Advance Praise for Darwin Ortiz’ STRONG MAGIC ‘Juan Tamariz Saye remely clear, ie meaty, its ure. And its also, clearly, David Williamson Says A wonder, wonderful boo filled with practical advice. Tt shoal be every serious elos-up worker’ net purchast” Paul Gertner Says “A thought-provoking analysis ofthe performance Darwin’ suggestions into my presentations rad them. Highly recommended t0 the se close-up magi." David Roth Says “A truly wonderful book about the technique of presentatio Fitting sequel tothe Mashelyne and Devant classic Our Ni very magician should read t.” “Michael Skinner s ‘Dorewin Ortiz, one of my fa ‘gain. This time he has captured th showmanship for magicians ‘John Carney "At Test, an open and frank diss loseaup magic, Seraus close-up pur Bob *F found your book fos useful. far rat times more effect Kaufman and Company ZLLO NIM Creative Showmanship Zor I'he Close-Up MagiciaSTRONG MAGIC DARWIN ORTIZ er Kaufman and Company_Contents _ eword (Juan Tamariz) Showmanship As prologue: A Little Theory 1, Magic as Myste Memorable Magi ‘Magical Experien ‘The Challenge Attitude The Puzzle Mentality The Ision of Impossiblit ing the Emotion Emotional Belief Part One: The Effect er One: Clarity. Easing the Audience's Burd Clarifying Techni Chapter Two: Conviction 1, The Dynamies of Convieti The Bxposita De Co Emotional Meme Deteriorating Conviction. 2. Condition: Identifying Important Conditions. The Must-Believe Test ‘The No-Contact Con Dramatizing Conditions 30 30ae Tee pan = Shapes Pour Sabet ang te a ‘ fre Chapter Foe Siatona cong Mags Happening to Specn Chapter Six: Dramatic Sir L Interest Catchers nruetere Intriguing Statement ‘The Intriguing Question ‘The Spectator Question 12 131 12, 135 rhe Inverted Question ving PF the Inti rin Ete Aca Progression $ Surprie and Suspense Kicker Bane How Much Sorpa B. Suspense Cone Unceetan Milking Suspe ‘Combining Suspense Hlome 4.Tho Climax Bad on the Climax +: Two: The Character Chapter Seven: The Functions Of Character Character v icietars Chapter Eight: Creating The Character Why You Need a Characte The Character Profil Reconciling Character and Daily Lf Chapter Nine: Conveying The Character What You Wear What You Say Waat You D What You Use Exeraises 215 a7 a7 205 200 2a 2 a5 26 a 24 250 254Teer og tn audinne Parca Pedic 280% ond At ia era four Se Senet Eee tie Si 2 3s Seventeen immediacy : raneed Remon Part Three: The Act ieee Chapter leven Structure : seal Meaning fe Ove Speer ightent Attention Contra rae Stepping the How Their eats Gaal Grapter cise: ny Te onal Madcon, There. aeoter Nineteen Audlencea : Meat inset ore Ghepter Tirteon: Variety fe Tene haga 4 Prope. Chapter Toni: Aasitants = Tromso The importance of Auta 7 Chapter Fourteen The informal Performance Gualce ofr Good Accuant i eer m0 Part Four: The Audience Wie Chose? st Ieee Asc a Chapter Fifteen: Audience Testing aa Gating them Up 383 Magee pod Caeenas Salty i Chapter Tien y- Ona: Hechler am i The Bnd Leaing te lin Bh Tho Pascology of Hclding oe Conner Sse a Tiartng 338 Feedback ae Challenging a Dering a Grating ma Perrin perience a The Challnge Alva = Chapter Sixteen: The Time Element. a Interrupting 7 Timing er i ta Getting Nate i“ What img a Chapter Twenty Tio! The Unexpected nm i Timing in Sleighi of Hand 300 Practice and Reheareal a ‘Timing in Mieiretion a4 Serow-Upe. i ‘Timing in Pater _ Deirete ny Learning Timing 5 Unforeseen Distractions ! 2 Pacing. ee mt a ‘What i Pacing? 4 Sipe te sa! 1 With Pee I pendix One: Darwin's La a 306, 76 Re Appendix Two: Glossary A‘AHand of Cards-A Game-A Book (Juan Tamariz) Darwin gins the game by deshing himself a peracular per hand fr ace: tho Argentincen René Lavendy tbe tag the American Tex Avery, and the § hn Aled that he and rave, fantary, fm, magi om Now Derwin checke and recheeks his winning card He why tispisnn, as aT 2a prafount student and sendonse (eemembar The Ano od), out trloas aod ei aA ff everything dealing with the arab what a peal Iirary be had, a8 an intere ve ‘allen Tate) as an analytic ad neaparinsod dexremel In thin way he mannges to ttack the game from the most diese goat of view, discovering winning strategies for understanding Bom The hands, because of their quantity, acem overwhelming (wba da alt ie csucmely dear We aon, oli in ee at Jt makes you think, It enrich : human being), Ie pushes you to wager (and bes or ab ryIntroduction Showmanship As TechniqueIn thie eonen, this book ie analogous t technique, fim techni if you want to paint, you had better understand ective and composition, In film, © lap. diseolve wi nee, a tatch dissolve will have anothe tI youre going to to decide which one to use when. It's the came with magic," witha brief ducusion of theory” duet hoep in tind tones ely to extabish a foundation for tnderstanding what the ot in diferent tuations to affect th co the way on fect them, Once you understand what theee toe ae age how they work, and how to apply them, itl be your jok see de which ones tos for which obe ; ed, youl find there will be situations wh I ae ognized and valued as creativity in devising s and methods. mainly for other magicians, Magician cea are, of couse, that sat least ab rewarding Prolegue 1. Magic As Mystery sas Frost, The Lise eth Conjure Entertainment is broader than amusement. Shakespeare Cala Memorable Magic Witnessing a close-up magie performance can be an experiences literally remember it forthe ret ‘he Have oa thei you You memorable thatthe isle Ifyou think thats a idiulous ea ‘ver been at a social gathering where people I ‘magician, sand immediately up to you a Sid Ihen fellows a iti ome rape et— purrs ht pron hes hme be nea te Peete seeTtuat dhe moment be heard the word “magi terrence popped ints his etd ond he wan impelled to tant Whoever {pick up deck of eardo to perfor, my goal i o ag sucha rong impreaon on each epetstor that whenever the gaint ot card ticks or earl cheating somes up in the firey any tne be ses n deck of atures ll think of me Ast ly what will happen, 7 Telicvecrery chae-op agian should ot similar goal for : stale to do that, you have io fecue on neking your magic an ni Ink, the most basi one it thie: The Tagician’s primary jb ig rian hie autienoe with magic, Not merely to enicrtain be sion while ding mass, bit to entertain them with mage The afentetainimen!ehould be the mage itzelfean be entertaining laypeople, They fel that, in order tao hae audienav's attention, they have lar their performances tn joes that would shames any Borseht-Beit ome. They Cink by iis" as to moana steing of lightweight tan send enetrieks velbing on cateneas rather then myster Jueiffing tei existenc boone they ect a momentary child fae) fo the spar. The res ns performance that te He Metching old TV reruns of The Dukes of Hasand entersinnent dh murmentaiy divert ae bute forgotten almoet the The Magical Experience Hof marie reule from what call “Pte his ort of fallacy,” the bo inherent “entertainment value. In Dari! Ptakees pe ‘magic entertaining ist pti fore slant mg agree ta, ome. 3 voto magar-ctt inorder to get the audit? 4 done vant yon to thik Fen wean ih omg it apple age verbrmance Bat thoy I eo nie ecey oe hin eal there ie to maleing nasi ‘ternining overlon the mocks pert eee et oly on neg ole by making the mais ee ‘nce you accept the precise that enterslie tie gam cass rior. youll find it bes some Imporant fpeatons: cant mena that you bara your cain og fomeds, storytelling, usc of other el ieee Teo mean that your fet port e making Your mse neers dt memorable ae poetble. Iv mesne thst you ae eleacte Hee emedy primily fo ake your mais stronger. 1 gag seengthees hw rng, ic goes in if oe wealens the magi t fos You must never lose sight of your primary gue: to make your Ie aa unique ability to make @ spectator confront the impossible, imokav awrtainment, this teing—the omg mont unig, but also th ston affecting the audiences lat of The Challenge Attitude ‘Thore are many people in this worl! who fate bad make ane them) But ther are alo eon people wo hat good magi: Magi ther, mene that if you fool them they Tove and yo WiCt mere concerns theft that virtually any au See areet hm Dre sa “ae cena made eer that th esa jc ne Seay be your alicdin icky thom. nih Dine = ae ictal enly hops that nex would'win alte mata 2 ea i allege approach ie hat lice Sadan very thee Syd eed cs for cullenge in geod magic. The performers i tr le fr dlenge i ged te. pete ly se Breyten 3 win-lve made ce La tnt depended gs eating nature of challenge met are nan tnpoouig. I mare Hay to ith head-on. The problem dary Bgures in mags ave used the : to tho pursle mentality well be bat the sala iow theve i oe, Magic em the other cauee eee octal make any sone: to ellen sway with i he aiions to fi cher magicians Soe wed fe ht se a ens whos : Ri running © store. If you histo wel-knowa to mg re = fe puis Youll call ature of his werk forte arr 1 on ‘sich, en fester hata "ner! There, ts ee eaieerne ing an effet under challengefrplanaton wad they finaly have The Puzzle Mentality = slving i: the at magic near coe aa meee3. Narrative Art i or forma ie pining, sap Intellectual Vs. Emotional Belieg ike an imposible os dora audience be ial bli. Te Boe sco tne exeras of renting the nose a a a rninPart One The EffectCHAPTER ONE _ CLARITY mportant, 1c The Goal OF Clarity ten aid that confusion is not hat confusion i tho antithess of magic Om 8 i the habit mi thr pater that they will do this of hat "to farther confen the Seve? I ued to think that perhaps T was overrnsig to neat all only a minor verbal infelicity. However, I felt vindiealed hen one day in'n convareation ni The patter ln itself i no satelite tet a not important, but the me Sues erect this spe point At the end ef meer om ful Rect arb ou a they atte He sbchutely clear on what just happened. Oniy then ta hes rally appreciate that what ust agrees en ea Moch has been said about 1 ire ae i Waneagmd SU the desirability of performing ea othe facoe What i enly exces Sout, eperament than 2 ward. Which type he met Fundamental essential conering oth audience lee pt? ajo of the confusion between simplicyand clarity tame that por id provera! ay sevntinn Sing ts ap ese ot ee cat ora a eee elt ose be oprled Oxtetares at eee Batre nfl enn be arin your ena mind ith oe ‘hay become ao faninated withthe dstall cf an eer ane {Bo ists ad turns, the indiidualphases—they never ep hak ad nce heard ane of our mort legendary carmen desaibe snatr of Zar most legendary cardmen by saying “He i «gre gla, srt docan't Know what an fc” dain from the Marae of Zoveup magic, many magicians don know what en fet hia sarcuarly evident in sme ofthe effects that have rented fem the ‘Rirentcondency toward combining dierent pl a tao lee ilfeest effect. Tm not crtcising tie trend since ita ysl in fone tery ctrong mani. However an ih oo mtiakingly, the fostlts can be damal. Some ticks af Uh ind oe fos reall the Praukenstsn monster, a grotesque creature mide up ‘pare from diferent bodies sewn topether ‘As Gist step towand achieving clanty i your magic. I rosommend the flowing extremely effective exercise. Briefly summarae every tee Sn your repertoire, Don't jut think about thi, Actually get 2 pikce of paper an a pon, Have your repertoire xt at hand. Now wat f summary of each effet in thee sentence or Tes. Once youve fnahed perform each effect, chen look atthe summary ox wzcle You may want to revie itor alter itn some way. Keep working 00 hese aummarios until. youre. completly satinfied that. youve apturu the eagence ef each tik na couple of setsnoes ‘Once you've finalized your summaries, youre now ready to work ‘omrunicating your concept of each effect to your audiences, Dont think this wil happen stomatically The moet extreme example lever enoountered of a macnn fing envy hie onzept of the ees to he aionceogcured many Ye Sto when T waa frst geting into earows card magic. I met another 0ety lit of ha sing ff athe deck en led since Tht no dea os the wonder! How did you ect m sii gs in colar canny sacar eee Interpretation Selection ey Sl cl ee is important, they will believe st important If you pay paral atti to armething, they will believe i important fou wet ner tin something, hey wl tev Rept Th pik-a-ard trick you may epend a ret dato nia ag he card Tost in the deck and hitle ie in locating t oF 708 ‘pend litle tims he ard ie inh deh ad ime in locating it. In ener eve, you're telling te spectator at lodhe important par of tho tick Bither approach aie 2— ieee inal nese he uk saace tp toe be tae nach you. fd tan Tenet ao ahiee enh by nov cian. By tht ee Sertiagia Litas Teckvnse of acne ae aren oe dete come This ia why one ofthe tot: important aspects of effect (geveure, every ootion must be evaluted on the basi of hotkey Sean he over fet youre attempting to ace fk nat commit yo should ciminat PAT ete Ral) A acinickiett io magic inves terion many times of reoing excruciatingly bad per Some were due o technical inadequacies on the par ofthe pertrany and some were due to presentational inadequacies. If you think tak to thoe which were dus to poor presentation, 1 thiak Soul Ted any instances of the folowing flaws. The performer may hae inl taken the ebtencesta say wht auld have been sala ‘ne, at the end of which you etil dide't know what he was trying tb ms, He my have fad some irl , some irritating gesture or other hab onsnualy siting his weight fom fot to fot rifling the card ft to rest or constantly saying “okay"—which acted as a distri on the magic he Was preentng. He may have complicated sth sft with the introduction of conditions i isi fuch as having card aioe Std ei he a core he eu wast cme an tae oa ae ment i pe een ao, a Hoe os demontaly combate to content ‘ery eonon that dock he eeentl eft ‘vaalned prem Teepe) sa feos that will maximize the impact of eh “ thease Kasing The Audlence’s Burden Cae oan eee A the doy ofthe lat by orerviclog hi wih Une made to ork. And the toughest kindof work ie metal it Miverefre, you cant afford 2 Put the mene in 4 pouon work, Tuy. have to concentrate unduly. Henning Nelme id it teed like "Three-Card Monts” and the “Shell Game” the ineestaaa to try to keep trac ofthe winning caro ch pos, For audios to be successful, the abitng of the eards or abel mi be ee wach «minim that the nudionce can, eyp trac. ith 1 ly noeffore fy were to shift the prope around 9 api of vr Mtgaively that it reqused teal concentration to ev tusk, Ube fer would crtsaly fll ‘hcoupl of years ago an effet was markstd that revved around a don ime premise. The performer and a epecatar played a game in ‘Gheh the performer always won. The game invlved s group of spot (ards nid oot on the tal. The performer and apestator took une Printing to cards and totaling thet values. The fst person who passed rein total ot As it happens, 1 bought the manuscript for this effect at the Gambler's Bock Club while in Las Vegas, After evading the rmenuscip in my hotel roma went down 2 th casino to ply woe Tekjnck. I was struck by how longi took many of the other players ‘wad up their anda, 4 player might be holding a fourieen and draw sear, When he received a nine he would stare at his ands OF an inteinable period before turning them face up. Te took hi Ut bog sealznhe'a gone over twenty-one! This observation made me anprecate how eying an experience i would be fr auch a person to Mich the effect Thad just bough. ‘am not spesting here only of uneducated people. Many well-edu= Sate, intaligent people are snept at simple arithmetic, Baucatore ter havo a same forthe problem: they call tinnumerac, the math 3see st cites. 7 . aa are intellectually capable of do Soe le amis in rosie muh nt see fe Sn oy ty tee ieee ae atecin ono saat ots nore nett vic eabevealy onan Far ef ertbmeteoxriaa unpleasant connotations of dreary ag dips remy peopl, vo does memorization. Any effect that tae Gtllensss memory weil be perceived by most people ‘ae work ft Intithoss of entertainment. You should never ark one pera femember two elected caris, Similarly, you should never ack te fame pereon to remember one selected card after another. Spread Farden by heving different people pic eards in diferent trika Of eure, almost every effet requires that the audience remember tosthing even fis caly under which exp you jut placed th bl ‘he point ia thatthe effet shouldbe structured in such a way tht ‘uch remembering cecurs without comsions effort, We an put thoi the firm ofa general rule, one of Darwin's Laws: Male it easier the audience to remember what sox want them to remember than woul eo forgt Som ha ee ek eo ee Tete wan oes dr ie cued Fea in rrr cones sea Mov role di Bike whoa Thy dist ike the oncntation ise he att they dike the memorratin but fl hy dda Be theta! Dost ean ocr he vole et esas wih ser nce ne yor safe ho Mily what hy Tok fo enntanent lon Ue oo 6 _— quit rightly expect you to the work while they sit back n or memory not ony interferes with ee ye oe eas oie a oe tar eae whatever every effect and youll have taken m wtop toward acing your mae ifying Techniques cs erste se of a lee tack te a Sc to is the wera eae eee cfc a uc, ower tbat, Camelia etter ir tn orey ot ea oes Tn ser sn ism taco Dots ena Oe Gfhether a particular effect would benefit from any of theve tech— Whether » Psion you cs! tnsvec based on Your ectete ete slat coca ronson you's ging Wich may OF tay Beh tad th tice or greater Gan. Homeven seu sene at ena ino a incoming arose muddled, te flloving should fntion you oklat a poole methods to be core he Probes {0 Uae ower rope, This oto moet exzome of carting ectnig Oe ee ret cts one. At cas tine, Ch Ling ise a setae erred with tn or more ngs, Cardia inkodwed, Sea estan, the we of cx gs deck Miler tata Paves Todays many performers find they can atin he ett Pom cio with 2 ve-rngrouine, Cetin the wus cat thes ring alow for the dearest posible pice fr the aden of hat i bppening. Te clase aoe assembly employs sixteen cards the four ase pla male iniforent cad However, one of the song of 268 Conn is Peter Kane's "Jare Ace? which emplaye only sight tari fowr acer and four inferen ards Part of th ran fet ss trengh ncertanly the exceptional elaty of eflecaeieted by reducing the numberof card Inthe Cupa and Balls, many performers who have trouble sng Tole uing thee cupe and thee ball nd they can get excellent Traction front & routing using only one cup aid one ball To take at ‘sire example, Sins “One Coin Rone” i erty one ofthe ‘et eryetal clear ofall coi effect primarily because it uses only one uexamples of ard. magicprovideo ceveral oteninl aay inthe mmbe of proo=—nase, the dango of SAM y ‘Fabs, Suc eae plot “Al Bock.” “Teumph Sof Dy Tn John Mendoch Sook Cn-Up Presentation he dscuns Pressley Guitare “Cena Bras, and Siver” fic. In this eck a half-dollar in'one ara, Ferformer'shands transposes with a Chinese exin and a Mosieae et, ithe other Tho osinal version of this effec ‘te Svein which the half-dll ‘was "Two Copper and changed places with an Englsh Mendota says he prefers the origin sonfsing This i beau of the simi and th Mesiean ec version because it kes y between the English ie both are copper. This enables the auiencs Iestally group thote two coins together and sec the treacpoct 6 {Samia etwees eo ete, he coppers none hand and the sles Hatter, With the une of three totally disimilor coma te audience ha too many diferent concepts sie However, Mendosa then goes on {2 sonnet an excelent way of achieving the same casity'n te ‘Copper. Brass, and Silver” fet English coin and'the Chinese. ean cenrnig itt erty as “the forign exine” Now th ey, te aad, "a" {M8 tanmositon ax ecurcing between te oe he American eoin. Just compare Be aon in this hand whit theo and consider which x casier to grasp. (0) ish penny and the brase Chinese cia 60 her bl pe ar ae TOPs pain nner s Malt s Pevform the rangposiion with ons _— 1 Mandard “Copper-§ Mctenfing the ois into to categerica, pan gaa EO se rping the afl. ae Visually clarify the props. What makee the “Coppen, ‘rane with ono o two with two. This some re meee et A padoe changes place with the other tees aca the amg Wer eft. This wil weaheg erno's “Twisting the Aces” is an acknowledged cassia One at « Ue, enc of the four ace cur over inthe packat Honea ane forthe spectator to appreciate that every ace tatna over by wat remember at every point which acce ave alneady turn eter aad (hich have not, Brother Hamman introduced the idea of dong the TE withthe sce, ovo, three, ated four of one aul his eal iver in numerical order, making ie almost automate forthe audience {a eolize at each point which earda are yet to go, (Remeber on of ou goss: make s easier for thom to remember what you want them tayemenber than it would be to forget it) Tae road card effect in which a group of four blue-backe ings lranipated one at a time with four ed-acked gutens, The added condition af using cards with to diferent bac color mad the ke rm more impossible but also more dificult forthe epetters flow, "They now had to remember which cards had whith clor hd The problem could easily be solved by using four red spot card with red backs and four black spot eards with blue backs, Now each eur is Drastically the same eolor on both eidas and rememtering whch it hich becomes virtually automatic, The diferent backs now aca makes it eater forthe audience to follow the effec: snee they taily see which eards are where whether thy'ee fee down or fe Be backed, re ‘Ths porformer can go even further by rferrng tothe racked ‘Patcarda as simply the "ed cards,” and referring to the blue-boekederwin nt tre ren ean ch important cards (chs impor nck an dh Te eo ‘a e'momory Bok of the kind net eet Tks are oe = ave right-ole fetd-colr be ‘fee ether sn potenti Hiing lure 1 demonstrate bottom dealing te pra botioa deal, the ple When demonstrating a foe 8 When deer Four aoe ar openly plac onthe bottom, Thee poker havdt Conta the acon When demonstrating a stud bag Saar ae Si the cade ae deat face up which can make fo ‘Tutte pete ‘Than why, nthe aver case, fist openly place a group of Back Bek ofthe dock and a royal sh i hearts onthe bottom The SSipcure cards make strong visual contrat to the Hack ger Ton The autience can now cally distinguish between those ee {fet must hme come fom fhe bottom and those chat must have ace feos the top between tho mportant cards and Uho unis This same idea can be appli to an ace sasembly by using four Kegs eed bree ies ie cai os tio a na very simple, eraigitforward ace assembly, this gh fperflie In a more complex suecly plat, thi step might ‘ef in sariing matters As wich all the clanifiationtechniies Sisal dition of prope is nly an options ie your job to de ‘when it's called for. . @) Visuals carly the ayou. Yn the theater, a standard techie tmpaped ty dirctors in staging play is what is sometimes cat Picturzaton. Carl Allenewort's The Complete Play. Producti Hand ioe iin, iho visual rpreentation, wi it movement or dialogue, of the characier relatinchipe, the #7 pepments anh emotional canta th cone. ei the aa tation ofthe meaning inherent isthe lines of the play Ja other mords, the postion 1 ote marie, che positioning of the actors and the smnery oeach other apd in relation tothe b aie ‘ed one of the tals he boundaries of the tuisee. AMtoogh those ven moment ths pon ” to communiate the play's content to Clements are constantly shifting, # 82 ming provides the viewer with «partclt —_— no Showar’s words: “very picture tla story Ife par cure 108 afte ie ipso Mine pcoider coviless copoxturitios to wile ay mat i Bi ee au othe ober ome att. A ie acute, any ret he acer of ee areced nay irks ome, Hemome ae fe 28 nha mac ngs ook unaeed ‘There are countless more examples T ould cite, but th congept is Thple ence you start to think abou it. That, ofcourse, isthe key, Ax brows asthe idea may aeam, you wort find yourself applying it=at leona firtunleso you tink about i, Once you start thinking in rl terma itl aoon become second nature anurly, toro is another consideration inthe arrangement of props bose elarty, namely the demands of method. For example, if inno lap something it may be necessary to place it nen the table dee There is nothing wrong with thin, ax Jong as the arrangement dct nnd a visual message that contradicts the effet youre tying reointly read an effect in which three cards oleced by thnee ‘pecatora are matched hy theee prediction earde from another deck The switch of the mpeetators cards which was the hay to the method ‘uid tht the selections be deal in a row in font ofthe pesformer "hile his predictions were dealt in a ow in front of the spectatorsTe sanding ot, Never rg The ee There iv eomething eublly wrong ‘igh a oa the spectators ede of thy oe replaced on tho performer's i miso euch thing aa real magic Thee wae an Ses compromising the ideal : ‘arnt ecde whether hs compromise worth mati Oe plain aight, The "MeDonald Aces" oftre tra aps are vibl throghout mort of the effect will be cleaner which he pope apend much f their time hidden (ace el hand, or covered nee Thi aoe razon why the “Ambitious Card” is clean De "levi Carée? The anbitious card i ice up is only foe down at intervals. By ef (© Blininate tine lage. The long the spectatora have t Lier nell be talking patter, tho merely bat supped tobe hapa nt the problem offing emotional nex us intelctual memory to fae, concentaten ion to wander and oe’ abity to grasp the overall ise Tins age ean ale a. Remember, th spectators an bo spertatore are not familiar with the tick yout Indes for them to put the inv Ether hr minds hy having Tong seth of dead ©) Bini iaterapions. magne os prorming ante 9 Tadeee stint yes ope hee eho Peta attire a de 2 a ee Se guite funny, the juggling bit quite impress — ere Gi Vein he eet aa 2th interruption that much more of «titecton ee as soa, But, aoat im on effec c tall a Joko, do a flourish, or throw in crt ky ee. cn Pe action or phrase that catacte m the We, te tte rear example | the colour ofa handkerchief that about to ee keep them from fusing on a fact of ation that the ve Phagial bite ia your performances, But the ‘iGreen. Any auch bit a the Wrone ie suienee preciciy when you most want them to forts on some ty clement ofthe effet you're performing Tring inn ga as you're having a card selected won't do anya tel ity da some good, both tor tae Leech pale stg ment of deat time, Throwing in a gag ae youve revealing the felved cand may Kil the whole smpact of the trick if for example it linear the audience from appreciating that tho card os, not ast in Sour wallet but in the nppered compartaent of the wall only, ao a magician perform a beautiful version ofthe Cards to Peeks, ust sa the Lat card war about to travel to hia pocket he threw ih @ very funny visual gag. Unfortunately, the gag was 60 funny tht it completely distracted the audience from the vanish of the lst card and ite production from the pocket—what should have ‘en the high point ofthe effect, I the gag had been used earlier, on fone ofthe previous cards, it would have been just ae funny and it ‘oul have Tiled the climax of the trick. (As Jahn Carney has ‘tien, “Tumor should never beat the expense ofthe effect and the Thiscon bea tough pitfall to resist because the audience is rewarding mi mistake, They laugh at the joke or amie in admiration of the ry _—src Hower, ese Jackson Would 6, young gy rete tae eiorgiapel Asintho orginal Coa aa nt dee, end to deck i sbulled,Tac-up candy eee Ectntee mdotieMr 9 ae al tae, cfrmer then counts over ton cards from the ten spot the a her magicians. In this case, the ten-spot creates an ant to avoid magicus interruptus 3 eto hat my as sate ged card from the pron sed at Uae number, 7 ave trouble realizing at th ontioul pe performer ond under, conatenrd, recount the m8 ang a veers ot an ha Paes a bo mina eee TTS he big peture. That bis picture in eleeyes at eis mee a eel eee inde: roel + an elect tothe pine where the sat pened to have happened umember the example I gave eater of gathering the card at thy ignning of the "McDonald Aces” aucing theme go aot tea dealing them out again, Tha pe ea erat tue repular aces for tbe deuhietcad gee tirect method of doing the swite, but they demand tone ‘itey willbe ignored by those lazy magicians who tall mai thatthe wulenoe door che method. They may ae re tout Che method, but they do care sbout whether Gy at hy eu Flow whats epposed tobe happening, and thats females by oak clear what I mean by directness, Tl delineate the alterna eieten divciuren are simpli, Ons ag ert aan desribed aa “imple and direct" tht there fe tendency to nae the two things are the eame. (To ad to the confion, threat hae agietne who nay simple” when they actully met “ea” Ths Typed of the mudied thinking that predominatn i magi) trick may be simple without boing direct or diret without biog ample, “The Twenty-One Card Trick” is empl but nt diet The Flt of having romeone think of card and then divining i a8 ‘nple as one could hope for. However, th procedure of continually dealing the cards in rows and cros-exatsining the mpecator aboot the whereaboute of his ear is the eight of indirection. Brcontast, David Rothe “Portable Hoe” ia very direct, but th la asin emerging from a bagless pure, disappearing ita tr=di= ‘ensionl hole, and materializing under the bole is hardly simple Flan, the Amiioue Card isan example ofan effect woh the esters, is both imple and direct. Simply xan apse ookaed en sal ety Fi Dirsetmes, however, isan abmalutoceaentisl EnojechAl Pref Bartha gr berger Int every fleet fs something you have to deteray oe teat tek tals However, rece in procedure an heat tag re sot szve fr in every fect. Its not only socer sui reshadling. Bu fe important to realize that thie pete fet sri in leighi-of-hand magic. Consider two eee’ ten performer shows a jor on top of the de ma pedtonon he tack of oer ana ee ene Si ty tring the deck fae up. He then acka the sponse any card he wishes, The spectator may, for example, name thea SeutaTh pefrac then mores through the heck hat farts and drops i on the tale in font of the sptens he turns the deck face down to show that what he previoaciy we tho back ofthe joke is "the four of hears for i Hacked the the Bue-backed. The pecator ie asked ta mle wetieetettcpieasa tar = om The perbraer then spreaie tho other deck, faces towart th me any card he sees, (Lats aga nt of beara Temes thn cred 2, bears is named) ‘The. peeformer tn With he othe the deck and laces it inside the envepe hen aad to move the a pore ek om whch he perme Hogue C8 ca the ace ft ae thet pts MME fer) Heanor Sel me ser the ard hat he toa ean ATM 8 iyo curd the aac ed te fin car thea. Hee ten inotractd to ra Sehr vp sa ase ie oe % the impact would othe the tse The Ci See oe gl Soe etter a eee ie soy 06 ot version i nearly ealf-working the mcoadSwrion sulle Ctecorking. So. you. wo, the proben ol indeee sa ot ite taaleight of and presets four reasora why magicians so often fall info the ‘zap of aang es ove wih ho ingealey sha peas mae ‘Moc. A small example of this can be Found in the second een ion effect | described a moment ago, the one that versefno decks. In tbat trick, the performer begina by giving the atte chotie ofthe two decks, He really uses a magica chicky spectator" hat tho prediction card ia taken from the deck that is ‘card comes from the fr that prpoee and thatthe “thoughi- ea tat send for that ee performer could simply have handed the spectre Has ‘ened iim to use. In 20 doing he would have removed one small {etrctin Fom the off. Tean only aesume that he likes doing the Ssasicans chore so mich that prevented him from realising that i doin edi anything to this particular effet now you relizo that I don't subscribe to the method-dosen't= fave echol of thought. do, however, belive that method matters it offects the effect. Tho fact that you do 8 only tw regard 0 ho paclcsar move very well i no reason to do it at every apport Te fact tnt » particular steategem intrigues Yow i no reason to te leinan effet where it contributes nothing be socond reason for indirect procedures is that many magicians are concerned only with performing for other magicians This lead them 's lad up their eects with complicated procedures in the hops Ut aber magiiana will get lost in the mage and he unable bo reenatrice the flee A vovistion of thia ie Uhe magician who has spent eo much time ‘ound other magician that he has lost all toch mith how laypeople think. Bsen whon he is routining his mage for Inymen, he attabutse ts ham the thinking habits of magicians. He continually throws in oye designed to convince the layiten that he int doing things that ever would have occurred to thems in the frst glace. (in this con~ a7nection, we wil Inter nes tater to laypeople and which once don ways he - 4 conn, Seale mipiian to flow ie maleate aa fx fagmon to flo the eft (Benda, TH nal thou you probably won't Beeve me. The 6208 on at jist layman with a bunny rabbit on his bustnens cafes ‘magic to fool and entertain laypeople and youll be nt Ratings {Say megeians oul also el slong the way) "Pd fino nger wrth perforin. Tina Y alae preentation in « magic magazine sot, prblem ie 2 acompli x example described Traveller T pecent Alone with the tick, of thin isthe ace eit lle. Another lust his version, the aces ‘Magicians who are at vs had 0 be continua «flect became les clear. Remember The fourth and final reesonm eke nde Aifercat eft Atay caplet a well always sPorcach tea que 8 partial haste flee oc i far the method Beal magic w yon coud ink ofa wort ation ip L ar palin aid of pal Your udiener, otto mal tained in the real wold have to engage int degree fT oul do test really read minds hen you nou Probably cant yea uncomfortate yond an ata et complicated yet mplish the teak McDonald Aces” arry Jennings “Oj became easier, bt tt agicans use indirect procedure is tht cnly way a particular effect deal that cast tain amount of indirection i t to help you decal Ak yourself, “What would th from this nd minds, ugh real magic” "Then consider Bo the mos direct procedures pose. imply ke someone 1 him whet that wo Song Mage ma you ei be pein het pci hn 1 - he word rf are arose 227 umber to count down to alin; Baal yee tis of BS Tmo eal inde tres eveiper geen? rte wo the audience fala to relze that the eet mena pre a ord and youre hn mid youl at Heep gor attention fru on te tig pt,__CHAPTER Two CONVICTION The Expository Phase mich Tre the exp aking sure fet hy tow itean apple sth expiry ph lays comes fist, for example to the deck placing four a: producing the ao tho ace shor together a magi) fa the “Ante C3, ince ainoet al eet soon as ponsble. They act ove A typial example ia the magician Tow you control the selected card. The “antl the card, ‘They only ce, Te the p argh cetup andthe punch re nuh, but i's aot the punchline ethos rns Fee eee es come whe stot before an asdiense and only ae sat nee Do sou sealy think he'd gt lots of lah? Do you Tink de vy during the setup bacause the neo rach? Not ony is the se merely « ysrongly the effect asa whole wil lay. Admittedly n interesting 44 pombe anti Meanie eta abut that later im the ston st