Dark Seduction: The Dark Truth About Seduction

And How To Use It To Get What You Want

From Love Se! "e#ationshi$s And "omance

The Main Myths:

Love Is Scarce: Everyone is replaceable

%en Want Se! Women Don&t: Women are in

possession of the only organ in the human body which is
devoted entirely to pleasure and are capable of
experiencing continual, repeated orgasm. If anything,
women are the gender most designed to enoy and ma!e
the most of sexual pleasure.

%one' Is Seduction: " lot of men are astounded

and even o#ended when they $nd out that, in reality,
women are willing to sleep with anyone who is able to
ta!e action and arouse the right emotional states in
them. "ttraction is not logical.

Show non(neediness: There is nothing more

attractive than someone who is entirely self%su&cient
and who does not depend on anything or anyone
outside of their self for their satisfaction and
happiness. Thin! about the classic viewpoint of a
smitten lover. 'uch a person views romance as being
completely involved with someone else, constantly thin!
ing about that person, craving them and desiring
them. In actual fact, such behavior ends up repelling
people of the opposite sex. If you as! people why they
ended some of their relationships or romantic
encounters over the course of their lifetime you are li!
ely to come across at least a few people who state
that it was due to the other person becoming needy,
clingy or wanting more from them than they were
willing to provide. There is no faster way to lose
someone than to become too attached to them.

Don&t )et too emotiona# * too a+ected b'

re,ection: (ne consistent characteristic of a dar!
seducer is the ability see nothing as a big deal. The
most experienced dar! seducers have almost a )en
li!e calm where nothing, either positive or negative,
is able to fundamentally change their mood and
emotion. The best dar! seducers are able to ta!e
anything, extremely positive
or extremely negative, with almost a shrug of the
shoulders and a calm way of ust carrying on.

-harismatic core con.dence: The feeling of core

con$dence experienced by the best seducers is one
which does not depend on anything happening in their
life at the time * it is simply who they are. They are as
con$dent with a million dollars in their poc!et as they
are with none. They are as con$dent wearing simple
gym clothes as they are in a custom made "rmani
out$t.
Time and time again studies have shown that one of
the most !ey factors in being attractive is to be
con$dent. +ar! seducers ta!e this to a level which is
experienced by few other people.

Don&t need va#idation: " dar! seducer never feels

bad or in need of validation or approval from others.

Se#/(centered: ecause a dar! seducer loves their own

self more than they love anything or anyone else, the
dar! seducer is always able to put their own interests
$rst. They will never act in a way which puts anyone
ahead of themselves. They are incapable of caring
deeply about anything other than what they want to
get out of life. "s a result of this, they are able to ma!
e choices and decisions which always further their
own interests.
They never allow the pursuit of romance or seduction
to compromise what they want to get out of life.

It is a )ame: " dar! seducer does not see anything

as overly important. 'uch a person is able to see
seduction, and life itself, as one giant game. "s a
result of this the dar! seducer never succumbs to the
pressure of life, because ultimately, they do not feel
any. To the dar! seducer, nothing ultimately matters,
and therefore nothing is able to impact them on a
deep level.

Whereas regular people become emotionally invested in

various people and situations, the dar! seducer is able
to operate in an environment and from a perspective of
detached aloofness.

The' know there is no 0ri)ht& or 0wron)& wa' ( on#'

what works and what doesn&t work1
+ar! seducers !now that what is said and done is
irrelevant % all that matters is the impact it has.

Tone e'e contact $ausin): '!illed dar! seducers !

now that their tone of voice, the intensity of their eyes
at any given time, the pauses they leave between
syllables of words % all of these tiny details add up to
have a profound e#ect. "s a result, dar! seducers do
not leave a trace. They are stealthy and hard to
detect.

" dar! seducer-s art form lies in forging a connection

with someone to the extent that they are able to gain
their deepest level of trust and intimacy.

" dar! seducer meets all of their basic needs, such as

those for esteem, self%worth and purpose within
themselves % they are not in need of anyone else. The
$rst !ey di#erence is that many regular people attempt
seduction and relationships to $ll a need they have.
+ar! seducers, on the other hand, already have met all
of their own needs. They therefore don-t need to play
the game % they choose to through enoyment.

onsider the following metaphor. Imagine two people

gambling at a casino alongside one another. The $rst is
desperately trying to win % they need to win money in
order to a#ord to eat. The second has plenty of money
and can easily a#ord to lose whatever they are sta!ing.
They are simply playing for the thrill of the game. The
$rst person will be attached to the outcome of the
game and li!ely to feel a sense of desperation and
emotion. " loss will devastate them while a win will elate
them. The second person is able to carry out their
moves from a detached perspective of intellect rather
than emotion. They need nothing from the game and
ultimately don-t care about its outcome % only the act
of playing.

+ar! seducers tend to have an incredibly strong concept

of self.
They are not de$ned by the world around them or what
happens to be popular or trendy at the time. They are
certainly not de$ned
by anyone else in their life. +ar! seducers do not ta!e
particular pride in being a boyfriend, girlfriend,
husband or wife % they !now these are only labels.
Their interaction with the opposite sex is merely
something they do rather than something that they
are.

Whereas a mainstream person engaged in romance

may thin! in terms of /the right way to treat someone-,
a dar! seducer will thin! only with regards to /the
e#ective way to treat someone-.
There is no moral dimension to the thought of a dar!
seducer % only a ruthlessly e&cient focus on e#ect and
outcome.

2resence is the ability of an e#ective seducer to switch

o# their internal chatter and self%tal! and instead
focus entirely on the moment in front of them. Most
people are constantly preoccupied by their own
thoughts, doubts and feelings which are wor!ing non
%stop somewhere in their brain. This is a form of
psychological distraction which ma!es it hard to be
e#ective in the present moment. "fter all, how is it
possible to focus on the here and now if you are reliving
something that has happened in the past, or you are
loo!ing ahead to something that may or may not happen
in the future0

(ne of the ways in which presence helps

seducers to be exceptionally e#ective is by allowing
them to place all of their attention at any one time on
their interaction with their seduction target. 'eeing as it
is so rare for someone to have the experience of being
the sole obect of another-s attention, when it does
occur, it can have a profound impact. The particular type
of eye contact displayed by a dar! seducer is an outer
manifestation of inner presence. 'uch eye contact tends
to be very intense but without coming across as
staring. If you thin! about the stereotypical smoldering
model ga)e featured in advertising, it is something li!e
that. It is a very intense but solid manifestation of internal
stillness and calm.

The $nal main inner aspect of dar! seduction is

physical self% mastery. This may involve $nding the
optimum combination of
diet and sleep to have a high level of testosterone and
an abundance of natural, clean energy.

(ne of the traits of the most e#ective seducers is

they are not reliant on alcohol, or other chemical
crutches, which many average people use when
pursuing seduction in order to have a feeling of
con$dence and a lac! of inhibition. 'educers are able to
draw their own con$dence, energy and expressiveness
from within themselves % not through any external
means.

1or example, thin! of a very simple verbal phrase % such

as /hello-.
+epending on how this is said, it can mean anything
from 2I am shy and not con$dent in tal!ing to you3 to
2I want to have sex with you as soon as possible3. The
tone of voice in which words are spo!en, the pace at
which words are said and the way in which they
coincide with body language are all !ey verbal aspects of
dar! seduction.

The maor di#erence between a friendly interaction, and

a sexual interaction, is the touch which ta!es place.
Touch is a huge aspect which many people who don-t !
now about dar! seduction struggle with.

" silent open basically involves initiating contact and

creating intrigue through ust gesture, eye contact and
touch.

'omeone who seems to understand them better

than they understand themselves % in other words an
e#ective dar! seducer
% is therefore incredibly attractive and hard to resist.

" dar! seducer ma!ing use of emotional mastery

understands the value in spi!ing a person-s emotional
graph, either positively or negatively. y triggering
either an unusually positive, or an unusually
negative emotion, the seducer is instantly able to ta!e
the target outside the boundaries of their everyday
existence.

The s!illed dar! seducer aims to alternate strong

positive or negative emotion se4uentially. onsider
the following verbal
opener: /you are absolutely beautiful, if not a little
unimaginative-.

This strong alternating feeling is li!ely to cause

confusion, attraction and intrigue in the target. The
seducer becomes instantly valuable to the target % he
has distracted them from their usual comfort )one.

The best seducers are able to mix in what seems to be

fairly regular conversation, in order to build comfort and
familiarity, with a mixture of positive and negative
emotional spi!es, in order to build deep, ir ational,
emotional attraction. Many dar! seducers ta!e the
approach of starting o# with smaller spi!es and then
pushing things further as the interaction develops.
onsider this in terms of a movie. Imagine the start of a
movie featured a mixture of ama)ing action scenes
5positive emotional spi!es6 and gut wrenching emotional
scenes 5negative emotional spi!es6.

This e#ectively /melts- the target-s logic and puts them

in an emotional dreamworld for the rest of the
interaction.

1or example, if a target states an opinion about

something, the seducer may say something li!e /actually
you-re wrong, that-s not a good 5band7 color7 restaurant7
degree7 anything6-. 'ome targets will respond with /yeah
you-re right, I don-t actually li!e it that much-. This
shows they are insecure and crave the seducer-s
approval. The seducer will then capitali)e on this !
nowledge in their pursuit of emotional manipulation over
the remaining course of the interaction.

'!illed seducers !now this, and are able to create a

genuine rollercoaster ride through their use of interest
and disinterest, approval and disapproval.

1ailure to alternate interest and disinterest in an

e#ective way is one of the main reasons why a lot of
seducers end up falling into the friend )one.
If they are consistently nice and positive and interested,
the target ends up ta!ing them for granted. It is boring.
There is no challenge, nothing special.

The target does not feel the seducer is high status or

discerning % they are not a pri)e. This goes against
mainstream thin!ing but also explains the common
complaint of men that /women always go for the douche
bags, they never go for nice guys li!e me-. 8ice guys
$nish last, because nice guys are insu#erably dull.
e interesting. 9ou owe it to yourself and to your target.

The %undane and The %a)ica#: Thin! about an epic

piece of music % perhaps a metal classic with an
awesome guitar solo somewhere in the song. What
ma!es such a song so great0 It is because it !nows
how to mix in the s$ectacu#ar with
the standard. If the entire song consisted of a series of
epic guitar solos, and nothing else, it would sound
ridiculous.

'imilarly, thin! of a gourmet meal. It might feature

an epic, indulgent, elaborate dessert. ut are all
the courses of this nature0 8o. If they were, it would
be over the top. Too much. 8o one would want to eat a
meal li!e this.

Trying to do too much is a huge mista!e to be avoided at

all costs.

1irst, try to create a sense of connection and comfort

with their target. This is achieved through the
mundane % the sharing of factual experiences,
information about each other-s lives and other similar
topics of rapport building chat. This, on its own, will
lead to a friendly connection and nothing more.
Instead, a good seducer needs to use /the magical- as
a spice to vary the mundane. These are the emotional
gambits that are able to create intense emotions that
stem beyond comfort and rapport, and instead ma!e a
target feel a strong sense of attraction as well.

%a)ic 3ames: 1inding a magic, special name to call a

seductive target is a powerful verbal hallmar! of many
great seducers. The name should be only between
you and her. The best seducers
don-t ust give their targets a special pet nic!name %
they give them one that really counts. This can have a
variety of logic underpinning it. (ne option is to
choose a nic!name about something the target is
playfully insecure about

(ne of the things that sets dar! seducers apart from

other people is their ability to spea! in a measured way
which is almost hypnotic to listen to. Words are li!ely
to be spaced carefully and spo!en in a deep, resonant
tone which is pleasant to listen to.
Many dar! seducers listen to public spea!ers of great
impact and carefully modify their method of verbal
delivery to match what these great spea!ers have
shown to be e#ective in the past. (thers match their
tonality and rhythm to that of their target % a techni4ue
!nown as /verbal mir oring- which is covered in the
next chapter.

Interestingly, mirroring is something human beings

naturally do when they feel a sense of comfort and
connection with one another. If you have doubts as to
the truth of mirroring, !eenly observe pairs of people
when you are next out and about. 9ou will notice that
people who are spending time together often end up
copying one aspect or another of the other person %
such as their posture, their stance, the way in which
they have folded their arms or the angle at which their
head is tilted. This is proof that mirroring is a natural
phenomenon which is hardwired into the human
condition.

The best starting point for verbal mirroring is the pace of

speech. "lmost no%one is aware of the pace at which they
spea!, and the rhythm of their diction. "s a result, it is
possible to imitate the other without them reali)ing it is
happening.

"side from the pace of speech, other aspects of verbal

mirroring include the intonation used by the target.
'ometimes, targets will tend to place an unusual or
distinctive verbal stress on the words they use. If the
seducer is able to pic! up on this vocal signature, and
mimic it, it can be a good way of building a sense of
rapport with the victim.
The fre4uency of speech is another aspect that can be
verbally mirrored. 'ome people are very tal!ative % others
less so. 9ou will
!now from your own personal experience that being
around someone who tal!s a lot more or a lot less than
you do can be an annoying or di&cult experience.
'educers are aware of this and will therefore adust the
fre4uency of their tal! to match that of their target. It
is important to note that verbal mirroring can wor! over
text message and email in a similar way as it does via
speech. ood seducers will mirror the type of
language their target uses in a text, down to aspects
such as complexity of vocabulary, sentence length,
format, choice of greeting and type of punctuation
used. y doing so, when reading the written
communication, the target automatically thin!s /this is my
!ind of person- without being consciously aware of where
the feeling of rapport is stemming from.

;hysical mirroring can relate to both gesture,

expression and appearance.

/<et-s stand over there- or /let-s go outside and get

some fresh air-, /this place is boring, let-s go to this
other place- or /let-s go get some food-. The seducer
aims to move their target around as much as possible in
the course of a short space of time.

The target will feel as if they have !nown the seducer for
far, far longer than they really have. Thin! about it % if
a seducer and their target go to several di#erent places
together in the course of a few hours, rather than ust
sitting at one table in one restaurant li!e so many
conventional dates, then in the target-s mind, the
seducer is someone they have had a far greater
range of experience with. This is how the human mind
words. Time is deeply subective. reating the sensation
of a lot of time spent together is ust as e#ective, if not
more e#ective, than actually spending that time
together.

It sounds deceptively simple, but tal!ing about a

shared future can lead to a high level of comfort in the
target-s mind that would not otherwise exist. 1or
example, if the target mentions a certain type of
music or food they li!e, the seducer will say
something
li!e /oh there-s this epic place for that nearby, we-ll go
there sometime-. This will be said in a very o#hand
manner and the seducer will then move on rapidly
without dwelling on the topic, or even waiting for a
response. =sing the area of the future in a humorous
way can also wor! well. This usually involves ma!ing
absurd plans together. This is primarily used to create a
sense of fun as well as comfort.

" $nal comic response is to exaggerate. 'o if a target is

li!e /why do you want to see me so much in the
future0- the seducer may say something li!e /yeah, I
want to see you '( badly, I want to see you
tomorrow morning, and then every day after, and
then we will get married next wee!, and move in
together- and so on.
This should be done in an absurd, o!ing tone of voice in
order to create fun and good feeling in the process.

>ead aspects of a target such as their body

language, their life circumstances, their age, the
general vibe they put across and so forth in order to
determine things about them. The type of thing a dar!
seducer is trying to $gure out is what !ind of person
the target is, what values they have, if they are
generally happy with their life or not, if they are open
or averse to ris! and countless other factors.

+ar! seducers will never give a comment of praise or one

of scorn without carefully thin!ing about why they are
doing it. That is because dar! seducers !now that words
are weapons and they should not be used carelessly.

Whereas most people will praise someone through a

pure intention of wanting to express positive sentiment,
a seducer will only ever praise for sel$sh reasons %
namely putting pressure on their target to behave in a
certain way.

The seducer-s criteria for praise is not /this person has

earned a
!ind comment- % rather it is /I want that person to
behave in that way again, whether or not it bene$ts
them-. 'imilarly, many normal people will critici)e or
advise someone on the basis that they feel they are
helping them out. " seducer, on the other hand,
couldn-t care less. They will do whatever they want %
not what is in the target-s interest. 1or example, a true
dar! seducer will have no hesitation in critici)ing
something that is not to their li!ing % even if it helps
out the target personally.

The most shameless of all dar! seducers who are willing

to do whatever it ta!es to get what they want out of a
target will develop a pattern of inconsistency with their
praise and criticism.
This unpredictability leaves a target feeling on edge and
never exactly sure of when they will feel reassured and
when they will feel attac!ed.

+ar! seducers use reward and criticism in a similar way

to dolphin trainers. They never allow their targets to
fall into a feeling of safety
or certainty. Whatever happens next is
always unpredictable and, as a result, the target
is always going out of their way to go the extra mile for
the seducer, in the hope of receiving a random reward.
This is an e#ective, albeit evil, system of control.

The ways in which a dar! seducer is able to get into the

head of a target and loo! at how their target feels a
complex mixture of desire, doubt and everything that is
in between the two.

(ften, dar! seducers ta!e great pleasure from

alternately playing the role of the devil and the angel
which sit on the shoulders of the target. (ne minute,
the seducer may ta!e up the diabolic role, tempting the
target to push beyond the boundaries and limits of their
comfort and morality, and instead give in to pure,
hedonistic pleasure. The next, the seducer may
switch bac! into a more angelic way of being,
lecturing the target for their sinful lapses and
blaming them for their own desires.

The best seducer should push their target into feeling

alternately naughty, guilty and gripped by strong
desire. This moral emotional variety !eeps a seduction
interesting and plays upon aspects of a target-s psyche
which are rarely if ever touched upon in the course of
their everyday life.
Temptation, desire, guilt

" s!illed seducer is able to say things which trigger the

responses of desire and guilt at the same time.

"n example would be something li!e 2I wish you

weren-t ma!ing me want you so much right now, you
are so shameless3. This is an interesting line for
several reasons. 1irst of all, it places the blame for the
seduction on the target rather than on the seducer.
This is li!ely to trigger e4ual feelings of lust, shame and
guilt in the target % a potent mixture.

'econd, the exciting temptation stemming from the

phrase /want you- is mixed in with the reproachful
/shameless-. The mixed messages send strong signals
to the target-s subconscious mind that strongly
amplify the emotional intensity and feeling
of meaning present in a seductive encounter.

4erba# %ora# Tests:

If the seducer says something li!e /<et-s play a game

called 2would you ever3 /and then proceeds to test a
target-s moral limits, but in a playful tone of voice, the
target is less li!ely to resist.

The seducer shouldn?t be scared of holding $xed eye

contact during the course of the interaction. When this
type of eye contact is done well, the target may begin to
subconsciously touch their hair, brushing it away from
their face in response to the eye contact. This is
traditionally !nown as an indicator of interest.

The best seducers, on the other hand, are able to slow

down the pace of the interaction in order to ma!e the
target feel comfortable and ready for something more
to happen. This can relate to the way in which their
voice is used. 1or example, if you listen to yourself tal!
ing very rapidly, and then more deliberately, you will
notice that the slower pace is more appealing and
sensual to listen to.
'pea! in a more deliberate way. This involves
leaving

$auses between words particularly when the person

wishes to emphasi)e something they are saying. This
can also create a feeling of expectation on behalf of the
target, which can leave the seducer in a position of
power.

Move in a slow, controlled, and deliberate way, not fast,

4uic!, or
er!y.

+ue to the fact that a feeling of sexual energy is actually

4uite addictive on a biochemical level, if a seducer is
able to use this e#ectively, they are able to leave their
target feeling as if they are physically addicted to the
presence of the person who has seduced them.

"lways being available, and always replying promptly,

destroys the chance that somebody has to experience
this oyful and exciting anticipation.
Thin! about the attempts of fans to interact with their
celebrity heroes. 1ans will attempt to contact the
celebrities they admire through social media. +o they
always expect a response0 8o. When a response is
received it is seen as a big deal and the person-s
incredibly happy and oyful. The reply is appreciated and
enoyed but is not expected. 1ans naturally
understand that celebrities are busy people whose time
is valuable. Therefore, a response is seen as something
to be enoyed, not to be expected.

" sign of low value and not having a full and ful$lling
life is always replying to messages promptly. It
suggests you have nothing better to do and nothing to
occupy your time. ;eople will 4uic!ly become bored
with someone who is always available and always
there to indulge them.

asically, a s!illed seduction artist is able to give the

impression that they are always on the verge of
becoming bored and wal!ing away. "s human beings,
we naturally chase what is di&cult for us
to achieve. This is due to the fact that anything which is
valuable in life does not necessarily come easily.

ard tric!s, magic, palm reading, and handwriting

analysis, magic tric!s or do any !ind of psychic reading.