The Art of Seduction

• Political figures are required to have a degree of charisma, a fascinating presence to keep their audience's attention, which is half the battle.
• The essence: use pleasure as bait, play on people's emotions, stir desire and confusion, induce psychological surrender.
• It is much more effective to create love than lust. A person in love is emotional, pliable, and easily misled.
• Most of us know the power of having someone fall in love with us: our actions have a positive effect on this person, we feel better about ourselves, and this confidence makes us more seductive.
• A seducer: every social and personal interaction is seen as a potential seduction. There's never a moment to waste. The power seducers have over a man or a woman works in social environments because they have learned how to tone down the sexual element without getting rid of it.
• Seducers are never self-absorbed. Getting into someone's skin helps the seducer gather valuable information, learn what makes that person tick, and what makes them lose their ability to think straight and fall into a trap.

The Seductive Character

• Siren: the air of schoolgirl innocence/vulnerability. Both experienced and innocent. Prototype: Aphrodite (confident and offering pleasure/a bit of danger).
• Men can do irrational things just for the danger of it all. The intellectual if one most susceptible to the call of physical pleasure, because his life so lacks it.
• Distinguishing from other women: Cleopatra - high drama, Marilyn Monroe - little girl quality.
• The call of something dangerous, emotional, and unknown is more powerful because it is so forbidden.
• Physical qualities (a scent, makeup, clothing) act the more powerfully because they have no meaning). In their immediacy, they bypass rational processes. The siren must stimulate a generalized desire, by creating that is distracting and alluring.
• The voice, body/adornment (everything must dazzle, but also be harmonious, so that no single ornament draws attention), movement/demeanor.

The Rake

• The Rake: when he pursues a woman, he really is aglow with desire; the victim senses this and is inflamed, even despite herself. Intense desire has a distracting power on a woman, just as the Siren's physical presence does on a man.
• Choosing words to suggest, insinuate, hypnotize, elevate, infect.
• The use of words as a subtle poison has its applications: it is the form that matters, not the content. If no resistances or obstacles face you, you must create them.
• The Rake's quality: to make women want to reform him. That he is so devoted makes him lovable and seductive to them.

The Ideal Lover

• Casanova: on meeting a woman, he would study her, go along with her moods, find out what was missing in her life, and provide it.
• By seeming to be what they lack, you will fit their ideal.
• This requires patience and attention to detail. Most people are wrapped up in their own desires that they are incapable of this role.
• Most people believe themselves to be inwardly greater than they outwardly appear to the world. They are full of unrealized ideals: they could be artists, thinkers, leaders, spiritual figures, but the world has crushed them. The Ideal Lover knows how to appeal to people's physical side, but they also appeal to the person's better selves.
• Each of us carries inside an ideal of either what we would like to become, or of what we want another person to be for us. Our ideal may be buried in disappointment, but it lurks underneath, waiting to be sparked. If another person brings that out, we fall in love.
• Ignore your target's words and conscious behavior, focus on the tone of their voice, a blush here, a look there, as those are signs that betray what their words won't say.
• Courtesan: combine the appearance of sensitivity to the pleasures of the flesh with an air of innocence, spirituality, and a poetic sensibility.

The Dandy

• They create their own persona and cannot be categorized, hinting at a freedom we want for ourselves. They make their own physical image, and they appeal to the narcissism of each sex: to a woman they are psychologically female and to a man they are male.
• 1920s: women wanted a man to be interested in them, they wanted to initiate the affair, but they still wanted the man to end up sweeping them off their feet.
• Feminine dandy: Seduction will always be the female form of power and warfare. It was originally the antidote to rape and violence. The man who uses this form of power on a woman is in essence using these weapons against her, without losing his masculine identity. The more subtly feminine he becomes, the more effective the seduction. Mirroring feminine psychology, he displays attention to his appearance, sensitivity to detail, and a hint of male cruelty.
• Masculine dandy: Nietzsche and Salome: Salome was interested in philosophy, life, adventure, and not marriage. They discussed about philosophy, religion. (Nietzsche had this thing about the superman, a man above everyday morality). That's when N wrote Thus Spake Zarathustra. A purely feminine woman will arouse desire, but is always vulnerable to the man's capricious loss of interest, a purely masculine woman, will not arouse that interest at all. Always retain an air of independence and self-possession.
• Dandies have existed in all ages and cultures, and wherever they have gone, they have thrived on the conformist role-playing of others. The Dandy displays a true and radical difference from other people, a difference of appearance and manner. Since most of us are secretly oppressed by our lack of freedom, we are drawn to those who are more fluid and flaunt their difference.
• Be different in ways that are both striking and aesthetic, never vulgar; poke fun at current trends and styles, go in a novel direction, and be supremely uninterested in what anyone else is doing. Most people are insecure; they will wonder what you are up to, and slowly they will come to admire and imitate you, because you express yourself with total confidence.
• Dandies are subtle and never try hard for attention: attention comes to them. Create your own fashion sense by adapting and altering prevailing styles to make yourself an object of fascination.
• Nonconformity goes far beyond appearances-it is an attitude towards life that sets them apart; adopt that attitude and a circle of followers will form around you.
• Dandies live for pleasure, not for work; they surround themselves with beautiful objects and eat and drink with the same relish they show for their clothes. They never try to please, but they adopt psychological traits of the opposite sex, and appeal to our inherent narcissism.
• They key to power is ambiguity: the refusal to conform to standards will excite interest. Be both masculine and feminine, imprudent and charming, subtle and outrageous.
• Dangers: hated by your own sex.

The Natural

• The Natural: embodies the longed-for qualities of childhood: spontaneity, sincerity, unpretentiousness.
• Children rely on the power of their natural charm to remedy their weakness in the adult world. They know that if their natural innocence can persuade a parent to yield to their desires, then it it something they can use in another instance. If their vulnerability and weakness is attractive, then they can use it for effect.
• We are fascinated by natural things and children have this natural power. Most people try to please, but the pleasantness of the child comes effortlessly.
• Children represent the world from which we have been exiled. Adult life = boredom and compromise. Children have certain privileges, and children have a pleasurable attitude to life.
• Natural seducers: people who avoided getting childish traits drummed out of them by adult experience.
  • The innocent. They are able to hold on to their innocent outlook and they manage to preserve the illusion of innocence.
  • The imp. Impish children have a fearlessness that we adults have lost. They do not see the possible consequences of their actions, how they might hurt themselves in the process. Their natural energy and spirit have not yet been scolded out of them by the need to be polite and civil.
  • The wonder: They retain their youthful impulsiveness and improvisational skills. To play the wonder, you need some skill that seems easy and natural, along with the ability to improvise. Your work must appear effortless. The more you hide the sweat behind what you do, the more natural and seductive it will appear.
  • The undefensive lover. They have circumvented the self-protective process, retaining the playful, receptive spirit of the child. They manifest this spirit by being graceful, and seem to age less rapidly than other people.
• Charlie Chaplin: His roles were to act as a character that sees the world through the eyes of a child. He casted actors who were physically larger than he was, positioning them as adult bullies and himself as the helpless infant.
• Geographical escapism vs evolutionary escapism (a downward course in one's development), back to the ideas and emotions of "golden childhood", an escape to the world of infantile ideas.
• The adult child like Chaplin had seductive power in that he offers the illusion that life was once simpler and easier, and that for a moment, or for as long as that movie lasts, you can win it back.
• Overt strength and power is rarely seductive: it makes us afraid, or envious. The royal road to seduction is to play up your vulnerability and helplessness. You can't make this obvious, as it would make you seem needy, which is entirely anti-seductive. Put yourself in situations that make you seem weak, in which you are the innocent lamb and they are the bully.
• Children who are spoiled with affection know themselves to be seductive. Spoiled children have a confidence that stays with them all their lives. The lesson: it may be too late to be spoiled be a parent, but it is never too late to make other people spoil you. People are drawn to those who expect a lot out of life, whereas they tend to disrespect those who are fearful and undemanding. Wild independence has a provocative effect on us: it appeals to us, while also presenting us with a challenge: we want to be the one to tame it, to make the spirited person dependent on us.
• Josephine: confronted with a hopeless environment, she closed herself off in a world of her own making, oblivious to the ugliness around her. The refusal to compromise or to be what she was "expected" to be, made everything she did seem authentic and natural.
• A child loves to play and to create a little self-contained world. When children are absorbed in make believe, they are hopelessly charming. Adult Naturals create their own fantasy world, and live in it as if it were the real one. People like being around those who have the power or courage to create such a world. Remember: the role you were given in life is not the role you have to accept. You can always live out of a role of your own creation, a role that fits your fantasy.
• Dangers:
  • Their qualities can become annoying when you realize that you can't relate to the children at all. Then you want to be back around adults.
  • Society cannot tolerate too many Naturals.
  • Being Natural works when you are young enough to make it seem natural.

The Coquette

• The ability to delay satisfaction is the ultimate art of seduction - while waiting, the victim is held in thrall. Coquettes are masters of this game, orchestrating a back-and-forth movement between hope and frustration.
• They seem self-sufficient, and their narcissism proves devilishly attractive. You want to conquer them but they hold the cards. Their strategy is never to offer total satisfaction.
• Imitate their alternating heat and coolness of the Coquette and you will keep the seduced at your heels.
• Ex: Josephine, Napoleon's wife. One she figured out his insecurity and weakness, and she charmed her with her feminine grace, she postponed hist satisfaction. In fact, the torture of the chase gave Napoleon a masochistic pleasure. He yearned to subdue her independent spirit, as if she were an enemy in battle.
• People are inherently perverse: an easy conquest has a lower value than a difficult one; we are only really excited by what is denied us, by what we cannot possess in full. The greatest power in seduction is your ability to turn away, to make others come after you, delaying their satisfaction.
• Most people miscalculate and surrender too soon, worried that the other person will lose interest, or that giving the other what he or she wants will grant the giver a kind of power.
• Once you satisfy someone, you no longer have the initiative, and you open yourself to the possibility that he or she will lose interest at the slightest whim.
• Hot and cold, hot and cold - such coquetry is perversely pleasurable, heightening interest and keeping the initiative on your side. Never be put off by your target's anger; it is a sure sign of enslavement.
• Andy Warhol: Mom said, "Don't be pushy, but let everyone know you're around." After ten years, he stopped trying and gave in to his own passivity.
• Warhol's paintings: pure surface, he held himself back, and stopped talking. The world is full of people who try, people who impose themselves aggressively. They may gain temporary victories, but the longer they are around, the more people want to confound them.
• Cold Coquettes: they remain elusive and make others pursue them. Their coolness suggests a comfortable confidence that is exciting to be around, even though it may not actually exist; their silence makes you want to talk.
• Coquettes trap people emotionally, and they keep their victims in their clutches long after that first titillation of desire.
• The more obviously you pursue a person, the more likely you are to chase them away. Too much attention can be interesting for a while, but it soon grows cloying and eventually it becomes claustrophobic and frightening. Coquettes hint at coldness, absenting themselves at times to keep their victim off-balance, surprised, intrigued. Their withdrawals make them mysterious, and we build them up in our imaginations.
• The essence of the Coquette lies not in the tease and temptation, but in the subsequent step back and the emotional withdrawal. That is the key to enslaving desire.
• Narcissism: women obsessed with their appearance are the type with the greatest effect on men. The narcissistic woman reminds a man of that period, and makes him envious. Perhaps contact with her will restore that feeling of self-involvement.
• The narcissistic woman is not emotionally needy; she is self-sufficient. And this is surprisingly seductive. Self-esteem is critical in seduction. Your attitude toward yourself is read by the other person in subtle and unconscious ways. Low self-esteem repels, confidence and self-sufficiency attract. The less you seem to need other people, the more likely others will be drawn to you.
• Do not confuse self-absorption with seductive narcissism. Talking endlessly about yourself is really anti-seductive, revealing not self-sufficiency but insecurity.
• Obvious flirting will reveal your intentions too clearly. Better to be ambiguous and even contradictory, frustrating at the same time that you stimulate.
• Coquetry: developing a pattern to keep the other person off balance. Pleasure, then withdraw. Altering heat and cold is the most common pattern, and has several variations.
• People's natural insecurities are heightened in group settings; by maintaining aloofness, coquettes start a competition to win their favor. They are good at making targets jealous.
• Danger:
  • They play with volatile emotions (love to hate).
  • They can keep their victims entrapped, but over a period of time the dynamic can prove tiresome.

The Charmer

• They mask their cleverness by creating a mood of pleasure and comfort. They deflect attention from themselves and focus it on their target. They understand your spirit, feel your pain, adapt to your moods. In the presence of a Charmer, you feel better about yourself.
• Charmers: fulfill the aspects of sexuality that are so alluring and addictive (focused attention, boosted self-esteem, pleasurable wooing, the understanding) but subtract the sex itself. Lurking beneath the surface of any attempt at charm is a sexual tease, a possibility. Charm cannot exist without a hint of sexual tension.
• Make your target the center of attention. You have to learn to listen and observe. Let your targets talk, revealing themselves in the process. As you find out more about them, you can individualize your attention, appealing to their specific desires and needs, tailoring your flatteries to their insecurities.
• Do not talk too much at present; do not try to talk. But whenever you speak, speak with self-possession. Speak in a subdued tone, and always look at the person whom you are addressing. Before one can engage in general conversation with any effect, there is a certain acquaintance with trifling but amusing subjects which must be first attained.
• Talk to women, talk to women as much as you can. This is the best school. This is the way to gain fluency, because you need not care what you say, and had better not be sensible.
• Be a source of pleasure. No one wants to hear about your problems and troubles. Listen to your targets' complaints, but more importantly, distract them from their problems by giving them pleasure. Being lighthearted and fun is always more charming than being serious and critical.
• Never criticize people overtly: that will make them insecure and resistant to change. Plant ideas, insinuate suggestions.
• Mirror people, adapt to their moods. People are narcissists-they are drawn to those most similar too themselves. Seem to share their values and tastes, to understand their spirit, and they will fall under your spell.
• Show calm and self-possession in the face of adversity. These are the perfect setting for charm. Showing a calm, unruffled exterior in the face of unpleasantness puts people at ease.
• Never show anger, ill temper, or vengefulness, all disruptive emotions that will make people defensive.
• Charm: A way of getting the answer yes without having asked any clear question.
• Make yourself useful. If done subtly, your ability to enhance the lives of others will be devilishly seductive. Your social skills will prove important here: creating a wide network of allies will give you the power to link people up with each other.
• By being polite and friendly, you can make people pliable and obliging, even though they are apt to be crabbed and malevolent.
• The key to charm: feeding what has been repressed or denied.
• Charmers: we sense their cleverness, but we still fall under their spell. Why? Charmers provide us with a feeling so rare that it is worth the price we pay.
• The world is full of self-absorbed people. In their presence, we know that everything is in our relationship with them is directed toward themselves-their insecurities, their neediness, their hunger for attention. That reinforces our own egocentric tendencies, we protectively close ourselves up. Charmers don't talk much about themselves, which heightens their mystery and disguises their limitations. Then, they seem to be interested in us, and their interest is so delightfully focused that we relax and open up to them. Finally, they are pleasant to be around. They have none of most people's ugly qualities (nagging, complaining, self-assertion. They know what pleases.
• People who are physically beautiful, and who play on their beauty to create a sexually charged presence have little power in the end, because there will be someone younger and more beautiful. Learn the power you can wield by making the other person feel like a star.
• Time is the greatest weapon you have. Patiently keep in mind a long-term goal and neither person nor army can resist you. And charm is the best way of playing for time, of widening your options in any situation. Through charm, you can seduce your enemy into backing off, giving you the psychological space to plot an effective counter-strategy. The key is to make other people emotional while you remain detached.
• There will always be difficult people for us to face: the chronically insecure, the hopelessly stubborn, the hysterical complainers. Outwardly, be gracious, but inwardly, calculate and wait, at some point, the tables will turn. Your charm has prevented them from foreseeing this or growing suspicious.
• Dangers:
  • Cynics and confident types who don't need validation are immune to charmers. They have a tendency to view charmers as slippery and deceitful, and they can make problems for you.
  • Befriend and charm as many people as possible: secure your power through numbers and you will not have to worry about the few you cannot seduce.

The Charismatic

• Qualities that are attractive: self-belief, boldness, serenity. They keep the source of these qualities mysterious. The face is full of energy, desire, alertness.
• Most religions were founded by a Charismatic, a person who physically displayed the signs of God's favor.
• Modern charismatics: the appearance of an extraordinary quality in their character (the equivalent of a sign of God's favor).
• Charisma: radiate an inward quality that has a saintly or spiritual edge to it. It must seem natural, as if it came from something mysteriously beyond your control. And there is nothing more seductive than giving people something to believe in and follow.
• Qualities that will help create the illusion of charisma:
  • Purpose. If people believe you have a plan, they will follow you instinctively. In times of trouble, since most people hesitate before taking bold action, single-minded self-assurance will make you the focus of attention. People will believe in you through the simple force of your character.
  • Mystery. A mystery expressed by contradiction. When you are unpredictable, and when you are hard to fathom, people talk about you. It is often better to reveal your contradictions slowly and subtly, if you throw them out one on top of the other, people may think you have an erratic personality.
  • Saintliness. You must have some deeply held values, and show that you live what you believe. Being mild and assuming can turn into charisma, as long ass you seem comfortable with it.
  • Eloquence. Relying on the power of words because words are the quickest way to create emotional disturbance. Catchwords, slogans, rhythmic repetitions, phrases for the audience to repeat.
  • Uninhibitedness. Most people are repressed, and have little access to their unconscious. The Charismatic can become a kind of screen on which others project their secret fantasies and longings. You radiate a dangerous sexuality, have no fear of death, are delightfully spontaneous.
  • Fervency. You need to believe in something, and to believe in it strongly enough for it to animate all your gestures and make your eyes light up. This cannot be faked.
  • Adventurousness. They have an air of adventure and risk that attracts the bored. Be seen taking risks for the good of others. Show heroism to give yourself a charisma that will last you a lifetime. Conversely, the slightest sign of cowardice or timidity will ruin whatever charisma you had.
  • Magnetism. Eye gaze sills are acquirable. Your eyes can emanate charisma, but they can also give you away as a faker.
• Joan of Arc's qualities: intense visions, they had so much detail. Details lend a sense of reality to even the most preposterous statements.
• Rasputin: When guests start to relax, he says "I know you, I can read your souls. You are too pampered, and these fine clothes and arts of yours are useless and pernicious. Men must learn to humble themselves. You must be simpler, far simpler. Only then will God come nearer to you."
• We are drawn to people who seem more comfortable human, who do not bother to disguise their contradictions. Rasputin: authentically himself, devoid of self-consciousness or hypocrisy, was appealing. His wickedness and saintliness were so extreme that it made him larger than life.
• Most of us are bad and good, and we spend our lives trying to repress the dark side. We can create charisma to a smaller degree by ridding ourselves of self-consciousness. You cannot help being the way you are, so be genuine.
• Lenin: Short, plain-featured, from a small party. He repeated the same simple message: end th war, establish the rule of the proletariat, abolish private property, redistribute wealth.
  • Good ability to organize and speak (speeches). "Either revolution or bourgeois, nothing in between.
  • Charism has little to do with an exciting physical appearance or a colorful personality. In times of trouble, people are not looking for entertainment, they want security, a better quality of life, and social cohesion. A plain-looking man or woman with a clear vision, a quality of single-mindedness, and practical skills can be charismatic, provided it is matched with some success. In a world teeming with compromisers and fudgers whose indecisiveness only creates more disorder, one clear-minded soul will be a magnet of attention-will have charisma.
  • One on one, Lenin had little charisma, but he was seen as the person who can save their country.
• The Guru:
  • People do not want to hear that your power comes from years of effort or discipline. They prefer to think that it comes from your personality, your character, or something you were born with, and them being near you makes some of that power rub off onto them.
  • The aura you are after is the aura of enlightenment. You do not need anything or anyone, you are fulfilled. Let people conclude that you are happy, rather than hearing it from you. Let them see it in your unhurried manner, your gentle smile, your ease and comfort.
• Most of us just do our daily tasks and the days fly by. The two exceptions to this are childhood and those moments when we are in love. In both cases, our emotions are more engaged, more open, and active, and we equate feeling emotional with feeling more alive.
  • A public figure who can affect people's emotions has a similar effect. An appeal to the emotions is far more powerful than an appeal to reason.
  • It is not goodness alone that is charismatic, but the ability to dramatize it.
  • The two great purveyors of emotion: drama and religion. Drama cuts out the useless and banal in life, focusing on moments of pity and terror; religion deals with matters of life and death. Make your charitable actions dramatic, give your loving words religious import, bathe everything in rituals and myths going back to childhood.
• No emotion is more powerful and more capable of creating a charismatic reaction than hatred, particularly if it comes from deep-rooted feelings of oppression. Express what others are afraid to express, and they will see great power in you. Say what they want to say, but cannot.

The Star

• Marlene Dietrich: had a distance from her own self, she could study her face, her legs, her body, as if she were someone else, so she can transform her appearance for effect.
• The fetish: an object that commands an emotional response and that makes us breathe life into it. Fetishistic star: the ability to become an object that stimulates a variety of fantasies.
• Mythic Star: John F Kennedy's actions were framed in the conventions of Hollywood. He existed mostly as a televised image.
  • People are divided by all kinds of consciously recognized categories: race, gender, class, religion, politics. So it's impossible to gain a lot of power by drawing on conscious awareness.
  • Unconsciously, we share: mortality, fear, parent figures.
  • Mythic stars are figures of myth that came to life. Think of the rebel, the wise patriarch, the adventurer. Make your opponents villains. People are super susceptible to myth, so make yourself the hero of a great drama.
• Seduction = a form of persuasion that bypasses consciousness. Learn the art of insinuation and of reaching the unconscious.
• Make people identify with you (represent a type, as Jimmy Stewart represents middle America or JFK represents young people wronged by an older man). People of your type will gravitate to you, identify with you, and share your joy and pain. The attraction is unconscious (not in words but in poses and attitudes).
• Help them fix on a role to play in life and they will flock to identify with you.
• Everyone is a public performer: people never know exactly what you think or feel; they judge you on your appearance.
• Once people have recognized a Star, any kind of publicity just feeds the obsession.

The Anti-Seducer

• We are all insecure, but anti-seducers are insecure to such a degree that they can't be drawn into the seductive process-their needs close them off. They interpret the slightest ambiguity on your part as a slight to their ego; they see the hint of withdrawal as a betrayal, and are likely to complain bitterly about it.
• Clues to their self-involvement/insecurity: perhaps they are ungenerous, or they argue with unusual tenacity, or are super judgmental, or they lavish you with praise, or they pay no attention to details.
• So it is critical to recognize anti-seductive qualities not only in others but in ourselves. An ungenerous person is seldom truly attractive. Seduction implies opening yourself up, and being unable to give by spending money usually means being unable to give in general.
• Types:
  • The Brute. Brutes have no patience for such things; they are concerned only with their own pleasure, never with yours. To be patient is to show that you are thinking of the other person, which never fails to impress. If you suspect that you are dealing with a Brute, try to make them wait. :)
  • The Suffocator. Recognize Suffocators by how quickly they adore you. Doormat: a person who imitates you. If they can't disagree with you, then that's a bad sign.
  • The Moralizer. They follow fixed ideas and try to make you bend to their standards. They want to change you, to make you a better person, so they endlessly criticize and judge-that is their pleasure in life.
  • The Tightwad. Cheapness shows more than a problem with money. It is about a person that keeps them from letting go or taking a risk. It is the most anti-seductive trait of all, and you cannot allow yourself to give in to it.
  • The Bumbler. Super self-conscious and have no sense of timing.
  • The Windbag. Too much talking.
  • The Reactor. Too sensitive, not to you but to their own egos. They can't laugh at themselves.
  • The Vulgarian. They are inattentive to the details that are important in seduction. They say anything in public and have no sense of timing and are rarely in harmony with your tastes.
  • The type that is searching for an ideal but are hopelessly unhappy with themselves. They have a deep-rooted unhappiness, and they tend to compare you to others, and try to remake you.
• To anti-seduce: nag, talk a lot (about yourself), dress against the other person's tastes, pay no attention to detail, suffocate, and so on.

Victim Theory

• Nobody in this world feels whole and complete-we all sense some gap in our character, and when we fall in love, it is often with someone who fills that gap. We can wait for this right person, but it's better to not leave such things to chance. Look at the people around you, and focus on their gaps and the missing pieces in their psyche. That is the raw material of any seduction. Their gestures, their comments, the things that get them to talk about their past, particularly past romances.
• People constantly give out signals as to what they lack. They long for completeness, whether the illusion of it or the reality, and if it has to come from another person, that person has tremendous power over them.
• Reformed Rake or Siren. Resentful of settling down. Make the impression that you are not offering a relationship, but the chance to escape the corral and have some fun. A pre-existing commitment is the perfect foil. They are unfaithful by nature.
• Disappointed Dreamer. They dream of romantic heroes, of danger and excitement. They dream of something grand and romantic. They have a deal of pent-up passion and energy, which you can release and focus on yourself.
• The Pampered Royal. Classic spoiled children, they want new things, new places etc.
• The New Prude. Excessively concerned with appearances, they stay within the boundaries of correctness because they fear society's judgment. Concerned by goodness/fairness, but they are actually excited and intrigued by guilty pleasures.
• The Crushed Star. Previously super popular and now not so much: get them to talk, particularly about themselves. Play the charmer.
• The Novice. Little to no exposure to the world, so teach them about the world. Expose them to new places, new worlds, both literal and metaphoric. Sometimes they put on a show that they are educated, but they can still be misled.
• The Conqueror. They are looking for people to conquer, obstacles to surmount. You will not always recognize them, and they love power, by hook or by crook they get it.
• The Professor. Likes analyzing and criticizing everything that crosses their path. Everything is analyzed. Their mind is overdeveloped and overstimulated. They want to escape this mental prison//want pure physicality, without any analysis, and they want to be overwhelmed by someone with a physical presence.
• The Beauty. Always attracting others, but worries that her powers are waning and is no longer attracting attention. Validate her by validating her intelligence, her skills, and her character. They sometimes want to be active/not passive because they are always looked at.
• The Aging Baby. Be an adult figure/responsible one. By being responsible, you free them to play.
• The Rescuer. They listen well and try to get you to open up and talk. They get power from solving other people's problems.
• The Roue. They have lived the good life, but they crave the feeling of being young/lost youth/innocence. By resisting, you control the dynamic.

The Seductive Process

• Choose the right victim.
• Create a false sense of security: approach indirectly.
• Send mixed signals.
• Appear to be an object of desire.
• Create a need (stir anxiety and discomfort). If they see you as the one to fill their emptiness, interest will blossom into desire. This is stoked by planting ideas into their minds.
• Master the art of insinuation.
• Enter their spirit/indulge them in their wants and moods.
• Create temptation.