word for word. They will have within them not just the words, but
the pauses, the gestures, and the tonality to give them the best effect. In order to
do that, you'll need to understand what these terms mean. So before you get to
the patterns themselves, we'll have to go through a crash course in Ericksonian
Hypnosis. When you first read these patterns, see them as script to be read by an
actor. Take some time to memorize them. There will be some tips on doing that,
so it will be a lot easier than it may seem. The patterns themselves will take two
or three minutes to get through. You'll also learn a few tips on how to "test" for
her attraction. Since this isn't a full blown guide on what to do, when to do it,
and how to do it, you'll have to "wing it" once sufficient attraction has been
generated. You can think of going through this book on two different levels.
Level One
This is when you take the time to memorize the words, and understand the
delivery technique. There will be plenty of patterns in here so that once you've
found three or four that are your "favorites" you'll be able to use them on any girl
you meet, and have her respond similarly. To reach this level of success, you'll
need time to understand the patterns and how to deliver them. How long that
takes is up to you. But with enough focus and practice, you should have several
of these seduction scripts memorized within a few weeks or less. Then it's just a
matter of getting out and using them. You'll learn some tips on how to do that,
but understand this isn't a pick up guide, filled with ideas on approaching and
starting conversations. We'll leave that up to you. For being able to create deep
desire in most females within a few minutes after talking to them, or at least
sufficient interest so she'll want you to keep talking, you should be able to hit the
ground running in two weeks or less. After that, it's just a matter of fine tuning
your delivery, and dealing with your ever increasing "sales funnel" of women.
But what happens if you find a gal you like? One that is going to get tired of
hearing the same patterns over and over again?
Level Two This is when you can see how the patterns themselves are
constructed, and you can begin building your own. This will take you to a whole
new level of understanding about human communication. Creating sexual and
romantic desire is one thing, but what about creating deep loyalty, or installing
increased self-confidence, or even a sense of sexual adventure? Once you have
some basic success with some of these patterns, you'll want to start to create
your own. Hold off on level two until you've had sufficient success with level
one. After you are getting consistently good results, you'll start to naturally want
to expand your skills set. That is normal. How long should you spend on level
one, before moving on to level two? That is completely up to you. Perhaps you'll
never need level two. Perhaps with these level one patterns (where level one is
pre-written patterns and level two is self-written by you) you'll never need level
two. Perhaps your communication skills only need fine tuning in this one area.
All up to you. But give yourself time to read and digest the concepts, and then to
read and memorize a few of these patterns.
That being said, let's get started with the nuts and bolts of the patterns, how they
work, and how to deliver them.
Why These Structures Work
From now on, we'll stop using the term, "patterns" and start using the word
"structures." Patterns imply a short sentence, or perhaps a collection of
sentences. From a metaphorical, traditional dating standpoint, using a pattern
would be like walking up to a girl on the street and handing her a rose, and
hoping that would be enough to convince her to fall in love with you. Sure, it
might work sometimes, but it usually will only get you a smile. (Or maybe a
punch from her boyfriend.) On the other hand, a structure is much more robust.
Drawn out. Sticking with a metaphorical, traditional dating idea, a structure
would be more like the full date. The limousine drive from her house to the
restaurant, the main course, the desert, and the violins serenading you while you
eat. (Don't worry, this is just a metaphor to compare the idea of a language
"pattern" to a language "structure." You're not going to be taking any limo's or
listening to any violins unless that's your thing). What exactly are these
structures? More on that later. Much more on that later. But for now, we'll need
to know why you need them. And why when you start to think, "Jeez, I have to
remember all this?" you'll remember this chapter and answer your own question:
Yes, you really do need to remember all this!
Conscious Critic
All humans have a conscious critic. Here's a brief tour through our evolutionary
history to understand why. (Pro Tip: If you want a real thorough explanation of
why we humans are the way we are when it comes to sex, you can't go wrong
with Matt Ridley's, "The Red Queen.") Long time ago, we humans live in tribes
of hunter-gathers. Everybody knew everybody. Nobody cheated, and nobody
thought about cheating. The idea of lying to somebody, back then, would be the
equivalent of walking into a police station today and trying to steal a wallet from
a cop. So stupid it doesn't even warrant serious thought. Because in hunter-
gatherer tribes, you had to spend your entire life with the same group of people.
Eating, hunting, sleeping, pooping, and hopefully getting some now and then. So
the idea of blatantly lying to anybody, for any reason, didn't even cross
anybody's mind. But that all changed once we discovered agriculture, which led
to large societies. This led to people seeing people they'd never seen before, and
would maybe never see again. This opened up a whole new world for would-be
con artists. It was no longer "out of the question" to sell somebody a bag of
potatoes, and then run away before they discovered they were all rotten, or
maybe half of them were rocks, or dirt. This led to what Ridley calls an "Arms
Race" between liars. First there were people that lied to other people. Then as a
counter measure, people developed the ability to spot liars. Then the liars
developed a counter measure to that which was to lie to themselves, so the other
person wouldn't be able to tell they were lying. The end result is here we are
today, and we are super-hyper sensitive to anybody lying to us, especially when
it comes to money. Getting blatantly ripped off is one of the biggest fears. It's
why car salesman have such a bad rap. Think of the stereotypical snake oils
salesman. Where did he sell his stuff from? From inside an established shop?
Nope, he sold from the back of his wagon. Why? Because as soon as he sold his
stuff, he had to get the heck out of Dodge before the people realized they'd
bought useless bottles of colored water.
The Female Conscious Critic
Females are very picky about who they let inside the holiest of holies. (Well,
some women still are). This is for good reason. A cave girl gets knocked up, and
she's utterly dependent on other people for at least three years. That's how long
she'll have to watch junior like a hawk until he can sort of walk around on his
own. And in the cave man world, this mean that she only allows herself to be
"taken" by some cave guy she knows is going to stick around. Of course,
modern females have birth control and nobody thinks, "Hmm, I wonder if this
guy is going to stick around for three years if I go back to his place." But that
ancient fear is still there. Women are hard wired (even though most have been
able to overcome it with social conditioning) to be feel very cautious about who
they have sex with. This only comes across to them as a vague feeling,
something they might describe as "creepy" or "weird." The opposite feeling, on
the other hand is one of comfort, openness, trust, etc. Remember she won't
describe these feelings to herself in words, she'll just feel it with some guys, and
not feel it with other guys. And the thing that will most certainly make her not
feel it with any guy (or you) is any suspicion, conscious or unconscious, that you
are trying to talk your way into her pants using hypnotic trickery.
Always Her Idea
That's why you've got use these patterns the way they are described, and learn
how to subtly test to see if she's attracted. The entire time, from when the
conversation starts until you both wake up the next morning, she must feel and
believe that it was her idea. She must believe that she convinced you, or
persuaded you, or even manipulated you, into having sex with her. If she
suspects at all that you somehow tricked her, she'll want you in prison, and you
might very well end up there.
Mind Bending Question
OK, now for the million dollar question. Suppose you do use these patterns, and
they work beautifully. She believes one hundred percent that getting physical
was her idea. Even so much that she apologizes to you the next morning. Now,
in that situation, who's idea was it really? Let's say you've got a group of kids
sitting around an empty table. And you put a big bowl of ice cream with a bunch
of spoons in front of them. Of course, they eat the ice cream. But whose idea
was it to eat the ice cream? There's no way you could argue that you made the
kids eat the ice cream, or you tricked the kids into eating the ice cream. The kids
will believe in their heart of hearts that they saw the ice cream, they wanted to
eat the ice cream, and they chose to eat the ice cream. What did you do, as the
adult to facilitate this? You merely knew the mind of kids, and set up the
situation where you knew what they would choose. Do your best to see this
process you are learning here as the same. You are learning a communication
structure that you'll set up to let her choose what you have a good idea that she
will choose. Which is a romantic and physical relationship with you. Is it
manipulation? Not anymore that putting ice cream in front of kids, knowing that
they will eat it is manipulation.
She Must Choose
We'll hammer this point one last time before we get into the nuts and bolts of
these patterns. You must use these structures in a way that she'll interpret them
and act on them wholly of her own free will. And you must never, ever, let her
think otherwise. That would be like telling kids that you made them eat ice
cream! And that is not very nice!
Content vs. Structure
The first thing to understand is that structures moves people more than content.
A well told story about a hillbilly boy and his hound dog will create more tears
than a horribly told story that is a more traditional romance-tragedy. Joseph
Campbell studied mythology since the dawn of history and found all
mythological stories have more or less the same structure. A normal guy
becomes a hero and ends up killing some super human or magical beast. Even
Hollywood blockbusters tell the same "story" over and over. Why? It's not the
characters, it's not the plot, it's the structure that moves us.
Rubber and the Road
So when talking to girls, what structures are best? Structures that move her
emotions are much better than structures that don't. What kind of emotions?
What kind of emotions are in the typical romance novel? A girl meets a guy
she's not his type, he's a bad boy, a rebel, something about him is forbidden. She
is moved by her emotions to overcome social mores to get together with him.
What's the deep meaning? The romantic heroine is moved by her emotions, even
in doing things that she doesn't normally do, or things she isn't supposed to do.
This is the reason why every time Disney makes another version of Beauty and
the Beast, it makes a kajillion dollars. The heroine is following her heart, not
what society tells she should do. What are the emotions in that kind of story?
Forbidden attraction. Wanting something and being told you can't have it.
Wanting it enough to go for it and not care about the consequences. Attraction
that must be kept secret. Hidden. Away from the prying eyes of a moral society.
Adventure, risk taking, fear of losing, the ups and downs of every soap opera
that has ever been on TV. Finally getting close to getting the guy only to have
society throw up a roadblock. Then the two future lovers have to figure out a
way around the road block. Emotional uncertainty. Never feeling quite certain
that the object of desire is within reach. Sometimes it is, sometimes it isn't. Why
does the "cocky funny" routine work so well? Because it mimics the bad boy of
the romantic stories. Why does push-pull work so well? Because it mimics the "I
have it, wait, no I don't" feeling of romantic love stories. So why not just use
cocky-funny, and push pull techniques? Because they are hard to fake. It's hard
to be cocky and funny if you're not naturally cocky and funny. It's tough to use a
push-pull technique if you haven't been laid in ages. Unless you have a deep
feeling of sexual abundance, using any kind of push pull is difficult. Push pull
only works when it is genuine. When sometimes you actually want her, and
sometimes you actually don't want her. This is hard to fake. Which means if
you're faking, she'll know. But when you use these same ideas within these
structures? It will be a lot easier. Why?
Blurred Reality
Because you'll be using a hypnotic technique called "blurred reality." If you are
using cocky funny on its own, she'll know it's you that is being cocky funny. But
if you are using it within a blurred reality technique, she won't quite be sure. Her
"conscious critic" won't be nearly as effective in sniffing out any insincerity.
Largely because the character that will be doing all the push-pull and all the
cocky-funny will be just that. A character in a story. But it will be delivered in a
very careful way so she'll start to wonder if it's you that's being cocky and funny
or push-pull (or more accurately causing the deeper emotions that these surface
level techniques elicit) or the story, or maybe the character in the story?
Blurred Reality Example
This is the famous "quotes pattern" that everybody knows about. It's cute, but it
doesn't elicit emotions. It's more of a testing technique than a seduction
technique. Only few people use it that way. Instead, they use it more as some
kind of gimmick. Anyhow, here's how it works. Say you're sitting at the bar,
next to some girl you've just met. You look at all the people and see your buddy.
Then you lean over to the girl you've just started talking to and say: "See that
guy? He's really crazy. He'll walk right to some girl he doesn't even know and
say, you are so gorgeous, I'd love to give you orgasms all night long. What do
you think?"
Of course, when you say the "You're gorgeous" part, you look at the girl you're
sitting with and say it to her. The reason that this "quotes pattern" is considered a
simplified version of a much larger, "blurred reality" structure is part of her
thinks you're simply quoting your friend. Another part of her will think you're
actually saying it to her. But remember, patterns are one-liners that don't usually
work. Now, if you had been talking to her for an hour, and you said it, and she
kind of smiled when you did, then that's an indication that she's "good to go."
Meaning that if you then asked her to go home with you, she'd say yes. But in
this case, the statement itself didn't cause those feelings, it was simply a way to
test for those feelings. Meaning that if she kind of pulled back, or her pupils got
really tiny really quickly, then it's probably not a good idea to ask her back to
your place.
Extended Blurred Reality
But there's a much more eloquent and elegant way to extend these blurred
realities much longer than a one line gimmick. Within some of these patterns,
you'll be blurring realities all over the place, which means you'll be able to get
away with a lot more, all the while having plausible deniability, which also
means it will be her idea to start thinking of you in that way.
We'll learn that structure next.
Broken Stories
One of the most important structural element you'll be using is something called
"Nested Loops." They work for a number of reasons, and one of them is
whoever is listening to you will never be quite sure of what you're talking about.
This will cause them to pay much closer attention to what they are saying.
Compare this to how most people communicate. They talk, and if the content,
the stuff they are talking about, is interesting, people will pay attention. But the
more people are listening to the speaker, the more likely somebody who is
listening will not find it interesting, or might be desperately trying to come up
with something more interesting. Think about this next time you're in a group of
people that are having a non-directed (normal) conversation. Very rarely does
one person keep talking before something else takes over, and goes off on
another tangent. It's as if everybody in the conversation is desperately fighting
for the "conversation spotlight." This is because most people talk in linear
sequences. They talk about things in small, self-contained, "chunks." Some event
or opinion that usually has a beginning, middle, and end. And as soon as the
other people in the conversation sense they've passed the "middle" of that
"chunk" and are nearing the end, they begin to gear up to take over the
conversation, at least for the next few seconds.
Typical Strategy
What most people do to try to "win" more often is to come up with "better"
content. Remember, people think that "content" is what drives conversations, but
you'll soon see that structure is infinitely more powerful and effective. But since
most people are always using the same structure, most people believe there is
only content.
Human Brains Hate Unfinished Business
Here's what usually happens when a group of people are having a normal
conversation. Somebody starts talking, and people wait (both out of politeness
and out of necessity) until the person who is speaking starts to finish the chunk
or loop. Most people speak in single chunks, or single loops. Once a loop is
started, people pay attention because we naturally need to see things through to
their conclusion, even goofy stories that people tell during regular conversations.
As soon as the end of the story is in sight, people will pull back their attention
and start to think of another story they might tell that is related.
Nested Loops Are Never Finished
Nested loops work because they are designed to keep them focused for as long
as you want. That's because you shift to another story, or another loop, before
the first loop is finished. So long as you keep this structure, they will never get
that "finished" feeling that tells them to stop paying attention, or to pull back
enough to start thinking of what they might say next. They will continue
listening to you and they will be very reluctant to interrupt you, even if it's to ask
what the heck you're talking about. From a subconscious attention standpoint,
they will always feel that you are in the beginning stages of a story.
Pay attention to this if you can, to prove this to yourself. Next time you are in a
group of people (or even near a group of people) watch them as they take turns
talking. As soon as somebody starts a new loop, everybody will be completely
focused, if at least until they figure out what the other person is going to say.
This may be hard to see at first, but this is only because when most people speak
socially, what they are saying is both very common and not very interesting. So
long as there isn't an "attention hog" in the conversation, somebody that can't not
talk for more than a few seconds, as soon as somebody starts a new story,
everybody will start paying attention. Also pay attention to the other listeners’
body language. They'll be an obvious shift from "careful listening and 100%
focus" to "polite listening while trying to come up with their own story." As
soon as they make that subtle and external shift, they’ve lost interest and are
trying to come up with their own story or topic.
Always Shift
So long as you shift BEFORE that inflection point, where you deliver the
punchline of the story, or the mystery is solved, or the issue is resolved, it will be
very hard for them (or her) to NOT pay close attention.
Why Am I Paying Attention?
This is a very subtle, but extremely important point. Even if you don't use any
of the later technology and techniques, even if you don't specifically target any
emotions, if all you did was start to tell stories, and then start another one right
before the inflection point of the previous story, you will generate a lot of
attraction in a lot of women. (So long as your stories aren't about something
incredibly boring like that one time you decided to watch paint dry or grass
grow). Why? Because of the structure of your communication (loops that are
told in a specific way), she will be paying very close attention to you. She will
have to because of the way our minds are structured. But she will also need a
reason to. She will know that she is having a unique experience. It's very rare to
meet some guy, have him start talking, and then not be able to turn off your
concentration. This simply does not happen. Even more so, when it does happen,
it's usually because the content is extraordinary. Like maybe some guy just got
back from Africa, with Doctors without Borders, and had to operate on some kid
while a lion was stalking them outside the tent. In this case, it would be obvious
why they were enthralled by what he was talking about. But since you'll be using
regular old stories (so long as they aren't paint-drying stories) she won't know
why (at least in the beginning) she's so tuned in to whatever you are talking
about. So she'll have to come up with a reason. And that reason will be some
vague description about your personality, but something that is also very
positive. "He's got incredible energy," or "he's got a lot of natural charisma," or
"he has an intense amount of focus." None of these things really "mean"
anything. You can't measure charisma or personal magnetism with any kind of
electronic device. But they are convenient ways to describe somebody we find
attractive, especially when the reasons for the attraction are not obvious. But
think of what you are doing. You are attracting her. She can't get her mind, her
eyes, her body language, off you. The longer you tell this "broken" or "nested"
loops, the more she'll remain transfixed, and the more her natural attraction will
grow.
As you go through the pre-written patterns, you'll get a feel for how these work.
But now you know exactly why they work.
Nested Stories
If you simply break your stories apart, you can keep her, or them, in rapt
attention as long as you want. This will increase her general attraction of you.
But it won't be a sexual attraction, nor will it be a romantic attraction. To
generate these, you'll need to do a little bit more work. Or at the very least
understand this process, so when you begin to memorize the patterns contained
within this guide, you'll know why they are arranged in the way they are.
Open vs. Closed Loops
Broken loops are very similar to cliffhangers in TV shows. If you've ever
binged-watched anything on Netflix, now you know why it's so easy. They
specifically write each episode just so the last five minutes do one thing, and one
thing only. Create as much desire as possible to watch the next episode. Think of
it this way. When people "binge watch" they almost always watch the same TV
show. People never (or very rarely) binge watch a whole bunch of different
movies that have nothing to do with one another. Even thinking about that
doesn't make any sense! But binge watching a bunch of TV shows that were
specifically written to hook you right in the last five minutes? That's as natural as
eating a bag of potato chips. Binge watching a bunch of different movies would
be about as likely as opening up ten or twenty different kinds of snack foods and
only eating a couple from each one.
Closed Loops Are Forgotten
Plenty of studies have been done on our memory and how we deal with open and
closed loops. For example, take a waiter or waitress at a busy restaurant. The
tables where the people are still eating and haven't yet settled the bill are open
loops. But as soon as they get up and leave, the loop is closed. If you ask any
waiter or waitress about any of the information regarding an open loop, he or she
will remember everything. Their orders, drinks, any special requests they'd
made. But as soon as they pay? Poof! Gone. How can we utilize this? By being
very careful on when we start loops, when we break them off, and when we go
back and continue to close them, and which ones we choose to leave open.
Think of three stories. And let's assume that each story can be told in five scenes,
with scene three being the one that creates the most tension, or the one that
requires the most need for resolution. Now, most people would tell the stories in
this order: (where 1 is story one, and A through E are each scene from story
one).
1A 1B 1C 1D 1E
2A 2B 2C 2D 2E
3A 3B 3C 3D 3E
If you were in a group, or even talking to a single person, it would be very
difficult to get through all of these stories in the above sequence without being
interrupted. But consider if you told them in this order: 1A 1B 1C
2A 2B 2C
3A 3B 3C 3D 3E
2D 2E
1D 1E
So long as part C sets up a conflict that NEEDED to be resolved (just like at the
end of every binge-watchable show), people would be very UNLIKELY to
interrupt you, because part of them would still need closure. So until you got to
1E, which closed off ALL the loops, they would be listening with rapt attention.
But the middle story (story 3) wouldn't include any broken parts. It would be a
self-contained loop. And since it won't be broken, and it's surrounded by broken
parts, they'll pay close attention to story 3, but they won't remember any of it.
They'll never need to because it's not broken. AND it's surrounded by broken
stories that are taking all of their focus and attention.
What's the Use?
What's the use of a story that they won't remember? This is where you can put
all of those powerful hypnotic suggestions. Remember the blurred reality
example, where the guy looked at the girl and supposedly quoted his friend, but
was really telling the girl that he wanted to take her home for a sex marathon?
That won't work (except to test to see if she's already interested) because it's so
blatant. But if you "hide it" in the middle section, it will hit her in a completely
different way. You can still use the "quotes pattern" so you don't actually have to
say it, but you can say it directly to her, and since she's in the middle of paying
close attention, what will happen? On one level, you'll be creating general
attraction (since she's paying such close attention to you) and this general
attraction will combined with whatever hypnotic commands you hide in the
middle of the story. This will create the feelings, which she'll keep, but the
content (the thing story 3 is actually about) will be completely forgotten. She'll
end up with a combination of general desire, and sexual attraction.
The Longer the Better
Just for the sake of argument, let's say you put the middle story, the one that's
told straight from beginning to end, in between six or seven other broken stories.
Let's say each story, on its own, is two minutes. That gives you a total of about
fifteen minutes of speaking time. Time that she'll be totally immersed in
whatever you are saying. What about the middle story? That middle story can be
filled with direct sexual suggestions, so long as you make sure you are not really
saying it to her, rather one character (in some story) is saying it another
character. Think about what this will allow you to do. You can talk to a girl you
barely know, and say two minute’s worth of nearly X-rated sex talk, and she will
barely remember it!
It's Not Me
Remember in the beginning, when we went over the most important rule? Let's
say your worst fears come true. She stops you smack dab in the middle of that
middle story, and says something like this: Her: "Hold up their buddy. Are you
trying to trick me into having sex with you?"
You: "What? What do you mean?"
Her: "Didn't you just look at me and say you wanted to give me a five hour
orgasm?"
You: "Me? No! Why would you think that? I was telling you about this movie I
saw!"
Her: "Oh, I, uh, wow, um OK."
So even if she "catches you" she'll have the combination of being feeling general
attraction (she will have been listening for a few minutes up to that point) and
then she'll have made the obvious mistake of thinking you were talking to her
about sex! She'll want to know why she thought that, and she may decide it's
because she really is sexually attracted to you! Or at the very least, if you are
caught, you always have plausible deniability. But if she's been listening long
enough to get to the middle part, unless she is purposely looking for secret
hypnotists, she'll have no idea what is going on!
Nuts and Bolts
Now we've got the basic structure explained, you'll need to know a few things
about your delivery. If you just stand there and spit out the memorized words, it
will have a bit of an effect, but it will have quite a lot more if you emphasize
certain words, pauses and other things within the speech. All of these will be
indicated in scripts, but using them effectively will take practice.
Embedded Commands
These are very powerful, but only if you use them correctly. Luckily, most of
that will be taken care of by the scripts themselves. But if you are going to create
these on your own, and start using them in your regular language (which you
should, as they are very effective) you'll need to know how they work. A
command is simply the imperative form of the verb. The present tense form, or
dictionary form, or plain form (sit, eat, run, look, etc.) followed by a very short
noun phrase. A phrase is simply more than one word. "Tree" is a noun. "Big
tree" is a noun phrase. "The big tree" is a noun phrase. "Phone number" is a noun
phrase. "Your phone number" is a noun phrase. A command would be "Give me
your phone number." The phrasal verb, (give me) followed by the noun phrase
(your phone number). Other simple commands are short statements or phrases
like, "eat breakfast," or "read the dictionary," or "practice embedded
commands." You embed them by putting them within a larger sentence. For
example, let's put "eat breakfast" into a larger sentence: "When I was a kid my
dad told us a good way to stay healthy was to eat breakfast every day, without
fail."
When you say the "eat breakfast" part, you pause slightly before the statement,
say it with a very slight downward intonation, and then pause slightly, and then
keep saying the rest of the sentence as if nothing is different. One of the most
common mistakes with embedded commands is thinking you only need one or
two. But as you'll see in the scripts themselves, the more you use the better. And
they should be set up in a certain order. Meaning if you start off telling a
customer, for example, to buy this product, they might be a little suspicious.
But you first told them to relax, and then sit down, and think about the ideal
future, and then maybe imagine owning this, and then consider the options
they'd like and they finally to make a decision of whether or not you want them
to buy this today.
Spatial Anchors
These are very easy, and very powerful. An anchor is when you take an internal
physiological response, and purposely connect to an external trigger which you
control. The most famous example is Pavlov and his dogs. He brought them
dinner, and the natural process was first they would smell the food, and then they
would salivate. But then he started to ring the bell when their dinner was ready,
and they would soon begin to salivate at the sound of the bell, even though there
wasn't any food. Usually this is taught in NLP seminars as touching somebody
when they feel a certain emotion, but that's not necessary. All you need to do is
separate your gestures. Gesture to one side (let's say your right side) whenever
you mention something "good" and then gesture to your left side whenever you
say something "bad." We'll use (R) to indicate a right side gesture and (L) to
indicate a left side gesture. There are two phases to these anchors. One is setting
them, and one is firing them. You set them by using the right whenever you talk
about something that is generally thought to be good, and the left whenever you
talk about something bad. Here's a quick example.
Yesterday I was walking down the street and I found a sack of money (R). I
opened it up, and inside was a note. The note said that whoever found the money
could keep it (R). I was walking to the bank, to make a deposit, but the bank was
closed (L). I turned around and saw a guy with a gun (L). I guess he was coming
to rob the bank (L) but it was closed. He asked me what was in the bag, and I
told him a pastrami sandwich. He said show me (L), and just when I thought I
was going to lose the money (L), I heard a police siren (R), and the guy with the
gun ran away (R). Just then I heard the lady at the bank open the doors. She said
they were open. I deposited the money (R) and they gave me a free toaster (R).
It's a good idea to get into the habit of using your gestures like this all the time.
In the scripts, the (R) and (L) will be indicated, but it will be assumed that you've
already done some work setting them up before starting off with the scripts.
When you fire them, you fire them whenever you use an embedded command. If
you've done enough work to set them before, your commands will be
subconsciously associated with good things.
Self-Pointing
You can also use self-pointing (SP) where you briefly gesture in any way toward
yourself. You can do this whenever you are saying something that is going to
generally thought to be good. For example, every time you mention the money
in the above story, you can quickly gesture to yourself. Then whoever is
listening will subconsciously associate money (good thing) with you. You can
also use SP whenever you are doing any kind of blurred reality. For example, if
one character is looking at another character in one of your inner-loop stories
and says something like, "come home with me," you can briefly gesture to
yourself. This seems like it might be too obvious, but remember, you are acting
like the character in your story is acting, not really saying it to the person in front
of you! You can also interchange self-pointing with good gestures (SP for R)
whenever you use any embedded commands. At the very least, you should get
into the habit of gesturing to your left whenever you mention something "bad"
and either to your right or to yourself whenever you mention something good.
Pausing
When you start talking, a great way to make sure everybody hangs on your every
word is with strategically placed paused. Usually when people speak, they put a
pause where a period would be. But recall that the human mind doesn't like open
loops. Just put pauses that will create open loops at the sentence level. For
example: Yesterday I went to the (P) store to buy a can of (P) soup. On the way
there I saw this guy dressed in a (P) panda suit. He said he was on his way to a
(P) party, so I assumed it was a costume party, but he had this (P) surprised look
on his face, because he was looking at his (P) phone. He'd just gotten a text
telling him the costume party was (P) next week, the party he was going to was a
(P) toga party.
The pauses will be indicated in the scripts, but using them during your regular
speaking will also increase the amount of attention you get from others.
Transitioning
One common mistake is to pause slightly when shifting from one story to
another. But remember the whole purpose is to make your listeners feel as
though they are playing "catch up." Ideally, they'll hear one, maybe two
sentences of the new story, and still think you're in the old story. Then they'll
hear an element of the new story which will indicate you've made a change, but
they won't remember when, which will automatically increase their attention. It
may seem strange at first, but the idea is to just keep talking at the same speed,
and the same intonation etc. Make sure your external behavior shows no
indication that you've switched stories.
Image Streaming
This is going to be your absolute best and most secret weapon when it comes to
being able to hold crowds of gorgeous girls spellbound with your amazingly
confusing stories that are also causing them to feel irresistible feelings of
romantic attraction. What is Imagine Streaming? It is an incredibly easy
technique invented by Dr. Win Wenger, one of the leading researchers of human
intelligence. The process is simple. Close your eyes, and describe what you see.
You need to describe whatever visual images you see as quickly and as
specifically as you can. The idea is that mental images are created with one half
of your brain, and verbal descriptions are created with the other half. So when
you Image Stream, you are using one half of your brain to describe (out loud)
what is going on in the other half. This will necessarily create cross-
hemispherical connections. The more of these you have the more "whole
brained" you'll be. Initial tests suggest that for every hour of Image Streaming,
your I.Q. may go up as much as one point. This means that if you Image Stream
for ten minutes a day, you'll be increasing your I.Q. as much as one point per
week. That's fifty two points per year! However, that's not why you're Image
Streaming for the purposes of these guide.
Reason for Image Streaming
When you are telling stories and loops, you are basically describing imaginary
things in a way that other people hopefully find intriguing. If you aren't very
skilled in describing things, your stories will be less interesting, all else equal.
For example, consider this sentence: When I was a kid I had this dog, who was
really cool, I mean was like, just, you know, cool, right?
Now compare that to this:
When I was a kid, fourth, fifth grade, we had this maroon lab that was incredibly
smart. I mean she would come into my bedroom two minutes before my alarm
clock went off, but only on school days, she somehow knew it when it was
Saturday. She was also sitting by the door waiting for me, with this bored look
on her face, always made me feel guilty and even most of the time made me
hurry home because I knew she was waiting.
The more you image stream, the more you'll "wake up" your old memories and
make them more real. So somebody who hasn't done any image streaming might
hear somebody talking about a dog at a party, and want to relate their own
experience of their own "cool dog." But they might not be able to come up with
anything better than the first example. But somebody like you, who has been
Image Streaming, will come up with the second example, right there on the spot.
And when you combine the other things, like self-pointing, spatial anchoring,
etc., you will become a social event powerhouse!
How to Do It
Close your eyes, and start talking. Make sure you are describing things as
specifically as you can. This will seem difficult at first, and you'll need to push
yourself. When you start out, it will be difficult to do this for more than a
minute. Slowly work your way up until you're comfortably doing ten minutes
every day. Then continue doing ten minutes every day, until you're dead. This
will help you in ways you won't even expect. This will be one of the most
important things you'll ever do in your life. It will help you read people, it will
help you both project and interpret body language, and it will help you discuss
complicated emotional topics with ease. This will improve your memory, and
this will help how you process large, complicated ideas. However, because it is
so simple, and it is absolutely free, many people discount its power. It's one of
those things that smart people "know about" but never really do. Another
common mistake is to start out like gangbusters, and try to do an hour or more
per day. This will swiftly burn you out, just like starting off an exercise program
too quickly will. Start slow, and increase slowly. Start off with only a minute per
day, and only increase when doing a minute is easy. Give yourself a few months,
at the very least, before increasing to ten minutes. Once you are ten minutes, just
stay there.
Three Main Ingredients
One
The most important thing is that you speak as specifically as you can. "Square,
shiny red object, looks like it's made of metal, off to the right," is much better
than, "red thing over there."
Two
Speak as quickly as you can. This will be difficult, and you'll need to force
yourself, but keep at it.
Three
It's called Image Streaming because the images will stream on their own.
Imagine you're describing something that is completely out of your control.
Don't try to force images or hold on to images. Describe the ever changing
stream of images, as quickly and specifically as you can.
Conscious Unconscious
What you are doing is describing the boundaries between your conscious and
unconscious minds. The more you image stream, the stronger this connection
will be. This will make you a much better communicator, as you'll be much more
intuitive. Get started today, and Image Stream every day. Do not discount this
deceptively simple but insanely powerful practice. Combined with the rest of the
simple techniques in this guide, you will soon be a very powerful and irresistibly
persuasive communicator.
Bare Bones Structure
This is the structure the stories will be in.
Hypnotic Storytelling
End Self Sabotage
Lazy Way Persuasion
Manifest Men
Manifest Women
Maximum Social Confidence
Objection Destruction
Mind Triggers
Covert Hypnosis
Charisma Generator
Law of Attraction
Natural Influence
Intelligence Accelerator
Frame Control
Girlfriend Generator
Emotional Freedom
Mental Alchemy
Money Love
Fearless
Interpersonal Resonance