Enhanced descriptions from Syndetics:

What happens when you've built a great website or app, but no one seems to care? How do you get people to stick around long enough to see how your service might be of value? In Seductive Interaction Design, speaker and author Stephen P. Anderson takes a fresh approach to designing sites and interactions based on the stages of seduction. This beautifully designed book examines what motivates people to act.

Table of contents provided by Syndetics

• Prologue (p. xi)
• 1 Why Seductive Interactions? (p. 1)
• LinkedIn and Profile Completeness (p. 2)
• Why seduction? (p. 3)
• The iLike story (p. 5)
• Beyond usability (p. 10)
• It's all about experiences (p. 11)
• Section One Aesthetics, Beauty, and Behavior
• 2 Why Aesthetics? (p. 17)
• What's the connection? (p. 18)
• Why aesthetics? (p. 18)
• 3 Are You Easily Understood? (p. 19)
• Gestalt Psychology and a drinking game (p. 20)
• 4 Are You Attractive? (p. 25)
• You remind me of (p. 26)
• Can you trust me on this? (p. 27)
• Perceptions of time (p. 29)
• Put it all together (p. 30)
• "Attractive things work better" (p. 30)
• Stitching it all together (p. 32)
• 5 Who Do You Remind People Of? (p. 35)
• Aesthetics, associations, and Apple (p. 36)
• Advertising and coded iconic messages (p. 37)
• Positive and Negative associations (p. 38)
• Language and associations (p. 38)
• Applications (p. 39)
• 6 When Aesthetics Aren't Attractive (p. 43)
• Curious implication 1: the good, the bad, and the ugly (p. 43)
• Curious implication 2: When utility is beautiful (p. 44)
• Curious implication 3: Context and character (p. 45)
• Curious implication 4: Is beauty subjective? (p. 45)
• Closing (p. 47)
• 7 The Power of Faces (p. 49)
• Leaving your friends (p. 50)
• Summary (p. 51)
• Section Two Playful Seduction
• 8 Are You Fun to Be Around? (p. 55)
• Use humor, when appropriate (p. 56)
• A Case for Humor: MailChimp (p. 57)
• Why bother making someone smile? (p. 60)
• 9 Are You Unpredictable? (p. 63)
• Mixing surprise with rewards (p. 64)
• Delighters (p. 66)
• My personal annual travel report (p. 68)
• 10 Are You Stimulating? (p. 75)
• Will the real Dopplr logo please stand up? (p. 77)
• 11 Are You Mysterious? (p. 79)
• Curious marketing (p. 79)
• Venturing into the unknown (p. 80)
• The information gap theory (p. 81)
• Business application? (p. 82)
• Specific motivation (p. 84)
• Now what? (p. 85)
• 12 Can People Express Themselves Around You? (p. 87)
• Section Three
• 13 Small First Steps (p. 93)
• Shaping the path (p. 93)
• Making a commitment (p. 94)
• Sharing places (p. 94)
• Picking up items placed on hold (p. 96)
• Completing a travel booking (p. 97)
• Endowed progress effect (p. 99)
• Sequencing (p. 100)
• Shaping (p. 102)
• 14 Coming on Too Strong (and how not to!) .105
• Fewer options (p. 105)
• Less text (p. 107)
• Fun distractions (p. 108)
• Creating the illusion of less by hiding information (p. 110)
• Hacking the visual system to make things simpler (p. 111)
• Less to think about (p. 112)
• 15 Attracting Attention (p. 115)
• Contrast and characters (p. 116)
• Shh! We're hoping no one notices (p. 117)
• Did you see that? (p. 118)
• 16 The Path of Least Resistance (p. 119)
• Default options (p. 119)
• The power of suggestion (p. 120)
• Convenience and personalized recommendations (p. 122)
• Afraid to Let Go (p. 126)
• 17 The Influence of Words (p. 131)
• Framing (p. 131)
• Anchoring (p. 133)
• Let's get personal (p. 134)
• Clear language (p. 136)
• 18 An Eye for Details (p. 137)
• Step one Role-play the interaction (p. 137)
• Step two Script the narrative experience (p. 140)
• Step three Break down compound requests into
• simple next steps (p. 140)
• Step four Minimize choices (at each moment in time) (p. 141)
• Step five Look for micromoments (p. 142)
• Step six Choose clicks over characters (p. 142)
• Section Four The Game of Seduction
• 19 Real World Games (p. 149)
• Games are first and foremost about fun (p. 149)
• The Elements of Game Design (p. 153)
• 20 A Challenge Worth Pursuing (p. 155)
• Back to the classroom (p. 155)
• A Real Challenge (p. 161)
• A quick note on status (p. 163)
• Challenges vs. goals (p. 165)
• Closing (p. 167)
• 21 Making Things Difficult (p. 169)
• Playing hard to get (p. 169)
• Using scarcity in commerce (p. 170)
• Using scarcity to increase quality (p. 170)
• Using scarcity to encourage Participation (p. 172)
• Why scarcity works (p. 173)
• Other forms of scarcity: Limited duration (p. 174)
• Limited access (p. 175)
• Other forms of scarcity: Limited choice and calculations (p. 176)
• 22 How Are We Doing? (p. 179)
• Unintended side effects of hypermiling (p. 181)
• A little perspective (p. 182)
• Serious games (p. 183)
• Making a game out of e-mail (p. 183)
• Closing (p. 187)
• 23 What's the Prize? (p. 189)
• Why do game mechanics work? (p. 190)
• Performance goals (p. 191)
• Are you offering your users any performance goals? (p. 192)
• The fun layer: Narrative, story, aesthetics (p. 196)
• Closing (p. 197)
• 24 Let's Get Serious (p. 199)
• The Kano model (p. 200)
• 25 Only the Beginning (p. 205)
• The Rider and the Elephant (p. 205)
• The Behavior Grid (p. 206)
• A sense of purpose (p. 211)
• One thing everyone is doing (p. 211)
• "Show me the money!" (p. 214)
• Who's on your site? (p. 214)
• Final Thoughts (p. 215)
• Index (p. 217)