G
Giovanni Jacopo Casanova
Guest
What are COMPOUND COMPOSURES?
SPEECH; intonations (tonality), intensities, syllable durations, etc; joined with actions; EXPRESSIONS of the face and body (such as blinking, tensing appropriate facial muscles) in an intertwined construct to meet the desired produce and outcome from the subject.
Using Kinesthetics is a well known tactic for anchoring a woman's emotions, but sometimes this just isn't possible considering your location with her, or, your rapport isn't at a state where she would be comfortable with you touching her (which should seldom be the case), but on intial contact maybe. Using Expressions as a method of anchoring, I find, are decent tools you can use to form your stradegy.
The smile alone can be broken up into variations or versions. There are different smiles, identified by shape and size; open or closed, etc. If you define them for yourself and add even say, three to your arsonal, you can match them with other contours of facial expression (ie. the eye-brows, and their height) if need be, which can multiply the amount of expressions you have to work with.
Combine an expression with what you are saying, and- BAM! Anchored.
I realise that this is fairly in depth, and why would you consciously take the time to develope these expressions? Why not just go with your regular singular smile? Simple! because you CANNOT anchor different emotions with one anchor, and have her identify the different states. In the case of kinesthetics, you anchor excitement, let's say by touching a woman's shoulder, but now you want to anchor love- you can't touch her shoulder- you go elsewhere, her elbow, etc. The same applies to use of expressions; you anchor one emotion1 with expression1, and emotion2 with expression2.
Here's an example:
A few days ago I was playing chess with a friend on Main Street. People have to comment on something as outrageous as this! (Consequentally, I have been approached by girls several times, merely by playing chess in public- it's ridiculous in a way). These two girls make a humorous comment about who's winning, as they are walking by, I shoot the breeze with them a little in order for them to stop, thus building rapport. After a minute, they walk back to us, and ask us our names, etc. I LIE jokingly, with one of my composed expressions on my face; giving them a false name. My friend (who is an AFC), obviously starts to laugh. THEN! they immediately link this expression on my face with a little joke. I do it a few more times harmlessly, to embed this expression with what I'm saying to be a joke.
Eventually they're sitting down. I start with sexual innuendos, and later outright sexual comments, using this 'joking expression'. For those of you who are familiar with the GM Style, I used that idea incorporating my expression in place of saying, "I'm just joking." Things progress, and now, they're the ones talking about sex! To be honest, I've never tried anything along the GM Style (and wanted to experiment), but one of them went as far as to give me a condom! I **** you not. And it goes on... but you get the point now.
-GIOVANNI JACOPO CASANOVA
SPEECH; intonations (tonality), intensities, syllable durations, etc; joined with actions; EXPRESSIONS of the face and body (such as blinking, tensing appropriate facial muscles) in an intertwined construct to meet the desired produce and outcome from the subject.
Using Kinesthetics is a well known tactic for anchoring a woman's emotions, but sometimes this just isn't possible considering your location with her, or, your rapport isn't at a state where she would be comfortable with you touching her (which should seldom be the case), but on intial contact maybe. Using Expressions as a method of anchoring, I find, are decent tools you can use to form your stradegy.
The smile alone can be broken up into variations or versions. There are different smiles, identified by shape and size; open or closed, etc. If you define them for yourself and add even say, three to your arsonal, you can match them with other contours of facial expression (ie. the eye-brows, and their height) if need be, which can multiply the amount of expressions you have to work with.
Combine an expression with what you are saying, and- BAM! Anchored.
I realise that this is fairly in depth, and why would you consciously take the time to develope these expressions? Why not just go with your regular singular smile? Simple! because you CANNOT anchor different emotions with one anchor, and have her identify the different states. In the case of kinesthetics, you anchor excitement, let's say by touching a woman's shoulder, but now you want to anchor love- you can't touch her shoulder- you go elsewhere, her elbow, etc. The same applies to use of expressions; you anchor one emotion1 with expression1, and emotion2 with expression2.
Here's an example:
A few days ago I was playing chess with a friend on Main Street. People have to comment on something as outrageous as this! (Consequentally, I have been approached by girls several times, merely by playing chess in public- it's ridiculous in a way). These two girls make a humorous comment about who's winning, as they are walking by, I shoot the breeze with them a little in order for them to stop, thus building rapport. After a minute, they walk back to us, and ask us our names, etc. I LIE jokingly, with one of my composed expressions on my face; giving them a false name. My friend (who is an AFC), obviously starts to laugh. THEN! they immediately link this expression on my face with a little joke. I do it a few more times harmlessly, to embed this expression with what I'm saying to be a joke.
Eventually they're sitting down. I start with sexual innuendos, and later outright sexual comments, using this 'joking expression'. For those of you who are familiar with the GM Style, I used that idea incorporating my expression in place of saying, "I'm just joking." Things progress, and now, they're the ones talking about sex! To be honest, I've never tried anything along the GM Style (and wanted to experiment), but one of them went as far as to give me a condom! I **** you not. And it goes on... but you get the point now.
-GIOVANNI JACOPO CASANOVA
