Super Wizard Language Skills
Being able to tell nested loop stories is extremely powerful. You’ll be to look people in the eye, give them blatant commands like, “buy my product,” or, “join my cult,” or, “become my love slave,” and not only will they work, but your target will not remember them coming from you. They will remember them coming from themselves. They will decide to do exactly what you’ve told them to do, but they will honestly believe it was their idea.
Yes, for real. But this is far from a magic trick. Being able to speak fluently in nested loops is very much like learning another language. This is not being able to memorize a few lines, and then spit them out to random people. For nested loops to work, you need to have a lot of powerful communication skills. Back and forth, in the moment communication skills. But considering how powerful these are, how they can easily get you a lot more sex or money or popularity than you currently enjoy, consider taking the time to learn them.
Needed Base Skills
Even though you can memorize some fully written out nested loop stories (which you can find in many Mind Persuasion books) you’ll need to have plenty of basic social and communication skills first. To see what I mean, think of some of the worst movies you’ve ever seen. I mean so horrible you thought you were watching a recording of some junior high school kids on their first day of practice for their upcoming school play.
This is what happens when all you have is outer game (the lines they are saying) and zero inner game.
Inner Game Is Critical
To effectively deliver nested loop stories, you’ll need to have some inner game skills. Confidence, the ability to tell a spur of the moment story while several strangers are eagerly watching you and hanging on every word. The confidence to not only shift through several emotions, but be as bare with your own emotions as possible. This means you have to actually embrace and accept your own emotions.
A List Actor Qualities
To become a good storyteller, you’ve got to let it all hang out, as they say. The best A-list actors can cry on command, show fear when they need to, as well as excitement, gratitude, wonder and all the other emotions we love to see our favorite actors display as they make our favorite characters come real.
Stand Up Comedian Quality
Think of your favorite stand up comic. There are a few who are masters of the dead pan like Steven Wright, but most are masters of openly displaying their emotions. During the course of an hour, their “instruments,” as they say in acting circles, flows through several emotions that can be seen from the back row of the theater.
People Reading Skills
To be an effective storyteller, you’ve got to be able to read people’s emotions. You’ve got to know when to insert a strategically placed pause, and verify from their body language just how long to hold it. You’ve got to lose yourself in the flow of the collective unconscious, with you as the storyteller and they as they listeners, yet all one combined collection of human energy.
Standard Social Skills
Luckily, all these are natural people skills. Natural social skills. Which means you can practice anywhere. Talk to people in line at the supermarket. Be more energetic, outgoing when talking to your friends. Re-read the first paragraph (the part about secretly commanding people to give you sex and money) if you need inspiration. If you practice, that will be the reward. Enough of inner game, let’s talk about the outer game structure of nested loop stories.
Linear Story Structure
All stories have the same basic structure. Introduction, problem, buildup, crisis, crisis resolution, and then what they call the denouement, which is the last bit where they tie up all the lose ends. The longer a story lasts, the more crisis and crisis resolutions you’ll have, leading up to the big showdown between the good guy and the bad guy, or whatever the biggest problem was.
Telling Stories At Parties
If you were standing around at a party, and people were just chatting about random whatever stuff, you’d hear a whole bunch of these. They would be told as anecdotes, things that happened. We humans inherently tell stories about past events. The intro, the crisis, and the resolution. For example:
Oh dude, I hate when that happens! Check this out, I finished doing laundry, and I couldn’t find my one sock, I mean I looked everywhere! But guess where I found it! It was in my microwave! Do you believe that?! I guess I was drunk last night and was trying to dry it out after I accidentally peed on my foot, but that’s another story.
This has a lead in, a climax and a resolution which the speaker maybe hopes will lead to a sequel, or a prequel, of how he peed on his foot. But this is the general way we humans relate anecdotes to each other. We build up a climax, quickly look around to make sure we’ve got everybody’s attention, and then lower the boom.
Music Is Similar
All music (well, most music) is a oscillation between tension and release. Chord and discord and back to chord again. Even in chord progressions, they call the first chord the “home” chord. So when you’re sitting there listing to the guitarist wailing away, your subconsciously being set up to feel good when the hero returns back home, or the musician finally arrives at the relief of the home chord or note (usually in the main melody) after riffing all over the place.
All Tightly Contained
This is how we speak naturally, without thinking. Beginning, crisis, climax and end. Music, stories, they all follow the same basic pattern. Which means as soon as you hear a story, you’ll patiently listen to the end. Most people know intuitively not to be a douche and interrupt somebody when they are in the middle of a story, even a short one about misplacing your sock in the microwave.
Enter The Nested Loop
If you’ve ever watched TV, then you know the cliffhanger effect. If you ever binged watched anything then you really know the cliffhanger effect. Once the general public, due to various streaming services, had access to a new series of shows all at once, they became like that one potato chip: You can’t watch just one.
They put these right at the end. You’re jamming along, going along with the stories and characters, and then right in the last five minutes, a whole new problem pops up. No way can we wait till tomorrow to find out! That’s why it’s so easy and natural for us to watch one show after another. When we humans get to the cliffhanger, we HAVE to know how it is resolved.
Suppose you started to tell a story, and when you got right to the cliffhanger (just like at the end of your favorite streaming show), you didn’t end it, but you started another story. That’s exactly how you tell nested loop stories. You start the first story, and build up to the climax, leaving everybody hanging, and then you start the second story. Then you build up to another climax, and then start a third. How many should you tell?
Total Length Important
If you stand there telling the first half of a story after another, you will have to be careful of the time, and the people’s attention, and other people that are waiting to talk. You’ll also need to consider your own memory and how many stories you can keep in your brain at any given time. Unless you are expected to be giving a speech of a certain length, the number of stories should be kept to three or four.
The Magic Middle
Now to that part up there about looking people in the eye and telling them to have sex with you will handing over their ATM card and PIN number. The story in the middle can be told from beginning to end. Consider four stories. We’ll call them one through four. And let’s say that each story has five parts, we’ll call those A through E. Let’s say that part C of each story is the cliff hanger.
Each part of each story (the letters, A through E) are the basic story elements. A would be the introduction. B would be the lead up to the climax. C would be the presentation of the climax, and then D would be the needed resolution, where E is when you tie everything together. So a regular story would be:
1A 1B 1C 1D 1E
But if you start breaking off after the C part and starting another story, a four story loop would look like this:
1A 1B 1C 2A 2B 2C 3A 3B 3C 4A 4B 4C 4D 4E 3D 3E 2D 2E 1D 1E
Something funny will happen to the story in the middle. And that is that it will be totally forgotten. Once you split from 1C and start with 2A, they’ll be a little bit confused. After you transition from 2C to 3A, they’ll start to wonder if somebody slipped something in their drink. But once you go from 3C to 4A, they’ll brain will just be going along for the ride. But there are some very powerful techniques to make their brains even slipperier as you tell these wonderful tales.
This is a pretty famous pattern within PUA circles. It works the way it sounds, as an actual quote. You set it up so when you say the actual quote, it’s also something you would say to your target. For example, let’s say you are a suave fellow trying to seduce a pretty lady. You walk up to her at the bar, smile and nod at her and look over the crowd. Imagine both of you are standing with your backs to the bar, so you’re facing outward toward a crowd of dancers. Then you glance over at her and say this:
“See that guy out there in the yellow shirt? He reminds me of my roommate. We always go out together but then I never see him for a couple days. He is absolutely fearless. He walks right up to the hottest girl in the room, looks at her and say, ‘You are so gorgeous I would love to make you come for an hour just to see how it would affect you.’ Do you believe that?”
When you are quoting your friend, you look at the lady and say the quote to her. That way, allegedly, if she likes you’ll she’ll go along with it. If she gets mad you’ll have plausible deniability. “No, I was just telling you what my friend says!” If you use the quote pattern like it’s written above, it won’t be more than a cute trick. But if you use it in a set of nested loop stories, it will be very powerful.
The quotes pattern used on its own is just a quotes pattern. But a quotes pattern used within set of stories becomes a blurred reality. Let’s say the first story is about your econ 101 class. The second story is a story told to you by your econ professor from back when he was in college. The third story is a story told to him by his econ professor. And the fourth story is another story that branched off from that story.
Fourth Story Powers
Because this central, unbroken, fourth story is told by somebody who is a character in the third story, and the third story is told by a character in the second story, it will be extremely unclear to your listener who is saying what to whom. Especially when you can say certain things that can be true in all levels. In the above example of the quotes pattern, the actual quote (you are so beautiful I’d like to make you come for an hour just to see how it would affect you) is true in only two realities. Your friend telling it to the hottest girl in the bar, and you telling to the girl next to you. It won’t have that much of a hypnotic effect.
But told deeply within the middle story, it will be very confusing to even think about. Our brains can’t keep track of very much information at any given time. So trying to keep track of four stories as well as which character is saying what to whom is beyond our capabilities. The net effect will be just to accept what is being said. This means the central story can be a real doozie.
Fairy Tale Level
That fourth story, since it’s being told by a vague character from the third story (which is being told by a vague character from the second story), can be a flat out fairy tale, or myth, or any kind of fantasy story. And since fantasy stories are filled with fantasy ideas, you can say some pretty long and crazy things directly to your actual target, and they will go straight into their subconscious.
Referential Lack Of Index
Referential lack of what? Pronouns are very helpful in English. It allows us to only say a noun once, and then refer to it later with a pronoun. We even use these with improperly formed ideas. For example, two people talking about a complex problem will refer to it as “that thing from before,” and both people will know what you’re talking about. But when you start throwing a ton of pronouns around, it’s easy to get confused. For example, consider the following sentence:
“Yesterday I was the library with my friend Todd and his brother, and we were listening to a story about these two guys and their father and he started yelling at me about something I’d forgotten but then he said not to worry about it.”
It’s very unclear which pronoun (he) is referring to which guy. When telling nested loop stories, if you have lots of people (different people in each story) and you start referring to all of them as “he” and “she” and “they,” your listeners will have a very hard time keeping up.
Another trick you can use is saying, “this guy” or “this girl” or “this person” when talking about people in the story. But if you casually refer to yourself when you say “this guy” then the listener will subconsciously associate you with whatever character you are referring to. For example, if you are in the fourth story, you might say something like this: (SP = self point)
“And then all the people in the village realized that this guy (SP) was the one they’d been waiting for all their lives. That this guy (SP) was the one that was going to save them, and all that they needed to do was to trust this guy (SP) and this guy (SP) would take care of everything. And because of this guy (SP) they could finally be happy again.”
Of course, embedded commands are a very integral part of nested loops. You really only need them in the middle story, but you can use as many of them as you want. If you’ve never heard of an embedded command, they are pretty simple. A command is a short, volitional form of a verb phrase:
And they are usually said with “command tonality.” Meaning they sound like a command. You can think of three basic types of tonality. Questions, statements and commands. When you use an embedded command, you hide it in the middle of a sentence. For example:
“Yesterday I was listening to the radio and the guy said that people who eat bacon tend to not only live longer, but people that eat bacon tend to make more money than people who don’t eat bacon on a regular basis.”
Each time you say, “eat bacon,” you say it with command tonality. Generally speaking, the more commands you use, the better they’ll work.
When coming up with stories, it’s helpful if they are all on the same basic them. When trying to figure out which set of themes is best, start on the middle story first. If you aren’t sure about the middle story, just figure out which commands you would ideally like to give directly to your target, and then work backward. For example, if your objective was to get your target to fall in love with you, start out with that command:
Fall in love with this person.
Then come up with a story where one person falls in love with another story. Make it a goofy, romantic, fairy tale type story. Next come up with the type of person who would tell that kind of story, and come up with a reasonable story three that would contain that type of character.
And then keep working backward until you get a reasonable first story that you could easily tell. Then look for any opportunity to tell it, and then tell it.
Practice Practice Practice
This is definitely not something you can read about and then go out and do. You’ll need to practice, and when you practice, you’ll need to practice many of the elements separately. Commands, quotes, using vague pronouns, self points, and coming up with useful themes. But once you develop the ability to fire off a set of nested loops in any situation, you’ll have wizard like powers.
World Class Speaking Skills
Consider an end objective of being able to deliver a twenty minute speech (at least!) filled with nested loop stories and all the other embedded technology. You will be a very compelling speaker, and will have any audience hanging on every word, and doing whatever you want them to do.
Mind Persuasion has plenty of books and courses are designed to help you become a much more powerful and effective communicator.