LETTERS

TO A
YOUNG
MENTALIST
AN EPISTOLARY JOURNEY
OF INSPIRATION AND GROWTH

BY
LEE MORGAN ANDREWS
Copyright © 2023 Leandro Morgado
All rights reserved.

Written by Leandro Morgado

Edited by Rui Fernandes
Cover by Sandokan

leandromorgado.com
 CONTENTS
Foreword 01

Introduction 03

Letter #1 | A Way Of Life 06

Letter #2 | Mastery Of Mystery 09

Letter #3 | On Suits, Sartorial And The Power Of Style 12

Letter #4 | Vulnerability And Truth 14

Letter #5 | Mentorship And The Voice Of Others 16

Letter #6 | Team Building Blocks 18

Letter #7 | Publicity And Notability 20

Letter #8 | Brand It 22

Letter #9 | Clients, Meetings and Expectations 24

Letter #10 | To Edinburgh With Love 26

Letter #11 | Sounds, Lights And The Ones That 28

Make You Look Good

Letter #12 | The Art Of Failure 30

Letter #13 | Taro Ator Rota Orat 32

Letter #14 | Script And The Daily Practice Of 34

Putting Symbols on Paper
Letter #15 | Creativity, Deadlines And 36
The Benefit Of Limits

Letter #16 | Finding Voices Of Truth 38

Letter #17 | In Defense Of Secrets 40

Letter #18 | A Journey Of Echoes 42

Letter #19 | The Light Within 44

Letter #20 | Of Naps, Dreams And Alternatives To Work 46

Letter #21 | The Wordsmith's Push-Ups 48

Letter #22 | A Recipe For Kindness And Growth 50

FOREWORD

INSIGHTS, INSPIRATION AND THE

GENEROSITY OF SPIRIT
Dear readers,

When Lee approached me to write the foreword for this book, I felt humbled and
honoured. I have always admired Lee's work and have been inspired by his
dedication and commitment to the art of mentalism. Lee has been a mentor to me
and has offered invaluable advice and insights over the years.

In this book Lee shares his thoughts and experiences on what it takes to be an
accomplished performer in today's world. The book is a collection of letters that
Lee wrote to me over a period of time and I must say that I am grateful for every
single word he wrote.

One thing that struck me about Lee's letters is his unwavering focus on
authenticity and honesty in performance. In a world where performers are tempted
to resort to the latest gimmicks and tricks, Lee reminds us of the power of being
genuine and true to oneself.

As you read through the letters in this book, you will find Lee's insights on various
aspects of mentalism, from storytelling and scripting to the importance of
working in a team. He also discusses the pitfalls and challenges that come with
being a professional mentalist and offers practical advice on how to navigate
these obstacles.

But what I found most inspiring about this book is Lee's generosity of spirit. He
shares his knowledge and expertise with a warmth and humour that is infectious.
His writing is full of wit and wisdom and it is a pleasure to read.

01
I have no doubt that Letters to a Young Mentalist will be an invaluable resource for
any aspiring mentalist. Whether you are just starting out in your career or are a
seasoned performer, there is something in this book for you. I urge you to read it
with an open mind and an eagerness to learn.

Finally, I want to thank Lee for entrusting me with the task of writing this
foreword. It has been an honour and a joy to work with him on this project, and I
hope that our collaboration will continue for many years to come.

The once young mentalist,

Pearl.

Zurich, March 2023

02
INTRODUCTION

OF LETTERS, INSPIRATIONS AND

FRIENDSHIPS
As a mentalist and performer, I have been fortunate to go through many
experiences and opportunities that helped me to develop my craft over the years.
But it wasn't always easy and there were many times when I wished for someone
to turn to for guidance and advice.

That's why I decided to write this book. Through a series of correspondence

between myself and Pearl, I offer tips, insights, and words of wisdom (so I like to
think) derived from personal experience that are intended to help aspiring
mentalists navigate the complexities of the contemporary performing arts scene.

Throughout the book, I cover a wide range of topics, from the importance of
storytelling and language, to the value of working with a team, to the need for
authenticity and vulnerability in one's performance. Drawing on my own
experiences, as well as the insights of other performers and artists, I aim to
provide a comprehensive guide to the art and practice of mentalism.

But more than that, these letters are a testament to the power of mentorship and
the value of sharing knowledge and experience with others. I believe that we all
have something to offer and that by helping each other, we can elevate the entire
art form and create performances and contents that truly resonate with
audiences.

03
I invite you to join me on this journey to explore this art form I truly love. In the end,
it's all about love.

Yours sincerely,
Lee Morgan Andrews

Porto, January 2023

04
 LETTERS
TO A
YOUNG
MENTALIST
LETTER #1

A WAY OF LIFE
My dear Pearl,

It was with great delight that I received your note of thanks and your request for
guidance in the field of mentalism and mystery arts. I am honoured that my show
inspired you, and I am delighted to offer my thoughts and reflections on the path
you have chosen.

It's always a delicate matter when one asks for advice or guidance. There's a part
of me that fights the position of giving advice to some else. It's a tricky place and
an attitude that sensitive and self-aware people prudently take. It’s a matter of
personal discovery and exploration. If anything, I can share with you some of my
own findings and experience as a performer.

As I read your letter, I am reminded of Rainer Maria Rilke's Letters to a Young Poet.
In these letters, Rilke offers advice and encouragement to a young poet who seeks
his guidance. I am no Rilke, and you are no young poet, but I hope that my words
can offer some insight and inspiration as you continue to explore this art form.

You see, my dear Pearl, mentalism and the mystery arts are not merely a craft or a
set of skills to be learned, but a way of life, a journey that requires deep
introspection, imagination and an unflinching commitment to truth and
authenticity. It is a path that demands both discipline and spontaneity, both
mastery and humility, both courage and vulnerability. It is not for the faint of heart
or the easily discouraged, but for those who have a burning passion to explore the
mysteries of the human mind, to awaken the senses, to provoke wonder and to
create art that resonates with the deepest longings and aspirations of the human
spirit.

06
You asked for advice, and while I am but one voice among many in this vast and
diverse field, I offer you these considerations, not as a set of rules or dogmas, but
as invitations to explore, to experiment, to discover your own voice and vision.

First and foremost, my dear Pearl, cultivate your curiosity. Curiosity cures the
ailments of the soul. Let your mind be a fertile garden where the seeds of wonder,
inquiry and imagination can grow and blossom. Read books on psychology,
neuroscience, philosophy and art. Practice eunoia - beautiful thinking. Attend
lectures, workshops and conferences. Engage in conversations with people from
all walks of life and listen deeply to their stories, their dreams, their fears, their
hopes. Keep a journal where you can jot down your observations, insights and
intuitions. Explore the world with open eyes and an open heart, and let your
curiosity be your compass. Be energised by a continuous flow of enthusiasm. You
do this by connecting yourself with things that spark your imagination, you
interest, things that make you broaden your awareness and expand your inner
world.

Secondly, foster your discipline. Creative and fruitful mentalism requires not only
a vivid imagination, but also a rigorous training of the mind and body. Practice
meditation, yoga or any other form of mindfulness that helps you focus your
attention, regulate your emotions and cultivate a sense of inner calm and clarity.

Train your memory, your concentration, your dexterity and your timing. Learn the
basics of psychology, body language and suggestion and practice them
relentlessly until they become second nature. Develop your own routines, your own
scripts, your own style, but also be open to feedback, critique and collaboration.
And please, please, please do not forget a great outfit.

Thirdly, nurture your authenticity. Mentalism and mystery arts are not about
deceiving or manipulating people, but about revealing the hidden depths and
mysteries of human nature, about exploring the boundaries between reality and
illusion, about creating moments of awe and insight that can transform the way
people see themselves and the world. As the archetype of the magician, we unify
what's above to what's below. We point to the beauty, the mystery and the
importance of things. Be true to yourself, your values and your vision. Do not
imitate or copy others (although this is a natural phenomenon at first), but find
your own voice and your own way. Be honest and transparent with your audience,
and respect their intelligence and their dignity. Use your powers for good. Create
art that inspires, challenges and delights, but also art that reflects your own
humanity and your own struggles.

07
Finally, cultivate your courage. Mentalism is not for the timid or the complacent. It
requires a willingness to take risks, to embrace uncertainty, to surf ambiguity and
to explore the unknown. It requires a resilience in the face of setbacks, failures
and criticism. It requires a humility that recognises that you are but a small part of
a vast and mysterious universe, but also a courage that dares to dream, to imagine
and to create. It requires a faith in yourself, in your art and in the power of mystery
to awaken the soul. Take risks, and trust in your abilities.

So here you have it. Remember to practice, be authentic, have fun, read science
publications, be adaptable, pace yourself and take care of yourself.

With gratitude and wishing you the best,

Lee Morgan

08
LETTER #2

MASTERY OF MYSTERY
Hello Pearl,

I am thrilled to hear of your passion for mentalism and your desire to improve your
performances. I have found that one of the most effective ways to captivate an
audience is through the smart and sensible use of storytelling. Crafting
compelling narratives and incorporating stories into your performances can
enhance the impact of your mentalism routines and create a deeper connection
with your audience.

The best way to communicate a message is through storytelling. It is in fact a

powerful tool that has been used throughout human history to convey important
ideas and connect people on a deeper level. Incorporating storytelling into your
mentalism routines can help you create a meaningful connection, making your
performances more relevant and memorable.

But how can you incorporate storytelling into your mentalism routines in a way
that is effective and engaging? Here are a few things to think about:

Start with a strong narrative arc: Just as in any good story, your mentalism routine
should have a clear beginning, middle, and end - the famous Aristotelian
dialectical method of thesis, antithesis and synthesis. Your audience should be
able to follow the progression of the story and feel invested in the outcome. Think
about the story you want to tell and how you can structure your routine to support
that narrative arc.

09
Use vivid imagery: Imagination is a powerful tool for navigating the world. Use your
imagination to create vivid images that will help your audience visualise the story
you are telling. This will help them feel more engaged and invested in the
performance.

Make it personal: One of the most effective ways to connect with your audience is
to make the story personal. Share personal events or experiences that relate to
the theme of your routine. This will help your audience feel more connected to you
and the performance, creating a deeper emotional resonance. Make it about you...
in the good way.

Use pacing and timing: Just as in any good story, pacing and timing are key to
keeping your audience engaged. Use pauses and moments of suspense to build
tension and create anticipation. Play with nuance, light and shade. Experiment.

Be authentic: Finally, it is important to be authentic in your storytelling. Don't try

to create a false persona or tell a story that doesn't feel true to you. Authenticity is
key to building trust with your audience and creating a genuine connection. In the
words of Frank Oz referring to the directing of Derek DelGaudio’s In and Of Itself,
“If I catch you acting, I’ll kill you.”

Incorporating storytelling into your mentalism routines can take some practice
and experimentation, but with time and effort, you can create performances that
are truly impactful and memorable. Remember to start with a strong narrative arc,
use vivid imagery, make it personal, use pacing and timing effectively and be
authentic.

If you’re into it, I’d recommend some podcasts to feel the impact of good stories.
Listen to Lore, by Aaron Mahnke and The Black Tapes, by Paul Bae e Terry Miles.
Yes, they might be a bit dark (I like dark) but they have excellent writing and
narrative.

Talking about podcasts, listen to Harapan Ong interview in Anson Chen's Magic
Talk - Story Structure, The No. 1 Conversation Killer. Very interesting things to
consider, namely the four act structure approach applied to magic. And since
you're there, listen to all of the other episodes.

On top of this, read Joseph Campbell and listen to whatever Alan Moore has to say
about stories and writing.

10
I hope these guidelines are helpful as you continue to hone your skills and improve
your mentalism performances. Embrace the power of storytelling and let it lead
you on a path of growth and discovery in your mentalism practice.

Best of luck to you on your journey.

Sincerely,
Lee Morgan Andrews

11
LETTER #3

ON SUITS, SARTORIAL AND THE

POWER OF STYLE
Dear Pearl,

Hope you're well. Always a pleasure to read from you.

Remind yourself that as a mentalist, you have a unique talent for captivating your
audience with your mind-boggling abilities. However, what many performers
overlook is the importance of dressing well. Dressing well not only makes you look
good, but it also enhances your overall performance.

When you take the stage, your appearance is the first thing that your audience
sees. And believe me, they'll have snap opinions, thoughts and considerations
about you. It's human nature. Dressing well sends a message that you are a
professional, that you take your craft seriously and that you respect your audience
enough to put your best foot forward.

In the words of Tom Ford, "Dressing well is a form of good manners." Dressing well
shows that you care about yourself, your craft and your audience. It is a subtle but
powerful way to communicate that you are in control and confident in your
abilities.

Dressing well can also help you feel more confident and at ease on stage. When
you feel good about your appearance, it shows in your performance. You exude
confidence, poise and grace, which can make all the difference in how your
audience perceives you and how you feel.

12
But dressing well doesn't have to be boring or stuffy. You can have fun with your
wardrobe and experiment with different styles and looks. After all, fashion is an
expression of your individuality and personality. "Clothes mean nothing until
someone lives in them", Marc Jacobs once said. So make your wardrobe your own,
and let your personality shine through in what you wear. Don't be afraid to take
risks, be bold and try something new. Talk to Elliot Terral from the Raconte
Boutique. He’s a brilliant consultant (and magician) that can help you to dress
smart.

Ultimately, the most important thing is that you feel comfortable and confident in
what you wear. So take the time to invest in your wardrobe, experiment with
different styles and have fun with your fashion choices.

Make the right choices, Pearl, and they will remember you.

Best,
Lee Morgan Andrews

13
LETTER #4

ON VULNERABILITY AND TRUTH

Dear Pearl,

Thank you again for reaching out.

Funny the questions you make about character. I have my take on this subject.
When I began my path it made sense to develop a sort of persona, a back story and
other artifices that, in my mind, would enhance my performance and how the
audience would perceived me. With very rare exceptions, this is a dry soil.

Many performers make the mistake of putting up a façade, presenting a carefully

crafted image of themselves to the world. They believe that this is what their
audience wants to see, that they must always be perfect, flawless and
untouchable. But this couldn't be further from the truth.

Authenticity is key to establishing a genuine connection with your audience. When

you are authentic, you allow your audience to see the real you, flaws and all. You
become relatable, approachable and trustworthy. Recalling Brené Brown's words:
"Vulnerability is the birthplace of connection and the path to the feeling of
worthiness."

One could think of Piff, The Magic Dragon and refute this idea. But the truth is that
the character emanated from a genuine discomfort John used to feel when
performing magic. He brought that feeling to life and, from a very truthful place,
created Piff. And although he's in a dubious dragon suit, he's authentic and
vulnerably human.

14
Vulnerability is in fact another crucial element of authentic performance. It
requires courage to let down your guard and reveal your true self to the audience.
But the rewards are immense. When you are vulnerable, you create a space for
your audience to connect with you on a deeper level. You show them that you are
human, just like them, and that you understand their struggles and fears.

There's a beautiful correlation between the origin of the french term "blessure"
(wound) and the word "blessing". May you have the courage to care for your
wounds, whatever they may be. If you find in your expression the way to transmute
your lead into gold, you've been blessed.

Being human on stage means embracing your imperfections and owning them. It
means acknowledging your mistakes, laughing at yourself and taking risks. It
means to fail, and learn from those failures.

Own your darkness and your light. Let them play on the same stage.

When you are authentic, vulnerable and human on stage, you create a bond with
your audience that goes beyond mere entertainment. You become a gentle guide,
a mentor and a friend. You inspire them to be their best selves, to embrace their
own vulnerabilities and to strive for excellence.

Be yourself, Pearl, and let your authenticity, vulnerability and humanity shine
through in everything you do.

Best regards,
Lee Morgan Andrews

15
LETTER #5

MENTORSHIP AND THE VOICE OF

OTHERS
Dear Pearl,

Thank you again for your letter. It took me some time to answer due to some
travelling in Europe. I’m glad you’ve been busy and are filled with enthusiasm in
creating your own stage show.

As you continue to grow and develop your skills, it's important to remember that
none of us achieves success alone. We all need guidance, support and mentoring
along the way. That's why I wanted to talk to you today about the importance of
having a mentor.

A mentor is someone who has walked the path before you, who has achieved the
kind of success you hope to achieve and who is willing to share their knowledge
and experience with you. Mentors can help you avoid common pitfalls, give you
insights into the industry and provide valuable feedback and guidance.

One of the most significant benefits of having a mentor is the opportunity to learn
from their mistakes. As Sir Isaac Newton famously said, "If I have seen further, it is
by standing on the shoulders of giants." Your mentor has already been through the
ups and downs and they can help you avoid costly mistakes and get ahead more
quickly.

But a mentor isn't just someone who gives you advice and helps you avoid pitfalls.
A mentor can also provide you with the emotional support and encouragement you
need to keep going when times get tough. They can be a sounding board for your
ideas and offer constructive feedback on your work.

16
The benefits of mentorship are clear, but finding the right mentor can be
challenging. You want to find someone who has experience and who is willing to
take the time to work with you and who you respect and admire.

One way to find a mentor is to attend workshops, conferences and events in the
art and entertainment world. This will give you the opportunity to network with
other creators and to meet potential mentors face-to-face.

Another way to find a mentor is to reach out to artists and creators whose work
you already admire and ask if they would be willing to work with you. Many
successful performers are happy to share their knowledge and experience with
the next generation . Be humble, grateful and kind.

In conclusion, find someone you respect, admire and trust, and be open to learn
from their experience and vision. Remember, none of us achieves success alone.

All the best,

Lee Morgan Andrews

17
LETTER #6

TEAM BUILDING BLOCKS

Dear Pearl,

I want to start by thanking you for your last letter. I apologise for the delay in my
reply, but I've been busy directing a theatre play that will debut in a couple of
weeks. It's been an exhilarating experience and it got me thinking about the
importance of working in a team and how this blends with our previous letter.

As I wrote, it's easy to fall into the trap of thinking that you can do everything on
your own. After all, mentalism tends to be a solitary art form. But the truth is,
working with other people is incredibly beneficial. When you collaborate with
others, you can learn from their unique perspectives and skills. We already talked
about the importance of a mentor but there are other roles to consider.

One important person to work with is a director. A director can help you fine-tune
your performances, bring a fresh perspective to your work and push you to reach
your full potential. There is an ancient proverb that says "Begin to weave and the
thread will be provided." A director can help you see new paths and opportunities
that you might have missed on your own. It's someone that puts you on your feet,
propelling you into action. The director can also be someone you trust and who's
opinion you value and respect.

But working in a team isn't just about finding a good director. It's about
collaborating with other people who have different areas of expertise. For
example, working with a sound engineer can help you create a more immersive and
resonant experience for your audience. Working with a marketing expert can help
you promote your shows more effectively. And working with other mentalists can
help you learn new perspectives and approaches.

The key is to be open to collaboration and to be willing to learn from others.

Remember, no one has all the answers and there is always something new to learn.

18
In conclusion, Pearl, I want to encourage you to embrace the power of teamwork.
Collaborating with others can help you learn new skills, gain new perspectives and
push yourself to new heights. Whether you're working with a director, a sound
engineer, a marketing expert or other mentalists, be open to collaboration and be
willing to learn from others.

Best regards,
Lee Morgan Andrews

19
LETTER #7

PUBLICITY AND NOTABILITY

Hello Pearl,

Thank you for your latest letter. Your questions about advertising and publicity are
indeed pertinent and I'm glad you brought them up. The truth is, in today's world,
the importance of advertising and publicity cannot be overstated. Whether we like
it or not, we live in a world that is heavily influenced by the media and if you want
to succeed as a mentalist, you need to learn how to use it to your advantage. But
again, it always depends on the goals one might have. There are great professional
performers that have very little publicity and build wonderful careers. But
considering your questions, let's dive in.

Fortunately, today's networking systems offer us a vast variety of creative

opportunities to get our message out there. Social media, for example, can be a
powerful tool for building a brand and promoting your work. By creating engaging
content and building a following on platforms like Instagram and TikTok, you can
connect with potential clients, build relationships with other performers and
showcase your talents to a wide audience. Learn the language of the platforms
you choose.

But while social media can be a great way to get started, it's important to
remember that it's just one piece of the puzzle. Traditional media outlets, like
newspapers, radio and TV, can also be incredibly useful when it comes to
promoting your work. The key is to be proactive and reach out to journalists,
bloggers and producers who might be interested in featuring you or your act.

Once you've got people's attention, you need to make sure that they remember
you for all the right reasons. That means delivering a top-notch performance,
developing a strong brand identity and building relationships with your audience.

20
Here are a few practical things you can do right away to start building your profile:

Create a website: This is your home base, where you can showcase your work, post
testimonials from satisfied clients and provide contact information for potential
clients. I'd recommend SquareSpace or Carrd. They have great templates and are
very user friendly.

Get professional photos and videos: These will be your calling card, so make sure
they look professional and show you in your best light.

Reach out to local media outlets: Local newspapers, radio stations and TV stations
are always looking for interesting stories, so why not pitch yourself?

Networking events: Attend local networking events to meet other performers,

event planners and potential clients. There are many entrepreneurship events that
promote networking and showcase. Some are dull but others are pretty great.
Look for them.

Remember, building a successful career as a mentalist takes time, patience and

hard work. But by taking advantage of the many opportunities that are available to
you and by being receptive and proactive, you'll be on the good path.

Best of luck,
Lee Morgan Andrews

21
LETTER #8

BRAND IT
Dear Pearl,

I'm glad to hear that my last letter was helpful in your journey. Over here all is well.
Got some time off and decided to stay for a few days in Sintra, Portugal. You
should come sometime, I'm sure you'll love it.

I have on my coffee table George Lois' Damn Good Advice Book. I forget how many
times I read this small volume. It made me take a few notes about branding that I'd
like to share with you.

First and foremost, let's define what branding is. It's not just a logo or a catchy
slogan. Your brand is your identity as a performer. It's what sets you apart from
others and what people think of when they hear your name. Branding is essential
because it helps you stand out in a crowded market and attracts the right
audience to your shows.

One practical piece of advice is to start with a clear and concise mission
statement. What do you want to accomplish as a mentalist? What kind of
experience do you want to offer your audience? Write it down and make sure it's
reflected in everything you do, from your website to your social media profiles.

Another important aspect of branding is consistency. Make sure your logo, colour
scheme and overall aesthetic are consistent across all your marketing materials.
This creates a strong visual identity that people can easily recognise and
remember.

But branding is not just about visuals. It's also about the way you communicate
and interact with your audience. Know your language. Your voice, pallet of words
and the stories you tell, all contribute to your brand. Make sure they all align with
your mission statement and are authentic to who you are as a performer.

22
Now, let's talk about networking. Yes, again! It's true that social media has opened
up a lot of opportunities for self-promotion. But it's not just about posting a lot of
content and hoping for the best. It's about building relationships with your
audience and other performers.

One practical piece of advice is to engage with your followers on social media.
Respond to comments and messages and ask for feedback. This creates a sense
of community around your brand and helps you understand what your audience
wants.

But don't just focus on online networking. Like I told you before, attend
conferences and conventions. Connect with other performers in person. You never
know where these connections might lead. But please do this from a genuine open
place. Value the connections for themselves.

To summarise, branding is about creating a strong identity that sets you apart
from other performers. It's about consistency, authenticity and communication.
And networking is about building relationships with your audience and other
performers, both online and offline.

So, take control of your brand and create the identity you want for yourself as a
performer.

Best regards,
Lee Morgan Andrews

23
LETTER #9

CLIENTS, MEETINGS AND

EXPECTATIONS
Dear Pearl,

It's always great to hear from you, and I'm excited to hear about your upcoming
event. I understand it's an important one for you. I'm sure you'll do great!
Remember: it's not about you! Relax, be professional and enjoy.

Speaking of the event, I know you'll soon be meeting with the client for the
briefing and I thought I'd share some tips on how to make the most of those
meetings.

First and foremost, it's essential to listen carefully to the client's needs and
expectations. Take notes and ask questions to clarify the requirements.
Remember, they are the ones who know their brand the best, so it's essential to
understand their vision and objectives.

Being flexible is another critical aspect of these meetings. Sometimes clients can
change their minds about certain aspects of the performance or require last-
minute adaptation due to unforeseen circumstances. Being open and willing to
adapt to these changes can go a long way in building a good relationship with the
client.

In these meetings, it's also important to be proactive and offer solutions. Don't be
afraid to share your ideas and suggestions. Use your expertise to guide and help
them achieve their goals, they'll thank you for that.

Finally, always follow up after the meeting with a summary email that outlines the
points discussed, the decisions made and the next steps.

24
Be attentive and make sure you understand what the client wants to achieve.
Remember, a successful meeting with a client might lead to more business in the
future.

And one more quick note: when you close an event with a client, provide a contract.
It's very important that all is clear, agreed and signed between the parties. No
loose ends.

Good luck with your meeting. I'm looking forward to hearing how it was.

Best regards,
Lee Morgan Andrews

25
LETTER #10

TO EDINBURGH WITH LOVE

Dear Pearl,

I'm thrilled to hear that you're interested in attending the Festival Fringe in
Edinburgh. It's an incredible experience and a fantastic opportunity to showcase
your work to a diverse and global audience.

Firstly, it's essential to plan ahead. The Fringe is a massive event and there's a lot
going on. It's crucial to decide on your show's venue, date and time well in advance
and to book your accommodation and travel arrangements. This way, you can
avoid any last-minute stress and focus on perfecting your show.

Secondly, you should be aware that the competition is fierce. There are thousands
of shows at the Fringe and it can be challenging to stand out. You need to make
sure that your performance is top-notch and that you're offering something unique
and exciting. Think outside the box and don't be afraid to take risks.

Thirdly, networking is crucial at the Fringe. It's an opportunity to meet and

collaborate with other performers and industry professionals. Attend events and
shows, introduce yourself and don't be afraid to strike up a conversation. You
never know who you might meet or what opportunities may arise.

Finally, make the most of your time in Edinburgh. It's a beautiful and vibrant city,
and there's so much to see and do outside of the Fringe. Take some time to explore
the city, visit the museums, galleries, historic sites and immerse yourself in the
local culture. Also, take the opportunity to watch Colin Cloud live and also Pete
Firman. They are phenomenal.

26
With hard work, preparation and a little bit of luck, you're sure to have an
unforgettable experience at the Festival Fringe in Edinburgh.

I'd also recommend you to watch two documentaries about two amazing
performers that played the Fringe - Eddie Izzard and Tim Minchin. The
documentaries are Believe and Rock n' Roll Nerd respectively.

Warm regards,
Lee

27
LETTER #11

SOUNDS, LIGHTS AND THE ONES

THAT MAKE YOU LOOK GOOD
Dear Pearl,

I hope this letter finds you well. I wanted to touch on a topic that is often
overlooked but can make a significant difference in a performer's career: the
relationship with the technical staff.

I cannot stress enough the importance of treating everyone involved in a show

with kindness and respect, from the sound person to the lighting technician, from
the stagehands to the person who cleans your dressing room. These individuals
are the backbone of any production and can have a significant impact on the
success of your performance.

It may seem obvious, but it's essential to take the time to remember people's
names and show an interest in their work. A small gesture like this can go a long
way in creating a positive working environment and building strong relationships.

Not only is it the right thing to do, but it can also benefit your performance.
Technical staff members are often the first to arrive and the last to leave, and they
have unique insights into the workings of the venue. Building a rapport with them
can provide you with valuable information and perspectives that can benefit your
show and make for a more seamless production.

Furthermore, technical issues can and will arise during performances and having a
good relationship with the technical staff can make all the difference in resolving
any issues quickly and efficiently.

28
Taking the time to build positive relationships with everyone involved in a
performance can create a more pleasant and successful experience for all
involved.

I hope you find this advice helpful and I wish you all the best in your upcoming
shows.

Best,
Lee Morgan Andrews

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LETTER #12

THE ART OF FAILURE

Hi Pearl,

I received your message and felt a wave of compassion and understanding. It is

never easy to perform when things don't go as planned and the sensation of
disappointment and frustration can be overwhelming. Yet, dear Pearl, I invite you
to see this experience from a different perspective.

Remember that failure is a necessary step in the journey towards excellence. It is

in those moments of vulnerability that we often find our strength and growth as
individuals and performers. The road to success is often paved with obstacles and
it is precisely in those experiences when we stumble that we learn to stand again.

I want you to know that you are not alone in this experience. We all go through
periods of uncertainty and insecurity. It is crucial to remember that those
moments don't define us. On the contrary, they offer us the opportunity to reflect
and grow.

Dear Pearl, please don't be too hard on yourself. Take some time to rest, meditate
and regain your energy. Remember that you are a talented performer and that
your art has the power to touch and inspire others.

As Rainer Maria Rilke wrote: "Let everything happen to you: beauty and terror. Just
keep going. No feeling is final." This is a powerful reminder that everything is
temporary and that every experience has something to teach us.

30
So, take this experience as a fruitful lesson and allow it to fuel your growth and
development as a performer.

Remember that every challenge offers us an opportunity to learn and that every
failure is a stepping stone towards success. In the words of Henry Ford: "failure is
simply the opportunity to begin again, this time more intelligently."

Take care and know that I am here for you.

With warmth and admiration,

Lee Morgan Andrews

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LETTER #13

TAROT ATOR ROTA ORAT

Dear Pearl,

I hope this letter finds you well. I was thrilled to receive your last letter, and I
appreciate the time you took to share your thoughts with me. It was also
thoughtful of you to send me a signed copy of Flim Flam. It's one of my favourite
books, and I'm glad to have it (again) on my bookshelf.

I was particularly intrigued by your interest in readings, particularly tarot. While I

can certainly understand the appeal of this field, I would caution you to only
pursue it if you have a genuine interest in it. Too often, mentalists learn cold
reading scripts to get hits and reveal information, making the experience about
themselves rather than the person they are reading. The tarot can indeed be a
beautiful and profound exploration. Just make sure the endeavours come from a
place of curiosity and openness.

If you do decide to explore this path, I would encourage you to read good books on
the matter, maybe even some with a Jungian approach to themes such as
archetypes and synchronicity. However, I must remind you that an honest
approach to such matters as readings must have a backbone in integrity and
humanity. People often turn to readings for guidance and clarity, and it's
important to approach these matters with sincerity and respect.

Concerning specifically tarot, I recently came across the work of Stav Appel and
his project The Torah in the Tarot. I highly recommend this. Not only does Appel
open the windows through which a refreshing breeze comes through but also does
it with great mastery and wisdom.

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In pursuing this path, please do consider the work of the one and only Enrique
Enriquez. Consume all of it. He's a wizard in the flesh. Along with his books, also
watch the documentary Tarology: The Art Of Tarot. Now that I talk about Enrique,
listen to what John Wilson and Jared Kopf have to say about the tarot. And to
conclude the name dropping, read and listen to Luke Jermay's brilliant takes and
insights within the theme of Tarot. It's truly inspiring.

If tarot is something that really interests you, consider actually attending tarot
readings. Notice how you feel, what you like and what you don't. Stay curious
about it. Oh, there's a nice app called Golden Thread Tarot. Try it out. It may inspire
you in new ways.

Like I said, it's crucial to have a genuine interest in the subject and to approach it
with humility and respect. One thing that has served me well throughout my career
is my love of science and my commitment to staying informed about scientific
matters. It was precisely the study of sciences that led me to dig into old alchemy
books and dive in that enriched language. Read, learn, experiment and let yourself
immerse in matters you love.

Scepticism is a valid viewpoint, but it's crucial to avoid letting it turn into cynicism.
We must remain curious and open-minded, always eager to learn and explore new
ideas. By staying grounded in science and focusing on the human aspect of our
work, we can ensure that our performances are meaningful and honest.

Thank you again for your thoughtful letter, Pearl. I look forward to hearing from
you again soon and wish you all the best in your journey.

Warm regards,
Lee Morgan Andrews

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LETTER #14

SCRIPT AND THE DAILY PRACTICE

OF PUTTING SYMBOLS ON PAPER
Dear Pearl,

I was delighted to hear about your progress on your full evening show! Writing a
script is a daunting task, but with the right mindset and approach, it can be an
incredibly rewarding experience. Here are a few pieces of advice that I hope will
help you along the way:

Start with the concept: A good script starts with a concept that can be easily
conveyed to your audience. It should be clear, concise and intriguing enough to
keep them engaged throughout the show. Don't be afraid to take risks and try
something new – your concept should be something that excites you.

Focus on story: At its core, mentalism is storytelling. Whether you're performing a

single effect or an entire show, you're telling a story to your audience. Make sure
your script is structured around a clear narrative arc that keeps your audience
engaged and invested in what's happening. Let the story live by itself, even
without the trick. I know this isn't always possible but it's worth the challenge.

Elaborate the Story World: I use Pinterest for this. Basically you'll progressively
create the visuals of your story. Many of the things don't even have to integrate
the story directly. Some might raise sensations that you associate with elements
of your story, while others offer an inspiring visual aesthetics. When you look at
the images you get something that transcends verbal language, you tap the
feeling of the story. Use music too. Audionetwork is a great platform for finding
specific moods and genres.

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There's a wonderful quote by Jorge Luis Borges, whose work I admire deeply. He
says: "The task of art is to transform what is continuously happening to us, to
transform all these things into symbols, into music, into something which can last
in memory. That is our duty. If we don't fulfil it, we feel unhappy. A writer or any
artist has the sometimes joyful duty to transform all that into symbols." Great,
isn't it? The most powerful performances come from a place of truth, where the
performer is willing to share a part of themselves with their audience. Don't be
afraid to be honest and vulnerable in your script – it will only make your
performance stronger.

Your script should reflect your own unique perspective and voice. Write about
things that you care deeply about and your passion will come through in your
performance. I highly recommend you to watch Alan Moore's online masterclass.
It's a real treat and I'm sure it will inspire you too.

Finally, remember that the key to good storytelling is not only in the words you
choose, but also in how you choose to present them. The way you deliver your
lines, your pacing and your gestures all contribute to the story you're telling on
stage. Listen to Michael Meade and his Living Myth Podcast. The way Meade tells
stories with the drumming is a magical experience.

I hope these tips will be helpful as you continue to work on your script. Remember,
the most important thing is to stay true to yourself and your vision. Stay curious,
stay dedicated.

Warmest regards,
Lee Morgan Andrews

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LETTER #15

CREATIVITY, DEADLINES AND THE

BENEFIT OF LIMITS
Dear Pearl,

I hope this letter finds you well.

Fear not the struggling you're feeling in moving forward with your script. Relax. I
know how frustrating it can be when creativity seems to stall.

Firstly, let me reassure you that this is a normal part of the creative process. Most
of us go through periods of feeling stuck or blocked and it's important to be
patient with yourself during these times. Creativity is not always a linear process,
and often requires periods of rest and incubation.

One thing that may help is to find moments of solitude, where you can disconnect
from distractions and allow your mind to wander freely. Take a walk in nature or
spend some time meditating. Sometimes the best ideas come when we allow
ourselves to simply be still and listen.

Another thing to consider is the importance of setting limits. It may sound counter-
intuitive, but having constraints can actually be a powerful tool for unlocking
creativity. Think about the way a painter works within the boundaries of the
canvas or a musician within the limitations of a particular instrument. Setting
limits can help to focus your ideas and give you a clear starting point.

36
One of the roles of the artist is to bring to light what is hidden beneath the surface
of the world. Sometimes one might get tired of digging up but believe me, there's
always gold to be found.

Also, look at creativity as potentially related to your inflow. We're constantly

bombarded by information. But we do have a choice. We must become rigorous
when it comes to negotiate our attention. Read The Creative Act, by Rick Rubin.
May we remember to guide ourselves towards wonder and away from numbness.

Have fun with the whole thing. No child suffers from "creativity block". These
words tend to become believed realities within our minds. We tend to jump to
quick conclusions of things. Not knowing what to write in a specific moment is not
synonym to having a block of some sort. It's all part of the same process. Let
everything come to your perception. Play with it all.

There's one hack that usually works very well with me - setting a deadline. A
deadline is also a form of limit. As Charlie Gilmour writes in his brilliant book
Featherhood: "Nothing but a deadline to put fire on your fingertips."

So, my advice to you is to keep at it, Pearl. Trust in your own process and creativity,
and don't be afraid to experiment and try new things. Remember that the power of
storytelling lies in its ability to reveal the hidden truths of our world and to
connect us with one another in deeper, more meaningful ways.

Best of luck with your script and keep me posted on how things are going!

Warmly,
Lee Morgan Andrews

37
LETTER #16

FINDING VOICES OF TRUTH

Dear Pearl,

I hope this letter finds you well. I wanted to take this opportunity to talk about
something that I think is incredibly important for every performer, especially in the
field of mentalism: developing a unique performing style and finding your own
voice. I say specially in mentalism because it seems to be populated with
sameness when it comes to performing styles, themes... even props. Paraphrasing
Luke Jermay, when everybody turns in a certain direction, go the opposite way.

Mentalism is a field with a long and rich history, and as such, it can be difficult to
find your own unique voice and approach. It's important to study the greats and
learn from their ideas and approaches but, ultimately, you need to find what works
for you and your audience. This takes time, failure and patience.

One of the most important things to keep in mind is that your performing style
should be a reflection of who you are as a person. Don't try to be someone else or
emulate someone else's style. Although this might be true when one begins to give
the first steps in any art form, always check the compass of being true to yourself
and your own unique personality. Embrace your quirks and idiosyncrasies, and let
them shine through in your performances. Otherwise, one is very likely to become
"similar to... but not so good as..."

If you have people that inspire you, look for who inspired them. It's likely you'll
bring your unique perspective and from there something new might emerge. Go to
art galleries, attend lectures of things you know little about and listen to what
truly resonates within you.

38
Another important aspect of developing a voice is finding your own way of
delivering your material. This includes your pacing, your rhythm, your timing and
your language. Pay attention to how you naturally speak and communicate with
others and try to incorporate that into your performances. Don't try to sound like
anyone else or use language that doesn't come naturally to you.

It's also important to remember that finding your own voice is a process. It takes
time and experimentation to find what works best for you and your audience. Like I
said in the previous letter, don't be afraid to try new things, take risks and make
mistakes. Each performance is an opportunity to learn and grow.

I hope this letter has provided some insights and food for thought as you continue
to develop your own voice. Remember, the most important thing is to stay true to
yourself and your own unique personality. Keep experimenting, keep learning and
most importantly, keep having fun. This is a wonderful ride.

Sincerely,
Lee Morgan Andrews

39
LETTER #17

IN DEFENSE OF SECRETS
Dear Pearl,

I hope this letter finds you well. I've been thinking a lot about our last conversation
regarding the exposure of methods through social media. It's a valid concern, and
one that many of us share.

There's something truly beautiful about keeping secrets. Secrets hold a certain
power, a certain allure that can't be replicated by the click of a button.

Think about it, Pearl. The moments in life that hold the most magic are often the
ones that are shrouded in secrecy. The first kiss shared between two people, the
surprise party planned for a loved one, the child that finds a treasure. These
moments are made all the more special because they're kept secret. They're
shared only between a select few, and in doing so, they become something full of
meaning.

In Anne Dufourmentelle's book In Defense of Secrets, she speaks of this power.

Keeping a secret is to keep alive that which is invisible, intangible, that which
cannot be verified or measured. This is not be the secret itself, it's what charges
the nature of the secret and its keeper. In this sense, secret is very close to
mystery. But they are not the same. Remembering Neil Gaiman's The Sandman
#40, "(...) it's the mystery that endures. Not the explanation."

There's something truly powerful in the act of keeping a secret. It's an act of trust,
of intimacy, of vulnerability. When we share a secret with someone, we're allowing
them to see a part of us that's often kept hidden. It's a beautiful act and one that
shouldn't be taken for granted.

40
As performers, we hold many secrets. We spend countless hours perfecting our
craft, honing our skills and discovering new ways to amaze and move our
audiences. They're what allow us to create moments of true magic for those who
witness our performances.

So, Pearl, may we not lose sight of the beauty of secrets. While the world may be
obsessed with instant gratification and the quick dissemination of information, we
can hold onto something more profound. We can hold onto the power of secrets, of
creating moments of true magic and of sharing them with those who truly
appreciate their beauty. Remembering what Michael Weber said, we keep secrets
for them.

Let's not forget the power of secrets and the beauty they hold.

With warm regards,

Lee Morgan Andrews

41
LETTER #18

A JOURNEY OF ECHOES
Dear Pearl,

It's been a while since I last wrote to you, but I'm glad to have this opportunity to
share some thoughts with you once again. Today, I'd like to remind you of the
importance of studying the classics.

We live in a world that's constantly moving forward, with new technologies and
trends emerging all the time. It's easy to get swept up in the excitement of the
new and forget about the old. But as a mentalist and performer, it's essential that
you take the time to explore the roots of our craft.

Studying the classics doesn't mean living in the past, it means understanding
where we came from and how we got to where we are today. It's about paying
homage to the greats who came before us and acknowledging the debt we owe to
their innovations and contributions.

For me, studying the classics has been a source of inspiration and creativity. I
remember when I was a child, I couldn't afford to buy fancy magic props, but I
would spend hours reading old magic catalogues, imagining the effects I could
create with just a few simple items. It was through this process of exploration and
experimentation that I found my own unique methods and approach to magic.
Going through old magic catalogues is something I love to this day.

The practice of intentional time travel is a powerful source of creativity. Reading

the classics can also help us put our own work in a bigger context. We can see how
certain effects and techniques have evolved over time, and we can gain a deeper
appreciation for the artistry and skill that goes into creating a truly memorable
performance.

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I encourage you to take the time to explore the classics of mentalism and magic.
Yes, dive into the works of Annemann and Corinda. Open The Jinx at random and
read. Study the great performers of the past. And most importantly, let their work
inspire you to find your cosmic place in this perfect constellation.

All the best... or, as Cassidy would say,

Good Thoughts.
Lee

43
LETTER #19

THE LIGHT WITHIN

Dear Pearl,

Thank you for your letter. I've been thinking about you, your journey and the
concerns you manifested. I know it's not always easy to balance the demands of
this idiosyncratic life with taking care of yourself, both mentally and physically.
But it's so important.

Performing is a beautiful thing, but it can also be a lonely and challenging

experience. It's easy to lose sight of yourself and your well-being when you're
constantly on the go, striving for the next big performance or opportunity. But
Pearl, you are the most important part of your art. Without taking care of yourself,
your performance will suffer.

I know it can be hard to prioritise self-care when there are so many other things
vying for your attention. But just as you take the time to practice your art and hone
your skills, you must also take the time to care for your mind and body. This can
mean different things for different people, but it might involve setting boundaries,
saying no to opportunities that don't align with your values or goals, seeking out
therapy or counselling, engaging in physical exercise or meditation, or simply
taking a break and allowing yourself to rest and recharge.

Remember that you are not alone in this journey. We all struggle with the same
challenges and doubts, and it's okay to ask for help or support when you need it.
Reach out to friends, family or other performers who understand the unique
challenges of this life. And always be kind and patient with yourself, even on the
toughest days.

44
In the words of Rumi, "The wound is the place where the light enters you." Your
struggles and challenges as a performer are a part of your journey, but they do not
define you. Allow them to shape you and teach you, but never forget that you are
so much more than your art.

So, Pearl, take care of yourself. Prioritise your mental health and well-being. And
know that you are loved and valued, not just for your performances, but for the
wonderful human being that you are.

With love and admiration,

Lee

45
LETTER #20

OF NAPS, DREAMS AND

ALTERNATIVES TO WORK
Dear Pearl,

It was great to hear back from you and read your latest letter. Your kind words and
enthusiasm mean a lot to me. I hope that the advice and insights that I’ve shared
with you so far have been helpful.

Today I want to talk to you about productivity in the creative arts, and how it can
be challenging to stay productive and proactive in a field that requires constant
innovation and inspiration. As a performer, you must always be thinking of new
ideas and developing new approaches, plots and it can be difficult to stay
motivated when you hit creative roadblocks.

For me, the key to productivity is a combination of structure and variety. I make
sure to have a clear schedule and plan out my tasks for the day, but I also leave
room for flexibility and spontaneity. I take great pleasure in long walks and
drawing. I also use some strategies that I'm very fond of, namely two apps that I
use almost every single day - Blinkist and Audible. The first summarises non-fiction
books into bite-sized pieces that can be read or listened to in just a few minutes,
while the latter allows me to listen to audiobooks and pretty good podcasts during
my commute or while I'm exercising. Concerning Audible Podcasts, I recommend
Derren Brown's Boot Camp For The Brain and Boot Camp For Life and, of course,
anything by Stephen Fry.

It's also important to take breaks and step away from work when you need to.
Sometimes the best ideas come when you're not actively trying to think of them.
I'm an active dreamer, so naps are a go-to choice for me. It's not uncommon to
have ideas pop into a dream. But, most of the times, my dreams are a non sequitur
manifesto.

46
By giving your mind time to rest and recharge, you're actually able to come back to
your work with fresh energy and focus. Additionally, taking breaks can help to
prevent mental fatigue, which can lead to lack of focus and a decrease in the
quality of work.

In short, productivity and rest go hand in hand. By finding a balance between the
two, you can ensure that you're able to produce high-quality work consistently
while also maintaining your mental health and well-being.

I hope this letter provides some useful insights for you, Pearl. If it didn't, take a nap
and return to it later.

Your friend,
Lee

47
LETTER #21

THE WORDSMITH'S PUSH-UPS

Dear Pearl,

I hope this letter finds you well and happy. I've been thinking a lot about our
conversation around creativity and how we can cultivate it in our daily lives. As
performers we rely on our imaginations to create new effects and experiences for
our audiences. But sometimes, it can be challenging to come up with fresh ideas
and push past creative blocks.

That's why I wanted to challenge you to take on some writing exercises. Writing
can be a fantastic way to spark creativity and explore new ideas. It doesn't matter
if one doesn't feel a natural writer - the act of putting words down on paper can be
incredibly freeing and can help you think differently about your work and your
approach to things.

I can give you some of my creative practices. Maybe you'll find them interesting. A
couple of years ago, I worked on a podcast focused solely on "procedure magic."
This was a genre I tended to shy away from. In my mind, the effects were not that
strong and a simple repetition of the trick gave the method away. I couldn't be
further from the truth. I found great pleasure in learning many of these tricks and
plots. Jim Steinmeyer's Impuzzibilities series became my favourite books - a true
delight -, not to mention Max Maven's colossal work on the subject. My premise for
this writing exercise took place during lockdown. When Zoom shows where sparse,
I remember thinking to my self: "What if interactive procedure magic becomes our
only option?" This was how I wrote this podcast. I imagined a radio show that in
each episode presented one of these tricks in a fun way. Created a simple story
world, a formula for each episode and, of course, a deadline.

It's beneficial to work in simple and short writing exercises. Short stories, poems
or even letters to imaginary pupils.

48
I'll probably never perform the podcast material in my professional repertoire but
the whole point was the exercise itself. Recently I found myself writing for Val
Evans' Optogramma trick, also known as The Crazy Compass. I even got a wooden
handmade one, which has been a joy to experiment with. Finding myself going
back to old tricks I never thought of performing and bringing them to life by
creating a compelling story and a renewed language is a practice that benefits
greatly my creative endeavours. I'm sure this will help you too.

Exploring different avenues, even ones that may not seem directly related to
mentalism, can lead to incredible insights and inspiration. As Michael Weber says,
"use the whole buffalo" - meaning, explore every aspect of a topic to get the most
out of it. There's probably something new waiting to be discovered and that was
not yet considered.

So, my dear Pearl, I encourage you to take on some writing exercises and explore
different ideas and angles. Who knows what kind of new effects and experiences
we can create when we approach our art from a variety of perspectives.

Always wishing you the best,

Lee Morgan Andrews

49
LETTER #22

A RECIPE FOR KINDNESS AND

GROWTH
Dear Pearl,

I hope you're good. Thank you for the last updates and I'm sorry for the late reply.
As I sat down to write this, the matter of this letter has shifted to another
direction. I find it very beautiful and powerful this sharing of ours. So, I wanted to
take some time to talk to you about the importance of sharing in order to grow.

As performers, we often feel a need to protect our secrets and methods, maybe
fearing that someone may take them and use them for their own gain. While it is
understandable to have these concerns, it is important to remember that sharing
our knowledge and experiences with others can actually benefit us in the long run.
When we share what we know with others, we not only help them to grow, but we
also open ourselves up to new perspectives and insights. Collaboration and
communication are key to growth and progress in any field.

In my own experience, I have found that sharing my knowledge and experiences

with others has allowed me to learn even more from them. Whether it's through
workshops, lectures or simply informal conversations with fellow performers, I
have always gained valuable insights and ideas from others. I feel we should be
grateful for this.

I also believe that sharing helps to build a stronger community. When we work
together and support each other, we create a culture of growth and innovation.
This sense of community can be incredibly rewarding and motivating. But trust me,
this works better in small groups than in large tribes.

Of course, it's important to be selective in what we share and with whom we share
it. We still have secrets to protect, but we can do so while still being open to
sharing our knowledge and experiences.

50
In conclusion, I encourage you to embrace the idea of sharing as a means of
growth and progress in your mentalism journey. Reach out to others, attend
workshops and lectures and be open to collaboration. You never know what you
may learn or who you may meet along the way. And always, always be kind.

Thank you for taking the time to read my letter.

I look forward to hearing from you soon.

Your friend,
Lee Morgan Andrews

51