There are four kinds of stories that I tell t ell to get them into desired state... 1. Stories that encourage and bring out the attributes that I want them to have. In other words, stories about living in the moment, about living for your bliss, about not being contro leld by others expectations, about doing things for the now, about how we are only alive for such a short time and any time you are thinking about the future or the past, you are wasting the present. 2. Also, stories about something that I was do ing, told very passionately. Listen, if you are a computer programmer, you CAN talk ta lk about CODE and get laid. You just MUST speak about it with excitement and passion and enthusiasm enthu siasm and confidence. Try it: talk about repairing a doorknob, and just hold court. Just talk and talk and talk, with total energy, excitement, seriousness, and passion, and KNOW that she is listening listening and enjoying e njoying it. You'll see her just trance out and go DDB, because she'll just start watching your lips move and think about wanting to kiss you. 3. Sexual stories, about something I did or a friend did. Like the t ime I was with a gf in Paris, and we went to a sex show for fun. And the two people on stage were just so boring and not into it. We were thinking how WE were so much sexier. So we had an idea. My gf asked the manager if it was okay if WE went up on stage. We gave someone our camera, and went up on stage, and totally gave this live sex show in front of all these people. I still can't believe we d id it, but I have the photos. I like being with people like that, where together you bring out each other's adventurous side and even surprise surpr ise yourself with what you're capable of. (T his is the short version of the story, but as I tell t ell it, I make sure she can really imagine it, and I leave the RIGHT parts vague so that she can fill it in with her own imagination and experience.) 4. These are my favorites favo rites lately: metaphorical stories that make a point at the end. Mystery 's Ant Farm story is like that. Usually, there will be a specific reason why I tell one of o f these, at a specific time. Like this one, from Milan Kundera: "O ne day, a man and a nd a woman meet -- two melancholy, lonely people. They like one another and secretly hope to join their lives together. All they need is the chance to be alone for a moment and say so. Finally one day they find themselves unobserved in a wood where they have come to gather mushrooms. Ill at ease, they are silent, knowing that the moment is upon them and they must not let it slip by. The silence has already lasted rather a long while when the woman suddenly, "involuntarily, reflexively," starts to talk about mushrooms. Then silence again, and the man casts about for a way to declare himself, but instead of speaking of love, "on some unexpected impulse" he too talks about mushrooms. On the way home they go on discussing mushrooms, powerless and desperate, for never, they know it, never will they speak of love. Back at the house, the man tells himself that he did not dec lare his love because of the memory of o f his dead mistress, which he cannot betray. But we know perfectly p erfectly well: It is a false excuse he invokes only to console himself. himself. Console Conso le himself? Yes. Because we can resign ourselves o urselves to losing a love for a reason. We would never forgive ourselves for losing it for no reason at all." all." Telling stories to a group of people peo ple is one of the best ways to generate attraction in pick-up when done correctly co rrectly..
What follows are several things to consider when c hoosing and crafting stories for use in the field during attraction phases. They're more gu idelines than hard and fast rules, as you can break most of them when you know what you're doing. 1. Story material This is close to a no-brainer. Choose stories that are interesting, fun and GIRL RELEVANT! Avoid stories about distasteful subjects, i.e. death, car accidents, bad breakups, etc. Usually these stories are funny. Use stories you t ell often to friends and new people that get big laughs. 2. Be succinct Write your story out word for word and then gut it. Get rid of everything the listener doesn't need to know and doesn't care about. It's essential that you're ruthless here. Better to cut too much than too little. State the boring but necessary details as succinctly as po ssible. 3. Lead in This is how you start the story. The lead in should be congruent with the story to follow. Communicate using words, tonality and en ergy the type of story to follow. Some examples are, "Oh my God, the funniest/craziest/weirdest thing happened to me the other day!" or "Did you guys ever notice XXX?" or "You'll never believe this, check it out." 4. Initial hook An initial hook is something that makes peoples' ears perk u p. It should be as close to the beginning of the story as possible and should be specifically c hosen to make people lean in and pay attention. If your story is about something that happened to you at an S & M party, put that part up front! Bad: My friend called me the other day and left me a message to call him back. So I called him and he went on and on about his Mother's operation before finally telling me about this party he wanted to go to. Turns out, it's an S & M party! Good: So the other day I went to this S & M party! 5. Unanswered questions Craft your story so that there w ill be unanswered questions in the listener's mind. You want them to ask you questions that give you the opportunity to further increase your value. Example: So I was picking up my new car the other day and the salesman wouldn't stop asking me about my watch. The 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. Unanswered questions: - 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? 6. Allude, don't state directly In the examples above you're alluding. You're alluding to the fact that you have money, as you just bought a new car and have a cool watch. You're alluding to the
fact that you hang out with cool girls. Stated directly, any of this information would sound like bragging, so you allude to it. Make them ask you about it; don't volunteer it. 7. Subcommunication This has to do mostly with tonality. The same story can be told playfully, seductively or in a way that generates intrigue. Calibrate to your audience and know what you want to subcommunicate. 8. Convey personality traits In telling a story, you're telling someone a great deal about yourself. Know what personality traits want to convey. Craft your stories to subtly tell someone you're adventurous, rich, famous, creative, courageous, etc. 9. Tonality This is hard to put in print, but vary your tonality as widely as possible. Talk slow, then fast, then low, then high and then higher! Make transitions smoothly and tell the story in a way that sucks your listener right in. Along with this, act out parts of the story with your hands or your whole body. 10. Have a punch line A 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. Examples: - "That's the last time I take THAT dog to the beach!" - "From now on I'm asking to see girls' ID's!" - "That was the day I learned the true meaning of courage." Short Example Story: The Girls at Burning Man are fucking CRAZY! So I met this girl at dinner and we really hit it off. We spent the whole evening together and she was great, but something seemed a little off. Anyway, she finally takes me back to her tent and it's really romantic and everything, then afterwards we fall asleep in each others' arms. In the morning I kissed her on her forehead, but she didn't wake up. So I left and went to my own tent, which was like 20 yards away, figuring I'd see her at breakfast. But she's not at breakfast. And she's not at lunch. And she's not at dinner. Finally after dinner, I see her acro ss the space and she comes right over to me with this weird look on her face. She puts her hand on my chest, looks deep into my eyes and says, "Oh my God, you're so hot, I HAVE to meet you." I looked at her and said, "Sarah, it's ME." Then she gets this really weird look o n her face and says, "How did you know my NAME?!" 1. Story material- Burning Man, Romance, Sex. 2. Be succinct. 3. Lead in- "The Girls at Burning Man are fucking CRAZY!." I'd say this animated and playfully, like there's a story coming. 4. Initial hook- Crazy girls at Burning Man.
5. Unanswered questions: - What is Burning Man? - What's Burning Man like? - Are chicks always so attracted to you? - What's wrong with this girl? - What happened next with this girl? 6. Allude, don't state directly. Much more effective than saying "Hey, chicks dig me." 7. Subcommunication- Audience dependant. 8. Convey personality traits: - I'm sexually open - I'm adventurous - I take things in stride - I'm cool with weird and unusual people and situations 9. Have a punch line: "How did you know my NAME?!" 10. Tonality: I use a w ide range on tonality telling this story. Game on! One of the most powerful tools you ha ve at your disposal to move along the Emotional Progression Model and seduce a women is storytelling. The power of stories is that they can help you in most areas of the Emotional Progression Model (i.e. Approaching, Attraction, Comfort, and even Qualification a little bit). Some stories can even achieve multiple aims at the same time (i.e. Approaching + Attraction, or Attraction + Comfort). As discussed in Magic Bullets , building Attraction is primarily about having a wo man discover your positive characteristics. One way to do this is for a woman to be told about them by you. Storytelling is great because it allows you to tell a woman almost anything you want about yourself. When building Comfort, storytelling can help build a meaningful connection with a woman. Stories provide a great o pportunity for her to get to know you bett er and should encourage her to tell you about herself as well. My preferred approach to story-telling comes from Magic Bullets , and has six distinct components: A hook line, The Flow (main content of the story), E mbedded information, Opportunities for input, Open threads, and t he Conclusion.
Hook Lines One of the biggest mistakes men make is taking their audiences interest for granted. To make sure that the woman you are talking to is interested in your story, you should start with a ³hook line´ to grab her interest. You have to find a way to create demand for your story. Before you tell someone something, they have to want to hear it if they are going to listen intently. The best way
to gain someone¶s interest is either by doing so mething unexpected, or by making them curious. The two are not mutually exclusive. Either way they will want to k eep listening and/or interacting with you to find out where you are going with things. Basically, once you¶re already in a conversation, try and create some curiosity within her before you tell a story. Make it your goal next time you go out to have a girl asking you to tell her a specific story that you have in mind. Building curiosity could be as simple as asking ³Have you ever been to Mexico?´ before you tell a great story about the vacat ion you just had there. It¶s also a great way of testing out the waters before focusing too much on a subject she has no interest in. If she answers ³no, but I¶ve always wanted to go to Cancun´, then you know you¶ve hooked her. However, you know it¶s best to save the story for another time if she says ³I¶ve never been to Mexico. I¶m just not really interested in that part of the world.´
The
Flow
Don¶t spend a lot of time discussing the pr eamble to your story. You can work in necessary details as needed - you should parachute right into your story. The first mission of a good story is to grab attention (instead of giving background information). Also, it¶s important to remember that women listen differently than men. Don¶t focus on the logical details unless they help you paint a vivid picture of the story in your audiences mind. Make your story one that is centered around emotions and feelings.
Embedded Information Embedding is when you t ell a story that appears to be about one subject to subtly tell listeners about something else. The ³something else´ is usually positive characteristics about yourself that you don¶t want to bring up directly to avoid obvious bragging or the appearance of trying too hard to impress her. For example, if you went to a prestigious college, you can embed that piece of information in a story about when you were in college. One way to do that would be by mentioning the location (i.e. if you set your story in New Haven most people will know you went to Yale). Another way to do it would be by mentioning a story about the college sports team you root for. That way the fact that you went to a top school naturally comes out in the conversation, and you don¶t have to force it.
Opportunities for Input The best stories involve their audience in the journey. It makes the interaction more of a d ialogue than a monologue. Just be careful that the input a woman gives doesn¶t take you somewhere you don¶t want the conversation to go. The easiest way to get input is to ask a question. For example, if you¶re talking about scuba diving, you should ask the woman you¶re talking to if she scuba dives.
Conclusion The ending of a good story doesn¶t have to get everyone breaking out in laughter like the end of a classic Seinfeld episode. What¶s important is that you c learly communicate that the story is over. As you develop your storytelling skills, then you can worry about ending on a humorous note, subtly working in a demonstration of high social value, or sharing a deep insight or lesson.
Other Tips Use vivid language: Help your audience feel like they are there with you. Use sensory language to spark the visual part of your audiences mind. As Savoy says, you should be able to see, smell, feel, hear, and taste everything that you were sensing at that moment. Tell stories you care about: How many of your stories are about things you rea lly care about, know about, etc.? If you tell too many stories about things that are peripheral to who you are, then you are diluting your image, and worse, no one will care about them! Loud, Slow, and Clear: Generally speaking, the best method of storytelling is speaking in a slow, measured pace. This allows you to tell your story clearly, and gives you ample opportunity to emphasize different parts of the story where appropr iate. Speeding up a little, or speaking softly at certain points can add to the story... just make sure you aren¶t do ing it so often it becomes more the rule than the exception. Also, changing your tone when quoting another person from your story is often well received (especially when t elling a funny story). No one cares about all the big/fancy words you know: One of the biggest mistakes people make when talking is being too abstract. It¶s hard for people to create a mental image o f your story if they don¶t understand what you¶re saying, and/or you use too many abstract words. Keep it focused: Try and stick to the rule of three (i.e. if you try to talk about more than three things at once you will end up talking about nothing, or at least your audience won¶t remember any of it). If you¶re all over t he place with your story you¶ll confuse your audience. Other Resources: A great book that can help you with your storytelling is ³Made to Stick ´ by Chip and Dan Heath. Also, if you want examples of great storytelling to look at, I would encourage you to read any of Malcolm Gladwell¶s books, or to check o ut his New Yorker archive. For hundreds of complete stories that the masters use, check out the Love Systems R outines Manual . I am the creator of the Love Systems Day Game Workshop, the aut hor of the new book Daytime Dating (download f ree sample chapter). When I was younger and perhaps a tad more arrogant, I had a saying:
"Modesty is for those of modest capabilities." I knew I was elite, and I didn't fail to let anyone know. The only problem is that I came across as a jerk. Outright bragging is no good. But does that mean we should swing the other way on the spectrum to quiet and passive modesty? People can have a hard time finding things to talk about with girls. They mumble about boring stuff like the weather and television. And all the while they have something unique and interesting that they should be sharing with t he world. Everyone has something. But t hey don't want to come across as bragging. Stories offer an opportunity to do t hat. Here's some tips to get you going: *Build a relationship when you tell a story: Be smooth. Relax, and slowly offer up more details. Until you have a reputation (like Chris Rock or George Carlin) it's the frame and relationship you have that makes a story funny. One of my friends owns his own business, and he's constantly having crazy adventures. I love hearing his stories because they're so we ll told. Since he and I already have a great relationship, he'll just lay out the details. But when someone he doesn't know well is with us, he'll build slowly and it's magical to behold. *Catch their attention early: A "deadpan" or other edgy part of a story is a great way to do this, especially if there's some boring details in the buildup. Think of the movie Fight Club: It starts with Edward Norton with a gun in his mouth, and then goes into Norton traveling around with insomnia. If it just started with the insomnia, it would have bee n too boring to engage a lot of people. I'll be sitting with my entrepreneur friend, and he'l deadpan, "My warehouse burnt down" (he's a light-hearted guy, and means for it to be funny; that's probably part of how he survives his volatile business). After deadpanning that, the audience is really engaged and he can go back and do some boring details about the warehouse before getting to the punchline. *Don't be in a hurry to f inish your story: Start on it, and if it branches somewhere else, great! The best storytellers are interesting to listen to every time they te ll the same story, because there's always different elements and tangents. T he punch line isn't the goal: The whole experience is what makes an aweso me story. My buddy is a master storyteller, and the objective is never the punchline. Oftentimes, he'll get off on a tangent about some Christmas party and it's still a great story. This also builds anticipation and intrigue, since people will come back and ask him later, "Hey, so what happened with that warehouse?" *Use vivid, descriptive language (aka, "Show, don't tell"): If you're talking about your exgirlfriend, replace "She was really beautiful" with "She wa s 6'2, with curves to die for..." while drawing an hourglass in the air with your hands. "...and brunette hair falling halfway down her
back. Sparkling eyes that were totally alive." That paints a picture in the audience's mind and connects them to your ex-girlfriend more. *Verbalize lower value immediately following any bragging-lik e comments: Here's the secret on how to convey good things about you. Whenever you say something that sounds like you might be bragging, immediately disclaim that you're not really all that. A very e ffective way is to just throw in, "I guess that sounds like I was really rolling or something, but I actually just got really lucky" at the end of any bragging like stuff. *Getting the laugh: Look at them expectantly. Here's the secret to wrapping up your story. After you say your punchline, smile and stare at the person expectantly, like you expect them to laugh. Don't try to explain your story, just stare at them like you expect them to laugh because it's funny. If you can master this look, people will laugh after a second or two, regardless of if they got the joke or not. Fun stuff huh? Try it out, and watch your storytelling grow. If you'd like to hear great storytelling in action, you've got to hear Master the Vibe: secret audio of pickups captured by top pickup artists. You'll hear us perform this stuff, then explain it so t hat you can hear exactly how it works. Check it out at here. Peace and Love,
From the PUA's I know/met and have personally been told stories to or watched them tell stories to chicks [ Mystery , Neil Strauss , Swinggcat , RJ, Sinn , Mad Dash , Riker, Orien, Lovedrop who I met with just yesterday] and even Badboy and stRiPPed who I converse with all the time via MSN messenger ± they all ha ve one thing in common (besides their interest in women) they're all great storytellers. This is definitely a skill to develop... Get to the point where you can improvise your stories based on t hemes« NEVER memorize stories "word for word"... and be sure to throw in little details that the person that you're talking to can identify with ± details in your story that have some similar characteristics with the situation or the gal you¶re talking to. One thing that I do (and I may have gotten the idea from either Swinggcat or Neil Strauss ) is to link the girl I'm with to a character in my story. And that character is in a similar situation and of course the character does exactly what you what the girl to do. ± also keep in mind that you can use this same tactic as a neg if the story is about a ³dorky´ girl that she ³reminds" you of. For example, here's one t hat I use... If there is a girl that you are with that is kind of sexually inhibited you may say, (and I've field tested this extensively and had one success after another).
"You know, you kind of remind me of this girl that I know... Actually you look a lot like her... My friend Jen, and I remember she was telling me about how she was with this guy once, and she was totally turned on... they're like over at her place on her couch, alone, late at night... the mood was perfect... candles were on, they had the wine out... and they're here totally making out, and getting all into it... but you know what she told me was that she had been kind of shy when it came to sex... (I'm Pacing her here) but she totally wanted it. But you know, it kind of too k her awhile, and it was just like a re flex to keep pushing her bo yfriend away... (more pacing) I guess it was just like a pattern that she got into, and she really just kept doing it out if reflex, not even really thinking about it. So anyway, at the end of the night, her boyfriend had been pushed away so much that he just stops everything... no kissing, no touching, nothing... and he gets up and says kind of in a matter of fact tone, "I'm going home... goodnight" And he starts walking toward the door. And then Jen tells me she didn't know what got into her... (leading now) she just jumps up and starts ripping his clothes off, her clothes off, pulls him to her bedroom and she said that it was just an incredible night... they totally went at it... she said it was like everything t hat she had always really wanted to do, she did... totally uninhibited. She said it was just awesome... so now, what do you think?" And ending this with a question, I get to calibrate her even more, and of course she's "identified" with the character in my story (Jen). So she gets to "be" Jen for the duration of my story... and so that when that moment comes for US where WE'RE the ones making out on the couch, she'll have already gone through both the resistance AND then GIVING UP t he resistance in her mind through "Jen". I've also used stories about a "friend" to bring out bisexual qualities in chicks. To inoculate against LMR this is great! I've also use stories about a "friend" that a gal reminds me of, to do things like bring out bisexual qualities, bring out the "naughty side", open up a gal to the "friends plus" frame, getting gals to role play (being a ho/stripper), getting gals to experiment and more... There are many many sexual "stories" out there. And there are many ways to introduce sexual "themes" and from there it's a hop, skip and a jump to the full close provided the locale is appropriate. When I tell a sexual "story" or introduce a sexual theme, I may approach it as follows: 1) A story about a friend's experience ("Quotes" method) 2) A story that I just make up that seems to pace the current situation between her and I 3) A story that I want her opinion on and that can give me "insight" into the "way that women think"
4) You can pick up ANY womans magazine like Cosmopolitan etc. and find MANY articles on SEX (from attitudes, beliefs, techniques, should's/shouldn'ts, to taboo's, how to 's, etc.) This provides an ENDLESS supply of material and themes to "ask her about". 5) As part of a Cold Reading... if she seems overtly like a "Physical type" I'll include a reading about her Sexuality. 6) As part of an analysis like "The Cube": Which includes a Sexual analysis (The Horse) 7) Indirectly/Covertly: by using sexual metaphor (phalic/feminine intercourse symbology) - and language words like: Penetrating you, wet, hard, sliding in deep, feel it deep inside, filling you up, coming etc. If they ever call me on it, I just play innocent and say, "You don't want to think about sex all the time, DO you? You're kinda perverted! I better be careful around you." Reverses the frame) The goal during all this talk is to get her FEELING the sensations IN HE R BODY. When telling a story, go into the SENSUAL details... explicitly, telling it as if she were "in the first person mode" experiencing it herself. When asking her "opinions", and about what she likes, you could "Normalize" it by at first making it not about HER, but what MOST WOMEN like, then get her to go into detail about HOW SHE FEELS IT in her body, WHERE, what comes first... then next, etc. There have been SO many gals that I have closed just by having them describe what a female orgasm feels like... step by step, what they do, how they know it's coming, how they feel it... what it's like when they get to that moment... And they GET THEMSELVES ALL HOT AND BOTHERED as they go into it and describe it to me...
They say in chess, you've got to kill the queen and then you've made it. Do you? Shit test: whats with your hair/frindge? reply: well hunny, thats called style, something your not familiar with. shit test: do you just like slutty girls? PUA: Are you saying that you are slutty? Be cause that will be very unattractive. HB: You have bad breath. Hb : you have bad breath. PUA : you have a weird nose, most people like the smell of chewing gum *pretend to chew gum* Woah, slow down there... I just met you. Why dont we start off with a drink first!
How to Deal with the Shit Test
Basically as I see it you have t wo options (the third is for a relationship) A) You can choose to play her game and actually answer the question. But think about this. If you answer her question directly you¶re accept ing her frame and you¶re playing the game by her rules. You will most likely fail the test simply because you¶re accepting her version of reality where she can test you and that¶s not a very alpha thing. B) Another option is to reject her frame. She asks the question and you immediately reframe it as her trying to pick you up / get in your pants / take you home. Instead of answering the question, act like she is asking you to go home with her. You can say something like, ³Do you think I¶m easy!?? Just because I¶m dressed up nice do esn¶t mean I¶m out looking for sex!´ Or here¶s another one; ³Just because you bought me a drink doesn¶t mean I¶m going home with you.´ I forgot who¶s blog I read this on, but one of TMM instructors has a perfect answer to a shit test in his blog post. The HB asked him something about picking her up and he replied, ³Look, just because I get dressed up nice, wear a shirt that makes my tits look big and go out dancing with my friends, that doesn¶t mean I¶m looking for sex. Sometimes I just want to go out with my friends and look nice.´ This is a perfect example of how to re-frame a shit test. This answer told the HB everything she needed to know ± the PUA knows how to play the game and win. C) If she is shit testing you in a re lationship chances are she wants to be reassured that you are really alpha, or that your love is not conditioned on her approval / acceptance. In this case your response will be like B above, but you will substitute affection. So with this response your frame will be to answer the question, ³Do you still love me.´ * So, to respond to the shit test what you want to do is: 1) Reframe the question. E.g. the HB is hitting on you. 2) Take over the frame. Don¶t let her ask the question from a position of power. 3) Throw the question back at her just like she would do if the roles were reversed or: 4) Answer the reframed question. 5) Never, ever act defensively or offended by a shit test. A key point I want to make is that you don¶t want to answer the question directly. She is giving you a shit test. You need to recognize what it is and why she is doing it. I¶ve read a lot of threads where the AFC (sorry, aPUA) is saying that he wants to be ³honest´ o r he wants her to ³know who I am.´ She¶s giving you a SHIT TEST and you are FAILING THE TEST!! Learn the rules of the game or you will be playing checkers and she will be playing Global Thermonuclear War. Guess who wins? How to Pass a Shit Test:
The best way to pass a shit test is to playfully µAgree & Exaggerate¶ with what she says. E.g. Her: Are you gay? You: I¶m not gay but my boyfriend is
or
Her: Are you gay? You: Well I don¶t make eye contact when I give blowjobs, and as long as you don¶t make eye contact it doesn¶t count Her: Buy me a drink You: I¶ll buy you a thousand drinks but you buy me one first Her: Why are you talking to me? You: I forgot there was a no talking policy at this club (while at a bar or nightclub)
or Her: Why are you talking to me? You: I told mum I was going to (bar or club you¶re at) tonight to hopefully get married Her: Is that a pick-up line? (If she does say that the question/thing you said is probably too µgamey¶, make sure you don¶t come across with that weird community guy vibe or you¶ll get called out a lot) You: Yeh now your turn
or Her: Is that a pick-up line? You: No, (take some ice out of your drink, drop it on the floor and step on it) now that I¶ve broken the ice what¶s your name?...That¶s a pick up line.
MAKE SURE that you¶re coming across playfully, so smile to make it clear you¶re not being serious after. Otherwise saying µI¶m not gay but my boyfriend is¶ or µI told mum I was going to (bar or club you¶re at) tonight to hopefully get married¶ in a serious tone and not smiling, it could work, but if you don¶t p lay it off right you will be put in the weird guy box. The way agreeing and exaggerating works is it is basically being sarcast ic, so you¶re making her comment sound stupid and turn it back on her being the one saying the weird shit. Then you just transition on to something new, so if it¶s off the bat and she throws a test I¶ll agree & exaggerat e, then (as long as she responds well which she should do if you do it right) transition with µso what¶s your name¶ or µwhat¶s the occasion¶ for example. As long as you're do ing it right you'll see the attraction shoot up after you put it back on her. Remember ± µAgree & Exaggerate¶ and make sure you play it o ff right, then transition and shit tests will no longer be an issue! Til next time! Daxx
