So there is this guy that Sinn, CJ and I always talk about on our blogs.
Way back when he took a Boot Camp with Asian Playboy and Prophet.
Then about a year and a half ago, perhaps more, he did a workshop with Brad P.
His name is Shaft, Double D, or Juice depending upon who you talk to.
But one thing is for certain the guy is good.
If you ever get the chance to see the guy work it is amazing. But Shaft sightings seem to rival CJ sightings.
The thing about him is, that he kind of is one part of the definition of Dallas’ style of game. Basically my Routine Stacks I sell are based on the never ending dinners and lunches with this guy.
All of my initial Routine Stacks I went over with him before I mailed them out.
It was weird to have two guys like Captain Jack and Shaft in the Same City!
The two are master framers and come at different angles of Game.
Both guys come from a very non-traditional stlye that is all their own.
And interesting thing about Shaft is that he has one of the better Stripper records than anyone I know.
Both he and Sinn compare notes, and both guys work it completely different. As Sinn has always said Strippers are harder to game (and I believe him). But Shaft says it is almost easier for him. And seeing how he works has made me see how he does it.
He uses frames that root to shape the emotions and roles women communicate to him on. I would always call these Comfort Frames, but Shaft takes it a step further and calls them Subpersonalities. He is much better than I at explaining them.
So I asked him to give me a write up…
Here it is! And let me know if you find this sort of thing helpful, and I will try and have other guys who don’t post too much featured on my blog!
Hello! I go by Shaft.
El Topo has asked me to write something on “frames,” since we have had countless interesting discussions on the topic.
Writing is a lot harder than yapping, I’ve discovered.
My first attempt was a blurb on what is a frame, but that was probably too simple for you guys, and no matter how I rearranged it, it seemed kind of lame.
So I’ll write about something else that I think is a really helpful phenomenon that ties in really nicely with frames.
Let’s say you’re in a bar with a big crowd and dozens of hot girls.
You start talking to one, run your best game, and she’s not buying, for whatever reason.
What are you going to do?
Find another girl who will buy your game.
There’s one out there.
But suppose there aren’t really dozens of girls. Suppose for whatever reason, you like this one, or your buddy likes her friend.
Perhaps there’s a side of her that will buy your game.
Perhaps that side is buried for the moment because she has certain patterns of thought and behaviors whenever she hangs out with her work friends, and different patterns when she hangs out with her school friends, and you found her with her work crowd.
She has at least a couple of distinct subpersonalities, and if you can discover and reach the one that is susceptible to your game, your odds automatically skyrocket any time you walk into a room.
The idea has been around a long time. I really started thinking about subpersonalities when I started trying to break down what I do in my version of stripper game, trying to understand why it works and when it is or is not effective.
I realized that, for practical purposes, it was as if I were interacting with two totally different personalities within the same person.
First the stripper, who is basically not seducible.
Second, the real girl, who may or may not exist, who is seducible.
If you can manage the relationship between the two, you can seduce strippers very consistently.
What do I think is really going on psychologically?
I have no idea, and it probably doesn’t matter.
What does matter is that if you assume there are more than one personality in there, you can sometimes “flip” between them, and actually change the way a person responds in the real world.
There are tons of examples in real life. I can certainly think of guys who get pretty bold around women once they discover the community—as long as they’re with community guys. But they revert to shyness when they’re back with their old friends, because that’s who they are around those friends. Sure, it’s the same guy, and we can guess all day about what causes this—whether he’s consciously moderating his behavior or whether he has two “subpersonalities” that manifest.
But the fact is, he will reflexively feel and act differently. And you can use that to get him to behave differently by moving him between different groups of friends. Or by other means.
More examples: The sixth grade misfit who goes to camp and comes out of his shell to moderate popularity, only to return to obscurity in seventh grade. . . Then to move to a different city and become popular in eighth grade. The tough guy at the bar who is henpecked at home. The quiet guy who becomes a belligerent drunk.
To explain why the concept of subpersonalities so neatly dovetails with the idea of frames, I’ll use the analogy of a play. Think of a frame as the stage and set: A simplified model of the part of the world that’s relevant to the play.
When you set a frame, it’s like you’re building the set, placing props, even dressing and positioning the actors. Still, the actor has to have a script and a motivation. The frame is what’s happening. People and personalities are who it’s happening to.
There’s an awesome improv show called “Who’s line is it anyway.” One type of exercise involves setting up a certain inherently unremarkable situation, then giving the actors various identities and place them in that situation. For example, a dinner party. One guy is a Kung-Fu fighter. Another guy only talks in questions, etc. The comedy comes from the unpredictability, and that comes from the fact that the actors are out of context. That’s an extreme version of what is happening when you set up a frame without figuring out who you’re dealing with. She’s out with her brothers and cousins and you are asking her about her wildest sexual position, or asking if she’d like to kiss you. May work, may not—it’s a gamble. But get her on the o
ther side of the room, find out about her wilder side, talk to that side, then ask the same thing—much more likely. (By the way, remember being told at boot camp to move and isolate?)
Captain Jack does this all the time. He doesn’t use the same terms—he calls what he does framing.
But what he does, and what many people don’t get, is that eliciting sexual and adventurous personas is part and parcel of his own handcrafted framing routines. One way of accessing a subpersonality is by giving permission for that subpersonality to come out. CJ does that with his body language and his routines. Another way is to talk to the subpersonality. That’s a whole topic in itself. But CJ’s own rings-on-fingers routines and strawberry fields routines do both.
Everybody is different, and everybody has different aspects that emerge under various circumstances. Some people really suppress their impulsive side, but have a very accessible sensual side, or a submissive side.
That is why if you just run the same routines, it will work eventually when you find the right girl who is ready to buy your game. But you’re playing a numbers game. If you figure out whom you’re dealing with, bring out one of the more complicit subpersonalities, then run the right kind of game, you have dramatically increased your odds of getting the girl you want. Off the top of my head, a few personas that could be helpful for pickup include:
hypersexual, sensual, adventurous, hedonistic, independent, submissive, dominant, rebellious, anonymous.
You can talk to more than one subpersonality at the same time. This is where it gets interesting. For example, “It’s 2 o’clock” may mean “time to sleep” to the “Den Mother” personality, but nothing at all—or “time for the afterparty”—to the “party girl” personality. What result you get depends on the relative strength of each subpersonality at the moment.
What if you say something that has meaning to both personalities, like “I’m going to take you home and fuck you” for example. You will get a response from each subpersonality relative to how strongly that subpersonality is present. Hopefully you’ll have reduced the “Den Mother” persona into the background, and increased the “party girl” persona in the foreground. What if that’s not possible, if she’s getting all kinds of stimuli from her friends that keep “Den mother” in the foreground as you cultivate “party girl?”
She’ll have two reactions:
1) I want to fuck him, and
2) that would make me a slut.
The ultimate mental computation reduces to “I am a bad person”, which conflicts (I hope) with her basic core beliefs. The term for that is “cognitive dissonance” and comes along with an awful psychic feeling akin to being kicked in the gut. Therefore, the state is usually quickly resolved quickly suppressing one of the responding subpersonalities. That’s basically what is going on when you get an anti-slut defense.
However, there are some effective techniques that you can use. You can anchor your tone and pacing to different personalities. For example, one thing I do all the time is to anchor “social girl”—the girl I first met out with her friends—to a normal tone and pacing.
Then, I’ll anchor (for example) submissive girl to a slower pacing and lower tone.
Now, I can talk to each subpersonality just by changing my tonality and pacing. I can say, “You little whore” in a slow, low voice and sensual girl hears it, and social girl does not freak out. I can say,
“Nothing is gonna happen. I have to get up early tomorrow.”
In a normal tone, and social girl is happy, and submissive girl ignores. Try accidentally saying that in a low tone, and guess what? Submissive girl starts to give up and fade into the background. What machinery is at work here? Who knows? Again, all I can say is that by pretending there really are two people in there, you really can observe that behavior.
This is starting to get lengthy, but that’s basically the overview. One more thing: This all happens as you build comfort. The process of discovering and accessing subpersonalities should be very normal and conversational. There are no weird rigid routines, no creepy embedded suggestions or crotch pointing. This is not about convincing or coercion. It is about liberating, about finding thrilling aspect of a girl, and letting her feel free to express it, giving her permission to do what she wants. Somewhere inside, like little seed, every girl has a way of giving herself permission to let go. You need to find that seed, and water it until it grows into a plant. . .