Saturday, April 29, 2006

Attraction problems & the jumpy girl:

I'm going to read up on attraction material. I've noticed that in many sarges lately, I've been asking too many questions. This is true in bowling, the Saturday Atlanta HB sarge, and the Starbucks Music Teacher. Off the top of my head, I realize that I need to tell more stories. I believe it's the Mystery guide that says that you often have to do much of the talking ,especially early on. You do this by telling stories that telegraph certain things: preselection by hot girls and other DHV's. While it's lame and sounds like bragging if you say stuff directly, when you imply them or bring them up in stories, it doesn't come across as bragging. I need to tell more DHV stories, and in day game, I can throw in more patterns. I just have to stop using too many questions to get to my material. I'm going to read the Players Guide and Bristol Lair again with an eye for more attraction material.

As for the jumpy girl, I just thought about that girl at Starbuck's. I obviously calibrated wrong several times in the interaction. First, when I sat down, she kind of jumped. I needed to stand for a little bit longer and then sit as she got more comfortable. I sat down while I was finishing a sentence and she flinched. That was obviously bad calibration.

Positives:
I've been learning a ton lately, and I haven't even opened that many sets due to the nature of day game. There just aren't that many sets around. I think I need to do a quick 1 hour tour of the bookstore and Starbucks and then focus on working. I need to go the clubs several times a week, even though I tire of them. A post on TD's archives really stressed that point. Besides the obvious of there being tons of sets in night game, everything is more exaggerated in night game. Girls have stronger bitch shields. You really have to run strong game to keep ADD party girl's attention. If you can run strong attraction material that keeps girls interested in that type of atmosphere, day game is going to be a breeze.

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