In order to determine the thought processes of your opponent, it would help to read their minds. But not being a mind reader, are there any seminars or classes offered on the subject? Not really and even if there were you are not going to learn the psychology of your opponents neurosis from a class. If you were able to, this is still no guarantee of winning.

While strategy is a real and important element of poker, and is certainly more basic than psychoanalysis, it is still only one important tactic. Mindreading would certainly be an asset to wise play, but is this possible? It is in a way.

The best of players, as the best of artists, never required a manual on the subject of their professions. They proceed intuitively, by means of naturally sharp observation which they practiced and developed individually in the course of the years.

This is not merely the reason why so few good technical manuals on poker psychology exist. This is also possibly the most key point about the issue: whatever tips you may find on the net or in books, you will never be able to put them to much good use unless you have that touch of intuition which puts your thought processes beyond the reach of your opponents.

If the game could be played based on principles, it would be boiled down to predictions, simple or complex depending upon the variables by use of a computer program. Actually, this is the approach of amateurs and the not-so-gifted players – the ones that mostly lose.

Such schematics are disdained by the professional player, who makes their own observations regarding others methods of play as well as their own. Using their well-developed intuition, they take those observations and mix them into principles according to their own thought processes. This results in a strategy known only to themselves. The most talented players use these complex (or deceptively simple) secret strategies to make them less vulnerable than their opponents.

Artists and good poker players do not reveal their secrets. They may give advice or even write books on their art, but they will never reveal what really sets them apart. Remember this, they did not achieve their lofty peaks by relying on someone else’s tips.

It would seem that the most vital element in becoming a master artist in any genre is commitment to study and practice to develop one’s own observational skills and imagination by engaging in the activity in which you want to become great. In this way you will be independent in your thoughts and actions and master the ability to do your thing in a way that is uniquely your own. Only you are privy to the minute details of your “thing.”

Use this individually developed strategy to get under the skin of bluffers. You can only do this by letting loose of your robust intuition to which only you have access.

You will have to work hard to develop your unique manner of play. Even more difficult though is to have the courage and independence to use your carefully developed imagination in successful ways while sometimes appearing idiotic. This personal quirk will lead to a spirit of discovery and innovation that will set you ahead of the pack.

One could now proceed to elaborate on the processes of intuition, or suggest where to start or what not to neglect, but even that would be too much. Everyone is blessed with intuition; not everyone has the drive to aggressively hone and use it. If the results of your unique intuition are to be unique, you had better start on your own.

What I have written about here calls for a lifetime commitment. Nobody who was ever considered a master at his craft, whatever that may be, was given that title. They worked long and hard and on their own and they earned it.

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