1. Cold reads
Be a psychic. Pretend to know something about her. (Or be very observant, and actually know something about her.) Commit these cold read openers to memory:
“I see you’re the type of person…”
“You look like the kind of girl…”
“I notice you…”
“There’s something about you that says…”
Focus on positive impressions, to get a girl talking about herself (and therefore projecting the good feelings she gets from her favorite subject — herself — onto you). Advanced cold reads use a compliment to embed a challenge to a girl’s self-conception. For instance:
“You seem really self-assured, but I can tell there are times when you struggle with doubt.”
Who doesn’t struggle with doubt? Cold read predictive power: validated. Pussy lips: blossomed.
2. Role-playing
Role-playing is basically the ability to have fun and jettison linearity for extemporaneity. (Two attributes in which most men run a deficit.) It’s fairly self-explanatory. You choose a character for yourself and for the girl (women love to be lead down these roads of whimsy), and you construct an alternate reality where the goal is to bring to life a typical female fantasy. Ideally, your role-playing characters will open the door to sexualized conversation.
Handy role-play scenarios you should learn and remember are:
Priest and wanton woman
Daddy and daughter
Boss and secretary
Photographer and model
Master and slave (save this one for the final stretch)
Professor and student
Concerned neighbor and runaway
Vice cop and prostitute
Seducer and seduced (yes, self-referential role-playing works)
The advantage of role-play is that you can be much bolder with your sexual innuendo than you could in normal conversation, because you have the plausible deniability of your character.
3. Storytelling
Similar to role-playing, except instead of making up a fun scenario involving two fantasy characters, you tell a story — embellished where necessary — involving real characters from your life. The object of storytelling is two-fold: to entrance a woman with the lure of an emotional jackpot, and to embed subtle cues of your high(er) value, aka DHVs.
Neil Strauss (“Style”) is widely considered to be the father of storytelling as a pick-up tactic. The guy writes for a living, so that would make sense. He categorizes storytelling into four types:
Implicit qualification stories
These are the stories that reveal certain positive and exciting attributes about yourself that you really want the girl listening to you to possess. So, for instance, these stories will present you as a rebel, a rule-breaker, and an impulsive lover of life with a short time horizon. The girl hears this, and feels a subconscious need to qualify herself as possessing those same exciting traits.
Self-promotion stories
You talk about yourself and your pursuits, accomplishments, dreams, whatever, but you do it with passionate engagement rather than arid laundry listing. Did you start a business with nothing but gumption and a notepad full of stray ideas? Talk about that, but describe the feelings that coursed through you every step of the way. You want her to feel like she was right there with you, reliving the excitement.
Sex-themed stories
If it’s obvious you are telling a story from your past involving third parties, you can get away with some juicy sex talk early on that you couldn’t get away with if the subject wasn’t nicely wrapped in a one degree removed package. Example: That time you encouraged your ex to do an impromptu pole dance, complete with imaginary pole, for tickets to a sold-out show.
Metaphorical stories
These can be made up or extracted from your life, but the idea is to highlight a moral quandary or a life lesson, which will further move discussion and encourage the girl’s participation. Mystery’s ant farm story is a classic of the genre.
The two key requirements of any story that you must learn are:
- The hook line. Lead a girl into your story with an innocuous question. Ex: “Have you ever been to [place X]?”
- Descriptive language. Show, don’t tell. You didn’t bike down that French boulevard with your ex, you swerved dangerously close to passing Parisians and rumbled chaotically over stony paths, as the aromas of warm bread and hyacinth filled your nose.
4. Qualification
Unlike almost every other man out there, you are qualifying her to see if she meets your strict standards for a pleasing woman worthy of your time and company. Ex: “Girls who are passionate and uninhibited are so rare nowadays. Everyone’s cautious, trying not to seem weird. What’s the craziest thing you’ve done recently?”
She will bite (they almost always do if your pick-up progression has been congruent with her escalating mood), and her emotional systems will invariably engage. Whatever you do, don’t show too much interest in her answer; you want her to impress you, and that takes work.
Careful, don’t qualify too early. You will appear judgmental, and that will close off a woman. Wait for her to show some signs of interest, then qualify her when her outer defenses are down.
5. Misinterpretation of her words as sexual intent
This is the most fun of the chick crack tactics, because it’s so childish and yet so effective at fast tracking the interaction to a coital conclusion. Ex:
Girl: “How about we dance? I like this song.”
You: “Riiiiight. I get it. [air quote] Daaaance. Rule #1 for dancing: My butt is a public work of art. That means, you can admire, but no touching. Arms up top, ok?”
Girl: “Your shirt is soooo gay.”
You: “Are you always thinking about gay sex? Perv?”
Girl: “I just got back from Rome.”
You: “Little soon for sex stories, doncha think?”
Tyler D has a version of this called “sexual predator game”, where you playfully assume everything she says or does is to get you in the sack. Ex: “You want me to get you a drink? No way. I know where that leads. Liquor me up, get my defenses down, and next thing I know you’ve tied me to the bed posts. Forget it, fatal attraction.”
Sexual misinterpretation is a riskier technique than the other ones, especially if done too early, because the girl could feel creeped out if she isn’t yet intrigued by your charms. Save this for later, after a breezy rapport is established.
Be a psychic. Pretend to know something about her. (Or be very observant, and actually know something about her.) Commit these cold read openers to memory:
“I see you’re the type of person…”
“You look like the kind of girl…”
“I notice you…”
“There’s something about you that says…”
Focus on positive impressions, to get a girl talking about herself (and therefore projecting the good feelings she gets from her favorite subject — herself — onto you). Advanced cold reads use a compliment to embed a challenge to a girl’s self-conception. For instance:
“You seem really self-assured, but I can tell there are times when you struggle with doubt.”
Who doesn’t struggle with doubt? Cold read predictive power: validated. Pussy lips: blossomed.
2. Role-playing
Role-playing is basically the ability to have fun and jettison linearity for extemporaneity. (Two attributes in which most men run a deficit.) It’s fairly self-explanatory. You choose a character for yourself and for the girl (women love to be lead down these roads of whimsy), and you construct an alternate reality where the goal is to bring to life a typical female fantasy. Ideally, your role-playing characters will open the door to sexualized conversation.
Handy role-play scenarios you should learn and remember are:
Priest and wanton woman
Daddy and daughter
Boss and secretary
Photographer and model
Master and slave (save this one for the final stretch)
Professor and student
Concerned neighbor and runaway
Vice cop and prostitute
Seducer and seduced (yes, self-referential role-playing works)
The advantage of role-play is that you can be much bolder with your sexual innuendo than you could in normal conversation, because you have the plausible deniability of your character.
3. Storytelling
Similar to role-playing, except instead of making up a fun scenario involving two fantasy characters, you tell a story — embellished where necessary — involving real characters from your life. The object of storytelling is two-fold: to entrance a woman with the lure of an emotional jackpot, and to embed subtle cues of your high(er) value, aka DHVs.
Neil Strauss (“Style”) is widely considered to be the father of storytelling as a pick-up tactic. The guy writes for a living, so that would make sense. He categorizes storytelling into four types:
Implicit qualification stories
These are the stories that reveal certain positive and exciting attributes about yourself that you really want the girl listening to you to possess. So, for instance, these stories will present you as a rebel, a rule-breaker, and an impulsive lover of life with a short time horizon. The girl hears this, and feels a subconscious need to qualify herself as possessing those same exciting traits.
Self-promotion stories
You talk about yourself and your pursuits, accomplishments, dreams, whatever, but you do it with passionate engagement rather than arid laundry listing. Did you start a business with nothing but gumption and a notepad full of stray ideas? Talk about that, but describe the feelings that coursed through you every step of the way. You want her to feel like she was right there with you, reliving the excitement.
Sex-themed stories
If it’s obvious you are telling a story from your past involving third parties, you can get away with some juicy sex talk early on that you couldn’t get away with if the subject wasn’t nicely wrapped in a one degree removed package. Example: That time you encouraged your ex to do an impromptu pole dance, complete with imaginary pole, for tickets to a sold-out show.
Metaphorical stories
These can be made up or extracted from your life, but the idea is to highlight a moral quandary or a life lesson, which will further move discussion and encourage the girl’s participation. Mystery’s ant farm story is a classic of the genre.
The two key requirements of any story that you must learn are:
- The hook line. Lead a girl into your story with an innocuous question. Ex: “Have you ever been to [place X]?”
- Descriptive language. Show, don’t tell. You didn’t bike down that French boulevard with your ex, you swerved dangerously close to passing Parisians and rumbled chaotically over stony paths, as the aromas of warm bread and hyacinth filled your nose.
4. Qualification
Unlike almost every other man out there, you are qualifying her to see if she meets your strict standards for a pleasing woman worthy of your time and company. Ex: “Girls who are passionate and uninhibited are so rare nowadays. Everyone’s cautious, trying not to seem weird. What’s the craziest thing you’ve done recently?”
She will bite (they almost always do if your pick-up progression has been congruent with her escalating mood), and her emotional systems will invariably engage. Whatever you do, don’t show too much interest in her answer; you want her to impress you, and that takes work.
Careful, don’t qualify too early. You will appear judgmental, and that will close off a woman. Wait for her to show some signs of interest, then qualify her when her outer defenses are down.
5. Misinterpretation of her words as sexual intent
This is the most fun of the chick crack tactics, because it’s so childish and yet so effective at fast tracking the interaction to a coital conclusion. Ex:
Girl: “How about we dance? I like this song.”
You: “Riiiiight. I get it. [air quote] Daaaance. Rule #1 for dancing: My butt is a public work of art. That means, you can admire, but no touching. Arms up top, ok?”
Girl: “Your shirt is soooo gay.”
You: “Are you always thinking about gay sex? Perv?”
Girl: “I just got back from Rome.”
You: “Little soon for sex stories, doncha think?”
Tyler D has a version of this called “sexual predator game”, where you playfully assume everything she says or does is to get you in the sack. Ex: “You want me to get you a drink? No way. I know where that leads. Liquor me up, get my defenses down, and next thing I know you’ve tied me to the bed posts. Forget it, fatal attraction.”
Sexual misinterpretation is a riskier technique than the other ones, especially if done too early, because the girl could feel creeped out if she isn’t yet intrigued by your charms. Save this for later, after a breezy rapport is established.
