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Intro to Verbal Game...

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  • Intro to Verbal Game...

    One question I still get asked a lot on the forum or in PMs is "what are some of the specific verbals that you use?" or maybe the same question is phrased another way such as "Bacchus, in this LR you said you talked about travel/looped her/got her in a bubble/emotionally stimulated her/etc... what does that look like?" or in really simple terms "what the fuck do you even say to these girls man?"

    Before I try to answer this question, again. There are a few things that need to be said first.

    First things first, the specifics of what I say, were developed by me, specifically for me. That means that what I tell girls is 100% congruent to my personality, persona and personal brand. Because I did not develop these verbals for the purpose of teaching them others, I developed it just so I could bang hotter girls more consistently. That is not to say that I'm totally selfish and will not attempt to help you with your verbal game, if that were the case I wouldn't be a writer for GirlsChase, neither would I be writing this thread. Bottom line is I do want to help, but it's not quite as easy as you might think. Because it's very likely that you will NOT be able to simply parrot my verbal stacks and get the same results without sounding totally in-congruent and blowing out.

    Second thing, and I gotta give credit to Gunwitch for this point. Even if you had the most advanced verbal game at your disposal, if you fail to deliver it correctly, without any confidence or the correct subcommunication, or you won't touch her at the right moment, or look her in the eyes when you talk... then the verbals are worthless. The reason it's worth pointing this out, is because every now and then you'll have a guy come back complaining that "it didn't work" meanwhile he's still struggling with his fundamentals and his subcoms are way off. It has to be understood that in situations like these... it's not the verbals that are at fault here... it's YOU.

    Verbal game is not for beginners who are still struggling with approach anxiety. It's not even for journeymen seducers who get laid every now and then from "inner game" and opening several dozen girls a week. Verbal game is for the seducers who have their fundamentals down tight, who already have a strong presence, and have some degree of control over their own state, it's for the seducers who can tell the difference between a girl who's already DTF and a girl who has to be "gamed" into the sack.

    You only should start learning verbal game if you pretty much got everything else under control... ideally you get laid quite a lot and want to up your ratios. Because if learning seduction was a pyramid, verbal game would be near the top. (Honestly I would have simply said verbal game is for the intermediate seducers and above... but some guys can't even agree on what the fuck intermediate means )

    Now that we've got that out of the way. We can get started on the nitty gritty.

    We can use verbal game accomplish several things in a seduction... you can use it to set frames, re-frame unwanted or negative frames, create liminoid spaces, make girls qualify to you, get them all sexually aroused, hook them into the conversation, emotionally stimulate them, get a bubble going, plant questions or ideas in her head, or do something a little more complex like loop them, etc etc. The list goes on. For brevity's sake I'm going to stick to how we can use verbal game to emotionally stimulate girls.

    If you don't know what emotional stimulation is, I suggest you get yourself up to date with Gunwitch's three keys theory. Either do a search for his posts where he talks about it or buy SMMA and get the full breakdown.... now to emotionally stimulate a girl using verbal game is actually quite simple. All you have to do is describe a certain emotion, or an emotionally charged situation using... well your words and she will feel that emotion. And that's it, you've emotionally stimulated her. Yeah it really is that simple.

    Here's a (very old) example I used to use.

    "When I sit down to make a potriat... I'm usually alone, in my own head. Time just flies by and you don't even notice it.
    You're like... completely focused, and it's like every bone in your body is working towards creating something. It's a struggle, but I love it."
    The more descriptive you can be, the better. Notice my choice of language, "completely focused", "like every bone in your body." I'll say it again, the more descriptive you can be, the better. Now with the above example, and the knowledge that by describing an emotion or emotionally charged situation... using language you will emotionally stimulate a girl. It should not be very hard to come up with a few emotional simulators that are congruent to you and your experiences. Maybe you're not a painter but you're a musician, or you ride horses, write code, or surf or do kickboxing or travel or whatever.

    Just describe how you feel when doing whatever it is you like to do... write it down, use a thesaurus to help you with the "right words" and memorize the gambit. Pop it into one of your seductions, deliver it with confidence, and be amazed at the effects.

    Or you can think of some emotionally charged situations you've experienced in your life. Maybe you went mountain climbing once, or had some wild drug fueled night at a rave or a club downtown. Maybe you had some memorable sex with a fuckbuddy, just remember the more descriptive you can be, the better. I'd suggest trying to come up with around 3 to 5 of these that you can whip out of your back pocket to emotionally stimulate a girl at any time.

    Try to keep these gambits on the shorter side as well. Here's another example.

    "When I moved here, I just packed my bags and took off. It was scary at first, like... damn I knew absolutely no one in the country. But at the same time it was so fufilling... so liberating. You don't know anyone around... so you're free to do whatever you want. You're free to feel relaxed, be yourself, without any worries of any backlash or the possibility of anyone judging you."
    There are some embedded commands, covert frames and other NLP-tech in the above gambit, but pointing them all out and doing a proper explanation of each term, what it accomplishes and other ways to use it, doesn't seem like a good idea at this very moment since this post is already getting longer than expected. If any other verbal seducers wanna jump in contribute and maybe point them out, they're free to do so.

    Depending on how this thread goes, I might make another one like it and cover a more complex subject... I know this one wasn't particularly mind blowing. Like I seriously could've written this post when I was still banging just one new girl per month off cold approach.

    There are way, way, way more impressive ways to use verbal game. There are techniques you can use that accomplish several things at once. And there are even more powerful and downright deadly gambits that I and other seducers are working with these days. But without posts like these, I couldn't make posts about the more advanced stuff. There has to be some sort of bridge from the basic to the esoteric. So yeah, this was an introduction to verbal game. And the topic was emotional stimulation.


    As always, comments, questions and critique are welcome.

  • #2
    Notice it is emotional language, something she has to feel to understand, not think about to understand.
    This helps her get out of frames of judging you, and increases likelihood she will relate to you.

    A bad example of what bacchus said would be "i draw portraits" "I moved to here to get away from my annoying family"
    He extend those thoughts out to show certain feelings, in order to show he is aware of and capable of percieving tthings on a deeper emotional level.

    "when I kiss a girl it isnt just a kiss, the air getts thick, time slows, and all that anticipation kind of bursts apart, sending feelings all through her and me, and it changes how i feel, i get all cute and sexy and my body starts to feel awesome, like after good exercise where you have worked but feel really good about it"

    This is showing you notice the emotion and feel of a good kiss.
    Where in bachus' example he is showing he understands passion, and frustration, which are important things to know about in order to empathise withh how and why girls have sex
    1) frustration release
    2) a way of being passsionate or sparking themslves

    In my example I'm creating a value to my kiss, because she can visualise that its a very sexy feeeling to kiss me.
    Making her more curious.
    3) curiousity and intrigue

    You want to build a handful of those to use for each girl
    Cuz about 5 is enough to get her turned around on you
    Well... not always... but generally

    Comment


    • #3
      This is story telling -esque.. usually some controversy about this. (yay-crowd vs. nay-crowd) Its not part of what I deliberately do. (Girls often accused of sharing nothing about myself. Its a type of frustration I tend to aim for..) Exception is self-embarrassment stories. (I can easily captivate a crowd stand-up-style with these now. Always loved them.)

      On the 'broader' topic of how I use verbals in PU, my deliberate things fall into the following types:
      -push (staging)
      -pull
      -intrigue
      -stupidly funny
      -
      -clutch moment statements
      -silence (staging)

      Top 4 are for the first 5-10min. I then quiet down and let the girl talk, while kinoing her.
      By 'staging', I mean creating a timespan where I can freely kino and vibe romantically with the girl.
      So the goal is to quickly get the interaction to a place where no talk is required.

      If the girl is infatuated with me from the start, I skip the 'talk' phase and go straight for silence + kino + vibing. I tend to do the same in social circle interactions.

      Comment


      • #4
        I've been using emotionally stimulating stories for several years now. I have a story for when I almost drowned, a story for when someone died on my doorstep, an erotic story I wrote as an aspiring writer amongst others. On dates, they have led to a very high close rate. I've had girls seek for more stories out of me once they get a taste for it.

        In cold approach, there is more required and would be keen to learn about the other verbal techniques you mentioned.

        Also, having used girls chase tool for the past month, he's been leading me to what ijjji mentioned about revealing little to nothing at all. I have elicited that frustration he mentioned when doing so.

        Lastly, how much air time does your verbal stack cover?

        Comment


        • #5
          People don't seem to get it. Eliciting and inducing mental states CAN be done through a story but not necessarily . It can be done through pacing the ongoing moment, or pace her reality. I really do not see how people mis-interpreted this as story-telling. Story-telling can be great tool, but more as a weasel phrase :

          "it is funny you mention this Julie, you remind me of someone called Ida i met back in Spain in 2007. It was back on sunny day in 2007 that..."
          "Interesting - you enjoy reading.... Have you ever heard about the story of O?" (oh and now shit gets dirty)

          I don't get where people get this story thing from... I am actually curious. Pacing her ongoing reality is not a story told... yet can apply all the things listed in the OP (and much much much more).

          -Teev

          Comment


          • #6
            Originally posted by Bacchus View Post
            "When I sit down to make a potriat... I'm usually alone, in my own head. Time just flies by and you don't even notice it.
            You're like... completely focused, and it's like every bone in your body is working towards creating something. It's a struggle, but I love it."
            This here is decent but is over simplified and could be used to great potential.

            For instance I'd rephrase it into:

            "When I sit down to make a portrait, I am usually alone, and when i happen to be alone,I tend to feel slightly inside my own head, it is like an emprisonment of your own mind, that only the strongest souls can liberate themselves from. It is one of those situation Ida, where time just flies by... now, used to be then and then suddenly becomes now, an hour becomes a minute, a minute a second and each and every second turns into small pieces known as milliseconds...Completely focused on the things to come, and it's like that sensation of every bone in your body is working towards creating something big, something new, something that would just blow your mind away. Now with me, It's a struggle, but I love it"



            Here i break it down a bit. I changed and added a few things, but I will only mention a few of those changes (I will only mention those I believe to be of great interest to you)

            "When I sit down to make a portrait, I am usually alone, and when i happen to be alone,I tend to feel slightly inside my own head, it is like an emprisonment of your own mind, that only the strongest souls can liberate themselves from"

            * Here we see some framing taking place. Basically telling her she is weak if she is stuck up - if that ever become a problem later, you can bring it back up. If you anchor this someway it can be even better

            "It is one of those situation Ida, where time just flies by... now, used to be then and then suddenly is now, an hour becomes a minute, a minute a second and each and every second turns into small pieces known as milliseconds..."

            * Time distortion baby! further induced trance!

            "Completely focused on the things to come, and it's like that sensation of every bone in your body is working towards creating something big, something new, something that would just blow your mind away. Now with me, It's a struggle, but I love it"

            * I did many things here by adding more description while remaining ambiguous. However note the linkage at the end of the phrase "something that would blow your mind away. Now with me...."


            That said, there was one small detail in this post that really ... really caught my attention

            "When I moved here, I just packed my bags and took off. It was scary at first, like... damn I knew absolutely no one in the country. But at the same time it was so fufilling... so liberating. You don't know anyone around... so you're free to do whatever you want. You're free to feel relaxed, be yourself, without any worries of any backlash or the possibility of anyone judging you."

            This embedded command is just great. I reminds me of my favourite one "allow yourself" but this one is great too. I will start using it myself. "Being free to do" - contains the word of freedom - "free" "being free" which is to many woman a trance-word. This is why i believe this embedded command can be so powerful.

            On a side note I will try to play around with stacking a few embedded commands this week end. The one I want to play around with (inspired by yours here) is:
            "So... you are free to... allow yourself.... to let go and... truly liberate your body and soul"



            -Teev

            Comment


            • #7
              Originally posted by thecostofsuccess View Post
              Notice it is emotional language, something she has to feel to understand, not think about to understand.
              This helps her get out of frames of judging you, and increases likelihood she will relate to you.
              Yes, this is a great point cosy.

              Originally posted by thecostofsuccess View Post
              A bad example of what bacchus said would be "i draw portraits" "I moved to here to get away from my annoying family"
              He extend those thoughts out to show certain feelings, in order to show he is aware of and capable of percieving tthings on a deeper emotional level.
              "I draw portraits" "I travel a lot" are the typical phrases that leave guys mouths when they talk to women, which like you mentioned earlier sets them up to get judged, and then screened out like every other guy. It has been my experience that women don't want dry facts, or footnotes of your life, they want to *feel.* Extending thoughts, and describing feelings allow her to do that.

              Originally posted by thecostofsuccess View Post
              "when I kiss a girl it isnt just a kiss, the air getts thick, time slows, and all that anticipation kind of bursts apart, sending feelings all through her and me, and it changes how i feel, i get all cute and sexy and my body starts to feel awesome, like after good exercise where you have worked but feel really good about it"
              I really like this.


              Comment


              • #8
                Originally posted by ijjjji View Post
                This is story telling -esque.. usually some controversy about this. (yay-crowd vs. nay-crowd)
                Originally posted by hey_lover View Post
                I've been using emotionally stimulating stories for several years now. I have a story for when I almost drowned...
                No, like Teev pointed out this thread is not about "telling stories" it is about emotional stimulation.

                I never mentioned the word "story" in the OP that being said I do understand your point of view and where you guys are coming from, seeing as both of the examples I gave had elements of story-telling in them. However I am still quite disappointed that both of you read the entire OP (did you actually read the full OP... or just look at the examples... ) and went on to conclude that this was a thread about story-telling.

                All we are discussing here, are ways to emotionally stimulate (elicit mental states, pace reality, even spark her curiosity or make her laugh, etc.) a girl using verbal game.

                Originally posted by ijjjji View Post
                On the 'broader' topic of how I use verbals in PU, my deliberate things fall into the following types:
                -push (staging)
                -pull
                -intrigue
                -stupidly funny
                This here is quite interesting, a "pull" would be emotionally stimulating but also quite sexual, so there would be two keys at work there. Funny, stupid stuff is emotional stimulation for the simple fact that it eliminates boredom, you make her feel like she's having fun. And you already know that intrigue is a personal favorite of mine.

                Now ij, we've briefly discussed stacking before, so it's safe for me to assume you stack these four types and fire them at girls one after the other. I already have a visual as to the order I might stack them, personally I'd go with intrigue first then a push, (assuming you are referring to the commonly known push-pull method, if you mean something different please correct me) then something funny, and finally a pull.

                This would follow the pattern of what I like to call "looping" but I'd be curious to see how you'd stack things.

                Originally posted by hey_lover View Post
                ...an erotic story I wrote as an aspiring writer amongst others. On dates, they have led to a very high close rate. I've had girls seek for more stories out of me once they get a taste for it.
                Glad to hear that.

                Originally posted by hey_lover View Post
                In cold approach, there is more required and would be keen to learn about the other verbal techniques you mentioned.
                This is true. I honestly don't mind if this thread evolved into a discussion about other techniques or more advanced stuff. Ask your questions then... and be specific.

                Originally posted by hey_lover View Post
                Lastly, how much air time does your verbal stack cover?
                I'm not sure exactly how this relates to the OP but sure whatever.

                My stack can be used to fuel the conversation for an interaction that lasts up to 4 hours and 30 minutes... but the actual "air time" for the stack is obviously much less than that. I've got maybe 22 to 25 different gambits in the stack I wrote earlier this year (none of these gambits were included in the OP) and if each gambit lasts about two minutes on average (some are closer to thirty seconds while others closer to five minutes) I'd guess and say the air time would be close to one hour, give or take a few minutes.

                Comment


                • #9
                  Originally posted by Teevster View Post
                  For instance I'd rephrase it into:

                  "When I sit down to make a portrait, I am usually alone, and when i happen to be alone,I tend to feel slightly inside my own head, it is like an emprisonment of your own mind, that only the strongest souls can liberate themselves from. It is one of those situation Ida, where time just flies by... now, used to be then and then suddenly becomes now, an hour becomes a minute, a minute a second and each and every second turns into small pieces known as milliseconds...Completely focused on the things to come, and it's like that sensation of every bone in your body is working towards creating something big, something new, something that would just blow your mind away. Now with me, It's a struggle, but I love it"
                  This is a much better application of that old routine. I've updated it myself a few times, but this one here is the best application so far.

                  Originally posted by Teevster View Post
                  "When I sit down to make a portrait, I am usually alone, and when i happen to be alone,I tend to feel slightly inside my own head, it is like an emprisonment of your own mind, that only the strongest souls can liberate themselves from"

                  * Here we see some framing taking place. Basically telling her she is weak if she is stuck up - if that ever become a problem later, you can bring it back up. If you anchor this someway it can be even better
                  Ah this is interesting, it hints that if she fails to engage you with enthusiasm and interest that she has a weak soul... sneaky. Since everyone gets it's their own heads from time to time, you use this common emotion to set a frame that encourages her to open up, or "liberate herself from the emprisonment of the mind."

                  Originally posted by Teevster View Post
                  "Completely focused on the things to come, and it's like that sensation of every bone in your body is working towards creating something big, something new, something that would just blow your mind away. Now with me, It's a struggle, but I love it"

                  * I did many things here by adding more description while remaining ambiguous. However note the linkage at the end of the phrase "something that would blow your mind away. Now with me...."
                  The ambiguity is gold, are we talking about portraits or we talking sex?

                  Originally posted by Teevster View Post
                  That said, there was one small detail in this post that really ... really caught my attention... This embedded command is just great. I reminds me of my favourite one "allow yourself" but this one is great too. I will start using it myself. "Being free to do" - contains the word of freedom - "free" "being free" which is to many woman a trance-word. This is why i believe this embedded command can be so powerful.
                  I put that example in there for you lol.

                  Had a feeling you'd probably be one of the very few posters who'd catch on to that little embedded command. It's really, really important for cold approach, especially in situations where she might have some mental barriers to sex with a stranger. You just sneak that command in there... and bam. So far I like the direction this thread is going!

                  Comment


                  • #10
                    Cool so its about sharing an emotion (word aided vibing I guess), and not about the story. So it doesnt even have to be a story per se.

                    I used to mix-stack extremely when I was newb. It can be fun.
                    Now I stack the same thing on top of itself multiple times, to eventually create the 'this is too much' sensation.., similar to taunting/teasing.
                    Like Im pushing her buttons, only Im hammering on just one at a time with a little wooden hammer, until she kinda starts squealing from over-saturation in that particular button..
                    (Not sure if thats even comprehensible - Ill make a thread about it with examples sometime.)

                    Comment


                    • #11
                      Originally posted by ijjjji View Post
                      Cool so its about sharing an emotion (word aided vibing I guess), and not about the story. So it doesnt even have to be a story per se.
                      Yup.

                      Originally posted by ijjjji View Post
                      Now I stack the same thing on top of itself multiple times, to eventually create the 'this is too much' sensation.., similar to taunting/teasing.
                      Like Im pushing her buttons, only Im hammering on just one at a time with a little wooden hammer, until she kinda starts squealing from over-saturation in that particular button..
                      (Not sure if thats even comprehensible - Ill make a thread about it with examples sometime.)
                      I'm familiar with this, sometimes you'll have girls squirm in their seats, or rock back and forth if their standing up. As they get closer and closer to the breaking point. But the thing is, there is a breaking point. I've taken this too far in the past and had situations where the girl just HAS to exit the situation because she got too stimulated and actually couldn't take it.

                      However keeping her in that sweet spot of over saturation as you say, where it's "too much" but not so far gone that she actually can't take it anymore is something I'd be interested in reading about. I remember toying with that idea in almost every outing for a few months back in 2016. But I unfortunately didn't do a whole lot of writing in that time period.


                      Comment


                      • #12
                        A few points to give context to verbal game - from some key understandings of how i see it building of rikers model:

                        Point1:
                        verbal game function in the larger picture primarily as a vehicle that locks you in. aka keep her maintained to you while driving the interaction forward. As such it can help create a path of movement for the seduction that she is hooked into. One that can be taken down many routes. it provides a structure in which it is natural for her to continuedly stay w you.

                        Point2
                        There needs to be a structure for how to move through verbals - i personally follow rikers model which teevs send me towards. Works great (late field testings).

                        a) first you make the convo fun an interesting
                        b) secondly you do more imagination and how it would feel stuff (what the OP is mainly focussing on)
                        c) then you enter the more seductive verbals (sex talk too is here)

                        once youve gotten each down you can fractionate and shift between the subtopics of a,b and c to deepen the emotional stimuli and not sound weird. You can add in small things to ignite her imaginations and shift to other topics. This is how conversations works in a way where you navigate them smartly as a seducer.

                        --
                        btw inspirering to hear about your approach about extending yourself into your verbals from your own being. I dislike the "personal brand" approach - i focus on character development instead. But the point of departing in ourselves is great. Good if not the best departure imo. Helped me with some being stuckness in my creation of a few im developing. Sweet (y)

                        Comment


                        • #13
                          Telling stories is one way to emotionally stimulate a girl. That was my way to relate to the topic you created, as that is something I use to emotionally stimulate a girl. So is pacing the ongoing situation or pacing her reality as Teev put it, though, I'm not really familiar what the latter two in this particular context, so examples would be welcome. Unless that is just another way to describe the descriptive language Bacch is using to explain or answer something from a girl.

                          As for looping, let me see if I understand this correctly. So for example, using the intrigue, push, funny and pull sequence to create a loop.

                          She asks where are you from?

                          Intrigue = I am from a place far far away, where everyone walks around almost completely naked and people live freely without restraint.(This creates curiosity within her to seek an answer.)
                          Push = Well actually, I don't think I can tell you just yet, the last thing I need is another stalker on my case, (This creates dissatisfaction within her as the answer is not forthcoming)
                          Funny = I don't want to wake up in the middle of the night with you breathing down my neck, ready to pounce. (You're making light of her frustration.)
                          Pull = Though, if you keep on looking at me with those cute, sensual eyes, I might just have to take you to my home town in Madagascar. (Pulling her back in before she blows out.)

                          Thus, completing the loop.

                          Is this what you mean?

                          Comment


                          • #14
                            Originally posted by glow View Post
                            Point2
                            There needs to be a structure for how to move through verbals - i personally follow rikers model which teevs send me towards. Works great (late field testings).

                            a) first you make the convo fun an interesting
                            b) secondly you do more imagination and how it would feel stuff (what the OP is mainly focussing on)
                            c) then you enter the more seductive verbals (sex talk too is here)

                            once youve gotten each down you can fractionate and shift between the subtopics of a,b and c to deepen the emotional stimuli and not sound weird. You can add in small things to ignite her imaginations and shift to other topics. This is how conversations works in a way where you navigate them smartly as a seducer.
                            Originally posted by hey_lover View Post
                            As for looping, let me see if I understand this correctly
                            ...
                            is this what you mean?
                            Like glow just said, to get the most out of verbal game there needs to be a structure. This is where looping comes in.

                            At it's core it's a simple structure to direct your verbal game, that also happens to hit all three of Gunwitch's keys which are social frame, emotional stimulation, and sexual arousal. To loop a girl, you have to structure your verbal game in a way that fractionates thorough and hits those three keys in that exact order.

                            (Actually glow, from what you're saying about Riker's structure it looks a lot like looping, please tell me what you think about looping, since I'd like to come up with and field test several dozen ways to do this.) I'll just go ahead and give a couple examples from my stack, guess it doesn't really matter since I don't have a product coming out lol.

                            Let's call this the travelling gambit. It starts off with me asking her this question: "Say you won the lottery and could go anywhere in the world without having to worry about money, where would you go?" This first part is a social frame gambit. An interesting question that makes her think, and qualify herself to you.

                            After she answers (she might return the question to you... you can answer with any place you want.) For example let's say she says she'd go Italy

                            You follow up with this - an emotional stimulator:

                            "Have you ever noticed how when you're planning a vacation, you see pictures on instagram or whatever and you think you know exactly how it's all gonna look and feel... but once you get there it's totally different sounds, tastes, everything. Completely different from what you imagined. So in a way you get two vacations, the one you imagined in your mind, and the one you actually experience."

                            Preferably let it linger for a few moments to let her take that in... you've gotten her in a bubble at this point if done right, and then the final part of this loop, the 'punch line' if you will. (and like all final parts of a loop it's accompanied a sexual vibe/subcommunication or sex talk to hit the arousal key.)

                            "So let's say you end up going to Italy... you drop your luggage off at the hotel, plop down on the bed, what's the first thing you'd do?"

                            What you're looking for at this point is for her to match your sexual state. She might even stutter when trying to answer, or blush in embarrassment.
                            I was gonna share another routine, but I just had a better idea. I'll give you the first part of the loop, the social frame gambit. And anyone who feels up to the challenge can jump in with what they think would be a good emotional stimulator to follow up with, and maybe even a punch line that'll hit the arousal key as well.

                            "Let's say you could go back in time to any era in the past, you know become like a time traveler and take a vacation to any time in history. Which era would you choose?"

                            Comment


                            • #15
                              Originally posted by glow View Post
                              A few points to give context to verbal game - from some key understandings of how i see it building of rikers model:

                              Point1:
                              verbal game function in the larger picture primarily as a vehicle that locks you in. aka keep her maintained to you while driving the interaction forward. As such it can help create a path of movement for the seduction that she is hooked into. One that can be taken down many routes. it provides a structure in which it is natural for her to continuedly stay w you.

                              Point2
                              There needs to be a structure for how to move through verbals - i personally follow rikers model which teevs send me towards. Works great (late field testings).

                              a) first you make the convo fun an interesting
                              b) secondly you do more imagination and how it would feel stuff (what the OP is mainly focussing on)
                              c) then you enter the more seductive verbals (sex talk too is here)

                              once youve gotten each down you can fractionate and shift between the subtopics of a,b and c to deepen the emotional stimuli and not sound weird. You can add in small things to ignite her imaginations and shift to other topics. This is how conversations works in a way where you navigate them smartly as a seducer.

                              --
                              btw inspirering to hear about your approach about extending yourself into your verbals from your own being. I dislike the "personal brand" approach - i focus on character development instead. But the point of departing in ourselves is great. Good if not the best departure imo. Helped me with some being stuckness in my creation of a few im developing. Sweet (y)
                              actually its purpose is not to lock you in
                              its purpose is to get her out of over intellectualising her choices and get her feeling more carefree and happy
                              from there a girl can be seduced

                              often when you only do physical game a woman will still harbor deep scepticism about you in her subconscious
                              good verbal game alleviates this hidden scepticism by bringing it out into the open and relieving the buried concerns

                              But you should not be "wordsmithing"... it will get you blown out, and for good reason (you are being deceptive)
                              It needs to be authentic! (but not serious and boring... has to be evocative and engage her in feeling your point rather than thinking it)

                              Point is to help her feel more carefree and release her scepticism
                              But in an authentic non "wordsmith" way


                              It is not not not about keeping her attention on you
                              No no no...
                              That is what guys NORMALLY do
                              And what you want to half get away from.
                              It is okay to do some attention grabbing, but you should never put emphasis on it
                              You only use it to help transition into good verbal

                              So in a way you are half right... make the lock in part as simple as you can
                              but the other half requires your language lighten her heavy and weary mind of burdens so she can feel free to enjoy your company without worrying about you randomly turning into a chumpy dickhead who will obliviously start being a leech


                              But then yes... create interest, move into feel based stuff, then sexual
                              Its purpose however is to demonstrate YOU ARE NOT A LEECH
                              Thusly lifting concerns that crush on her all the time about dudes general negligence
                              It HAS HAS HAS to be authentic, no use doing it if you still leech in any way
                              Which is why good verbal is more advanced intermediate



                              btw, basic verbal skill is introductions and exchanging numbers smoothly after a high point
                              intermediate skill is being a socially capable leader type (knowing how to reward people and make things easier in general, and creating rapport/trust etc)
                              advanced is the feel based stuff

                              bachus might be trying to do the more advanced verbals before the social ones actually...
                              so might be kind of limping a bit... since the feel based verbals cant carry things socially all that well for extended periods of time or in certain scenarios
                              But seems fine I guess.

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