Whet Your Woman

KINO: How to Physically Escalate

How do you touch a woman you’ve never met before without creeping her out? And how do you keep touching her in a way that leads to a kiss, and eventually to sex?

The pickup community uses the word “kino” to designate “touch.” Mystery, the towering innovator in the community, defines kino simply. “Physical escalation.” Kino is short for kinesthetic. One reason pickup artists like to use the word kino is because the word “touch” can have weird ring to it.

Here’s one thing I’ve learned about physical escalation. If you’re the type of friendly guy that touches everyone naturally already, it’s no big deal to touch a woman you’ve just met. It’s natural.

And even though it seems weird to kino a “stranger,” there’s nothing wrong with giving a quick tap on the arm or giving a handshake or high five to anyone you’ve just met. In fact, it makes things a lot more lively and fun if you do.

I put stranger in quotes because often we look for how we’re different from each other. But when you get down to it, we have more in common than we have differences. “Stranger” is just an illusion. There’s nothing wrong with giving a “stranger” kino because touch is a way of giving love.

The other thing I’ve learned about escalation is to always gently push the envelope. Yet at the same time, back off before the girl pushes us away. Always leave her wanting more. Us guys have the cool job of taking the lead, and of taking all the risks. And it’s damn fun. If a girl isn’t ready for us to go the next step and pushes us away, no problem. Stop and try again later. Allow her time to feel more comfortable.

Not a lot of pickup teachers talk about how to physically escalate (Venusian Arts and Pickup 101 are two places that have talked about it). Not knowing how myself, I wanted to learn it badly. I noticed how the master pickup artists had no fear of kino and beginners hardly kino at all. I wanted to get over my fear, and I didn’t know how.

I wrote this post to learn how. What I learned is absolutely fascinating, and I want to share it with as many as possible. I’ve learned kino is absolutely necessary to pickup, it’s fun, and it’s not as hard as I had thought.

I’ve organized this post into four parts. Part One is about why kino is a MUST. Part Two defines WHAT kino is. Part Three digs into HOW TO kino. And Part Four gives you a quick exercise to start practicing kino RIGHT AWAY.

PART ONE: Why Kino is a MUST

I know there’s not a lot out there about kino. But that doesn’t mean it’s not important. Here’s five things you get ONLY with kino, and not through words or body language.

#1: Laid

You can talk a good game and have great body language, but without kino, you ain’t getting laid.

Take the first kiss. If you haven’t done any kino beforehand, the girl is like, “Where did that come from?” Makes sense. You don’t touch her all night, and all of sudden you gonna kiss her?

Keep dreaming, bro.

But if you have kino RIGHT FROM THE START in a FUN, FRIENDLY WAY–emphasize FUN and FRIENDLY so it ain’t creepy kino–when you go to kiss her, it’s not out of the blue anymore. It’s natural. Because you’ve had kino all along! Nice.

Sex after all is PHYSICAL. So obviously you need physical escalation to get you there. Hello.

#2: Rapport

Here’s a mathematical equation for you. No kino=strangers. Kino=friends.

Haha. But it’s true.

When you don’t kino, an interaction feels kinda formal and unfriendly. You kinda assume you have this immense block of ice between the two of you.

Photo by Clown Aniceto

And let’s face it. Without kino, you’re basically having an intellectual conversation.

But when you kino, damn. Don’t you feel more at home and comfortable? You feel loose and free. That means: Kino assumes rapport.

The lesson here is this. When you first kino, kino the way you’d touch your buddies. It makes people feel comfortable, like you’re already friends. Instant rapport. Woo-hoo!

#3: Control of the Frame

An artist “frames” a section of a landscape. Then he interprets it on his “frame,” the canvas. Van Gogh and Monet might choose the same “frame” of a landscape, but their paintings would look different.

Vincent Van Gogh, Thatched Cottages at Cordeville

Claude Monet, Haystacks

Different interpretations, different frames.

The word “frame” means something like interpretation. “Control” means something like assertion. Instead of letting others be the judge of you, you be your own judge.

With pokes or pats on the head a man frames a woman as “I’m not hitting on you.” Instead, he frames her something like “you’re just a friend” in kino-words.  He also frames himself as a man with status and freedom. He’s not afraid to take what he wants. And a man who has “stature” and acts freely attracts women.

Likewise, if a woman gives a man too much kino, she gains control of the frame. She dominates. Stop her! This kills her attraction.  Use Mystery’s classic line: “Hey, hey, hey hands off the merchandise…this shit ain’t for free.”

I love that line. It’s fun. And it takes back the lead. She can’t just “take” freely. We decide the rules and lay the boundaries. We’re not going to swoon for her just because she’s showing us some feminine attention. Heeeeeeell, no.

When we take the lead in kino, we establish a strong frame. This sweeps a woman into his confident leadership. Women LOVE this. Proactive kino (not reactive kino) helps us to control the frame, and lead her… like a strong man in a dance.

#4: Ladies’ Man Status

Women thrive on touch. And Ladies’ Men know how to touch. A Ladies’ Man touches a woman like he assumes the sale. Like she’s already his girlfriend. Like he wants her–which raises her desire. He can soak her panties with just the warmth of his touch.

Also, there’s a book called “The Five Love Languages.”

It claims there are five ways to communicate love to a woman. One of them is touch. Of the five ways, touch is THE one language all women crave.

Makes sense, right? How many women have you heard complain their man didn’t show her enough physical affection? Exactly. Women crave touch. Touch is love.  To become a true ladies’ man, we MUST to understand how to touch woman.

#5: Words Are Abstract, Kino is REAL

Let me tell you a story that illustrates this point.

Lance Mason, a Master PUA (Pick-Up Artist), tells this story about how he approached the hottest chick at a bar one night. Suddenly this other chick he gamed like two weeks earlier–and who wasn’t as hot–came up to him all excited and was like:

“Lance! Lance!” She tapped him twice on his shoulder. “Oh my God it’s so good to see you!” She touched his arm.

He noticed that his feeling about her changed in his body. At first when he saw her visually, his logical, articulate mind was like “I don’t want to spend the night with this girl.” But after she touched him, his feelings shifted.

Her kino sucked him into HER world. He felt flattered. And even though the other girl was hotter, she wasn’t REAL to him the way this not-as-hot chick was. And that was because she made a KINESTHETIC connection with him.

Touch makes things REAL the way that words can’t. For example, seeing Susan Ward naked on a bed in a picture is one thing, having her half-naked in your bed…

you get the idea.

Back to the story: Lance goes into the set with the hot chick anyway and starts bantering with her back and forth. No kino.Yet he still feels the electricity with her from that sexual tension. All of sudden the not-as-hot chick throws her arms around him.

Guess what happened. All the electricity he felt with the hot chick got transferred to the not-so-hot one. Why?

She made PHYSICAL CONTACT with him! Result? She was more REAL to him. And all the good feelings he had with hotness got associated with not-so-hotness. Thanks kino.

Same thing happens when we kino a girl.  We stand out because we’ve become real. Words are abstract, but kino is real. Kino gets us a REAL, concrete, bodily connection with a woman that words and body language alone can never achieve.

PART TWO: What Is Kino?

But what exactly is kino? And, again, how can a PUA kino a woman when we first meet her without creeping her out?

Here’s the key. Don’t be sexual at first. I repeat don’t be sexual. Start neutral and step by step increase the intimacy of your touch. That way you won’t set off any alarm bells. Hey, and if any bells do set off, no problem. Just stop and try again later.

I’ve heard one girl say about this method: “I’m so glad you didn’t get all pissed off because I stopped you. I liked that you stopped and tried again later. Most other guys get mad or just give up.”

Just keep slightly pushing the envelope until she’s ready for that next step. Pull away first. But it’s okay if she says no. Stop and try again. That’s the game. That’s the Dance. And that’s called being the man and taking the lead. Again, massive turn on for women.

But again…at first…the idea is NOT to be sexual. The idea is simply this: to awaken her kinesthetic mind.

Kinesthetic Mind?

The word “kinesthetic” comes from the Greek words “kinein” to move, and “aesthetikos” to perceive.

“Aesthetikos” happens to also be the same same word we get our word “aesthetics” from, which originally meant sense perception until the philosopher Kant used it to define beauty in his Critique of Judgment during the eighteenth century.

Immanuel Kant

But that’s a whole other story. Haha


The two Greek words were put together for the first time by Henry Charlton Bastian… in 1880 if you really must know.

Henry Charlton Bastian

Quick funny trivia about this guy: He was the last scientific believer in spontaneous generation and the last scientist to oppose Luis Pasteur. Wow.

Anyway, he had written some papers on speech disorders and described visual and auditory centers in the brain. He also coined the term “kinesthetic” to describe the center of the brain that SENSED the body in MOTION.

In the 1920s, teaching specialists such as Montessori took his term and developed the “VAK” learning styles model to help dyslexic children and other learners for whom conventional teaching methods were not effective.

Maria Montessori teaching a class

The theory… There are 3 different types of learners: Visual, Auditory, and Kinesthetic (VAK). Some learners learned best by seeing, others by hearing, and still others by actually doing. Kinesthetic learners learned best by doing, that is, having their bodies involved.

In the 1940s, Margaret H’Doubler applied the term to dance.

Margaret H’Doubler

She defined kinesthetic learning as the human’s body’s ability to express itself through movement and dance.

In 1983, Howard Gardner used the term in his famous 7 Intelligences theory in his book “Frames of Mind.”

Howard Gardner

He thought there were 7 types of intelligences and one of them was Bodily-Kinesthetic.

In case you’re curious, here’s a diagram of his 7 intelligences:

intelligence type capability and perception
Linguistic words and language
Logical-Mathematical logic and numbers
Musical music, sound, rhythm
Bodily-Kinesthetic  body movement control
Spatial-Visual images and space
Interpersonal other people’s feelings
Intrapersonal self-awareness

In the Seduction Community, according to Neil Strauss, Ross Jeffries–the father of the Seduction Community–was the first person to use “kinesthetics.”

Ross Jeffries

And Ross shortened the word to “kino.”

I’m not exactly sure what context Ross first used the word in, but NLP (as we all know, Ross’ training) borrowed the VAK model for its own purposes.  For example, NLP thinks that:

1. When a person looks UP to think, he accesses the VISUAL mind,

2. When he looks to the SIDE, he accesses the AUDITORY mind, and

3. When he looks DOWN, he accesses the KINESTHETIC mind.

I also know Ross had the brilliant insight that there were four doorways into any woman’s mind, and one of them was by describing pleasurable BODY sensations. Again, in case you’re curious, here are all four of Ross’ doorways:

  1. Getting her visualizing vividly.
  2. Getting her to feel strong emotional connections
  3. Getting her to feel strong, pleasurable body sensations
  4. Getting to her core value structures

He also spoke about anchoring, another concept from NLP. The idea is that if you touch a woman–say on her arm–while she’s experiencing a pleasurable sensation in her mind, the next time you touch her on that spot, she’ll recall those pleasurable feelings.


(The above is a 2 and a half minute video demo. It’s not a perfect example. If Ross were to go to the bathroom, come back, and touch her the same way AND the touch made her feel the same pleasurable feelings… that touch would be an “anchor.” She’d associate that touch with feeling really good.)

Those are my guesses why he first used the word “kino” at least.

In either case, when I said “awaken her kinesthetic mind,” what I mean is awaken the part of her mind that’s tied to her BODY.

What that means for us in pickup is that there are three ways to communicate with a woman: visually through body language, auditory through words and voice tone, and kinesthetically through touch.

Most of pickup emphasizes the words we speak. If we only use words, it’s one-dimensional communication. There’s even less stuff about body language, and virtually zero on kino. If we communicate well in all three ways with a woman, we’ll be deadly. Our communication will be well-rounded and effective.

So, the idea of kino is to include kinesthetic communication in our communication along with words and body language.

(If you want to learn more about the words to say and the right body language to use, see my articles on Flirting, which covers the words/auditory and Body Language 101, which covers the body language/visual.)

But, again, how do you kino a woman without creeping her out?

The first answer is to not touch her sexually at first, like I said before. Instead touch her PLAYFULLY. Touch her with FUN in your mind. Touch her the way you’d give shit to your little sister, or the way you’d high five your buddy when you hear something cool.

The second answer is tied to the first. Hold the right thought in your mind. Touch and thought are inseparable.

If you touch her thinking, “I HAVE to have her heh heh heh…” that will creep her out.

But if you touch her with the thought that you’re playing and having fun…

…“get outta here” *slight push*; “nice!” *high five*…

…like you’re just friends, it’ll be FUUUUUN, not creepy. In fact it kind of communicates kinesthetically the line: “you and I are friends and that’s ALL!”

Just shows, again, kino is communication just like our words are.

So make your first kino a type of IOD, not an IOI. If you start off with IOI kino, it might feel too much, too predatory to a woman. But if you start off with IOD kino, it feels comfortable, like you’re buddies, and you want nothing but to share a few laughs. Examples include…

…a quick touch to her upper arm with the back of your hand. Or, a gentle push away. Or, if you put your arm around her, turn your head away. No matter what, as soon as you kino, pull away. The kino should be quick and light at first.

But hold the right thought in your mind. Same thing during the comfort stage, during sex, and when you’re in a relationship. Your touch communicates exactly what you’re thinking.

But there’s an even more specific, step-by-step way to touch her so it doesn’t creep her out, but instead gradually escalates your neutral, playful touch to a sexual one without setting off any of her alarms bells…


Before we get into the “how-to” I just want to say again…

…it’s okay to kino strangers.

All humans, men and women, yearn for touch. Look at babies. They THRIVE on physical contact.  This yearning doesn’t stop when we grow up. We still need touch as adults. Touch is love.

When we become adults we create these “stranger” boundaries. But it’s false.  We all share in the same humanity. And have the same needs of human-to-human contact.  Kino breaks the “stranger” barriers.

Just as banter and negging are ways of bonding, kino is a way to bond. You don’t just banter or kino with just anyone. So kino (and negging) bypasses politeness. It puts people at ease. And allows them to relax around you.


Looking back on how I kino escalate, I think there’s 7 steps to lead a woman from an innocent tap on the arm to sex. There could be more or there could be less steps. This is just my own opinion based on my own experience and on Mystery’s Method.


Step One: Playful Kino (A1) — Within 10 Seconds of Opening

Step Two (OPTIONAL): Extravagant Kino (A2) — Within First 5 Minutes

Step Three: Kino Test (A2) — Within First 5 Minutes

Step Four: Isolation Kino (A3) — After First 5 Minutes, Within 10 minutes Max


Step Five: Intimate Kino (C1-C2) — A Few Hours (4-7 Hours)

Step Six: Seductive Kino (C3) — After A Few Hours


Step Seven: Foreplay and Sex (S1-S3) — Take your time

Before I dig into each step, here’s some rules of thumb to follow whichever phase you’re in. And these apply whether you’re in a loud venue or in a quieter environment. Never vary:

Example: if you put your arm around her, look away from her and neg: “Is she always like this?” Then push her off. “You are so cute. You’re like my little sister. Lovable in the most adorable way possible.”

You can express disinterest in words, in body language (look away, lean back), and in your kino too (pushing her away). For some reason mixing in disinterest makes girls feel more comfortable with our touch, especially when she doesn’t know us yet.

STEP ONE: Playful Kino (A1)

When you neg or banter, KINO!

Kino ain’t separate from words.

And here’s how to kino.

After you open, the second sentence out of your mouth MUST be a neg or banter. Before you deliver your neg, tap her arm and step back.

For example, my first sentence is usually something like, “I have this rule that whenever I see someone attractive I have to say hi” (based on Mystery’s 3 second rule) or “Hey you guys looked cool, just wanted to see what you were like.” They’ll usually smile…

…Immediately my second sentence is something like: “And quit looking at my chest! My eyes are up here. Jeez! All you girls do is think about one thing.” They smile even more and laugh.

But before I deliver that second sentence, I’ll tap one of the girls on the arm and step back.

The step back is important. It communicates “I’m not going to make you feel uncomfortable.”  The tap also establishes friendliness. Without that simple touch, the banter doesn’t work as well. I’m not exactly sure why but it might have to do…

…with the fact that the kino establishes a feeling of respect. As if to say “hey, you’re cool and I’m being friendly.” Then when I give her shit afterwards, they’re even clearer that it’s done with an underlying feeling of respect.

When you kino girls in step one, follow these three golden rules. Credit goes to Lance Mason for these rules:

  1. Kino Early
  2. Kino Everyone
  3. Kino Easily

—>Rule #1. “Kino Early”:

Kino within 10 seconds OR LESS of your approach. It sets the rules that kino is okay. And it makes kino less difficult and awkward later on.

Where to kino: hands,


source: www.robcanimation.com

and shoulders.

These are the most public parts of the body. We shake hands when we first meet a person, so kino on the hand or arm is safe.

Type of kino: Quick, light tap.

Other types: high-five,

too slow high-five

“Up high”

“Down Low”

She misses

“Too slow!”

Nothing like schooling a chick with a too slow high five! Haha

via Wikipedia

knock fists,

hand shake, “City Hand Shake,”

(About 1:35 in is a demo of the City Handshake. There are also demo’s of the quick, light touch. Lovedrop of Venusian Arts teaches this series of excellent videos with Mystery’s help. Lovedrop also ghostwrote Mystery’s books such as The Mystery Method and The Pickup Artist. This series of videos was made as a supplement to the Pickup Artist book.)

hip check her while saying…

“you’re such a brat”…

pinky “swear” her…

…if you’ve negged too hard to make amends,

poke her,

gently push her,

again, emphasis on GENTLE


In other words, PLAAAAAY!

After the kino: Lean or step back and give the person space.

—>Rule #2. “Kino Everyone”:

Kino your target LAST! Kino your non-targets FIRST. Sooooo, kino EVERYONE!

If you kino just the target in the set, what message does this send? Exactly! Interest in one girl. What will that do?

*warning. warning. intruder. enable shields*

But touch everyone in the set and what message does that send? I’m not trying to “get” anything. I’m just being outgoing.

And don’t be afraid to move around in the set. You don’t have to stand in one place, like a pile of rock. Move to different people in the set to kino them. Hello social freedom.

—>Rule #3. “Kino Easily”:

Be comfortable giving kino to strangers.

What if the kino feels awkward at first? No problem. Keep doing it anyway. With practice, it will become more and more comfortable, and a part of who you are.

When you’re comfortable giving kino, they’ll feel comfortable too. Setting the frame, baby!

STEP TWO (OPTIONAL): Extravagant Kino (A2)

This is playful kino but taken to an extreme.

—>Example #1:

High-five a chick on the approach.

YOU: “You rock.”

Spin her

and dip her.

Hahahaha. I love it!

—>Example #2:

YOU: “Hey, what’s up? I’m Renaissan.”

Put out your right hand to shake.

YOU: “How’s it going?”

Put out your other hand. Spin her around.

When she’s spun back around, shake yourself down.

Kind of like this. But shake it down to the floor. Switching sex roles is unexpected. She’ll bust out laughing.

Other crazy shit:

spanking chicks,

picking her up and throwing her over your shoulder,

kissing her…

Alfred Eisenstaedt’s image of a sailor kissing a nurse in Times Square on V-J Day in 1945. (Photo: Alfred Eisenstaedt, Time-Life/Getty Images)

…all within the first five minutes.

Have a blast. You can make anything work. Playful energy. Don’t give a shit. It works.

STEP THREE: The Kino Test (A2)

You’ve made the girls laugh. You’ve given the set an interesting bit of conversation afterwards, and asked a qualifier. When you’re about to leave (a.k.a. “false takeaway”) reach out your hand and see if she takes it.

How she responds tells you how she feels about you. As we all know, the body don’t lie.

If she takes your hand, squeeze it. If she squeezes back, STAY!

Here’s another trick. After the handshake, slide your fingers off her hand. That way it’s no longer a “business as usual” handshake, but a sensual one… in a subtle way.

But in any event, when you get your ass back in the set, qualify her dammit! “Are you a creative person?” You can then test her “creativity” by isolating her within the set and doing something like the Cube on her.

If she’s slow to go for the high-five, she’s probably not attracted yet. Continue with your takeaway and leave. You can come back later. When you do, demonstrate value to her friends. If you’ve won over her friends, you’ll probably win her over, too.

Here’s another kino test. Let’s say you high-five her instead of shaking her hand. If she complies, don’t release her hand yet. Instead, take her hand that’s still in yours and put it behind your back, out of the view of the others.

Squeeze her hand. If she squeezes back, move your fingers to her fingers and play with them. This is EXTREMELY sensual. And the best part is it’s discreet. If she doesn’t move her hand away, she’s definitely attracted. Throw her hand away and roll off.

As always, you’re balancing interest with disinterest here. It also shows you have self-control.

The kino test is HUGE.  In fact, you could say the kino test is what physical escalation is all about.

If kino is a conversation, when you kino it’s like asking a question. If she answers yes, then take a step further. But don’t go too far. Go that step further, then YOU break it off. Don’t wait for her to do it. Always leave HER wanting more.

This is the dance of seduction.

STEP FOUR: Isolation Kino (A3)

Now that you know she’s attracted, you know it’s safe to isolate. Before you do, drop an SOI (statement of interest). This lets the set know why you’re there. You’re not there just to be friendly anymore. You’re there because you’re interested in someone.

One simple SOI that I use is simply asking, “Are you single?” When she says “yes,” I’ll usually banter something about how we’re going to fly to Vegas tomorrow and get married by a midget Elvis. I’ll dress her up as Catwoman, and I’ll be Batman.

Haha. It’s a classic. And it works like gangbusters. Thank-you pickup community.

Now, here’s an awesome isolation tactic I learned from Lance Mason. You don’t have to extract the girl from all her friends. In fact, if you do, it has the risk of making your target and her friends feel uncomfortable. They’ll ask: “Where’s this douche bag taking her?”

Instead, you can do something like…

…Point to your right and lightly put your left arm on her shoulder.

YOU: “Hey check this out…”

Keep your left foot as the pivot (the stationary foot), and pivot your body to your right.

YOU: “The coolest thing is over here.”

Both your backs are to the set now. You have isolated a girl within her group of friends, so you can now talk to her one-on-one without anyone getting worried. Awesome.

HER: “What’s the coolest thing?”

YOU: “Oh, it’s me. Isn’t that cool? We were talking to your friends and now it’s just me?”

Genius! Then you can either qualify her or run something like the Cube on her.

The other classic isolation tactic comes from Mystery.

Your SOI: (to the set) “We like each other, are you cool with that?”

HER FRIENDS: “It’s up to her.”

YOU: (to her) “I wanna show you something. Are you a creative person?”

Put her arm on yours, so you’re now arm-in-arm.

YOU: “That’s all you get. Don’t expect anything more.” *smile*

Then you sit in a quieter part of the lounge and qualify her or run something like The Cube.

Either way, KINO at the isolation point!

Kino-isolation is so important. It transitions us from playful kino to intimate kino.

Oh, and as always, balance the isolation-kino’s “indicator of interest” with an “indicator of disinterest,” such as a hand drop or saying “that’s all you’re going to get.” This makes the girl feel more comfortable. It shows you’re not rushing her to anything.

STEP FIVE: Intimate Kino (C1-C2)

Ahhhhhh. Now you’re in the comfort stage. Three rules to follow here. Again, credit goes to Lance for these:

—>Rule #1: Kino Discreetly.

Don’t embarrass the girl by displaying too much public affection. In fact this is a good rule to follow in general. The temptation might be to make out with her in the venue. Do not. All kino escalation should be discreet.

Make out in private, not in public. It’s the gentlemanly thing to do.

Also, the less you push in public, the easier it is to progress in public because you didn’t embarrass her before. Besides, if you don’t wait, it deflates all the sexual tension. Wait, and it feeds the sexual tension… And her desire to “pounce” you.

—>Rule #2: Kino Dynamically.

Don’t be static with your touch. Keep your kino moving. It’s a live conversation. The kino should be a back and forth dialogue, not a one-sided “lecture.”

And in this conversation, again, we’re the psychological leaders. Remember that scene in Hitch, where Will Smith shows Kevin James how to go in for the kiss? Go in 90%, then let her come 10%. That’s one of the few valid parts in the movie.

It shows how to lead psychologically. Pull in 90%. Don’t go in all the way. Give her space to come to you.

As Lance had once said, think of it as an instruction… or an offering. She has the choice to accept it or deny it.

If you ever go too far, again no worries. Just step back. DON’T TOUCH. And gab for a bit to make her feel comfy. When you see her body relax, kino but with caution… in a way that doesn’t make her slink away.

—>Rule #3: Kino as if you’re already Dating

When a guy puts his arm around a woman for the first time, he usually plops it down. *CLUMP* Awwwwk-ward!

When a guy puts his arm around a woman he’s been dating for a while, he slides his hand along her shoulder smoothly. Niiiiiiice.

Kino her like you’ve already been dating.

Parts of her body to kino:


After the hands, arms, and shoulders the next place you can touch her is her legs. This is the next step in the escalation.

If you’re sitting, you can lightly tap her thigh to make a point. Or you can lightly brush your leg against hers.

And you can also hold her hand for a longer time.

To accomplish all this, make sure you’re sitting NEXT TO HER.

Do NOT sit across from her. It’s impossible to kino her if there’s a table between the two of you.

When she’s comfortable with you touching her legs, the next place to touch her is in her facial area.

This includes her neck,



and hair.

Obviously if you touch her in this area, it’s very intimate.

To accomplish this, you can maybe brush a hair out of her face. Or smell her neck and tell her how great she smells. Or playfully pinch her cheeks.

Or touch her earrings. Or touch her necklace while allowing your fingers to lightly caress her neck. Make a comment about the earrings or necklace when you touch them.

Now, you’re one step away from a kiss.

By the way, Style’s routine “Evolutionary Phase Shift” is great here. It’s designed to make these seductive kino moves in a way that makes the man feel less nervous about doing them. Going for the first kiss is as scary a step in pickup as opening her.

But you don’t need to use this routine. It’s like training wheels. It just allows a beginner to move his mouth while he’s advancing physically. Once you feel comfortable advancing without words (mastery level), throw away the crutches.

STEP SIX: Seductive Kino (C3)

Kiss her.

If the girl doesn’t flinch when you brush her hair out of the way or when you touch her necklace, that’s a LOUD green light. Kiss her for God’s sakes.

If you want to add some really good sexual tension, try the “triangular gazing” before you kiss her.

It’s killer because of all the anticipation.

Here’s how to do it:

Look her in one eye, then her other eye, then down to her mouth, and back up to her eyes again. Veeeeeeeery, very seductive. Slow your movements. Slow your breath. Slow the blink of your eyes. Hold the silence. Go in 90%. She’ll come the last 10%.

And if you want to make the girl feel really “swept away” place your hands under her ears and pull her mouth to yours.

It’s a masculine, dominant move, and it probably makes her feel like she’s in a movie having one of those passionate “movie” kisses.

But WARNING! Keep the kiss light and short at first. And ALWAYS pull away first!

Don’t use too much tongue here. Just tease her, and build anticipation. As Mystery says, the kiss is comfort-building. The kiss is not a close. It’s to make her feel comfort. And it’s to build enough tension and arousal so you can move to the next step.

STEP SEVEN: Foreplay and Sex (S1-S3)

Once you’re back in a private, seduction location, now you can begin foreplay.

Vin DiCarlo has a great strategy for foreplay in his “Escalation Ladder.” His isn’t the only way, of course, but it’s a great primer. This is the gist of what he suggests:

1. After making out with her, kiss her neck and ears. These areas are immensely sensual for a woman.

Here’s a cool move while you’re kissing her. Reach up her neck, grab a fistful of her hair and pull it from behind. Massive turn on for her. Probably has something to do with your dominance, and her submissiveness.

2. Next, lift the back of her shirt up, and touch the skin of her back.

3. Lift the front of her shirt up and the front of yours so the skin of your stomachs touch.

This is such a gorgeous moment. The first time your skins touch, it’s like ahhhhhhhhh. And it turns women on A LOT.

4. Now you can start kissing her stomach and her sides, and slowly move up her body.

Or lightly run your fingers down her body. Either way take your time and savor her body. Here’s some things you can do.

As Style says, the parts of the body that bend the most have the most nerve endings, and the parts you see the least are the most sensitive. So touch her, caress her, lick her, even bite her behind the elbow, behind the knee… you get the idea.

…save kissing and feeling up her tits for LAST. And save sucking her nipples for ABSOLUTELY last. Kiss or lick around her nipples before kissing or licking her nipples. Most guys dive in for the nipples first. Distinguish yourself by saving them for last.

5. After her shirt comes off, feel up her ass.

Her pussy is now a step away.

6. Stimulate her pussy from behind, rather than from her front.

This is Vin’s genius idea. He points out every guy who goes for sex, moves in from the front, but it’s easy for her to resist. Moving in from her ass is unexpected. And damn effective.

But don’t dive straight for her pussy. Start by touching the area around it first. Then you can start fingering her from behind. Once she starts panting and moaning…

7. …finger her from the front. Take off her panties. Get her turned on so much that she’s begging for you to put it in.

The only thing I would add to DiCarlo’s plan, is DeAngelo’s “two steps forward and one step back.” Escalation to sex doesn’t have to be this linear. Stop and smell the roses along the way. In fact, definitely do this. It feeds sexual tension, and her desire.

8. Even though she’s begging for you to put it in, you don’t have to. In fact it’ll turn her on if you don’t yet. Penetrate her when you’re ready. And penetrate her inch by sweet tortuous inch, making her ache for your cock for however long you can control yourself.

She’ll be so close to the edge of orgasm before you’ve entered her fully that by the time you slide your entire length of you cock inside her, it probably won’t be too hard for her to surrender to the drop.

9. Put a pillow under her pelvis or lift her pelvis somehow.

source: cosmopolitan.com

It makes it easier to hit her G-spot with your cock. Oh, and have plenty of condoms.

10. While you’re in her, take the lead. Pull her hair. Suck her tits. Vary the strokes and speed–fast, hard and shallow, slow, soft, and deep. Stop and continue later. Talk to her. And most important of all, be PASSIONATE as all hell.

11. Make sure she has an orgasm before you do.

12. After you’ve both cum, hold her afterwards. Either share the silence or tell her how beautiful she is.

“Afterglow” by Alonzo Adams

Obviously, giving her great sex is a whole other topic. But check this out. In step seven we’re at the opposite end of the spectrum to step one. Where step one was dominated by words spiced with kino, step seven is dominated by kino spiced with words.

But just as kino and words aren’t separate in step one, they’re not separate in step seven. David Shade once said your most important tool isn’t your tool, it’s your voice. So, talk. Make sounds. Stimulating her mind as well as her body is one key to great sex.

PART FOUR: A Quick Exercise To Start Practicing Kino RIGHT AWAY

Next time you’re with friends or family, give them a quick tap on the arm, or a gentle, playful push. Keep doing this for at least a month… until it becomes a habit. You’ll see how easy and natural it is to kino.

Once you make kino a habit, you won’t even have to think about giving your sets kino. It will come natural. You’re one step away from doing the really extravagant stuff that all the masters do in their sets.

If it doesn’t feel natural to kino your sets yet, keep practicing until it does. Just follow the second sentence rule. Give a tap before you deliver your neg or banter line. In other words, ALWAYS kino within the first ten seconds of your approach.

The best part is, practicing kino brings a guy a step closer to social freedom.

Exit mobile version