Module 16: Sexual State Accelerators, Part 1 (June 2009)
H
i, guys. This is Ross Jeffries, and welcome to the Instructional Video Module for June 2009.In this module, we’re going to be talking about sexual state accelerators.
You’ll notice that this is Part 1. That’s because it will be one module, but I’m going to continue it as a series for at least the next month and perhaps the month after that.
We’re going to be talking about some ways to use language, sexual metaphor, phonetic ambiguity, and some setup phrases to take a state that you have a woman in and accelerate it. This is going to be pretty good stuff. Pay attention.
What are accelerators? Let me define the term. An accelerator is any kind of tool or tools that we use to amplify and increase a woman’s sexual state up to the point where she’s ready for action.
Look at what’s presupposed. The presupposition is that the state is already there. We’ve already created them through some other pattern, joke, game or story, the virtue of our vibe or a touch. It’s already there.
The accelerators don’t create the vibe, energy or sexual feeling. They just take what’s there and amp it up. Notice what I said. Did I say “to the
point where her pussy is soaking or her head explodes”? No. I said to the point where she’s ready for action, and that presupposes that we’re calibrating her and testing for her readiness.
Remember, these tool sets assume and imply two things, that you’ve already got the state and you know how to calibrate. So there we go.
I often use this as part of a demo where I’m showing how things work in her imagination. The Blammo is one example of that. After any pattern you give, no matter what it is, you can say, “Can you feel that?” and then reach out and touch as you say “that.”
“Can you feel that, that would be an amazing thing to experience?”
Does “feel that” mean “feel that touch” or does it mean, “feel what it is you’ve been describing”? Because the unconscious mind resolves the ambiguity both ways, she’ll associate it both ways.
I will use accelerators with any kind of pattern, and often with a pattern that ends with, “Can you feel that?”
Let’s get to the accelerators. I like to use focusing language. One part of an accelerator is the focusing language, and the other is the sexual metaphor.
Here comes the focusing language first. “It doesn’t matter whether you focus in (there’s the command, guys, “focus in”) on where you feel the feelings flowing first, or where you feel them flowing next, or where you feel them flowing absolutely the best.”
I want you to notice something. Why am I talking about feelings flowing? When it comes to the kind of feelings that move women into action, they almost always don’t just sit in one place.
The difference between a feeling that a woman kind of sits with and likes to contemplate and the one that drives her into action is the ones that drive her into action have a flow. By telling her to focus in on where she feels the feeling flowing, the presupposition is that the feeling is flowing.
This is a really powerful piece. That in and of itself accelerates things.
If you’ve created a feeling, simply getting her to feel it as a flowing feeling is going to accelerate the feeling.
Now I’ll start to introduce sexual metaphors and phonetic ambiguity in embedded commands. Let’s see how this works.
“What matters is how you can find a place inside where all that matters is how you want to succeed now with me. It’s a place where you can see yourself succeeding in such a way that you can’t even put your finger on the source of your excitement. But if you could, then you could feel you’re opening for a completely new direction that you have to have now, tonight, that you can see yourself taking with me.”
“What matters is how you can find a place inside.” What does that mean? Does that mean inside her vagina, inside her mind, inside her body?
It’s got a sexual connotation to it.
“How you can find a place inside where all that matters is how you want to succeed?” That’s a suggestion. “You want to suck seed.” Am I saying
“succeed” or “suck seed”? “It’s a place where you can see yourself suck-seeding.” By the way, what I do is I picture the way I want her to resolve the ambiguity. If I’m in rapport with her and I say “succeed,” and I picture her sucking my cock, she will picture it that way, too.
“In a way you can’t even put your finger on the source of your excitement.” “Put your finger on the source of your excitement” is a command to masturbate.
“But if you could, then you could feel you’re opening.” Does that mean
“feel that you’re opening up to something new” or does it mean “feel your opening,” her vaginal opening?
“For a completely new direction.” You know what that one is.
“That you have to have now, tonight, that you can see yourself taking with me.”
See how it works? Here are some other great ones besides “new direction,” “your opening,” “feel yourself” and “you can feel yourself coming.” What does that mean? “Feel yourself,” “happiness,” which you’ve seen, and “come over and over and over again.”
I’ll say, “It’s the kind of thing that could cause you to see yourself coming over and over and over again to one conclusion.” It’s the kind of thing that could cause you to feel yourself coming over and over again to one conclusion.” “It’s the kind of thing that could cause you to imagine yourself coming to one conclusion.”
“I think sometimes the most powerful experiences occur when your
conscious mind can just go down into your deeper mind.”
Concoct, con-cock, “Whatever it is you can feel yourself con-cock inside you.”
I’ve used all of these. Remember, in and of themselves, phonetic ambiguities in isolation don’t work. It’s part of a chain of suggestion. If you’ve already got those feelings created and you’re already accelerating the feelings by turning them into flow, you have something really great here. Trust me.
In the coming months, we’ll be talking about how to use stacking anchors, spatial anchoring and zip anchors for sexual acceleration, as well as how to use simple fractionation and synesthesia. Enjoy these. Give me your feedback.