Really - Be Talkative

It’s vitally important to be talkative. It’s easy to say it but actually try it for a few months of practice. If you have so much to talk about, and you bombard her (or her set) with lots of fun and interesting conversation, showing humor, opinion, and passion, then you get to convey your personality.

The talkative person just gets laid way more often. The secret is to put yourself in a talkative mood. Have you ever been in oner Close your eyes for a moment and remember what it was like at the time. Looking back on all the girls Mystery has been with, he just talked their ears off. Then after he saw positive body language and other IOIs he would come out of the blue and say, "Would you like to kiss me?"

That’s it — he would just talk passionately about something.. .talk and talk. He wouldn’t talk about her. He wouldn’t ask questions. He wouldn’t really expect her to say anything. If she wants to join in, great, but otherwise, who cares? He does it all.’

<a href="http://www.squidoo.com/vh1pickupartist/">Really - Be Talkative</a> 

The Freeze-Out

When YOU are in the attract phase, YOU can bust her balls when she busts yours. But once you reach comfort, if she busts on you, you can only freeze-out by withdrawing attention. She will say, what’s wrong?" You say, "Nothing." (Not sulking! The delivery must be sincere, like it’s really no big deal)
Then, after she is punished by your silence for an awkward moment, return to comfort by finding something to IOI her for.

She learns quickly not to bust on you because, (1) you’ve already proven that you can bust back (in attract phase) and (2) she feels discomfort whenever she busts on YOU. This is your opportunity to show her YOU aren’t always an asshole like you were in attract phase.
So freeze-outs are a way to train her. You can use discomfort sparingly to teach her that being nice to you means comfort and fun. When the time has come to

build comfort, it’s counterproductive to continue being cocky and ball busting. The punish/reward dynamic must be used instead.
This phase is also your opportunity to demonstrate that you are capable of making uncomfortable situations comfortable again. The use of sniper negs is great here, like saying, "you have something on your nose" and handing her a tissue.

She feels uncomfortable but it’s not your fault, it’s God’s. Right after this, she will feel so small After she notices that you are freezing her out a bit (not as if you’re being cruel, but rather as if you aren’t interested in her), give her a compliance rest and then reward her compliance with an IOI In this way you are can continue rewarding her, but only for compliance and not misbehavior.

One step forward, two steps back

While escalating, take one step forward (metaphorically). At any sign of hesitation or defiance, take two steps back. Then step forward once again. For example, if you take her hand, and you sense any hesitation, throw her hand away. Later when you take it again, she will comply more readily. The principle is that the "two steps back" creates more discomfort than the "one step forward." Thus, the target becomes more likely to comply with future forward steps.

You be the one to create the tension, and you be the one to push it away
"Baby, we’ve got to slow this down.."

Some people think that it’s the man’s job to escalate, and the woman’s job is to resist. Instead, think of it as if it is the man’s job to do both. If you are constantly thing to get more kino, like getting yards on a football field, it telegraphs far too much interest and deprives her of the hot/cold, push/pull energy that she finds so compelling.

When you pull in close to a girl, there’s this tension in the air. At some point, if she feels too much discomfort, she will pull away. This isn’t what you want — you don’t want to condition her into a behavior of constantly pulling away from you. Rather, you want her conditioned to chase after you.
So, once that tension has been created, it’s now time to push her away. This might be physically ("get off me, geez") or emotionally, such as using a backturn, false disqualifier or some other IOD. You might frame it as though you are the prize and you’re not going to let her get anywhere with you tonight ‘cause you have work tomorrow.

One effect of this is that it spikes attraction when you push her away. She will respond more playfully to you now. Another effect is that comfort is created. She doesn’t feel like you’re trying to get something if you’re constantly pushing her away. This allows her to feel safe while having fun with you. She can allow the emotional stimulation to escalate instead of having to shut it off in self-defense. And the push makes it that much more stimulating for her when you do pull her back in.
For this reason, toss her hand away after thumb-wrestling or palm-reading. Devise a kino routine where you embrace her for a few seconds of role-playing, and then push her away. Mix signals.. .draw near to her saying that it would never work out between you, but stroke your finger down her cheek at the same time. Then turn away. Use body rocking m conjunction with IOIs, IODs, false-disqualifiers, role-playing, stones, and so on.

Someone could easily spend weeks or months playing with these ideas in the field. There is so much to explore.

Windows of Escalation

As you game a girl — as you demonstrate value and lack of neediness, stimulate emotions, take control of the frame, make a connection, and so on —periodically a window of opportunity will open for you to escalate. If you miss the hint, and that window closes, you have just demonstrated lower value — and her patience will wear thin. Enough missed opportunities and she’ll decide that you’re either too chicken to make a move, or you’re incompetent in carrying it out, or you are lacking in social intelligence and thus incapable of leading the dance. Any of those are DLVs.

So, if she is standing there, talking to you, just continue escalating. Assume that it’s on, always. Even if your assumption is wrong, it will still result in the highest possible number of lavs. It’s also the best way to improve your calibration. And once your calibration is tight, all of your escalations will happen smoothly, and that is the long term goal anyway.

Some forms of kino are:

• Arm in arm
• Hands touching
• Embracing
• Embracing "from behind" • Kissing lips
• Kissing or nibbling on neck
• Hand on knee
• Sitting on lap
• Arm around waist
• Touching face
• Smelling or pulling hair
• Hand on ass

If the target with two or more girls?

This is the same as the two-set but you must disarm both obstacles first. Again, you get the acceptance of these obstacles when you neg their friend (the target.) After you win the obstacles over and begin accepting the target’s attention, you can ask the obstacles if it’s all right to spend some time with the target. They will say yes because they like you. In fact, they may even leave you two alone.
• "Let’s see what adventure awaits us in that room." (Put her on your arm, promenade-style.)
• "Hey guvs, I’m going to borrow your friend for a sec, we’ll be right there on the couch."
• "Hey guys, I’ve been ignoring your friend, I need to make it up to her. We’ll be right back"
• "Your friend and I like each other, are you cool with that?" ("Uh, I guess…’)
• "Is it ok if I borrow your friend for a second?" ("Uh I guess, if it’s ok with her…")
• "I like your friend. Is it alright if I talk to her for a minute/’
J
• "We kinda like each other, is that ok with you?"
• "I would very much like to see your friend again, is that alright with you?"
-> "Great then we’ll be right back"
-> "Good then can you give us just a minute because I’ve got to get going"
The Mystery Method 126

Alternate wording for the ‘Jealous Girlfriend9 Opener:

Style: Hey guys, let me get your opinion on something. I’m trying to give my friend over there advice, but we’re just a bunch of guys and not qualified to comment on these matters.
Girls: What?
Style: Okay, I’ve only got a sec. See Wing over there? Well, he has been dating a girl for three months. And she just moved in with him. Now, this is a two part question. So, imagine you’ve been dating someone for three months. And he is still friends with his old girlfriend from college. How do you feel about that?
Girls: blah blah blah are they just friends blah blah blah
Style: Yes, they’re just friends. There’s nothing else going on. They talk like once a week at most.
Girls: I think its fine /I don’t think they should be talking /whatever
(At this point, Style has been body rocking out of the set. Now he rocks back in to continue the opener.)
Style: Okay, now let’s say that he has a drawer in his apartment. And in that drawer he keeps all of his old photographs and letters. Now, some of those letters happen to be from ex’s and some of the photographs happen to be with ex’s.
Girls: blah blah blah concerned comment blah blah question
Style: It’s not like he ever looks at them. They are just there, like old souvenirs and memories of his past.
Girls: I think its fine / I think he should put them away in a closet / He should destroy them / whatever
Style: Okay, the reason I’m asking is because Wing’s girlfriend says she doesn’t want him to talk to his ex from college at all. She wants him to cut it off completely. And she wants him to destroy all of his old photos and letters from ex’s. She says it’s just holding onto the past, and he should let go of it now. Personally, I thought it was extreme and a bit insecure. But what do I know. I’m a guy. And, as we all know, guys think differently from girls…

Process over Outcome

A venusian artist goes into the field night after night primarily to improve his calibration and to internalize his skill-set. He’s not trying to ‘get this one girl,’ or to ‘get laid tonight.’ Rather, he’s practicing with the long-term goal of having a powerful social skill-set

You cannot allow the outcome of any given approach to carry much significance. It’s like playing a video game: if your man dies, just hit the button and play again. If the outcome of any specific approach becomes important to you, it’ll have subtle, insidious effects on your game and cause you to lose the set. You really do have to not care. Just like fishing or golfing, the process of playing the Game itself has to be its own reward.

Everything comes full circle. After some months of practice, when your game becomes tight, your skills will enable you to enjoy women in whatever way that you please. And then you really won’t care about approach anxiety, rejection, or outcome - you’ll just enjoy the ride. Ironically it is this very attitude that gets results.
There is a certain Zen to pickup…the one who releases all attachment to a desired outcome is ironically the one most likely to realize that outcome.

Process over Outcome

A venusian artist goes into the field night after night primarily to improve his calibration and to internalize his skill-set. He’s not trying to ‘get this one girl,’ or to ‘get laid tonight.’ Rather, he’s practicing with the long-term goal of having a powerful social skill-set
You cannot allow the outcome of any given approach to carry much significance. It’s like playing a video game: if your man dies, just hit the button and play again. If the outcome of any specific approach becomes important to you, it’ll have subtle, insidious effects on your game and cause you to lose the set. You really do have to not care. Just like fishing or golfing, the process of playing the Game itself has to be its own reward.

Everything comes full circle. After some months of practice, when your game becomes tight, your skills will enable you to enjoy women in whatever way that you please. And then you really won’t care about approach anxiety, rejection, or outcome - you’ll just enjoy the ride. Ironically it is this very attitude that gets results.
There is a certain Zen to pickup…the one who releases all attachment to a desired outcome is ironically the one most likely to realize that outcome.

Process over Outcome

A venusian artist goes into the field night after night primarily to improve his calibration and to internalize his skill-set. He’s not trying to ‘get this one girl,’ or to ‘get laid tonight.’ Rather, he’s practicing with the long-term goal of having a powerful social skill-set

You cannot allow the outcome of any given approach to carry much significance. It’s like playing a video game: if your man dies, just hit the button and play again. If the outcome of any specific approach becomes important to you, it’ll have subtle, insidious effects on your game and cause you to lose the set. You really do have to not care. Just like fishing or golfing, the process of playing the Game itself has to be its own reward.

Everything comes full circle. After some months of practice, when your game becomes tight, your skills will enable you to enjoy women in whatever way that you please. And then you really won’t care about approach anxiety, rejection, or outcome - you’ll just enjoy the ride. Ironically it is this very attitude that gets results.
There is a certain Zen to pickup…the one who releases all attachment to a desired outcome is ironically the one most likely to realize that outcome.

Forward and Backward Merging

As time passes in the field, practice merging sets. Be that social guy who introduces people around. There are two principal types of merging: forward and backward.
To merge forward means, to open a new set and merge your existing set into the new set. Pawning is often an example of forward merging.

To merge backward means to re-open a previous set and merge your existing set back into the previous set.

This can be useful. For example, if you target is in a two-set, you will have trouble isolating her because her friend would be stuck alone. But by merging them into another set, creating a larger set, you can now7 isolate your target. ("We re going to sit right over there and read her palm.. .")
Remember, you aren’t just gaming the set, but the entire room. Is anyone else merging sets in this room? No? Then you must be the most sociable guy in here.