In The PUA Toolkit: Storytelling

August 9, 2009 by Renaissance
Filed under: Seduction Blogs, Seduction Tips

Effective storytelling is one of the most powerful tools one can use to influence another. Throughout history, those with public speaking skills and oratory mastery have been able to shape their fantasies into realities with little more than a flick of their silver tongues. From the local tour guide who wows a tourist with quirky tidbits in order to secure a tip, to the pick up artist who captivates a woman’s mind with tales of DHV-laced adventures: proficient storytelling gets results.

Regardless of the situation at hand, all great stories share the same requirements:

No matter the length of the story, it can be summarized in one sentence.

Every movie ever produced has what is called a “logline”, a one or two sentence description of the entire screenplay. No matter how complicated the plot may be every story has a logline:

“Just before the outbreak of World War II, an adventuring archaeologist named Indiana Jones races around the globe to single-handedly prevent the Nazis from turning the greatest archaeological relic of all time into a weapon of world conquest.” –Raiders of the Lost Ark

You need to be able to summarize your stories into so-called loglines. By stripping away all the fluff and revealing the barebones skeleton of a story, you will be prevented from straying off topic with speech that is not relative or useful. Rambling/getting sidetracked is one of the great pitfalls of storytelling.

The purpose for telling the story, as well as the desired result, is clear.

What do I want her to do / think? What story can I tell that will achieve that purpose? This is the correct logic that should be behind your story selections. Yet, it seems that most men just seem to be telling stories for the sake of talking.

This concept clearly fits into the world of pick up and the associated Mystery Method. If you are in the early stages of the pick up and your target is not attracted to you yet, then your story must have DHVs and hit attraction switches, with the goal of soliciting an IOI from her.

If you are developing comfort with a woman then the goal of your story might be to show her that you are a real person and not some invincible superman. A story that sheds some light on a difficult period of your life and displays some vulnerability may be the way to go.

There is a beginning, middle, and usually an end.

Pull people into your story with the setup, what was going on in your life at the start of the story? Where did it take place and who was there? The middle of the story will usually contain the conflict, problem, and most of the action. Finally, how did everything turn out? These 3 sections are necessary to convey a higher meaning or theme with your story.

You might not need a resolution to your story in some situations. It can often be beneficial to stop halfway through a story or at a hook point and say something like “Can you believe that?!” or “What would you have done?!” and see where she takes it. This is a technique that I use for compliance testing, i.e. how interested in you she is at that given moment. Based upon the outcome of this compliance test, you can decide whether to come back to the story or cut the thread and stack forward to another piece (multiple thread theory).

There is conflict.

Conflict is necessary to every story because life is about conflict. Without conflict there can be no plot and thus there can be no story, only statements.

Furthermore, when telling a story to a woman we need to focus less on the technical aspects and details, and more on the emotional points of the event. What you saw, how the air smelt, what you sensed, and most importantly: how you felt. Sensory descriptors should be peppered in liberally when talking to women and these will really highlight and drive home the conflict in the story. For example:

“This guy came up to me and just started break dancing in front of me.” – This is a statement, and is not very useful to the PUA.

Vs.

“Do you ever get that feeling that someone is watching you? I was hanging out with my friends and we were having a great time and then suddenly I started to feel these eyes on me, like burning a hole in me. So I look across the bar and there is this guy, kind of pale and sickly looking, he was wearing this white fedora and a big black boa, and he’s just staring right at me. I’m thinking “WTF? Do I know this guy?” So he starts walking up to me and I know this is not going to go well. He gets pretty close to me and is still locked on my eyes and then he just starts break dancing! I felt so relieved and kinda flattered actually, although I don’t know if he was hitting on me or trying to break dance fight.”

The latter example clearly uses sensory descriptors as a vessel to really drive home the conflict and pull our audience into our reality.

They are delivered congruently with their purpose and theme.

There is no better judge of character or social aptitude than a woman. The repercussions for a woman investing herself physically with the wrong man can be enormous, and as a result women have developed a supreme sense of social awareness and judgment of character.

Many men have read a cool thread or gambit online and then tried it in person and the woman has called them out on it: “Did this really happen?”, “You’re making this up!” These kinds of statements only happen when you are not congruent. If your body language, tonality, frame, and delivery are congruent with the story you are telling there is no reason that anyone should ever question your story’s validity.

The best way to be congruent is to avoid canned material that didn’t actually happen to you. Rely less on things that happened to someone else and write stories about your own experiences. You can certainly embellish them a little bit, things that happened a year ago can be said to have “just” happened; but ultimately, effective storytelling should not be confused with being a good liar.

Take care,

Renaissance

Tags: Mystery Method, seduction, techniques