Storytelling

When you tell a story, it doesn't have to be explicitly impressive. In fact, it's better if it's not some amazing story; you don' t want the target to think you're trying to impress her. s long as the story is fun, interesting, and most importantly captures the attention of her group, then it is fine. !hese sorts of stories are most congruent if they are somewhat true and based on events from your own life. When it is possible to convey traits that will flip attraction switches, without making it obvious that you are doing so deliberately, it is a "#$ and generates attraction. %or example, in a story, it is possible to flip the leader of men attraction switch by congruently adding something like& '...so I told him I have no choice, it's my little sister. (o he )umps in the car, cause you know my friends are there for me one*hundred percent, and I'm the same way for them, that's )ust how we are... ' (imilarly, the preselection switch and other switches can be flipped in this manner also. "escribe in terms of sensation and emotion When telling stories, men tend to focus on the facts at hand, whereas women look for the sensation and emotion caused by the experience. (tructure your language to take this into account. +xample& ,ad& !his guy grabbed my ass, can you believe that- I looked like an idiot. .ood& !hen I felt a strong hand caress my ass and grip it tightly. I turned around, and there was this man with a handlebar mustache smiling suggestively at me. ll the girls started laughing. I have never....felt so surprised.. .and embarrassed.. .in my entire life/ 0otice how the above story segment conveys the emotions of surprise and embarrassment 1 both of which are useful during a story. !hree or four story segments like this put together can lead the listener through a little emotional )ourney. With skilled delivery, this is a "#$, even if it doesn't reveal some value*raising factoid about your lire. (tory !heory by Wilder of 2ick*3p 454 !elling stories to a group of people is one of the best ways to generate attraction in pick*up when done correctly. What follows are several tilings to consider when choosing and crafting stones for use in the field during attraction phases. !hey're more guidelines than hard and fast rules, as 673 can break most of them when you know what you're doing. 4. (tory material. !his is close to a no*brainer 8re9uiring little mental effort :. ;hoose stories that are interesting, run and girl relevant/ 3sually these stories are funny. 3se stories you tell often to friends and new people that get big laughs. void stories about distasteful sub)ects such as death, car accidents, bad breakups, etc. <. ,e succinct. Write your story out word for word and then gut it. .et rid of everything the listener doesn't need to know and doesn't care about. It's essential that you're ruthless here. ,etter to cut too much than too little. (tate the boring but necessary details as succinctly as possible. =. >ead in. !his is how you start the story. !he lead in should be congruent with the story to follow. ;ommunicate 1 using words, tonality and energy 1 the type of story to follow. (ome examples are, '7h my .od, the funniest ?craziest ? weirdest thing happened to me the other day/' or '"id you guys ever notice whatever-' or '6ou'll never believe this, check it out.' @. Initial hook. n initial hook is something that makes peoples' ears perk up. It should be as close to the beginning of the story as possible and should be specifically chosen to make people lean in and pay attention. If your story is about something that happened to you at an ( A B party, put that part up front/ ,ad& By friend called me the other day and left me a message to call him back. (o I called him and he went on and on about his Bother's operation before finally telling me about this party he wanted to go to. !urns out, it's an ( A B party/ .ood& (o the other day I went to this ( A B party/ C. 3nanswered 9uestions. ;raft your story so that there will be unanswered 9uestions in the listener's mind. 6ou want them to ask you 9uestions that give you the opportunity to further increase your value. +xample& (o I was picking up my new car the other day and the salesman wouldn't stop asking me about my watch. !he girl I was with finally told him we had to go so she could pick up her instrument for a concert she was doing that night.

3nanswered 9uestions& - What kind of car did you just buy? - What kind of watch were you wearing? - Are you rich? - Who was the girl you were with? - What kind of performance did she have to get to ? D. llude, don' t state directly. In the examples above you're alluding. 6ou're alluding to the fact that you have money, as you )ust bought a new car and have a cool watch. 6ou're alluding to the fact that you hang out with cool girls. (tated directly, any of this information would sound like bragging, so you allude to it. Bake them ask you about it& don't volunteer it. E. ;onvey personality traits. In telling a story, you're telling someone a great deal about yourself. Fnow what personality traits you want to convey. ;raft your stones to subtly tell someone that you're adventurous, rich, famous, creative, courageous, etc. It shouldn't be discernable that you are conveying these traits deliberately. G. "elivery. !ills is hard to put in print, but vary your tonality as widely as possible. !alk slow, then fast, then low, then high and then higher/ !he same story can be told playfully, seductively or in a way that generates intrigue. Bake transitions smoothly and tell the story in a way that sucks your listener right in. long with this, act out parts of the story with your hands or your whole body. !his doesn't mean get really excited and try*hard. It means use the expressiveness in your delivery to create an experience for the listener. H. #ave a punch line. punch line is a line that sums up your story in a powerful way. It's a way of letting the listener know that the story is over. It doesn't have to be funny, though in many stories used in the field it will be. +xamples& '!hat's the last time I take !# ! dog to the beach/' '%rom now on I'm asking to see girls' I"s/' '!hat was the day I learned the true meaning of courage.'
Burning Man Story The Girls at Burning Alan are flacking crazy! So I met this girl at dinner and we really hit it off. We s ent the whole e!ening together and she was great" #ut something seemed a little off. Anyway" she finally takes me #ack to her tent and it$s really romantic and e!erything" then afterward we fall aslee in each others$ arms. In the morning I kissed her on her forehead" #ut she didn$t wake u " So I left and went to my own tent" which was like twenty yards away" figuring I$d see her at #reakfast. But she$s not at #reakfast. And she$s not at lunch. And she$s not at dinner. %inally after dinner" I see her across the s ace and she comes right o!er to me with this weird look on her face. She uts her hand on my chest" looks dee into my eyes and says" &'h my God. you$re so hot" I ha!e to meet you.& I looked at her and said" &Sarah" it$s me.& Then she gets this really weird look on her face and says" &(ow did you know my name)!&

4, (tory material 1 ,urning Ban, Iomance, (ex <. ,e succinct. =. >ead in& '!he .irls at ,urning Ban are tucking crazy/' I'd say this animated and playfully, to convey that there's a story coming @. Initial hook& ;razy girls at ,urning Ban C. 3nanswered 9uestions& * What is ,urning Ban* What is ,urning Ban like* re chicks always so attracted to you* What's wrong with this girl* What happened next with this girlD. llude, don' t state directly.

!his story assumes that I am pre*selected by girls without bragging about it, which is much more effective than saying '#ey, chicks dig me. ' E. ;onvey personality traits& * I'm sexually open * I'm adventurous * I take things in stride * I'm cool with weird and unusual people and situations G. "elivery is key. H. 2unch line& '#ow did you know my name-'