Streamlined Newspaper Prediction

Copyright © 2016 by Devin Knight Magic

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any
means, electronic or mechanical, including photocopying, recording or any information storage
and retrieval now known or to be invented, without written permission from the author.

2
 Dedicated To The
Thousands Of
Frustrated Magicians

Who Have Given Up

Mastering Paper Tear
Predictions!!!
Your Frustrations Are Finally Over !!!

3
 PREFACE
I have always liked the idea of manipulating a predetermined section of
newspaper to a certain position in a torn packet of papers. However, I have never
liked most methods that were used. Almost all of them were overly complicated.
They had complex tearing charts or required a lot of memorization. If the
performer wasn’t paying close attention, it was easy to put the “force piece” in the
wrong position.

Some methods just asked you to mentally keep track of where your “force
piece” was during the tears. You were told to tear the paper in such a way that you
manipulated that piece to the chosen number. Most people found this was easier
said than done.

Other methods had you working out complex math formulas in your head.
Needless to say, these methods didn’t gain much in popularity. Some methods had
you manipulating a section of paper found somewhere in the middle of the paper.

In some cases, you had to remember which direction to turn the paper after
each tear. The direction you turned it, often depended on the chosen number. For
many performers, this was just too complicated.

Another potential problem with the effect involves tearing against the grain
of the paper. If you tear a sheet of newspaper against the grain, it doesn’t tear
straight. Many of the methods gave NO CONSIDERATION for the paper’s grain.

Note: The reason for this is that most early methods were developed in the
UK. Most newsprint found in the UK will tear evenly, no matter which
direction. Most newsprint found in the USA will not tear evenly against the
grain.

In some of the methods, you are making long tears against the newspaper’s
grain. This makes it nearly impossible to get a nice uniform packet. It sounds
workable, when you first read it. However, when you actually try it, you will find
tearing the paper into 16 uniform pieces is nearly impossible. This is because you
are making long tears against the grain.

4
 Many of the previous reasons are why the torn-paper prediction is seldom
seen today. It just isn’t practical for most performers. That is about to change. My
streamlined tear is the result of many experiments and refinements over the years.

It eliminates complex formulas and takes into consideration the grain of the
paper during the tears. It doesn’t require any difficult memorization and can be
mastered in a short time. There is a tearing-key, but it is the shortest and easiest
tearing-keys ever devised. It only requires a quick glance. It is nearly impossible to
mess up this tear.

If you read the directions several times, you will get it down pat. You will
be able to do the tear flawlessly and quickly. In my opinion, this is one of the
easiest and most streamlined versions for manipulating a section of newspaper yet
devised. I humbly refer to this as the ‘Holy Grail’ of newspaper tear predictions.

Warning: Do not skim read this PDF trying to get the secret very quickly. It is
important that you read this PDF carefully from start to finish. Only then will
you properly grasp the concept. Once you do, you will be amazed how simple
this is to learn and perform.

5
 Devin Knight’s Streamlined Paper Tear
In this version, you use a double sheet of newspaper. You are able to force
any one of the four corners! The newspaper is given four tears so you end up with
16 pieces of paper. Your “force corner” will always wind up at the number chosen
by your participant. You start the tear by holding the double sheet of newspaper
fully opened. Your left hand holds the upper left corner, and your right hand holds
the upper right corner.

IMPORTANT: Before you start tearing, the corner you wish to force must be in
the UPPER RIGHT-HAND CORNER position and be held by the right hand. That
means you may have to reverse the newspaper or turn it upside down. Just make
sure that your “force corner” is being held by your right hand. Personally, I like to
force the lower left- hand corner of the newspaper. When you force the lower left
corner, it means you have to start tearing with the newspaper UPSIDE-DOWN.

This helps create a more random look. Tearing the newspaper while it’s
upside-down also makes it more difficult for anyone watching to read the printing.
This helps ensure anyone watching will not be able to keep track of the pieces
during the tear.

PHOTO 1

6
Photo 1 shows the “force corner” in your right hand. The “force corner” has
been outlined with black lines for clarification. In actual performance, the
newspaper does not have the black outlines on it.

Breaking It Down
You are going to tear the newspaper into 16 pieces. You will do this by
making just four EASY tears. Your “force corner” will wind up at any number you
want from 1-16.

First, we’ll look at the basic system, so you can fully grasp it. Then, I will
show you how to streamline the system into nothing more than a quick glance.

We are going to be working with a simple tearing-key involving I and O.

These symbols make for two easy to remember abbreviations.

IMPORTANT NOTE: All of the tearing directions in these

instructions refer to the performer’s view, not the audience’s view.
“In front” refers to your front view of the pieces in your hand.
“Behind” refers to BEHIND the pieces in your hand. These pieces
will be closest to the audience. So remember everything is described
from YOUR POINT OF VIEW.

I: (IN) When you see this symbol, it means the torn piece(s) in your right hand will
go closest to your body. In other words, you put the torn piece(s) IN FRONT
TOWARD YOUR BODY.

O: (OUT) When you see this symbol, it means the torn piece(s) in your right hand
go OUT AWAY FROM YOUR BODY. These pieces will go behind the pieces in
your left hand and be closest to your audience.

It makes NO difference whether you are right-handed or left-handed. Once

you tear the newspaper straight down from top to bottom you will have piece(s) in
both hands. ONLY YOUR RIGHT HAND MOVES WITH ITS PIECE(S). Your
left hand always remains stationary. Your right hand either places its piece(s) in
front of your left hand piece(s) or behind your left hand piece(s) depending on the
symbol in the tearing-key.

7
 THE TEARING-KEY
Do not panic, you do not have to memorize this key or refer to it during
your performance. It is just the basic key, so you can understand how the system
works. The “position number” refers to the position the force piece will end up
from the top in the packet of torn pieces.

1st Tear 2nd Tear 3rd Tear 4th Tear

POSITION 1 I I I I

POSITION 2 O I I I

POSITION 3 I O I I

POSITION 4 O O I I

POSITION 5 I I O I

POSITION 6 O I O I

POSITION 7 I O O I

POSITION 8 O O O I

This basic tearing-key covers all numbers from 1-8 inclusive. I suggest you
get a double sheet of newspaper and experiment with all eight numbers.
Remember, when the key shows “I” place the piece(s) in your right hand IN
FRONT OF YOUR LEFT HAND PIECE(S). These pieces will be closest to your
body. When you see “O”, place them BEHIND THE PIECE(S) IN YOUR LEFT
HAND. These pieces will be closest to your audience. Make sure your “force
corner” starts in the upper right-hand corner position!

8
 Making The Tears For Numbers 1-8
Follow along with a newspaper in hand. Do not worry; you will not have to
memorize the tearing-key. This is just to teach you how the basic system works.
Later, I will teach you a way to do this without having to refer to the complete
tearing-key.

In this example, we will assume the chosen number is “four” and you want
to tear the newspaper so the force corner is placed fourth from the top of the
packet.

Hold the newspaper fully open, as you would normally read it. The upper
left-hand corner of the paper is held by your left hand. The upper right-hand corner
(your force corner) is held by your right hand. Refer to Photo One for the correct
starting position. The first tear will rip the double sheet in half along the crease.
You are tearing downward with the grain so the tear will be smooth and easy.

PHOTO 2
PHOTO TWO: Tear the paper in half, pulling downward with your right
hand. Once the tear is complete, you will have a piece of paper in both hands.
,

9
 Refer to the tearing-key for Position 4. The first tear shows “O”, so that
means the piece in your right hand goes behind the piece in your left hand. This
will put the piece facing the audience. Remember the left-hand piece(s) always
remain stationary. It is the piece(s) in your right hand that either goes in front or
behind the left hand piece(s) depending on the tearing-key.

For the second tear, both hands come together at the middle of the top edge
of the newspaper. The right hand then tears the newspaper straight downward.
Since you are tearing with the grain, you will find the paper will tear easily leaving
you with two pieces in each hand. Photo 3 should help clarify this.

PHOTO 3

Refer to the tearing-key for the second tear. It shows “O” so that means the
two pieces in your right hand go BEHIND THE TWO PIECES IN YOUR LEFT
HAND, closest to the audience. Make sure that the top straight edge you started
with still remains at the top. So far you’ve made two tears, both with the grain,
leaving you with four long vertical pieces.

For the moment, continue to hold the four long strips of newspaper with the
left hand at the upper left corner and the right hand at the upper right corner. The
short straight edges of the pieces are still at the top.

10
 Follow closely. With your right hand still retaining its grip, your left hand
moves down the left edge of the strips and stops slightly below middle. Your right
hand then tilts the four strips downward to your right. This will leave the long
strips running horizontally to the floor. It is important to remember that the long
strips are always turned toward the right. This will place the “force corner” on the
right side.

NOTE: It is important to note that the “force corner” will always be in the
right-hand pieces. The “force corner” will never be in the left-hand pieces
during the four tears of the newspaper. If the “force corner” turns up in your
left-hand pieces, then you need to carefully go over these directions again.

PHOTO 4

This photo shows how the four pieces are held after the strips have been
turned to the right. Notice that the “force corner” is still in the right hand.

Your right hand now goes near the middle of the horizontal strip and tears it
downward in half. At this point, you are tearing AGAINST the grain, but since the
tear is only about six inches or so, it tears with no problem. In addition, since
newspapers are normally folded in this position, there will be a
PERMANENT crease in the paper at that point. This crease ensures a smooth
and clean tear even though against the grain. Photo 5 should help clarify this.

11
 PHOTO 5

Refer to the tearing key for the third tear. It shows “I” so that means the
four pieces in your right hand go IN FRONT of the pieces in your left hand
(closest to your body.) Make sure you do not reverse or flip the pieces in your
right hand. Just move them toward the left and place them in front of your
left hand pieces, closest to your body.

You now have eight pieces in your left-hand. Again, make sure that you
have not reversed the top edge. Finally, with your right hand tear the pieces
downward in half again. You are tearing against the paper’s grain, but the packet is
so small that it should be easy to manage a straight tear downwards. Refer to the
tearing-key for the fourth tear. It shows “I” so the last eight pieces in your right
hand go in front of the pieces in your left hand (closest to your body.)

This will leave you with a packet of papers consisting of 16 pieces. See
photo 6 for clarification.

12
 PHOTO 6

THE COUNT-DOWN
Place the packet of torn pieces on a table so the piece that was closest to
your body is on top. The “force corner” will now be fourth from the top of the torn
packet. Count down, removing one piece at a time, until you come to the fourth
piece. This will be your “force corner.”

Making The Tears For Numbers 9-16

The tearing-key is the same for numbers 9-16; but, you need to first convert
the larger number to a smaller number from one to eight. To do this you subtract
the chosen number from seventeen. For example if the person calls out eleven,
you subtract that number from seventeen, leaving you with six. Six becomes the
number you work with. Refer to the tearing-key for the number six and tear the
newspaper the way you would for that number. What follows, is the complete
breakdown.

13
IF THE CHOSEN NUMBER IS
16 (17-16 = 1) Use the tearing-key for the number 1
15 (17-15 = 2) Use the tearing-key for the number 2
14 (17-14 = 3) Use the tearing-key for the number 3
13 (17-13 = 4) Use the tearing-key for the number 4
12 (17-12 = 5) Use the tearing-key for the number 5
11 (17-11 = 6) Use the tearing-key for the number 6
10 (17-10 = 7) Use the tearing-key for the number 7
9 (17 – 9 = 8) Use the tearing-key for the number 8
Let’s recap. If the chosen number is greater than eight, then subtract that
number from seventeen. Refer to the tearing-key for this smaller number and tear
the newspaper accordingly.

HOW TO PUT THE TORN PIECES ON THE TABLE

FOR NUMBERS LARGER THAN 8
In these cases, the packet is placed on the table differently. The packet of
torn pieces is placed on the table so the piece that was AWAY from your body
(and facing the audience) winds up on top.

A QUICK REVIEW FOR ALL CHOSEN NUMBERS

IF THE CHOSEN NUMBER IS FROM 1-8: REFER TO THE TEARING-KEY
FOR THAT NUMBER AND TEAR ACCORDINGLY. Place the packet of torn
pieces on the table, so the piece that was facing your body is on top.

IF THE CHOSEN NUMBER IS FROM 9-16: FIRST SUBTRACT THE

CHOSEN NUMBER FROM SEVENTEEN GIVING YOU A SMALLER
NUMBER FROM 1-8. REFER TO THE TEARING-KEY FOR THAT NUMBER
AND TEAR ACCORDINGLY. Put the packet of torn pieces on the table so the
piece that was AWAY from your body and facing the audience winds up on top
of the packet of torn pieces.

14
THE IMPROVED STREAMLINED TEARING-KEY
When you first look at this key, it may not make sense. Bear with me. In a
few minutes, it will make perfect sense. You will find this tearing-key is easy to
remember (or hide) and will allow most of you to do the four tears with only one
quick glance.

THE KEY:
ODD/BODY END/IN
1, 2 – I I
3, 4 - O I
5, 6 - I O
7, 8 - O O

Making Sense Of The Streamlined Key

In an actual performance, you will need to refer to the streamlined key and
remember one thing. The two symbols after one pair of numbers. There are only
four choices: I I, OI, IO, and OO. These symbols refer to the IN and OUT
placement of the pieces as explained in the basic tearing-key. THESE SYMBOLS
REFER TO THE 2nd & 3rd tears of the paper only. That is all you have to
remember. You quickly glance at the streamlined key and remember the two
symbols for the chosen number.

The first two numbers with the comma, preceding the symbols, are potential
chosen numbers. The first row is for numbers “one and two.” If you refer back to
the basic tearing-key, you will see that for either “one or two” the 2nd and 3rd tear
pieces always go IN toward the body. All you have to remember is: I I.

The second row is for numbers “three and four.” If you refer back to the
basic tearing-key, you will see that for either “three or four” the 2nd tear pieces
always go OUT away from the body. The 3rd tear pieces always go IN toward the
body. It’s the same for either number. All you have to remember is: O I.

15
 The third row is for numbers “five and six.” If you refer back to the basic
tearing-key, you will see that for either “five or six” the 2nd tear pieces always go
IN toward the body. (In front of your left-hand pieces) The 3rd tear pieces always
go out away from the body. It’s the same for either number. All you have to
remember is: I O.

The fourth row is for numbers “seven and eight.” If you refer back to the
basic tearing-key, you will see that for either “seven or eight” the 2nd and 3rd tear
pieces always go OUT away from the body. All you have to remember is: O O.

DEALING WITH THE FIRST AND FOURTH TEARS

The first and fourth tears are easy to remember. To help you, I’ve devised a
mnemonic aid to help you remember. The mnemonic aid for the first tear is: ODD
BODY. The placement of the first torn piece in the right hand is based on whether
the number is odd or even. After you make the first tear, you will have one large
sheet of paper in each hand. If the number you are working with is ODD, then the
paper in your right hand is placed in front of the piece in your left hand. That will
put the piece that was in your right hand, closest to your BODY.

If the number is even, then the piece in your right hand is placed behind your
left hand piece, away from you and closest to the audience.

When you hear the number think, is it odd or even? Then think of your
mnemonic aid, ODD BODY. If the number is odd, you put the piece in front of
your left hand piece so it will be closest to your body. If the number is EVEN,
then it doesn’t go next to your body, but rather away from it. In this even number
example, the piece is placed BEHIND your left hand piece. (All of the tearing
directions in these instructions refer to the performer’s view, not the
audience’s.)

The number you will determine to be odd or even is the number you will
use for the tearing-key. This may or may not be the participant’s chosen number.
For example let us say the number 12 is chosen (this is an even number). However,
this number is not used for the first tear. Remember when you have a number
greater than eight; you subtract it from 17 first. (17-12 = 5) Five is the number you
use for the tearing-key. Five is an odd number, so the piece from the first tear goes
in front of the left hand piece, closest to your body.

16
 Here is another example. Say the chosen number is fifteen, (this is an odd
number). Subtract 15 from 17 first. (17-15=2) Two is the number you use with the
tearing-key. Since “two” is an even number, the first torn piece goes behind the
piece in your left hand.

This may seem a little confusing at first, but in reality, it is very simple.
Read it over a few times and you will quickly grasp what you need to do. All you
have to remember is ODD BODY and you will immediately know if the first tear
goes in front or behind the left-hand piece.

THE FOURTH TEAR

The fourth tear is very easy to remember. Regardless of the number chosen,
the pieces from the fourth tear always go IN FRONT OF YOUR LEFT HAND
PIECES. No exceptions. In our tearing-key we use “I” to show that your right
hand pieces go in front of your left pieces. Another way to think of this is that the
pieces go IN TOWARD your body. The mnemonic aid for this is: END/IN. The
fourth tear ends the tearing sequence. “End” sounds like “In.” So it helps remind
you to put the last pieces in your right hand in front of your left hand pieces.

MEMORIZING THE STREAMLINED TEARING-KEY IS EASY

You can have the tearing-key written on a small card somewhere so you can
secretly glance at it. However, you will find it is very easy to remember the
tearing-key. Let’s look at it again.

1, 2 - I I
3, 4 - O I
5, 6 - I O
7, 8 - O O
There are four rows, the numbers run in order from one to eight. The first
numbers running down the rows are all odd. You can count by odd numbers in
your mind, 1,3,5,7. There are only four rows. You know that the second number in
any row is the next number in sequence. For example, five is followed by six.
Spend a few minutes and you will find just how easy it is to remember the eight
numbers. Since they run in order, it makes it even easier.

17
 The following should help make it easy to remember the Os and Is. Look at
the streamlined tearing-key again. The first row is I I and the last row is O O. If
you spend a few moments looking at the tearing-key the first and last rows will be
quickly embedded into your memory. Most people have no problem remembering
the first and last rows. The problem, for some magicians, lies in trying to
remember the second and third rows. Here is an easy way to remember. Think of a
penny and a dime. The penny is a smaller value and comes first. The O I remind
you of .01, the sign for one cent (penny) in math. The I O reminds you of .10, the
sign for ten cents (dime) in math. So just remember in counting, that one comes
before ten.

Once you get a grasp on this, you will find that it is something you will
normally always remember. That means once this is in your mind, you can pick up
a newspaper and do this effect almost anywhere.

If you do not wish to memorize the tearing-key, then place a cue-card with
the key on it anywhere you can secretly glimpse it.

PRACTICE USING THE STREAMLINED KEY

Run through all the numbers from one to sixteen using the streamlined
tearing-key. Do each number several times so you can place your “force corner” at
any position from one to sixteen. Practice all 16 numbers using actual newspapers,
so you get the feel for how this is done. Once you have mastered this, you are
ready to proceed.

IMPORTANT: Remember, if the chosen number is eight or less, you place the
torn pieces on the table so the piece that was facing your body is on top of the
pile. If the number is greater than eight (9-16), then you place the packet on
the table so the piece that was facing away from your body (and closest to the
audience) is on top of the pile.

PUTTING IT ALL TOGETHER

I’ll give you a few examples to help you fully understand how the tearing sequence
works.

18
 If The Chosen Number is Six
Take a double sheet of newspaper and hold it as previously explained for the
tears. Six is an even number. Think of your mnemonic aid, ODD BODY. The
number isn’t odd, so after the first tear your right hand piece goes behind your left
hand piece away from your body. This takes care of the first tear.

For the next two tears, you refer to the streamlined tearing-key. If you
haven’t memorized it, then secretly refer to it via a hidden cue-card. Six is in the
third row. The third row of the tearing-key is: 5, 6- I O. You only have to
remember dime or .10. These will be your next two tears.

You tear the paper in half again for the second tear. Since the first symbol is
“I” you place your right hand pieces in front of your left hand pieces.

You turn the long pieces lengthwise to your right (as previously explained)
and make the third tear. Since the second symbol is “O” you place your right hand
pieces BEHIND your left hand pieces.

The fourth tear is always the same. Think of your mnemonic aid, END/IN.
Tear the paper in half again and place your right hand pieces in front of your left
hand pieces.

Since the number is less than nine, you place the packet on the table so the
piece that was closest to your body is on top of the pile. Have your participant
count down to the sixth piece and it will be your “force piece.”

IF THE NUMBER IS TEN

Take a double sheet of newspaper and hold it as previously explained for the
tears. Since ten is larger than eight we have to first subtract it from seventeen. That
leaves you with the number for your tearing-key, SEVEN. Seven is an odd
number. Think of your mnemonic aid, ODD BODY. The number is odd, so after
the first tear, your right hand piece goes in front of your left hand piece closest to
your body. This takes care of the first tear.

19
 For the next two tears, you need to use the tearing-key. If you haven’t
memorized it, then secretly refer to it via a hidden cue-card. Seven is in the fourth
row. The fourth row tearing key is: 7, 8- O O. These will be your next two tears.
You tear the paper in half again for the second tear. Since the first symbol is “O”
you place your right hand pieces BEHIND your left hand pieces (closest to the
audience.)

You turn the long pieces lengthwise to your right (as previously explained)
and make the third tear. Since the second symbol is “O”, you place your right hand
pieces BEHIND your left hand pieces (closest to the audience.)

The fourth tear is always the same. Think of your mnemonic aid, END/IN.
Tear the paper in half again and place your right hand pieces in front of your left
hand pieces (closest to your body.)

Since the number is greater than eight, you place the packet on the table so
the pieces that were facing AWAY FROM your body are on top of the pile. Have
the participant count down to the tenth piece and it will be your “force piece.”

How To Apparently Tear The Paper

Before The Number Is Named
I wanted to make it appear that the performer didn’t know the chosen
number until AFTER the pieces were torn and the packet was on the table. This
would add to the mystery.

Al Koran had an interesting approach to doing this. He would ask the

participant to think of a number from one to sixteen. He would say, “We’ll use the
number later, so jot it down for now.” He’d hand the person a small card and pen
and have him write the number on it. Koran would just glance at the number as it
was being written. Bold but simple!

Koran would then tear the newspaper using his method to place the “force
corner” at that number. After the newspaper was torn, Koran would place the stack
of pieces on the table. He’d then ask the participant to tell the audience what
number he chose. To the audience, this was the first time Koran had heard the
number. This concept is bold and brilliant. If you just want to give a person a

20
choice of a number from one to sixteen, then this is the one of the best approaches
to use.
The Koran bluff is the version I use.

USING A DECK OF CARDS TO GET A NUMBER

Another approach is to use a deck of cards. I know some of you may frown
on using cards, as it may make it appear to be just another card trick. However,
using cards can make it appear NO ONE knows the number including the
participant, until after the newspaper is torn and the pieces are on the table.

Here are two ways to do this. Use a stacked deck and tell your participant
you want a card selected, but not looked at yet. Say, “Later, the value of that card
will be used to count down into a packet of torn newspaper pieces.” Ace =1,
Jack=11, Queen=12, and King=13.

Have your participant put the stacked deck behind his back, and give it a
complete cut. He takes the top card, leaves the card behind his back and returns the
deck to you. You secretly glimpse the bottom card of the stacked deck and you
know the value of the card behind his back.

Pick up the paper and do the tear placing the “force corner” at the value of
the card behind his back. Place the torn pieces on the table and say you won’t
touch them again. Have the person bring out the card and call out the value. He
counts to that number in the packet and arrives at your “force piece.”

Despite the fact you are using cards, this can be very puzzling. Apparently,
you don’t know the value of the card until your participant tells you. How could
you have placed any piece at that number in advance?

Another approach is to use one of the marked decks that can be read from a
short distance away. Have your participant shuffle the deck. Have him remove one
card face down and place it on the table, WITHOUT LOOKING AT IT. You
glimpse the mark and learn the numeral value of the card.

A deck of cards eliminate numbers 14-16, which in some cases helps speed
the counting. You will not have someone counting off a large number of pieces.
Counting pieces of paper can be boring, just like many counting card tricks. The
smaller the number and the quicker the count, the better the effect will play.

21
 Tear the newspaper so the “force corner” will be at that position. Place the
packet on the table. Have your participant turn over his card and note the numeral
value. Instruct him to count from the top of packet down to that number.

To the audience and participant, it will appear you didn’t know the number
before the newspaper was torn. Don’t say you didn’t know the number. In fact,
make no comment about it. It will be perceived by the audience that you didn’t
know the number prior to tearing the newspaper.

NOTE: It may seem that I’m harping on the fact you want it to appear you
didn’t know the number prior to the tearing. Well I am. I know from
experience, the effect always plays stronger if it appears you didn’t know the
number prior to tearing the newspaper. The reason for this is that some astute
audience members may think you can tear the paper in such a way that it puts
a certain piece at a certain number. This assumption is correct. If you
apparently don’t know the number UNTIL AFTER the paper is torn, then the
mystery deepens.

Regardless of which method of choosing a number I use, I like to walk away

from the pile BEFORE the participant counts down so I can’t read or see what is
on the piece.

Revealing Your Prediction

You need two prediction slips, one with a prediction for each side of the torn
piece written on each slip. Have one of these slips on the table; the other slip is in
your pocket. If the correct billet is on the table, let the participant pick it up, open it
and read it. As you will see later in these instructions, the torn corner will have a
right angle.

When your participant reads one side of the torn piece, the right-angle corner
will be facing you either to your left or to your right. The prediction for what he is
reading, if the right-angle corner is on your left is what you put on the table in full
view.

22
 This is easily remembered by this simple mnemonic aid. THE
PREDICTION LEFT ON THE TABLE IS FOR WHEN THE PERSON IS
READING AND THE RIGHT-ANGLE CORNER IS ON YOUR LEFT.

If the correct prediction is in your pocket, then execute a billet switch when
you pick the billet up to hand to the participant. Instead of a billet switch, you can
use a two-way envelope or Himber Wallet with your two predictions.

What to write on these prediction slips will be explained further on in this

PDF.

THE RIGHT-ANGLE CORNER SUBTLETY

To the best of my knowledge, I am the creator of this subtlety. It is revealed
here for the first time. The previous tearing-key is designed to force one of the four
corners of your newspaper. Your “force corner” will have two straight edges (a
right angle) and two torn edges. You can easily spot the right angle even though
you may be ten or more feet from your participant.

While facing your participant, you notice (while he is reading from his
chosen side) if the right angle is on your left or right. This tips you off to which
side he is reading. This information allows you to have your participant read the
correct prediction, either the one on the table, if the right angle is on your left or
the one in your pocket you will switch using a billet switch, if the corner is on your
right. Photo 7 shows the “force corner” with the right-angle corner on your right.

PHOTO 7
23
 WHAT TO PREDICT FROM THE FORCE PIECE

Tearing a double sheet of newspaper in half four times will leave you with a
“force corner” of roughly 6 x 5 inches. That can be a lot of material to try to
predict. In previous methods, the creators have used single sheets or torn the force
piece into smaller pieces. I always liked the idea of the double sheet as it gave you
a large force piece that could easily be seen by the audience.

Some of the early want-ad tests from the 20s and 30s had the participant
holding a small 1 x 3 inch slip of newspaper. This made it very difficult for the
audience to see what he was holding.

Other approaches have the participant reading the first line of print. This
isn’t very safe or practical unless you are doing a version where you switch the
torn piece for a pre-torn duplicate. The is because you can’t tear the newspaper
with enough precision to ensure the first line of print is the one you predicted.
Even if you could tear the paper perfectly, this still goes back to my argument
about things being too contrived.

I’ve never liked book tests in which the participant was told to note the first
word on the page, or read the first line of print. If you could really read minds,
you’d have him just start reading anywhere in the book. Anything else appears too
contrived in my opinion. With that thought in mind, I wanted to eliminate telling
the person to read the first line of print on the torn piece.

MY APPROACH

In almost every newspaper article, you can find words that are basically
unique to that article. Information such as names of cities, names of people, names
of companies, numbers, dollar amounts, dates, events, and phone numbers. This is
the information you put on your prediction.

With my method, you can force any one of the four corners from a double
sheet of newspaper. Look at each corner (which will result in a torn piece roughly
6” x 5”) and find articles that contain unique information mentioned in the
previous paragraph. Look for this information near the center of the 6” x 5”
section. This way there is no chance of the information being torn away during the
tears. Avoid predicting information that will be near the edges of the torn

24
piece. Ideally you should find a corner that has articles on both sides containing
unique information.

The Different Types of Corners

In most newspapers, ads are often placed in the corners of the paper. You
will normally find that many of the corners will have an article on one side and an
ad on the other side. Many times these ads will have five or six large words and
that is the only printing in the corner. Photo 8 shows an ad corner that is suitable
for use.

PHOTO 8

25
 In the Photo 8 the words best suited for your prediction are: Business,
Showrooms, Bankruptcy, Biggest, and Final Sale. You would avoid using in
your prediction the words: This, will, be, and our. These words are too common
and could be found in almost any newspaper article.

Some corners will have articles on both sides. If both articles contain
unique information, then that corner is a perfect choice for a “force corner.”
Other corners may have a photo on one side or part of an ad with no words visible.
These corners MUST be avoided as a “force corner.” You need content that can be
read from both sides of the torn piece to make it viable for use.

WHAT TO PUT ON THE PREDICTIONS

Take the double sheet of newspaper and open it. Place it on a table so as you
are looking down at the newspaper, the right angle of your “force corner” will be
on your left. This right-angle corner will either be the upper-left corner or the
lower-left corner. It depends on which corner you’ve chosen for your “force
corner.”

Look at roughly a 6 x 5 inch section of this corner. If it is an article, then

write on the prediction slip such information as names of cities, names of people,
names of companies, numbers, dollar amounts, dates, events, and phone numbers.
When your participant reads this piece, the right angle will be to your right. This
prediction slip goes into your pocket.

If the corner is part of an ad then write most of the visible words of the ad on
your prediction slip. Avoid using extremely common words such as the, this, and
we in your prediction. In either case, print the words plainly so they are easily read.

Turn the newspaper over and look at the backside of the corner and write
information from that corner on another slip of paper. When your participant reads
from that side, the right angle corner will be to your left when you face the
participant. This prediction is the one you leave on the table.

WHEN TO USE YOUR POCKET PREDICTION

Face your participant, while he is looking for unique information on his torn
piece. If he is holding the torn piece so the RIGHT ANGLE is on your RIGHT (as
you face him), then you secretly remove the prediction from your pocket which

26
contains words from that side of the torn corner and do a billet switch for the slip
on the table.

The Basic Routine & Script

You will need three other different double sheets of newspaper, in addition
to the double sheet of newspaper containing your “force corner.” Overlap all four
sheets so they appear to be a section from a newspaper.

Tell your audience that you’ve made a prediction that you hope will predict
several random words. At this point, you show the slip of paper containing your
prediction and place it on a table so it remains in full view.

Pick up the newspaper and tell the audience you’ve brought a section from
the local newspaper and that this will be used to help create several “random
words.” Remove the first sheet (this is NOT the sheet containing your “force
corner.”) Bunch it into a paper ball and toss it out into the audience at random.
Have the spectator closest to the paper ball pick it up.

Say to the audience, “I will need someone in a few moments to come up and
read from this newspaper. (Pick up the newspaper and show it) If you would like to
help me and can read newsprint, then please raise your hand.”

Note: You want to ensure you get someone who can read small print. This bit
of business will help prevent having the problem of your participant say the
print is too small and he can’t read it.

Have the person with the paper ball toss it to anyone whose hand is raised.
That spectator is then invited to come up and participate. Point out how this person
was chosen totally at random.

Separate the remaining three sheets of newspaper and place them in a row on
the table. Keep them folded in quarters (like newspapers normally are) to take up
less room. The double sheet containing your “force corner” should be in the
middle.

Say to your participant, “We need to eliminate two of these sheets at random.
Please pick up any two of the sheets.”

27
 If your participant leaves the section with your “force corner” on the
table say, “Ok, then we’ll eliminate those two sheets.” Take those sheets and
place them aside leaving your force sheet to work with.

If your participant picks up the force sheet along with another, then
eliminate and set aside the sheet left on the table. Keep track of which sheet
contains your “force corner.” Say to your participant, “Ok, hand me either
sheet, the choice is totally yours!”

He hands you either sheet. No matter which sheet he hands you, you
say, “Would you like to change your mind?” If he wants to change his mind, let
him. It actually makes the effect appear even stronger, if he does change his
mind.

IF YOU WIND UP WITH THE FORCE SHEET

“You could have handled me any sheet to work with. This is the sheet you
chose to give me at random.” Have him place the sheet left in his hands aside
with the other discarded sheet.

IF YOUR PARTICIPANT WINDS UP WITH THE FORCE

SHEET

“Ok, we’ll eliminate this sheet too. (Referring to the sheet he just gave you)
Place the sheet he gave you aside with the other discarded sheet. Say to your
participant, “You are now left with one sheet, a totally random choice.”

Take the apparently freely chosen sheet back from him and place it on the
table in full view.

“I need you to choose a number at random.”

At this point, you can use any of the previously mentioned ideas for
getting a number from 1 to 16. Don’t ask your participant the number
thought of. Just secretly glimpse the number as previously described on the
card he jotted it on. You don’t want your audience to know the random
number yet.

28
 “In a few moments, I’m going to tear the sheet of newspaper you
selected into small pieces.” Don’t say how many pieces you are going
to tear it into. If you say you’ll tear the paper into 16 pieces it
sounds contrived. The performer should apparently be tearing the
paper into pieces and NOT keeping track of how many. This makes
it appear more random. After you have made the four tears, look at
the packet and say, “That should be enough.”

Place the packet on the table so that your “force corner” will be at the position
of the chosen number.

Look at your participant and say (as if you didn’t know), “What number did
you think of? Eight… here is what I want you to do. Count from the top of this
packet down to the eighth piece. I don’t want to touch the papers again. Remember
you could have thought of any number, so the piece of paper you wind up with will
be TOTALLY RANDOM.”

Have your participant count down to the piece at his chosen number. Say to
him, “You chose a sheet of newspaper at random. I tore that sheet into a bunch of
random pieces. You thought of a number at random. You counted down to that
number to arrive at the piece you now have in your possession. You have another
choice to make. The paper has two sides. I want you to choose one side to read.
Don’t read both sides and choose. Just choose one side at random. Once you have
done so we’ll proceed.”

Once your participant has chosen a side to read, note whether the RIGHT-
ANGLED corner is on your right or left. This lets you know which prediction
to give him to read. The one on the table or the one you will switch it for in
your pocket.

“Remember, before we started this experiment, I placed a prediction on the

table. It has remained in full view.

IF YOUR PARTICIPANT IS GOING TO READ FROM AN ARTICLE

You say, “Most every newspaper article contains information that is unique
to that article. It may be the name of a person, the name of a country, a company, a
large number, an address or even a phone number. I want you to look over the
article and read aloud any information that would be unique to this article.
29
Remember you are picking out random words and numbers that wouldn’t be found
in a different article.”

As your participant calls out of these bits of information you write them on a
piece of cardboard so the audience can see the words and numbers.
Point out how everything was chosen at random. No one could have known
what piece of paper he would have wound up with. No one could have known
what words he would read from the article. Have him open your prediction
and read it aloud. Your prediction will match what is written on the
cardboard. As he reads the prediction, you point to the words on the
cardboard showing a match.

If at first, he doesn’t call out a word on your prediction, continue to have him
choose words until he does.

IF YOUR PARTICIPANT IS GOING TO READ FROM AN AD

You apparently shouldn’t know he is reading from an ad. You are standing
away from your participant and can’t see the other side of the paper. So don’t
make any comments regarding the fact he is looking at an ad.

Say to your participant, “I’d like you to start reading words ALOUD at
random from your chosen side. Please DON’T call out simple words that could be
found on any page of a newspaper such as ‘the or and.’ As you call off words, I
will write them on this piece of cardboard. Five or six words will be enough.”

Your participant will start calling off the larger words from the ad. He will
probably only have five or six words he can read depending on the ad. This
can serve as a dual reality to the audience. The spectators aren’t aware he is
reading an ad. They will see the article on the backside and assume he is
reading from an article. It will appear he is calling words off at random from
an article. When these words are found to have been predicted you have a
miracle!

Say to your participant, “I wrote some words at random on this prediction.

Wouldn’t it be amazing if some of the words I wrote were the same words you
called out? Please read aloud the words I wrote on this slip of paper.”

30
 AFTERTHOUGHTS
It should be obvious that you can do this almost impromptu and at the spur
of the moment. Just take any newspaper and secretly make your two prediction
slips and you are ready to do what appears to be an impromptu miracle.

Unlike most of my releases, I haven’t gone into the detail and history of this
effect. The reason for this is that the late and noted mentalist T.A.Waters has
already compiled a very detailed history of this effect. This can be found in his
MINDSCRIPT 2: The Newspaper Test. This was also reprinted in his book MIND,
MYTH & MAGIC which is still in print. I highly recommend this book to the
serious student of this type of effect.

I know I’ve taken a lot of space to detail this effect. However, I wanted to
make sure that everything was crystal clear and that every nuance was covered.
This effect has served me well and is in my opinion, one of the strongest things in
my repertoire. Give this the practice it takes and you will have a true reputation
maker strong enough to close any show!

31