Table of Contents

Table of Contents ........................................................................................................................................... 1

The System (Main) ......................................................................................................................................... 5
Introduction Material ................................................................................................................................ 5
Welcome Video...................................................................................................................................... 5
Getting to Advanced (How to Determine if You Are Beginner, Intermediate or Advanced) ................ 5
Why The System ........................................................................................................................................ 5
Everyone Has a Process For Game ........................................................................................................ 5
Inner Game is Technical Too .................................................................................................................. 5
What Bad Game You’ve Been Taught .................................................................................................... 6
The System ................................................................................................................................................. 7
1. What are Escalation Models .......................................................................................................... 7
2. Escalation is Present Throughout The Set ..................................................................................... 7
3. The Path Towards Subtlety ............................................................................................................ 7
4. Previous Models and Why They Failed .......................................................................................... 8
5. What The New Way Is (O.P.E.N. Close) ......................................................................................... 8
Open........................................................................................................................................................... 8
1. The Goal of Opening ...................................................................................................................... 8
2. Range of Openers .......................................................................................................................... 9
3. Preferred Openers for Each Level ................................................................................................10
4. Approach Angles and Logistics ....................................................................................................11
5. Helpful Mindsets ..........................................................................................................................12
Premise ....................................................................................................................................................13
1. Phatic Communication .................................................................................................................13
2. Why Premise Other Than Intent ..................................................................................................13
3. The Importance of Getting to the Point ......................................................................................13
4. The Impact of Establishing Premise Early ....................................................................................14
5. The Concept of Push-Pull .............................................................................................................14
6. The Concept of Premise in the Negative .....................................................................................15
7. The Concept of Implied Premise..................................................................................................15
8. What Conveys Premise ................................................................................................................16
9. Delivery of Premise Lines .............................................................................................................17
 10. Premise in Group Situations ....................................................................................................17
Evaluate ...................................................................................................................................................18
1. Why Evaluation Matters (Part 1) - Reason to close .....................................................................18
2. Why Evaluation Matters (Part 2), Investment .............................................................................18
3. Qualification Pitfalls .....................................................................................................................18
4. What creates Qualification ..........................................................................................................18
5. Modes of Evaluation ....................................................................................................................19
6. The value of disqualification ........................................................................................................19
7. Delivery of evaluation lines .........................................................................................................20
Narrative ......................................................................................................................................................20
1. What she tells her friends about you ..........................................................................................20
2. The WE frame ..............................................................................................................................21
3. Plotlines .......................................................................................................................................21
4. What Comfort Matters and What Doesn’t ..................................................................................21
5. Time Without Discomfort ............................................................................................................22
6. Narrative Cheat Codes .................................................................................................................22
7. How To Answer Her Questions ....................................................................................................22
8. Reading Her Blueprint and matching it. ......................................................................................23
Close .........................................................................................................................................................23
1. Closing Sequences .......................................................................................................................23
2. Determining the Right Close ........................................................................................................24
3. The Psychology of Being a Hard Closer........................................................................................24
4. Objectives vs Conditions ..............................................................................................................25
5. Becoming the Problem Solver .....................................................................................................25
The Path Forward ....................................................................................................................................26
Internalizing The Skillset ......................................................................................................................26
Beginner’s Roadmap ....................................................................................................................................27
1. Introduction .....................................................................................................................................27
2. Define Your Dating Goals .................................................................................................................27
3. Overcome Negative Scripts .............................................................................................................27
4. Logistics............................................................................................................................................27
5. Style .................................................................................................................................................28
6. Hygiene ............................................................................................................................................28
 7. Humor ..............................................................................................................................................28
8. Career...............................................................................................................................................29
9. Sexual Comfort ................................................................................................................................29
10. Haircut..........................................................................................................................................30
11. Money ..........................................................................................................................................30
12. Fitness & Physique .......................................................................................................................30
Intermediate Roadmap ................................................................................................................................31
1. Leveling Explained ...........................................................................................................................31
2. Eleminate Common Leveling Behaviors ..........................................................................................31
3. My Brutally Effective Daygame Process ..........................................................................................31
4. Consistent Hooking ..........................................................................................................................31
1. Consistent Hooking ..........................................................................................................................31
2. Getting Her to Chase........................................................................................................................31
3. Mechanics of Pulling ........................................................................................................................31
4. Getting the 8’s, 9’s 10’s ...................................................................................................................31
5. Social Circles and Elite Venues ........................................................................................................31
Exercises.......................................................................................................................................................31
1. Introduction .....................................................................................................................................31
2. Yes And ............................................................................................................................................31
3. I Love & I Hate ..................................................................................................................................31
4. Question, Answer, Tease .................................................................................................................32
5. Sex With Me Is Like ..........................................................................................................................32
6. Misinterpretation.............................................................................................................................32
7. First Unusual Thing ..........................................................................................................................33
8. Game The Wall.................................................................................................................................33
9. Steal My Lines Cheat Sheet..............................................................................................................34
Manifestos ...................................................................................................................................................35
How to learn game ..................................................................................................................................35
How to run your session ..........................................................................................................................35
Constructing Your Funnel ........................................................................................................................35
Advanced Systems ...................................................................................................................................35
How to flirt ...............................................................................................................................................35
What makes game work ..........................................................................................................................35
 4 modes of escalation ..............................................................................................................................35
10 most common unattractive behaviors ...............................................................................................35
How to get into venues............................................................................................................................35
Interviews (have none, layout unknown) ....................................................................................................35
Webinar Masterclasses ................................................................................................................................35
The Flirting Manifesto ..............................................................................................................................35
The Hooking Manifesto............................................................................................................................35
Finding Her Blueprint Manifesto .............................................................................................................35
The Looks and Style Manifesto ................................................................................................................35
The Girlfriend Manifesto .........................................................................................................................35
8 week action plan .......................................................................................................................................35
Week 1: AA and Opening .....................................................................................................................35
Week 2: Intent and Premise ................................................................................................................35
Week 3:Engineering Attraction ...........................................................................................................35
Week 4: Creating a Connection ...........................................................................................................35
Week 5: Authentic Sexualization .........................................................................................................35
Week 7: Art of the pull.........................................................................................................................35
Week 8: Becoming the ultimate prize .................................................................................................35
Live Seminars ...............................................................................................................................................35
Green highlight = Have the video. Red = Don’t have

The System (Main)

Introduction Material
Welcome Video
• He’s excited, says it’ll be a great system for all levels from noobie to pro.
• “The System” can be ran through in 30 seconds to hours, expands and contracts.
• How to Use This Program – Go through core modules, understand the how/why, the basic
structure of the system. From there, go out there and implement it. There’s Exercises and
Examples to expand on the core content so when he doesn’t specify stuff in the main program,
it’s probably expanded upon there. Ultimately, add in bits and pieces at a time to your game,
just a few percentage points so you don’t overwhelm yourself, and keep pushing forward.
Getting to Advanced (How to Determine if You Are Beginner, Intermediate or Advanced)
• Beginner is someone who could do 1,000 approaches and bat a 0 besides pure luck.
o Not end of the world, you can fix it. That’s what we’re here for
• Intermediate - Some range of consistency in approaching. 1 in 1000, 1 in 100, 1 in 30/20/10.
Playing the numbers game
o Advocates for reasonable goals. If you’re at 1 in 100, set reasonable goals like so many
numbers, so many dates, instead of lofty goals like banging every girl.
• Advanced - The numbers game is small and predictable. Fundamental shift is that the girl is
going to start chasing you instead of the opposite. Intermediate is mostly chasing, whereas
advanced can flip that script.
o Inception premise, that she’s the one chasing you. The art of subtlety. Advanced is
subtle, not obvious.
• Most guys studying game are somewhere in intermediate. He’s designed The System to aid us in
quickly getting through that intermediate zone and injects advanced tactics to begin mastering
even while still intermediate.
Why The System
Everyone Has a Process For Game
• “Everything is a system” – in relation to debates over natural game verses scripted. There is no
“natural game”, no one was born knowing this stuff. Everybody has a system, EVERYBODY.
• These systems can vary greatly, from chivalry to prostitutes to bad boy to clueless to Poindexter
from the IT department. Most systems are bad though and majorly lacking in what to do. Also,
“winging it” is still a system.
• With that said, the question isn’t about if you want to have a system, but if you want a good one
instead of a bad one.
Inner Game is Technical Too
• Inner game and outer game aren’t mutually exclusive, can focus on both
• Inner game is a form of outer game, ie using outer game missions like 20 approaches to
overcome fear. Good inner-game is action-based, getting experiences to develop it. It is not a
fluffy woowoo thing.
• While state is a valid concept, it’s abused as an excuse, that you’re out of state. She isn’t in-state
either and it’s weak sauce shit to get hung up on state. Don’t wait around to be in a good mood.
o Getting in-state, doing approaches or dancing, involves outergame tactics
 • So being hung-up on inner-game is being too in your own head. Instead, be focused on the real
world. Use actions, outergame tactics, to address inner-game. There’s no distinction between
inner and outer game.
• Don’t get hung up and resentful on not being in state. Focus on actions and shit you can control,
to take control of your life and game. Being dependent on being in a good mood makes you
dependent and out of control.
What Bad Game You’ve Been Taught
• There’s a lot of bad information out there that’s just wrong which might be ruining your game
1. Being weird/shocking/violating social norms is attractive. While violating social norms
demonstrates confidence, this all turns bad. It draws attention, but negative.
a. The secret is be the guy who could get away with that stuff. Hint at it. And do be willing
to stand up for yourself, or disagree, which is a trait of that.
b. Also no peacocking. If you don’t know what that is, don’t worry about it.
2. You should learn how to be good with girls… from girls. Taking their advice on what they like.
Don’t. When you ask, she’ll first imagine her ideal man. Handsome, charismatic, witty,
successful, someone she doesn’t deserve. And she’d hope that he’d treat her nicely because she
realistically doesn’t actually deserve him, as he could do better. So she would legitimately want
them to be sweet, nice, etc. because their value is that high, and she’d want comfort that she’s
on his level.
a. For a guy who isn’t on that fantasy level that could cheat on her left and right, a more
normal dude, he’s too low level and would be doing things to lower his level further in
following her misplaced advice, creating a huge level disparity. Girls struggle to shake
that fantasy image from their head when being asked for such advice. A better question
would be “what could an ugly/unattractive guy do to win you over?” And they’d struggle
with that one as well.
b. So they can’t envision the situation pragmatically, although they do still know what they
want, technically. They also won’t give you advice that makes them look bad/slutty, i.e.
being a bit mean/teasing.
3. That self-amusing is attractive, saying things to amuse yourself is a good plan. While it can
display some good traits, the practice isn’t inherently attractive, and those positive traits could
be conveyed in other ways.
a. A lot of guys put girls on pedestals, not good, and this stems from the idea of you
flipping the script and putting yourself on it. It won’t make you supplicative, takes away
the agenda, makes it less tryhard. However, no girl has slept with a guy because he was
so self-amused.
b. It’s a tool, a tool to help you through some issues in game. But you can be non-
supplicative while not being self-amused, as you could not show an agenda, or appear
tryhard. It also encourages bad agendas over better ones.
c. And self-deprecating self-amusement is shooting yourself in the foot. When it has a
neutral or bad purpose, it’s inherently bad.
4. Social circle game is the way to go. Not inherently awful, but half-bad. It is useful/effective to a
point in how it builds value for you and can ease you into sets. But social circle game is not a
substitute for game. Being around attractive/cool people won’t get you many results. There’s
many people on the outskirts of cool groups or frats that get nothing. Your role within the group
matters, which involves your game.
 a. Also, it’s limited. You might even have the edge in this group of people but outside of it,
it’s the wild west. Plus, it can inhibit your learning, and that lack of game will trump any
social circle crutch you’re leaning on.
b. So get your priorities straight. Social circle is a nice enhancement on top of solid game,
but you’ll flounder if you’re all S.C. and no game.
5. Leveling, or gimmicky game. Gimmicks that work to a point and nothing beyond. The way men
rate girls on looks, girls rate us on behaviors. Some behaviors scream an 6/7/8 level but really
fall flat beyond that. Ex, asking a girl if you can kiss her. That tells the girl you aren’t a 1/2/3/4,
but also has many low level components to it which levels you at a 6 or so. But if you try that on
a 9 or a 10, you’re dead. It screams “Hey miss 9/10, I’m a 7!”
a. It’s tough because they do work to that point, making them shortcut solutions on the
lower end. This is a huge cause for men plateauing because it’s “a” solution but not the
best solution by far. So don’t get attached to gimmicks and don’t expect them to work
on higher levels.
The System
1. What are Escalation Models
• Systems for game are escalation models, from stranger to acquaintance, etc.. That
progression/milestones. It’s that plan to navigate it all. Many plans are bad. OG plan is the 4 bases,
1st base, second, etc..
• We’ll start with a simple barebones model for beginners. Beginners should focus on those broad
strokes. And then we’ll weave in complexities and nuances. It should make a nice, expandable
system without requiring unlearning.
2. Escalation is Present Throughout The Set
• Issue to avoid – just because there’s these waypoints, it doesn’t mean one should drastically change
their behavior. No 180 degree behavioral shifts.
o Different phases emphasize different behaviors, ie teasing or rapport. Doesn’t mean you
totally drop the other behaviors though.
• There is a basic way of acting throughout it all, being an attractive man.
• Again, there’s no polar shift between different phases. The majority is understanding attractive
qualities throughout, and then making those adjustments.
o By being genuinely attractive, these milestones can happen organically as well.
o So, the majority of the focus is being there/present, attractive. It’s on top of that that you
refer to modeling the system. It shouldn’t control you or make you robotic, just a roadmap
to reference when things aren’t going organically.
3. The Path Towards Subtlety
• The System executes differently for different levels. It’s a set of things that must happen for the
interaction to work..
• At beginner level, it’s okay to be a bit more obvious/awkward. It’s way better than nothing and will
teach them skills to progress. It won’t be perfect, will be flawed, not optimal. If she likes you, she’ll
appreciate it anyways
o Even sloppily, she can appreciate you solving logistical problems
• At intermediate/advanced, it’s the path towards subtlety. Intermediate she might suspect she’s
being gamed but enjoys it and you come off well. Advanced, it’s very subtle and she won’t know and
think they’re the one picking you up.
o It “just happened!” Fate! So beautiful! That’s the real progression, from clunky to seeming
like fate.
 4. Previous Models and Why They Failed
• Many systems fall short for a bunch of reasons. Too strict/loose, lacking, overly complex, etc.
• Also too focused on what the girl should feel, or you, but not that mix of both. You should know
why you’re doing it on her end, and what you’re doing on yours.
o The System is flexible enough to work it all in, the what and the why.
• Perfect system – why am I doing this and what do I do, at every step.
5. What The New Way Is (O.P.E.N. Close)
• 5 basic stages, however in very constrained logistics you might not be able to hit them all
• Open and Close are the 2 fundamental steps to establish a relationship. Very tough to work by
themselves though.
• Next is adding Premise – Establish what the relationship/conversation is about.
o Establish that there’s an “interview” available for her for a role in your life. A possible
role opening for a gf/fuck buddy/whatever it is you want. It’s an opportunity
o This eliminates the “30 minute conversation to nowhere”. Establishes man to woman,
that dynamic, as the premise of the interaction.
o It’s advisable that even if you’re in a 30 second crunch, find some way, somehow, to
sneak in the premise over just open and close. The open/close alone is really hit and
miss, as there’s no skills involved.
o Open, Premise, Close is the realistic absolute bare minimum.
• If you have the time for a longer interaction, it’s preferred to add in Evaluate. After establishing
the premise, evaluate means you’re getting her to commit and try to win the position and/or
allowing her to win the position and that she’s earned it somehow.
o Builds more connection, investment from her and a stronger reason for closing to make
sense. Inspires her to chase and follow up more. This is considered a solid interaction.
• If you’re on a date or otherwise have extended access to a girl ie nightclub where you have
hours to pull her that day, you can weave in Narrative – the story in her head of what you are to
each other, like how she’d describe you to her friends. Also the stuff she tells herself to remind
herself why she’s pursuing you. He describes it as the plot of why she’s pursuing you in a movie.
• You want the full O.P.E.N. Close, but realistically go for as many as you can include in the time.
Open
1. The Goal of Opening
• The goal is to get a conversation started. That’s it. Additions like adding premise/attraction is
nice, but the bar is simply starting it.
• With cold approach, both opening and closing are when you’re most vulnerable/needy.
Therefore, get past the opener as fast as possible into a normal interaction. Trust that you can
thrive in the middle sections.
• That bar helps with approach anxiety. Opening doesn’t have to be perfect, rather you simply
strive to enter a conversation.
o You say hi, she says hey what’s up –you’re done. Congrats. Opener successful. Tada!
• Simple openers can be better than overly smooth openers because you can push through them
quicker and not fuck them up or get so anxious.
• Commit to the open though, it’s better to startle her a bit then go in weak. Nothing crazy though
obviously.
• In summary, the only goal is to push through opening (also closing) as quickly as possible to get
the convo started, trust that your game in the middle is solid, keep it simple and strong.
 o So take the pressure off of yourself. You don’t have to be that good, and just get into
the convo
2. Range of Openers

• Both the overly direct and overly indirect aren’t great and inadvisable. Beyond that, that whole
range in the middle are acceptable.
• Super direct is shit like “I want to put a baby in you”. Girls that respond to that would’ve
responded to less direct, and you scare away most chicks. Bad. Too risky.
• Direct man to woman – “hey you’re sexy, I wanted to talk to you” “hey you’re cute I wanted to
meet you”. Those kind. They can be good, especially at beginner level.
o Be careful not to overdue it, as you’re already giving your power away a bit here. Ex
“hey you’re cute um and you know if I didn’t come talk to you I’d be kicking myself up
over it and… etc”.
• Direct Friendly – General compliments. Love your shirt. Nice hair. That’s an interesting look.
Indicates interest, but not specifically sexual, man to woman interest. But hints at it. When
these openers land, it’s a gentle landing but it also leads to more initial rejections.
• Push-Pull – give a compliment and take it back. Ex adorably dorky, love your white girl dance
moves. Shows intent but pulls away to balance it.
o On the same level of opener is Observational – Make an observation like “you look like
such a tourist right now.” Can lead to subsequent teasing for advanced game. It’s
interesting yet neutral, doesn’t telegraph interest.
o These 2 are nice for being interesting but not giving power away to the girl nearly as
much
• Situational tease – Teasing her for something she’s doing, or for catching eye contact with you
as if she was hitting on you. Something she did to tease her. At this point, she doesn’t know if
you’re interested or screwing with her, and may want validation. This opener also displays
intentfulness, ie premise, more on that later.
• Opinion Opener – Getting her opinion on something, something chicks like talking about like
relationships, pop culture. Classic Mystery. This can trap people into a convo about the topic
without ever being able to transition into man to woman. Bad for beginners because it’s too
much of a crutch and too entrapping. It can be decent for advanced
• Impersional – Ask for directions, what’s the time, when does this place close??? Directions is
especially awful because then you’ve framed it to leaving there. Bad in the sense that you have
to do another opener, essentially restart the conversation, because it’ll quickly die and you
 didn’t accomplish the actual goal of opening. Because it was so indirect, restarting makes you
seem like you’re hiding your intent which is bad.
• Both extreme ends are bad.

3. Preferred Openers for Each Level

• If beginner, use man to woman direct opener or generally direct opener. The most common
beginner mistake is not showing intent, man to woman, thus the recommendation. This style
helps solve that at the start. It establishes premise, more on that later, and you’ll be forced to
actually deal with premise and not hide behind platonic convos that go nowhere. It’ll yield
rejections and escalating interactions to get good practice for later stages. Warm up banter and
shit tests. It’s a great kickstart for beginners, whereas advanced can make man to woman out of
“nothing”.
o When it’s grounded in man to woman with good momentum, even beginners can thrive.
You’ll also stagnate and lose and you won’t have the tools to turn it around as a
beginner with indirect. The direct stuff will lead to some rejections.
o As a beginner, going for a 9 or 10 level opener is incongruent so you’ll fizzle and it
wouldn’t have mattered. So get to the point, have consistent interactions that may
succeed, and gain the experiences.
o “real” beginners have 0 game plan so the goal is to simply have one that could lead to
sex and more. By having one, you’ll quickly elevate to intermediate. It’ll do a great job of
changing you from harmless platonic to having that chance even if it’s a numbers game.
o Also forces beginners to deal with vocal tonality, body language, due to the directness
which is important whereas other tactics might let beginners slip by.
• If intermediate, go for the middle 4 semi-direct. Gives away some power besides observation
openers, but it requires creativity so don’t force yourself to be so witty every time. Establishes
banter, some sexual tension to avoid flat interactions as you still need to learn escalation. It’s
fine if she knows she’s being gamed but is enjoying it. The transition is shifting to where she’s
not so sure. It’ll help establish premise, precedence and vibe as well as growth.
o Avoid stuff like opinion opener, you’ll get caught in conversations going to nowhere and
you can’t shift them. Not yet.
• At advanced, cut direct openers. Push pull, observation and situational tease still have some
directness. Now you can implement opinion openers as you’ve by now learned how to turn flat
interactions around, which is something you learn in intermediate with banter and teasing to
reignite it.
o Opinion openers aren’t “the best”, it’s just another one in your range. They’re good for
tough situations where you can’t go direct such as a large group where you can’t get her
alone. Classic Mystery, telling these stories and asking opinions to engage the group, her
included. Or mixed sets where you don’t know their relationship and you don’t want to
offend if they’re together, it can buy you time to figure that out before committing.
• So, beginner to advanced is shifting from direct to indirect. Beginners can use direct to aid them
in framing interactions with established premise and getting through evaluation and narrative. It
can be obvious and clunky, but you have to do it. As you learn, you can get more and more
subtle. And following this order helps you learn fundamental skills at each step to thrive in the
future while getting results now.

4. Approach Angles and Logistics

• All of the following aims to simulate how you would approach a good friend or a girlfriend to
make it low key and assumptive. Might even get the response “wait, where do I know you from”
• This is a video of him working with students. Notes don’t do it justice. Watch it.
• If standing, face to face direct is a bit intense, just a bit
of an angle is more relaxed. Turning face to face is
more to make an intense moment.
o If you escalate to face to face, you’re
preferably escelating to an instant date or
pulling them over as a joke.
o Showing comfort with that intensity is alright
occasionally, but not over the top.
• If you’re at too far away, instead of making a thing of
walking straight at her, just slowly approach as you talk.
Saunter/amble in. Side-stepping in or looking away a bit
also makes closing the distance more casual.
• Ideally, getting her to stop in a moving set is best. If it
seems like you can stop her, stop her. If not, walk with her.
o If walking with her, try to walk half a step in front of her or at
least even with her as opposed to too far behind and
appearing stalker’ish. It’s better to catch up to her than
remain behind her.
o If half a step in front, you can slow down to a stop and angle
at her to get her to stop organically. If she doesn’t, you can
keep walking forward still in a good position.
 o Todd’s preferred method is as he’s getting to even level and moving into that half step
forward, he’ll do a quick tap, reach that half step forward spot and start talking. It all
happens quickly. He’d prefer her being a bit shocked than him not getting her attention.
Being ignored is the worst outcome. So one or
two quick taps, arrive ahead by the time they
turn their headand start talking.
• Stopping a walking set, from behind, you reach out and
say “hey”. They’ll turn and you planti your feet in the
ground. Your reach is at arm’s length, not that close.
o Reach out and tap one or a few times. He also
does a tiny little pullback as he withdraws his hand, it’s
really quick. A “tap and pull”.
o If you don’t plant your feet, she’ll start walking.
o If it’s been 15-20 seconds stopped and she hasn’t
turned to face you, you can slowly move in front of
her. Typically, she’ll naturally turn towards you.
• Don’t sprint to her like a retard.
• It’s bad game overall to do that gimmick’y sort of jump in front of her. Even if it works for you,
it’ll eventually plateau for 8/9/10s.
• If they’re walking towards you and you make your move one step away, if they step forward
once, you’re now chasing. If you’re several feet away, you have more of a chance to make an
impression.
o Roughly stopping 3 to 4 meters away gives you time to make an impression and close
the distance. If you make eye contact further away, you can roll with it and open. Better
to open far away than disingenuously “notice” them when they’re closer. Imagine
they’re an old friend.
• Throughout it all, it’s a looser sort of body language, not stiff. He has this looser sort of stride, a
saunter or an amble. There’s eye contact but it isn’t a staring contest.

5. Helpful Mindsets
• When you have a good mindset, it changes your vocal tonality, eye contact, speech rhythm,
body language, etc..
• 4 main mindsets
1. Acting like you already know her. Open as if you did, that she’d receive you well. In weird
situations, just imagine they’re your friend, how you would approach your friend?
2. Assume you’re gonna get a good response. Especially with daygame. And if it doesn’t, it puts
you in the right frame to have that solid second effort.
3. Remember that the point of the opener is just to get things started, to be more chatty than
seduce her right there.
4. When you’re opening, you are offering value. You are presenting her with an opportunity. It’s as
if you were presenting her with a check for 10,000, which isn’t scary at all and if she blew that
check off, she’d be the crazy one. And as a man, you’re worth way more. You are doing her the
favor, you aren’t imposing at all. It’s the opportunity of her lifetime. Not only is it not awkward,
but you owe it to her. Depriving her of you is an asshole move of you to make.
Premise
1. Phatic Communication
• Premise - You’re deciding and showing what this conversation is about. Friend to friend?
Business? Man to woman?
• It comes down to phatic communication – The communication that tells you the nature of the
interaction. Ex a strong handshake telegraphs business intentions. Board room with people in
suits telegraphs business. It involves context, setting, body language, etc.. The way you shake
hands/make eye contact can communicate phatically, business, friendship, man to woman. Even
the difference between saying I and saying we or you and I.
o The most obvious technique is to bluntly state it. Hi, I’m hitting on you! Or very subtly,
disagreement implies that it’s more than stranger to stranger as you wouldn’t have
bothered otherwise. There’s a whole range from obvious to subtle.
• So, you must do enough to establish premise in some capacity. However, the more subtle, the
better. And the vehicle of choice for subtle premise establishment is phatic signals. As we study
premise, we’re striving to achieve that underlying phatic com.

2. Why Premise Other Than Intent

• Seasoned students might mistake this for showing intent. In a beginner level, the methods of
showing premise do resemble showing intent. In intermediate and advanced level, it’ll vary
drastically.
• Intent is showing interest, that possibility. The distinction is having a job interview and being
offered the job. A job interview roughly lets you know how to impress the person, whereas
being given the job changes the behavior. An example, they could negotiate for a higher salary if
they’re the only person for the job, they value it less over if they had to have fought for the
position, they might be suspicious of why it was so easy.
• Likewise, premise establishes that interview and doesn’t hand the power away on a silver
platter. It doesn’t make you needy and invaluable. And it establishes a precedence in the
dynamic for you to be higher value.
• So, beginners are fine with more blatant displays of intent as the damage it causes, and the
downward leveling it creates, is where all their other behaviors likely level them off anyways so
they don’t actually lose out much and they actually get to establish premise as a newbie
whereas many newbies don’t.
• Intermediate and advanced will develop/have skills to establish premise without giving up the
intent. That is the optimal result.
• Think of showing intent as a crutch, or even training wheels for beginners, in the greater subset
of ways of establishing premise.

3. The Importance of Getting to the Point

• Common mistake, guys don’t get to the point. Example in Fight Club, the guy’s apartment had
blown up, he calls up Brad Pitt and they drink together, there’s an awkward moment where he
rambles “well… okay… well I guess I’m gonna go call a hotel now…” and Brad Pitt is like what?
He rambles about needing to go to a hotel and Pitt fires back “Just ask man”, referring to asking
him to crash for the night. And Brad Pitt continues on the point even as he continues to “not
want to impose”. The whole time, they were on the same page, but he was so unassertive and
trying to not impose that his hesitance was the problem.
• This is a common mistake. Guys will talk about weather, work, etc. without getting to the point,
that man to woman dynamic and interest. They keep it on a stranger/platonic level and basically
just pray that they’ll somehow work it out and make it to the otherside.
• For all the pressure a guy feels to not escalate, a woman feels it 100x
• In cold approach, it’s you that went up and talked to her. This is your set. Take ownership of it.
It’s on you.
• And you’ll see times where she is responding positively but the guy just won’t commit to it. And
when that conversation is over, she has no clue what the point was.
• When you can’t take that 1-5 seconds of awkwardness to establish premise, it creates a whole
conversation that’s awkward because it’s aimless which is awkward.
• So, get to the point. More on how later but if it’s ever unclear, take the moment to address it,
that she seems cool or you’re enjoying it, fun, she’s not the worst company in the world, oh hey
she’s cute. Something, anything. If you won’t do it, no one will do it for you and it will end. If you
don’t feed the convo, it’ll starve.
• Final metaphor - imagine a car salesman who goes on for a half an hour about pleasantries
without even uttering the word car. It’s sloppy and annoying. The only thing worse than an
overly pushy car salesman is an underly pushy one. Many guys in game are the underpushy
salesman, where they won’t get to the point and act on that purpose. Absolutely essential.

4. The Impact of Establishing Premise Early

• Premise can be established at any time and it only takes 1 person in an interaction to establish a
premise. If you establish it, she doesn’t have a choice besides walking away or disputing it.
• It’s easier to establish a premise early rather than later, as it sets a precedence in the
relationship. People who act friendly are thus shooting themselves in the foot and can’t break
out (although they can but it’s harder.)
o On that note, the friendzone is a great example. The longer the friendzone, the worse
and more awkward. The solution? Establish the premise. Be warned, you’ll have to be
willing to lose the friendship, as it was based on that premiseless dynamic.
o Avoid the friendzone, the premiseless dynamics, but even without it it’s the same
process of establishing it. Subtle establishment will help get out of it smoothly, more on
that later.
• In the first 30 seconds to a minute, you want to either establish it more blatantly for beginners
or hint at it for more intermediate/advanced, but that still involves premise communications
early regardless.

5. The Concept of Push-Pull

• One subtler way of establishing premise is a push-pull, to do something that shows it but then
take it away. It can be direct, and then you add in the pull to temper it. Positive, then negative.
Cute, but dorky. I thought I loved you until you said that. Creates a good dynamic for many
reasons, and it doesn’t have to be that blatant either.
• Lot of the infield demonstrates push-pulls, can watch for it. Example being called “low-key
adorable” is a “diminutive compliment, but also a bit insulting. You’re actually kinda cute is
another example, with actually kinda being a jab and cute being short of hot/attractive.
o Great skill, very important, there’s exercises about this. For beginner, this is the next
step after the more blatant premise establishments.
• The point is that you establish the premise without giving power away.
6. The Concept of Premise in the Negative
• Even further than push-pull is premise in the negative. Saying I love you would put her on a
pedestal whereas saying I hate her will still tell her that love/hate is an important consideration
in this dynamic.
• Premise is supposed to be about the job opening, not serving her the job on a silver platter. I
hate you establishes her as a candidate just as much.
• A less extreme example could be “I’m not so sure I like you” establishes that it’s a consideration
and is way less needy, builds tension, makes her want to justify herself. This, is establishing
premise in the negative and it’s very useful.
• Examples include: “I’m not so sure I like you”, “You and I are probably not going to get along”.
The last one is a classic.
• There’s a line between being overtly insulting, but poking fun is alright, such as their clothes,
and it does still establish premise.
• To clarify, this is different from intent or showing interest. It establishes the nature of the
conversation, not that she’s winning in this job interview. This is very important for 9s and 10s
that need good sexual tension.

7. The Concept of Implied Premise

• Showing premise without showing premise. Paradoxical. Rather, it suggests premise is lurking.
The fact that you bothered with it implies that you might want to establish premise.
• Beginners be warned, disregard this video for now (Todd’s words). You’d be way too subtle and
not get the point across. Just focus on establishing premise for now. Understanding the theory is
great but don’t implement this yet, just watch the fight club video more.
• Now then, one of these implied premise gestures individually won’t get the point across. It takes
a bunch to paint the picture of premise. These are things to add in at a higher level.
• Ex you’ve been talking for awhile and interrupt the conversation with “Hi, I’m Todd by the way”.
There’s an implication that it will go a direction where that information is needed, i.e. love and
sex. But it’s so subtle, it could also easily be explained away by friendliness. It hints and nudges
the dialogue as well as smooth out later premise’y things.
• Another example is disagreeing with her. You wouldn’t bother if she had no value, i.e. you
wouldn’t disagree with a homeless person about scientology being fake. You’d just leave the
convo. A practical example is disagreeing with her music taste instead of calling it cool. You can
disagree with almost anything she says, gently, and say “actually, here’s what I think…”. You
assert it and stick to it. It demonstrates you care, at least a bit, about this dynamic.
• If the conversation is veering into platonic friendzoneland, sprinkling these things in can help
steer it back, subtly. It’s a starting place and a good thing to generally have in the interaction
• Another example is saying something a bit offensive.
• When you use these early in the conversation, it also shows that you put in work to make real
connections, the kind of person who has had premise’y convos before
8. What Conveys Premise

• The things you say establishes some level of premise and can also range from blatant to
transparent. The more premise established, the better, however also the more subtle the
better.
• It’s paradoxical, as the more subtle lines establish less premise. You can liken it to a an explosion
changing a nation over a man striking a match, explosions are more impactful and blatant.
• This diagram covers common communications and evaluates them accordingly (obviously not
exhaustive). It’ll show you the distinctions and
• A sincere compliment – I love you. You’re beautiful to me. Also can inversely be more blunt like
I want to be your fuck buddy. It’s blunt, obvious, jarring. High premise, high obvious
• Man to woman compliment – You’re sexy/cute. You look great today. It establishes a bit less
premise and is a bit more subtle.
• General Compliment – I like your hat/shirt.Even less obvious and less premise. Not explicitly
about the persom, still shows some premise, but not a ton.
• Joking Intent – Jokingly telling her you love her, want to get married, where you’re clearly
kidding. This has more premise to it but is also more subtle which is great
• Push-Pull Man To Woman – Positive as well as a negative. Some form of hey I like you but I
don’t like you. Good premise, fairly subtle
• Premise in the Negative – There’s no way you’re getting in my pants. There’s no way I’m going
home with you tonight. Bring up the idea of sex, but in the negative. Lot of premise, doesn’t give
away much social power, can even elevate
• Push-Pull General – Instead of being about her, it’s about something less personal like her
clothes like her shirt, cute but dorky. It builds less premise and gives away less power.
• These next 3 are so light on premise, it’s ineffective alone. But sprinkling them in can help. You’ll
still have to bridge the gap though.
• Introduce – Giving your name very lightly establishes some premise, very subtle.
• Premise Implied – Like disagreeing with her, you wouldn’t technically bother if you didn’t care
so it establishes minor premise.
• Strong opinion – Strong statements mainly imply you’ve had premise in other relationships.
• So, the overall goal is establishing as much premise as possible while giving away the least
amount of value.
9. Delivery of Premise Lines
• If the delivery is obvious, then it loses any subtility. Example, you could give a push-pull line but
an obvious delivery (that you want an outcome), it makes it lose all the value and the
incongruence makes it even worse than being upfront. That’s why beginners ought to stay more
obvious because the delivery would just give you away anyways.
• If there’s that clear sense that you delivered a line, you’re needy and want that outcome, you
want her to react positively, upward inflection with the voice, you’re fucking done. It’s
incongruent and creepy.
• Delivery should be subtle. One method is sandwiching. “Talk talk talk talk talk you know, I’m not
so sure we’re gonna get along. Talk talk talk talk.” It makes it not such a big deal, and more
subtle is more effective here. Makes you also seem like you have more value and forces her to
go out of her way to bring it up if she wants to refute, making her tryhard.
• Another example of conveying premise in the negative is saying something in a dismissive way.
It’s a sort of blazeness you employ in your response as opposed to being jumpy and expressive,
not as invested in it and needy.
• Guys get attached to their lines and then feel overly attached to them. We learn the format for
organically creating flirty conversation on the spot in this program so it takes the pressure off as
you continue making them. You aren’t constrained to a few tools, you’ll have a million ways. So
if she doesn’t get your joke, you can move on.
• On a different note, there’s a difference between saying things in the negative and being
insulting and that difference involves your delivery. Or if it is an insult, that’s bad, unproductive,
so don’t go there. A part of game is challenging them with the hopes that they win said
challenge, not giving them an impossible statement like hey, your nose is fucked up. That’s just
mean, the tension can’t be resolved, and a group would turn against you.

10. Premise in Group Situations

• Hot girls are often found in groups. So now what?
• You can have different premises for the group and the girl, and also different premises for each
individual.
• The group premise can be that they seem like fun whereas the girl can be more man to woman.
• This’ll create multiple dialogues. The group dialogue which is more friendly/fun/positive, and
then the girl which is premise in the negative, push-pull, overt compliments overtime.
• It isn’t necessarily the case that you talk the most to her. Rather, the focus is the way in which
you talk to people, thus the stress on premise. You can talk more to her friends, which might
even be useful in advanced if the friends are the gatekeepers. You may want to pay attention to
the needs of the group and also premise with the girl. You can establish premise through the
friends as well, such as telling them how the main girl is such a pain in the ass. It establishes
friendly premise with the friends and that tension lover/hater premise with the main girl. A
great way to play them off one another. Try not to waste time on that if the main girl isn’t
around to hear it, then you’re just wasting time. But singling the main girl out as having a
different premise is great, and you should talk to the group.
o And using this is how you can select the girl that you want. It’s up to you to establish the
phatic communication, the premise, between person a/b/c/d.
Evaluate
1. Why Evaluation Matters (Part 1) - Reason to close
• Why? If you don’t evaluate her in some way, it doesn’t make sense to close. Why would you pick
her to be your girlfriend/sex friend if you haven’t evaluated her? It means she isn’t special, and
that she’s losing and you won. It doesn’t feel like a win for her. It’s hey you’re hot compared to
hey, you’re cool.
2. Why Evaluation Matters (Part 2), Investment
• It implies that you’re a higher value than her and that she has to rise to impress you.
• The act of her trying to prove herself provides investment on her part which makes this more
meaningful for her.
• It forces her to buy in. “Is she qualified?” Did she have the qualifications to impress you?
o Her trying to impress you is very powerful, one of the best tools you can have.

3. Qualification Pitfalls
• A lot of things can go wrong with this. For example, you ask her what she has going on in her life
and she responds “Nothing really, I’m boring.” …okay, then you’ve set yourself up to have to
walk away. Or she says “why should I tell you”, “what makes you so special?”. She can flip it on
you and not invest, which is negative. Why does this happen, what can we do?
• Well. There’s 4 main reasons why she won’t.
1. You don’t have enough value. Say you’re a homeless dude asking her why she’s special, she’d
blow him off. There isn’t a strong reason as she perceives you as too far below her.
o When guys try to qualify too early, this issue crops up. She really needs to accept the
premise, that there’s an interview in process, before you can get here really.
2. No reason. If she knows that you already like her, she doesn’t have to try to win you over
because she knows you’re already sold on her. That’s why we stressed being subtle in opening
and premise.
3. If the attempt to make her qualify is too obvious. Much like a cat won’t do something it knows
you want it to do, it can be insulting and manipulative if you’re obvious about it.
4. They don’t know what the right answer is. If everything else was on point, she still might not
know the correct way to answer. His example is “tell me the craziest thing you’ve done/most
trouble you’ve been in”, and the chick froze up. She wants to impress and invest but literally
doesn’t know what Todd wanted to hear. You need to help her along and show her what the
right answer is.

4. What creates Qualification

• What’s the motivation for her to want to qualify herself?
1. Uncertainty in her own frame or beliefs. Example, if you’ve given them compelling evidence
otherwise, they’d want to justify and try to convince you , and also themselves, to hold their
own frame.
2. You have high value, a nerdy kid wanting to fit in with a cool kid even if it’s incongruent with the
nerd’s values.
o Back into establishing premise, having a concrete worldview that you stand by when
they conflict with hers, and having a fun and enticing view.
o Her fighting your view creates shit tests. Who’s stronger? We have exercises about shit
tests for that.
 o Also giving girls shit tests is a way to make them question their frame. Oftentimes, the
dynamic is that the girl is on a pedestal and he has to impress her. Instead, we’re going
in and establishing the premise. She might fight it, but at least that’s a level playing field.
Once the premise is established, then you’re the one evaluating her. This is the payoff
for the previous work mostly from premise, that we’re flipping the script.
5. Modes of Evaluation

• As always, the more subtle you can be with the evaluating process, the better it’ll go.
• The most obvious is just asking her. Literally ask her shit. What do you have going for you that’s
cool?
o If she bites, you know that she bought in which is nice. Even if you’ve been more subtle,
you can use this for a clearer landmark. But it is obvious, it’s forceful, could bring out
resistance if you don’t really have it. It’s risky.
• Slightly less obvious is challenging her to qualify. It’s giving her a shit test, having her qualify
herself.
o So after an established premise, you can look at her and be like “what is up with that
shirt”. And he’s delivering it well, shaking his head. If she retorts back with a fuck you,
what’s with your shirt, then that isn’t succeeding.
o More likely to succeed in, especially earlier in the interaction
• Then lead and follow. You establish what you wish was true/you believe to be true, and ask her
the question having given her that answer. Example is talking about how great/important the
gym is, then asking her about it. If you had a strong frame and premise, she’ll follow along and
attempt to impress even.
• Qualify her on value. When she states something of value about herself, you challenge her on it,
namely by not saying anything and giving her that look that you’re judging. If it hooks, she
continues on to justify herself. All without you having asked, you simply asserted your high value
and scrutinization.
o Great example is teachers that use it, or a simple “do you really believe that” when
you’ve answered. A lot of people at least partially buckle under the pressure, backtrack
and explain themselves.
6. The value of disqualification
• Disqualification, reasons why she could evaluate poorly. It makes the process of you evaluate
her seem more real, less congruent/genuine. On the other end, constantly saying that X, Y and Z
about her are cool or nice is really fake.
• You got her to qualify herself through high value behaviors. If you suddenly buy into everything,
you’re undoing everything and kill the tension.
 • It makes everything feel more real, keeps the vibe going.
• Challenging her frame also encourages more qualification.
• Not giving her a positive response when she’d normally expect that fake, plastic positive
response helps make her qualify more.
• So she wants a positive evaluation and thus qualifies herself. From there, you do still give some
positive evaluations to keep it going, but you also challenge it in other places.
o “Wait wait wait, what was that? Go back. I’m gonna pretend you didn’t say that.”
Encourages even more qualification
o And if you only gave positive evaluations, pretty soon she won’t feel any need to qualify
herself further.
• She has to feel as if she has to work for it, and that continued investment process that
disqualification brings out helps take her there.
7. Delivery of evaluation lines
• Just as delivery of premise lines matters, so does the delivery here in qualification. If you’re
being obvious, it’ll be ineffective, as would it being clear that you’re reaction-seeking in your
delivery.
o That sort of haha, checkmate, got you now delivery is reaction-seeking and weak.
• Therefore, once again, the more subtle your delivery, the better. Todd observes guys mess this
up in that they feel like they only have two or three lines for this, a lack of abundance. Instead, it
should be a casual delivery. If she doesn’t hear or for some reason isn’t responding, you re-enter
the conversation with “something you left out” and drop that thread, that question. Just drop it
out if she doesn’t hook in, and make it not a big deal. If you do leave it as a long pause, it
becomes a bigger deal, it makes it obvious that she isn’t falling into the frame.
o Subtlety gives it more power, less tryhard, and you won’t lose as much if you quickly
drop that thread, and try again later with another one.
• So, if she doesn’t jump through your hoop, either intentionally or she just didn’t hear, not
making a big deal out of it is best. If it’s made into a big deal, it leaves you standing there with
your un-jumped hoop which really tanks your value.

Narrative
1. What she tells her friends about you
• So far, we’ve opened the girl, established a man to woman premise, you’ve evaluated her and
gotten her to invest in and chase you.
• Now, we shift into building narrative, wherein she’s the one chasing you.
• The concept of narrative is well illustrated after the interaction is over, and she tells her friends
about you. The things she says, what she describes. Does she tell a story that frames you as high
value and a win for her? Then she’d want to continue, chasing, pursuing. It’s on your terms, the
date, the sex, the relationship, with that sort of narrative.
o It’s the source of those amazing how we met stories that married couples tell. They have
that narrative around their relationship, what they mean to each other, the whole story.
That story is a huge part of it.
• That storyline, or narrative, is very useful. Facts can help here, that you have a good job, are fit,
got this award, whatever the hell you’ve got on the resume that you’ve conveyed.
• To clarify, premise is what type of movie it is and narrative is the plot of the specific movie.
Establishing that specific narrative, which is ideally an attractive narrative that she wants to buy
into, that’d make her a winner and higher value, it’ll ignite your game.
• So what is the aftertaste of the interaction? What does she tell her friends? A positive one could
be everything.
2. The WE frame
• Check your pronouns cis scum.
• I, you, and we. I is yourself, you is her, we is “you and I”.
• Using we, or you and I, “you and I aren’t going to get along, are going straight to the top, I’m
gonna take you straight to the top.”
o This is the “We” frame, even when it was “I” doing something to “her” builds the “We
frame”, that we are the same, the package. It creates that narrative. A relationship is a
we so using the word/frame is powerful for creating that narrative.
• Start doing this early on in the conversation if possible. Not at the very start, as it’s a bit much,
but early on with an established premise.
• People don’t do it cause it’s risky. She can’t despite an “I”, she might dispute you making a
statement about her and also a we statement.
• It suggests many premises and frames that build into the storyline.
• If it’s scary to say we, you can use it in the negative, as shown earlier.
• The bubble of love, the package, the unique story, two against the world.
3. Plotlines
• After we’ve established “we’, we proceed into plotlines. The plot of the story
• Example, “at first I wasn’t so sure about you… but you won me over and convinced me you’re
better than the other girls”
o “I didn’t come out to meet anyone tonight, I do like you and feel attraction, but I’m
trying to resist it and am gradually being won over”
o A fun plotline basically on the open is you approach her and pretend she’s your ex, and
play it out stone-faced. “omg what are you doing here?, it’s been so long. You’re look
good- not that I want to go back to what we had, but you look good I have to say. After
some resistance, she’ll go along and you’re contextually talking with someone you’ve
had sex with.
▪ With these fake stories, it does call for roleplay
o Could make one where she’s been your stalker/she had a crush on you for years
o She has to keep you safe from some other girl who’s stalking or something
o The latter, gimmicky ones aren’t required, it’s just a fun twist
• If you never develop some kind of shared story, it lessons the impact and her likelihood to chase
you and fall in love.
• At its best, she’s identifying herself as a character in this story.
4. What Comfort Matters and What Doesn’t
• A lot of teachings consider this the comfort phase, building comfort. Todd clarifies that narrative
is very different than comfort.
• Comfort in old school game was the time where you can tell her your story, give her the facts.
That does also play a part of narrative, it’s a part of that plotline. The focus on narrative is the
exchange of emotion, however, over facts. You can have a great narrative without exchanging
facts. It’s the experience.
• This avoids an issue of the comfort “phase” in old school, where men go from fun/flirty to
flat/serious which is a more boring 180. Narrative, though, builds more sexual tension, it
deepens the previous investment and it isn’t this shift in personality.
• And a girl who is too comfortable, it’s not going to end well. Example being if the hottest girl
walked into the room, you would be nervous and effected and uncomfortable, and that’s good
for her.
• Likewise, you want her a little bit uncomfortable in the sense that she has you locked down.
Baseline trust/safety is fine, but otherwise being a bit uncomfortable is helpful.
• So the idea of getting you should be comfortable, in that it’d be a win for her, basically value.
And doing invaluable things for you during a “comfort” phase is suicide.
5. Time Without Discomfort
• With the premise that the comfort we want is a more basic sort of physical safety and not
feeling like she has you in the bag, we can define comfort as a lack of discomfort.
• When you work out and feel sore, you know that feeling, but the feeling of your regular muscles
not feeling anything has “no real feeling”. So, a non-sore muscle feels like it’s had a lot of time
via not being sore.
• Time without you showing her that you’re a loss, doing an error, is comfort. It’s easy for men to
fake being alpha for short periods, so girls picked up on that and derive comfort from extended
periods of time.
• At a certain point, time is your ally, as it allows this “comfort” to build. If things are staying the
same or even getting incrementally better, that you’re not making errors, is still building
comfort.
• Use this idea and have patience, even if you aren’t escalating wildly. And the more time she’s
chasing you, the greater the investment.
• Once she likes you, time is your friend. When time isn’t “in” your favor, what little time spent
building an emotional experience still contributes.
• Have faith in time, consider setting your dates earlier to let it work its magic. And if you do get
impatient/pushy, it can destroy trust and narrative.
• Going fast won’t get you there fast if you hit resistance, going slowly without interruption is
quicker.
6. Narrative Cheat Codes
• If time is limited then, or you need to jumpstart your narrative, there’s some tricks to make time
seem faster.
• Go to a bunch of different venues/locations for different associations. 3 hours in one venue
doesn’t feel like it, meanwhile shifting around to 3 different places gives the feeling of more
time.
o Even in the same place in a bar or whatever, moving her around helps. Plus it adds plot
to the narrative.
• Shared hobbies/attributes/etc. will create positive associations and the idea that we could do
stuff together in the future. Commonalities. Or common positive associations, such as relating
similarities in careers or passions which build familiarity.
7. How To Answer Her Questions
• If the narrative is the story, the story you convey should be the best you can make it
• A good exercise is noticing the same questions a lot of girls ask. Where are you from, what do
you do for a living, how old, any siblings, parents together? You know they’re coming. As if this
were an upcoming exam, prepare for the questions you know are coming up. Just strive for 5-
10% more interesting/cool than the standard bullshit responses men dish out.
o So come up with answers to a lot of these, just the bullet points of passion, how you got
in, the plan for the future, at least the top 10. Not a one word or one sentence answer
 • If she asks a question, that’s great but don’t close the loop. A curt answer that ends the
conversation is bad. Don’t cut conversational threads prematurely, keep them going.
o One such way is being open ended – Engineer turns into “I make the world work”. You
can describe how you used to be a different person and changed into engineering.
Storytelling conveys that narrative.
• If you have bragging points, being direct about it is braggy. If you lead her to ask her about it,
then it’s more honest. One technique is getting the question and avoided it a bit about how
you’re here to have fun. If you were deflecting on such a cool aspect of yourself, god only knows
what else you have in store.
• You want her to get invested enough to ask questions. Figure out who you want to be and do
your homework to figure out how to convey it when she eventually asks.

8. Reading Her Blueprint and matching it.

• Building off of answering her questions, the process goes better if you understand her as well, as
this is a We frame we’re building.
• Each girl is different. You have to ground your package onto their life experience, taking into
account their blueprint.
• So after you’ve got that brand/package from the last video worked out, figuring out different
variations of it for different types of girls.
• For a younger, inexperienced girl, you might want to pick up where you were at her age and
walk through your journey a bit, even weaving in values you’ve picked up that she cares about,
rather than giving her this larger career that she can’t comprehend
• A cockier girl, maybe entrepreneurial sort of girl, being more aloof about it, playing it down and
not babying it. Get her to dig it out.
• We all have many different sides to us, and putting forward the side of yourself that she can
better relate to is better. Things like how she was raised, her values, her daily life now, the guys
she dates and wishes she dated, what she wants. It all gives you cues to frame your conveyance
of yourself and that shared connection, that we frame.
Close
1. Closing Sequences
• Talking is not closing. All the convos in the world don’t equal game if you don’t move to close for
number, date, sex.
• If you only ever had 2 stages, open and close is the bare minimum as previously mentioned.
• There’s a lot of ways to make this less fucking abrupt such as sequences. In a way, all of game is
a closing sequence.
• In bad game, men have half an hour conversations to nowhere to “hey, what’s your number!”
Even if there was some intent, without the premise/evaluation/narrative at all, it’s more abrupt.
• Even if she’s about to part, it’s helpful to at least create something of a closing sequence.
Although with good premise/evaluation/narrative, being blunt could do.
• One solution, even for shorter interactions, is seeding the close, qualify her, then close.
o “are you adventurous” is a seed for a close. Then you ponder it and decide that you
could hang out, then ask for the number. It builds a premise for the close. Previously, we
talked about how indicating that you like her for an actual reason besides looks is
needed for it to make sense. This gives it a reason, plus she had to qualify herself a tiny
bit.
 o Another one is “can you cook”. Literally get her to say yes to something, anything that’d
give a valid reason to close, before closing. “wait do you live in the area”. “do you go out
a bit”
o This’ll take struggling interactions and turn them around. Also can be used in good
interactions.
o Also seeding the close in the negative, where you start to ask her that question and
double back stating you don’t actually know her well enough yet, get her to drag what
you were going to ask out of you, and then she’s closing you.
• Ideally, you seed, frame, qualify, lead. Seed being you bring up the idea of the close and that’s
it’s an offer, frame in that it’s a win for her, qualify being her having to prove herself to you or if
short on time, you can just state that she seems cool, and then lead as in go for it. Hand her the
phone, don’t half-ass it. Don’t ask if you can have it, ask what her number is. You lead when
you’ve done the ground work and deserve the close, you assume it’s on and go.
2. Determining the Right Close
• As a rule of thumb, go for the “highest” level of close first and back off from there. Just as a car
salesman wouldn’t prejudge that a customer won’t buy, so too should we not prejudge that a
girl won’t go home with you. Or prejudge her of being guilty of loving you and down to close.
• It’s better to go for the big close and back off. This is done through closing gradually through
closing sequences and not just bluntly throwing it out there, which is bad. If you’re that blunt in
game, it’s better to be softer then. With sequences, it’s much better.
• Close big, but it doesn’t have to be right now. The first stop doesn’t have to be home, maybe a
nearby intermediate step like a bar. But have solid goals in mind. Play to win, you aren’t playing
for a kiss on the cheek or a number. A lot of guys get phone numbers in cases where they
could’ve gotten way more.
• Assume it’s possible in every case to go all the way and back it off otherwise. Bad logistics, like
her being in a rush, where you then go for a number. Bad situations call for smaller closes.
• Another consideration sis your odds compared to starting over with a new girl. If she’s in some
rush and getting dragged away by friends, you could try to join them and see it through but it’s
lower odds at that point anyways, and going for a number and talking to a different girl would
be equal or greater odds. It’s the best for the overall night to sometimes balance that risk verses
reward, she’d have to be really special to dignify it.
• So the set in a vacuum, you push it as far as possible, push as much as possible. Beyond that,
logistics and time factors come into consideration for your overall night and life. Typically, most
guys are too quick to settle for a number or whatever. Say no. Play to win.

3. The Psychology of Being a Hard Closer

• Men typically have issues with closing, they don’t want to be too pushy, too intentful or are
pussies. It doesn’t do her favors to be a soft closer.
• Because you care enough about her experience to want to close softly and be polite shows that
you are a decent guy who’d treat her well. But if you aren’t pushy, you won’t close, and the guy
who does close her is a pushy asshole she’d be worse off for having. Your being a pussy is
actually damning her into dating an asshole. Woman need decent dudes who don’t quit out.
• Of course, don’t be “too” pushy, don’t not take no for an answer. Accept an overt no, back off,
don’t be stupid. But if you aren’t getting a real no, don’t decide for her that it’s over, let her
make that choice.
• If you believe you’re a good, quality man, you owe it to both you and her to help her get that
product. Todd throws an example of a dehydrated, delirious dude in the desert who doesn’t
accept water cause they’re so out of it. You still give them the damn water out of love.
• Girls want sex and relationships with good guys but they’re not at liberty to pursue them.
They’re supposed to play hard to get, not seem slutty, as that’d make them be judged. Your job
is that you have a check for a million dollars, and you want to give it to her.
• When you aren’t hard closing, they won’t respect you or trust you and it kills interactions. It
shows that you either aren’t this high value dude that can satisfy her, or you just didn’t get
women, or you were just shy, all of which are bad. You lose more by pussying out than going for
it in the longrun and it’s also harder to live with, wondering what could’ve been. Strive for more,
believe in your worth, and no harm no foul if you try and fail. She’s not going to close herself.
4. Objectives vs Conditions
• When you’re a hard closer, you will encounter resistance. They aren’t no’s, but rather
challenges. These break down into objections and conditions
• Objections that come from inside her are more emotional, she’s uncomfortable, doesn’t know
you well enough.
• Conditions are obstacles like time constraints, obligations to her friends, has a boyfriend. These
are logical, creative problem solving issues and not emotional.
• Handling emotional objections logically, persuasion or something, feels pushy and offensive.
Handle emotional objections emotionally, back off of your request and build comfort and time.
Change her mood, not her mind. Consider what you’re lacking in premise, evaluation or
narrative as you go back and finish the game you haven’t done before coming back and trying
again.
o So if she doesn’t know you well enough yet, back off, tease and flirt, move around more,
build more experience before going for closing.
• Conditions are more logical and not to be handled emotionally. If she’s with her parents and
can’t leave, fingering her and getting her horny isn’t going to fly here.
o See if they drove together, if there’s another way to get home. Could exchange
numbers, drop them off and meet up after. Or some event that I can take all of them
too and instant date the whole family.
• So don’t logically problem solve her emotional objections and don’t emotionally solve logistical
issues. It’s an important distinction.
5. Becoming the Problem Solver
• Ideally, we can answer these objections before she even objects. You’ll get the same objections
again and again like being with friends, having to get up early tomorrow, I don’t do this on the
first date.
• Knowing that they’re coming, you can handle them preemptively. For getting up early, you can
say it first, that you can’t stay out too late but you’re enjoying this so we can hang out for a bit
longer. She now can’t really use that objection.
• You can solve something like she doesn’t do this on the first date in advance. Again, bring it up
before her about yourself, that you aren’t that kind of guy. Or tell a story of one of your friends
who’s more conservative who was really missing out on life but he took some risks in life that
enhanced his life. It sets a frame of what’s cool that she can buy into. Or make the story about
yourself. Or be judgmental, not about her, but the philosophical statement that people like that
in general are disingenuous and fake and you prefer genuine people. Before getting that
objection, you can frame it away.
 • If she has friends, you can suggest alternatives in planning out where to take her that involve
the friends to solve that problem ahead of time. Problem solving ahead of time prevents you
from hearing no, as each no sets back the narrative of one thing lead to another.
o She has to justify every no she gives you which is bad, but also justify every yes which is
good. So a series of tiny yes’s builds the narrative.
• Going for closes in soft ways in sequences, building to it, builds up to the final yes. And any pre-
resistance means you can drop it without such a huge no. If you asked If she’s adventurous and
she says no, it shows that proceeding with closing isn’t smart and avoids a true rejection. Solve
problems before you get to them, or avoid a huge problem to not seem pushy.
The Path Forward
Internalizing The Skillset
• So that was a lot of information to take in. Where does one even begin?
• Take it step by step. One small bit at a time. Take the game that’s worked best for you and
sprinkle in one element at a time, specifically where you’ve been weakest.
• As you’re starting, focus on the broader picture, getting the phases right. Open, premise,
evaluate, narrative, close. Know where you’re at and what the next step is. As that becomes
familiar, layer on complexities. Add subtlety. Begin to shift from beginner to intermediate to
advanced.
• For more details, exercises/examples section offers lines and ways to get better
implementations.
• Along the way, game should always be intuitive, simple and fun. Trying to implement 10 things
at once will just overwhelm you and make it difficult to measure progress, instead use individual
additions.
• 1% better every day for a year becomes 3800 times better by the end.
• Don’t go out and completely overhaul your game in one night or use every idea, just small bits.
• By slowly building off the 5 step model, and going slowly with 1 nuance at a time, you get a
gradual improvement. At first, it can be clunky but it’ll become second nature as you familiarize
yourself with it. As you internalize these skills, you won’t have to focus on them and add more
and more skills.
• So you as you are are at your baseline. Add in one skill and raise that baseline. Add, raise.
• If you hit a long plateau, go back to the last steady thing for you was, reevaluate your sticking
point, and implement from there. The goal is every night, every session, you get just that 1%
better and internalize that improvement.
• So go forth you crazy fucks. Remember to implement it a little at a time, for both improvement
and results. Cheers
Beginner’s Roadmap
1. Introduction
• Beyond seduction, there’s basic shit in life that could be holding your back. Get it together, get
your life together. This should get you to a baseline. Plus, improving this fundamental shit is
going to see you a much greater improvement over game itself.
• Hopefully most to none of these apply to you, but if so it’s priority number 1. Also, some of
them are about maximizing.
2. Define Your Dating Goals
• It’s what you want. What is it? Realizing what you want won’t get you it, but not knowing what
you want virtually guarantees you won’t.
• Dudes want different stuff, like monogamy, hot chicks, responsible chicks, housewife,
threeways. There’s no right or wrong here, no morality. If you don’t know what you want
though, you’re shooting blindly which won’t end well.
• Your wants can change, that’s fine. Experiencing them can also be educational.
1. Decide what kind of girl you want. Her traits
2. What type of relationship do you want
3. What are your deal breakers? Like she does drugs, too career-oriented or not enough. Etc etc
4. Dealbreakers as far as yourself. What time/effort/energy resources are you willing to put in, and
what won’t you do? Would you go to parties you hate?
• Figure that all out, it’ll help you venture forth more intelligently with your filter. When you find
something you like, you can also mold it into what you want.
3. Overcome Negative Scripts
• All the thoughts in your head that you’re not good enough, you don’t deserve it, you’re a freak.
Everyone has those thoughts. And they all have insecurities too. And they all think theirs is
special, they aren’t.
• If you manage your game well and all the things you can control, have faith that the system
works and you’ll come out alright.
• Too short, too tall, too white/black, etc., men still slay it
• If you’re fat, you can actually deal with that. Or skinny.
• Underdogs win all the time.
• Whatever they are, they aren’t an excuse to quit. Do the best you can with what you have. Any
obstacles in life is just shit you have to deal with, bad shit happens to everyone, all people have
disadvantages.
• Anything you can change, do change. From there, any limiting belief in an approach is irrelevant
because you can’t change it. You can only work with what you have
1. Write out the 3 biggest insecurities
2. Find people with those traits that are succeeding, like fat or ethnic or whatever you’re stressing,
uneducated, etc.
3. Positively reframe. Go out, when you hit those negative scripts, reframe it as a benefit with a
good life story of an underdog, and remember the people you’ve found. Find the pros of your
insecurity and turn it around.
4. Logistics
• Logistics are king. Your proximity to venues will matter. Living with your parents will matter.
Having good, positive roommates will matter.
• Game can overcome logistics but logistics can still be a killer.
• Be close to the place where you meet girls. Have a plausible reason to take her back. Having
your home arranged without it being embarrassing/scary. Having good people around you over
having people that impede you.
• You don’t just have to overhaul your whole life, although if they’re awful then consider it if
you’re serious about game.
• If it’s a small town, you might have to move although social circle still can work. But you can still
go to the city.
• Longterm, the next place you move to, you want to set up good logistics when deciding unless it
interferes with your life too majorly.
• Living at home in high school is normal, college is so-so, at some point if you’re 35 and making
an income, absolutely not. So important.
• When you could pay 10% for good logistics vs a place farther away, if you’re gaming a lot, the
money recomps itself in cabs, dates, etc..
• Good roommates is important, even a chick who’d talk you up.
• Don’t live beyond your means, crap you can’t afford. But do all you can, location being
paramount, and the roommates/scene being secondary.
1. With current logistics draw up a plan from where you meet her, places to take her, how to get
back home with her. And a backup plan.
2. Solve your logistics. Move closer, clean your room, get a better roommate for the next lease,
move to a place in the city where you can do dates right next to home.
5. Style
• Being well-dressed buys you the benefit of the doubt.
• Your fashion can be awful, to meh/underwhelming, to fashionable. One of the easiest, quickest
fixes in game
• Get a catalogue in your head of guys who look good/probably get laid
• Might get bad boy, preppy, athletic, “gay”
• Pick one that suits your body type/personality and go with it. Find the stores, get to know
people that are into it, ask people in stores, ask girls to help you out, ask a gay guy
• If you understand the fashion/fit, you can go to cheaper places and get a comparable look
6. Hygiene
• If you as a man would object to it, she’d object 100x. Bad teeth, bad breath.
• Get your hygiene in order, both personal and your place.
• If your hair is bad, dirty face…
• Do an honest assessment. Ask a female friend. Anything you can do, do it.
• lol
7. Humor
• Study comedy, develop your humor muscle. Focus on the words/vocab, write down jokes, the
formats. It makes a difference
• Mark Twain quote – the difference between the right word and the almost right word is the
difference between lightning and a lightning bug.
• Game is a verbal art, it’s a frame control. When you can do it soft and funny, it’ll be appreciated.
• Watch movies/standup. See if you can implement jokes/joke structures
• Can even take a course. But focus on the words/comedy.
8. Career
• Your actual life does matter. The techniques in the program convey your life positively but she
still has to be sold on your life in the end. Your life is your life, the nature matters, what do you
do for a living.
• And it’s also what you do in general for some 8 hours a day or more. It’s a huge part,
determines who you associate with, who’s around you, your stories, your conversations.
• You don’t have to sellout or get a job that works with hot chicks. But wherever you can network
with girls at work can help.
• Do something you genuinely enjoy. When someone asks you about it, you aren’t embarrassed,
you’re happy, have good stories, are passionate. The networking is nice, but the key is that.
• Gives you resources, a passionate vision, introduces you to friends, and money by proxy helps
logistics with a better place.
1. Ask yourself if you like where you’re at right now career wise. If so, great. If not, are you on a
path you like like a college student
o Consider the future. What you love, what your passions are, what do you find exciting,
what do you want to talk about, what do you want to say 10 years when you get that
question because it will come up.
2. If you aren’t on a path even, pick an exciting/interesting path. What do you love to do that pays
okay, surrounds you with good people, good lifestyle hours. Construct your optimal/ideal
lifestyle that’s reasonably attainable. Take 1 step towards it tomorrow and believe in yourself.
Sign up for a class, check out a book, meet someone who does it, visit a place where it’s done.
People overestimate what they can do in a week and underestimate what they can do in a few
years. You need that direction. Take your time figuring it out, ideally with good pay and good
people, but what would you like to be able to answer with in regards to this question?
9. Sexual Comfort
• Yours, not hers.
• If getting in shape helps you with it, go ahead
• But understand that it’s fine, girls will find you attractive and will compliment you. But you need
to be comfortable with sex and nudity, getting naked. You have to for have sex.
• He recounts a time he rejected going swimming with a chick because he didn’t want to take his
shirt off. Was afraid of nudity and afraid of sex itself. Also health class scared him of stds.
• Go to a good website, center for disease control website, and check out the statistics. You’ll find
it’s far less common than teen health built it up to be and far more curable.
• Do be safe, use a rubber.
• Everytime you do virtually anything, it’s a risk. You take them to live a normal happy life. Same
goes for sex, take precautions and decide to be a guy who has sex.
• If you catch something down the line, consider the alternative, being celibate all your life
• Penicillin is mvp
• Tons of dudes who’ve been with 100s, even 1000s of girls without stds. The ones that did were
typically irresponsible, with shady chicks, don’t wrap it up. Do the research for yourself, decide
to live with the risk, however small it may be
1. Consider yourself a sexual being, you’re comfortable with your body and nudity, you take the
risks within reason and intelligence with sex. Without that decision, you’ll make excuses.
2. Check out the std cdc types of websites and find your comfort zone. Decide the plan
3. Get used to your body. If you’re uncomfortable, go to the pool and fucking take it off. Or a park
without your shirt on. It’s totally fine to have it exposed, get comfy.
10. Haircut
• Haircut is the piece of clothing you wear everyday no matter what. Take it seriously
• Going once or twice to a really nice place to figure it out is good. Get pictures of hairstyles you
want, show them the pics and ask them if you can do it. Pick people that look like you, same
facial shape, body type. Celebrities that do well with girls in roles are a good goto.
• Find out what’s possible, come in with pics, get a really good haircut one time.
• Also have them teach you how to style it. 5 minutes a day with the right tools can do wonders,
frames you well, shows you’re willing to put your best foot forward. It also plays well with
impressing friends.
• Form there, you can get a less expensive version when you know what you’re doing.
• Get your haircut often enough that it doesn’t get shitty.
11. Money
• Money won’t inherently affect your game but money matters tangentially in life in general. If
you can’t afford a date, can afford to get into nicer venues with better girls.
• When you invite a girl into your life, it helps with that relationship.
• It also indicated ambition.
• If you’re young, invest in yourself, your own earning power down the road. Training, learning,
marketable skills. Also being financially smart. Americans are notorious for being in debt. Being
in debt makes compound interest work against you, bad, and confines you.
1. Get out of debt if you’re in it. Might mean having discipline and cutting up your cards. Might
need budgeting.
2. You want to be building a surplus, investing. This isn’t a money product but a pickup program
but…
o First rule of investing is don’t lose money, that you’re doing things safe that you
understand.
o Invest in things you know and understand
o Resources include anything relating value investing, learning to invest, follow the steps
of guys like warren buffet, get mentors from people who are doing well and do what has
worked before.
o So that way, your money will work for you .So eventually, you’ll have that much more
freedom.
12. Fitness & Physique
• Get into the gym. It’ll make you look better, improve your first impression, it’s an honest signal
that you care for yourself, improves health/energy, increases your lifespan, as you age it is a
huge advantage to get younger chicks. Indicates sexual finesse, etc.
• Doesn’t have to be 7 days a week, strive for 3-4 days a week for an hour or so. Don’t be a couch
potato. Get a decent diet which involves more protein and less carbs.
• Focus on your major lifts. Benchpress, deadlift, squat, pulling like pullups, maybe abs.
• So reasonable calorie intake, reasonable ratio of protein/carbs/fats, get your major lifts in, strive
to improve on those major lifts. You don’t have to be a bodybuilder, but it’ll make a huge
difference.
Intermediate Roadmap
1. Leveling Explained
2. Eleminate Common Leveling Behaviors
3. My Brutally Effective Daygame Process
4. Consistent Hooking
1. Consistent Hooking
2. Getting Her to Chase
3. Mechanics of Pulling
4. Getting the 8’s, 9’s 10’s
5. Social Circles and Elite Venues

Exercises
1. Introduction
• We’ve covered strategies in interaction, but the progression is limited by your techniques to
implement them. You have to learn to dribble/pass before you can make plays in basketball.
• You won’t even have to memorize lines. This’ll train you in formats to give you second-nature
reactions in game, like muscle memory.
• Treat the exercises as natural/instinctual reactions. We’re trying to build the instinct, so don’t
overthink them. It’s fine if you mess them up. Follow the format and get the practice.
• Most of these are best done with a partner, but he’ll teach them for solo usage as well.
2. Yes And
• This is a format to always create value offering content. Saying Yes is an agreement of the world
as it is. Saying And is you adding a little extra value.
• Most guys ask question after question which is value-taking. Yes and is value-offering.
• For this exercise, say “yes, and” and do not think ahead, as that ruins the exercise. Just throw in
a yes and, trust yourself without a plan of the sentence, and let yourself finish the sentence on
the fly. Learn to trust your brain, that’ll it’ll take care of you.
• With a partner, they say a few lines and you say “yes and” then you say a few, back and forth.
• By yourself, you need sentences to play off of. Grab a book, tv, youtube, radio, etc, and pause it
to do a yes and statement.
• You can even do it on yourself with a monologue, yes and’ing yourself. That helps you plow
ahead in game when girls give you nothing. Another use is passing shit tests. It paints you as
unreactive to her test, although this isn’t a perfect pass but you won’t fail either.
• Caution – yes but is saying no, disagreeing/complaining. Don’t do that.
• Eventually, this is a greater attitude of the world is great and I have value to offer without
actually saying the phrase yes and. That’s the true mastery of this exercise.
3. I Love & I Hate
• Similar game to yes and. With no plan, we say “I love…” and figure it out, then “I hate…” and
figure it out. It’s all after the fact, don’t premeditate the answer, otherwise you’re missing the
point.
• The aim is to practice polarizing statements, it has an opinion to it. People can accept or reject
the.
• Yes and is a very likable exercise and this is more divisive. It’s less likable but also more alpha.
• Both yes an, as well as I love & I hate, are great go-tos in early conversation to kickstart.
Typically, the hotter the girl, the more you should go for bold statements like I love & I hate.
• The implementation is similar to yes and, the same practicing techniques.
• For this and yes and, you can practice in real life in non-critical situations like work, like talking
to clerks or whoever where it isn’t important.
4. Question, Answer, Tease
• Say you failed the first 2 exercises, or somehow find yourself in a boring conversation. Or say
you catch yourself asking a boring question, and she gives a boring response like “What do you
do for a living” and she responds “I’m a secretary.”
o Most guys pursue that boring conversation ad nauseam.
o Instead, take whatever that boring answer and morph it into a seed for something
better such as a good story, opinion, or the tease.
o On the secretary example, could tease about it being a stereotypically feminine job
• It’s really about question, answer, and offering something of value, teasing being the best
version. But anything that isn’t boring.
• With a partner, ask them a boring question, they respond boringly, and you go from there.
• On your own, get rid of the question. Find a bunch of boring answers, like a list of jobs. Go
through, pretend you asked about their job and respond off of it. Also locations, like a list of
countries, or cities.
• Practice in real life. Stranger on the bus, ask them a boring question and go. Or any boring,
mundane conversation you find yourself in.
o It’s a fantastic skill that most people don’t have to turn bad conversations around. Most
decent dudes at game need that momentum but fold if they lose it. This is the
turnaround to that.

5. Sex With Me Is Like

• This builds the muscle of misinterpretation, of sexualizing anything.
• Say “Sex with me is like…”, pick an object, and then figure out some explanation.
o Roller coaster – up and down and up and down. Faster and faster and faster and then
you get off. There’s pictures of you taken when you least expect it. Etc etc etc
o Like a chair – good on all floors, hard wood up against your ass
• Practices seeing hidden meanings, sexualizing.
• With a friend, pick a word and go back and forth and see who faulters first. That also sounds
like a fun game in in general.
• On your own, pick an object and find so many instances, like 5. You pick cell phone, come up
with 5 lines like – I like to push its buttons, i’m always handy and available. Or 3. Or 10. All
depends on your skill level
• The faster you are at this, the faster you can get sexual in real conversations.
6. Misinterpretation
• Easiest with a partner. Your partner says any sentence to you that has the sentence I, you or we
in it, which thus implies some sort of relationship between two people. It should be
misinterpretable. Take that sentence and misinterpret it as a compliment or a sexual advance.
 o “You’re standing 5 feet away from me” – to “Oh, I’m flattered that you want to be
closer.”
o You’re wearing a red shirt misinterprets into them wanting you to take off your clothes.
• One way to practice this is to misinterpret something negative/insulting. Like them insulting
your beard into you thinking they’re thinking of kissing you which weirds you out as you only
just met.
• Solo, you’ll need some kind of verbiage to work off of. Books with dialogue, like a play, should
have a bunch with I/you/we. Same with tv/youtube/radio, and you can pause.
• You want to get to a point where you can misinterpret almost anything she says, that anything
can be a compliment/sexualized. It fits into a man to woman frame and is great for men who
struggle with establishing premise. Great exercise for premise, as it injects it anywhere you so
choose.
7. First Unusual Thing
• Generates content, specifically teases that hook people in as well as general interesting
conversations.
1. Call out the first unusual thing in the situation you notice. Point it out.
2. Justify it. Give it an explanation behind it. It doesn’t have to be right, and for comedy/game, the
crazier can be great.
3. If that is true, what else is true. Exaggerate it.
• It turns one little thing into an entire story/tease/creative, funny endeavor. Doesn’t even have
to be that funny, just interesting.
• In game, every interaction is different. Therefore their reaction is unusual. So a firm handshake,
her being flustered, a blank stare, not saying hi. You call that out, like “wow, that was a very firm
handshake.” Maybe she’s a bodybuilder, her father was a drill sergeant and any guy gets hunted
and abused if they want to date her.
• So if she was flustered, maybe you remind her of a movie star she’s had a crush on her whole
life. Then maybe you’ll have this amazing relationship but she’d call you the wrong name in bed.
• It’s more interesting than normal, boring conversations on the open and a few minutes in, it
helps sexualize it without being direct.
• Practice with a friend, notice something unusual and go. Walk around, see a person and imagine
it in your head, the first unusual thing and how you’d exaggerate it. Can even talk to said
strangers.
• Alone, same routine sans book, stick to something visual like youtube or tv.
• Getting used to this format lets it become natural to you in sets. It’s great if it’s ridiculous, and if
it seems serious then it’s problematic so really go wild.

8. Game The Wall

• The wall represents the hardest set in the world. The hottest girl, the most boring blaze girl who
gives you nothing. Guys have trouble with girls that give nothing.
• So set a timer for a minute, go to the wall, and talk for a minute straight. You get no feedback.
No help. You have to keep talking even if it’s rambling or uncool or incoherent. Keep going for a
minute straight. It practices social pressure, having to come up with material in difficult spots
and gaming the hottest, most difficult girls. That’s level 1
• Level 2, establish premise with the wall. Once you can do level 1 well, now you have to say
premise’y things too. “you know, I like you but you’re just so flat, I like a wall with some
 cleavage.” “I like you but you know, white wall, very bland, I like a little culture in my wall” etc
etc. Start teasing, giving her a hard time
• Level 3, critical, game from a high value frame. That you’re attractive, the wall likes you, you’ve
always had great social feedback, that the wall is chasing and it’d be a lucky wall to have you. If
you can do this with no feedback, ramble from a high value frame, you’ll thrive in turning
around difficult sets with hot chicks that aren’t giving you much while keeping your
frame and having some humor.

• And that’s it for exercises. Try them, learn them, get a bit better every day and ingrain these
habits. You don’t have to do these verbatim in the field but they’ll give you so many great tools
and instincts and high value communication tools, so many ways to show premise. It’ll strongly
enhance your game.

9. Steal My Lines Cheat Sheet

This is a PDF of lines. Go through the yourself, find your favorites and memorize them.
Manifestos
How to learn game
How to run your session
Constructing Your Funnel
Advanced Systems
How to flirt
What makes game work
4 modes of escalation
10 most common unattractive behaviors
How to get into venues

Interviews (have none, layout unknown)

Webinar Masterclasses
The Flirting Manifesto
The Hooking Manifesto
Finding Her Blueprint Manifesto
The Looks and Style Manifesto
The Girlfriend Manifesto

8 week action plan

Week 1: AA and Opening
Week 2: Intent and Premise
Week 3:Engineering Attraction
Week 4: Creating a Connection
Week 5: Authentic Sexualization
Week 6: Numbers and Text Game

Week 7: Art of the pull

Week 8: Becoming the ultimate prize

Live Seminars

Flirt with someone, they try to keep it platonic, doesn’t last very long

Push pull on command, look at someone and literally say whatever comes to mind. If positive, follow
with negative and vice versa, if neutral you can swing either way. Don’t think ahead
Validation, narrative, last dick standing