John G Magic

2011-12-29T22:59:00.000-08:00

Here are six tips that I find are the"secret" to effective close-up magic presentation (and most any interaction in life). And it's easy to remember using "SECRET" as an acronym.

S - Smile

A smile has more power than you think. More than naturally raising your likability factor and opening up an extra degree of connection with your audience, it is a useful tool to camouflage your moves. Think about it...it's hard to concentrate AND smile at the same time. Just look at Auguste Rodin's famous statue The Thinker. So, enjoy yourself and smile through your magic, and it will diminish the perception that anything sneaky is going on.

E - Eye Contact

Please don't stare at your cards the whole time. Lock eyes with everyone in your audience and you'll "touch" them.

C - Commit

Don't just recite your lines; stand behind every word. David Regal is one of my favorite performers. He makes even the simplest items shine. The secret? He "COMMITS." Every word & action is used to make the impact as clear, compelling and entertaining as possible. Great rules to follow

R - Respond

Listen to both verbal and non-verbal gestures...and look for opportunities to respond and interact. Magic is about dialogue - not monologue.

E - Express Yourself

Don't let your props upstage you. Create opportunities to be YOU and express the wonderful, unique qualities only you have.

T - Transport Them

Magic is about taking your audience to a different place...a different state of mind. If your magic does not transport them, that it falls flat. Look for ways to elevate presentation and meaning in your magic.

New Website - www.MagicJohnG.com

2011-12-20T13:27:00.001-08:00

I'm excited to announce the launch of MagicJohnG.com. This website highlights my work as a professional magician and my love of the arts overall. I hope you have fun exploring. Let me know what you think and how I can keep the website fresh, informative and a fun place to visit.

HOME - The homepage is designed to be uncluttered, easy on the eyes, and give you quick access to anywhere on the site. You'll be greeted with a random photo each time you visit. You'll get a visual overview of the five latest news headlines, and you'll find one-click access to my Facebook, Twitter, YouTube and magicians blog sites.

ABOUT JOHN - Learn more about me, my approach to magic, how I got into it, and what others are saying about my magic.

BOOKING - What sets my magic apart? What can your guests expect? The Booking page describes my brand of magic and how it can help make your event as memorable and effective as possible.

NEWS - Read about my latest magical adventures, and explore other topics such as tips on hiring a magician and magic history. You can subscribe to the RSS feed, leave comments if you wish, and easily share any article via Twitter, Facebook or Email.

GALLERY - See the magic in action through photos and video clips. And if you'd like to see more videos, my YouTube page is just a click away.

PRODUCTS - For magicians, the Products page features my professional DVDs, lecture notes, books and more. Explore the contents of each product, read expert testimonials, and easily add items to your cart.

ARTS - In addition to the art of magic, I am dedicated to the art of design and music. Go "beyond the magic" and explore my art portfolio and listen to some of my original guitar compositions.

CONTACT - Have a question or comment, or just want to say hi? The contact page connects your inquiry directly to me.

Choice

2011-10-19T12:50:00.000-07:00

I'm on a kick lately about infusing CHOICE into my magic presentations and structure. Sometimes the choice requires no change in handling, such as "What four-of-a-kind shall we use?" or "Should I find the red or black Queens first?". Other times, it my require two alternate endings. I'm working on a triple card to pocket routine now. For the last card, I'm working out a way to ask if they'd like their card to melt from the inside of my pocket to the outside OR from the outside in. Of course, I'll be prepared either way, and depending on what they say, they'll never see the alternate ending.

This train of thought has me thinking about every effect in my repertoire, looking for opportunities to add choice. Why do I think this is important? I think it's a great way to: 1) Engage my audience in the experience; 2) Let them play a genuine role in where the magic takes us; 3) Shift the experience from being predetermined to "in the now;" and 4) Raise the perceived impossibility by being able to deliver on their choice.

Give it a try. I'm curious to see what you come up with.

Designing Reactions

2011-07-14T11:49:00.000-07:00

Have you ever gotten a reaction that surprised you? Of course you have; we all have. Whether performing magic, conducting a meeting or just sharing a story with someone, the reactions we get are not always what we expect. It might be silence, or an off-topic remark, a delayed response, or any number of emotions.

To Clap or Not to Clap

I remember showing my wife Debbie a trick when we first started dating. There was group of people. They all clapped...except Debbie. I was curious, so I asked her about it later. She said, "I didn't think magic was something you clap at. I loved the trick, but clapping just didn't feel natural." Hmmm, I learned that clapping is not a standard indicator. I'd much rather have a genuine reaction of wonder than a forced applause.

Sometimes, audiences react in a quiet, contemplative way. Other times, they are loud and boisterous. They might challenge you, laugh at a serious part, heckle or chuckle. The trick is having strategies up our sleeve to design reactions we are aiming for.

It's Our Role, not Theirs

It is NOT the audience's responsibility to guess how to react. It is not their burden to align with your expectations. It's not their duty to give you 100% of their attention or bring the applause meter to fever pitch. Rather, it is OUR role to design effects toward a desired outcome. It's about being intentional in everything we do to the audience to a destination and ultimately build an experience that leads to genuine reactions that are aligned with the premise of the trick. It starts with the question, "How do I want them to feel?" And while the reaction we get is impossible to script ahead of time, it IS possible to make choices in presentation that create reactions tied to the emotion of the effect.

Fast forward. Same girl, different trick. I showed Debbie a trick where her signed card vanished. Not only that, she as now sitting on it! No clapping, but a surprise reaction nonetheless. She ran around screaming to others in the room, "OMG, John pulled a card out of my butt!"

Yeah, could never have scripted that one, yet it was purely genuine reaction of utter astonishment...exactly as I had set out to do.

Your Opening Line

2011-06-27T11:20:00.000-07:00

What's your opening line when approaching a group during a strolling magic performance?

Let's face it, while the approach opens the door to an amazing experience for your audience, it can also be quite awkward to invade their current experience to introduce them to a new one.

The trick is to make them curious, not defensive. (It's difficult for one to feel defensiveness and curiosity at the same time.) I often do this with a very simple question: “Excuse me, can I borrow your imagination for a moment?”

It's polite, non-intrusive, inviting, and most importantly, different. (“What does he mean, ‘borrow my imagination?’”)

It's now important to follow up with something that does indeed draw in their imagination. I usually continue with, “I'd like you to imagine that I'm holding an invisible deck of cards” or “I'd like you to imagine that instead of these two rubberbands, I am holding the very handcuffs used by the great Houdini.”

So, that's my tip for today — a simple question that heightens curiosity.

What did YOU learn?

2011-05-04T10:28:00.000-07:00

As a marketing professional by day, I recall a presentation I led a few years back. I gave a marketing 101 course to colleagues in the non-profit sector—and the day after, a mentor I greatly respect asked me, "So, what did you learn?"

I was a little thrown off. I asked myself, "What does he mean what did I 'learn?' After all, I gave the presentation. Shouldn't the question be 'What do THEY learn?'"

Vince asked be again, "What did YOU learn?"

I get it now. It's about being consistently curious and learning something about ourselves in everything we do. From that day forward, "What did I learn?" has become a question I've asked myself countless times - nearly daily. It's applicable to professional work, family life...and yes, my career as a professional magician. It's especially revealing when you ask this after you TEACH someone something, because even when we are on the teaching side, we are learning too!

Try it. Be curious. Learn on the go. Grow.

What a Bunch of Tools

2011-04-14T10:26:00.000-07:00

Magicians: The members of your audience are a bunch of tools.

Wait, I don't mean that in any sort of derogatory way. They are literally part of your magic toolbox, and you should utilize them just as much as any sleight in your arsenal.

How many times do we, as creators, factor in the audience into the method, not just the presentation? Sure, we design effects that entertain and tickle their magical funny bone, but in terms of intentionally focusing on the intricacies of audience interaction and psychology as part of sleight execution is something I think we can and should do more of.

A.I.R.
In my work, which you can see in action on my Brainstorm DVDs among other places, I focus the timing of sleights during audience Action, Interaction and Reaction (A.I.R.). As a result, the moves come across as "airy"—and in many cases, virtually invisible. And while it might all appear casual and off the cuff, make no mistake about it—it is ALL very intentional.

The paradox here is that it is hard to make things appear simple. It takes many hours of practice, preparation and on-air time with real world to make it effective. The reward of all this is that you gain an extra tool (in the form of your audience) in making your sleights appear...well...sleight-less.

So, while your audience comes in to be entertained, little do they know that they are playing a secret vital role in actual the execution of your methods. It's a shift in our thinking. No more laboring over how they might burn our hands; instead, strategically weave them into the construction of the effect so the moves become background noise—and the entertainment factor takes center stage.

What's Your Story?

2011-03-27T14:31:00.001-07:00

Magicians: Think about a routine or a set you usually perform.

Now describe the entire set in about 50 words. Wait. Here's the real key; avoid listing the names of the effects or directly describing what happens with the props. Instead, describe it as a STORY of the journey experienced by the audience.

So instead of writing down your routine as a list of 4 or 5 effects, you might describe it like, "The audience experiences the power of subliminal advertising, then are shown how their own actions could subliminally broadcast their mere thoughts. Then, in addition to predicting the future, the future is actually altered! Finally, the audience sees what it's like to have something vanish up close, then repeat with a powerful twist."

Why do this exercise? 1) It often unveils misplaced effects that interrupt the flow of an cohesive and advancing story; 2) it focuses your view through an audience lens; and 3) it helps to answer the ever important "So What?"about particular effect(s) - such as "So what if I find the Aces?" or "So what if I find their card?" The latter examples can often transcend into experiences that touch your audience in profound ways IF the story and premise are presented as such.

So, what's your story?

- Posted using BlogPress from my iPhone

Resettled

2011-03-13T21:18:00.000-07:00

Okay, so Paul Harris' classic effect has always intrigued me. I'm quite proud of the variation I use, not so much for handling touches, but for the the "moments" I create through simple one-degree shifts. The most notable of these is placing the cards ON the card box during the time they change. It's a hands-off magical moment. Enjoy!

One Voice

2010-12-04T10:56:00.000-08:00

In branding, there is the important concept of talking in ONE VOICE. Just go to Disneyland for example and see everything and everyone expressing the Disney brand with one voice. Their brand is brought to life with crystal clear alignment. While I don't know Disney's official brand strategies, it is clear that their voice encompasses such words as welcoming, courteous and magical.

The Y is another major brand. Their voice consists of five key words: welcoming, nurturing, hopeful, genuine and determined.

So, when thinking about your personal brand as a magician, try speaking in one voice. Identify some key words that best align to your personal brand, and jot them down. Everything from your movements, words, gestures, attitude, collateral material, website and more should all point to the same target and embody your brand. If they don't, imagine the confusion you'd be conveying.

S.M.I.L.E.

2010-09-13T22:29:00.000-07:00

When you're concentrating hard on something, do you usually smile? Most likely not. Just look at Auguste Rodin's The Thinker. It's simply not a natural gesture to smile when in pensive thought.

So, while it may seem like an obvious point, it's important to remember to smile when presenting your magic. I've caught myself violating this rule, as I'm sure we all have. It's usually due to concentrating on executing a sleight or thinking about the next move. Being aware of this, and throwing on a happy face will not only diminish the perception that anything sneaky is going on, it will naturally raise your likability factor and open up an extra degree of connection with your audience.

A smile is one of five key presentational tips that I believe are important when performing. Here are all five, easily framed in an easy-to-remember acronym, S.M.I.L.E.

S. Smile.
M. Meaning - Don't just recite your lines; stand behind every word.
I. "EYE" contact. Please don't stare at your cards the whole tim. Lock eyes with everyone in your audience and you'll "touch" them.
L. - Listen. Listen to both verbal and non-verbal gestures...and look for opportunities to respond and interact.
E. - Express YOU. Don't let your props upstage you. Create opportunities to be YOU and express the wonderful, unique qualities only you have.

Some One Degree highlights

2010-08-20T11:14:00.000-07:00

One Degree is packed with usable and powerful card magic. More than 20 effects in all, here are a few highlights:

INTRO-VERTED
If you're familiar with Intro-verted from its original appearance in MAGIC magazine, don't overlook some new features: 1) There's a simpler set-up procedure; and 2) Joshua Jay adds an fantastic optional color-changing kicker (see page 23).

TRUTH IN ADVERTISING
This effect exemplifies the whole "one degree" philosophy. The addition of an odd-backed card to my previous effect Optical Opener (Second Storm) results in an massively stronger experience.

OVERTURNED STANYON
I can do this in front of the mirror all day. Show three cards as four with a natural in-the-hands stud turnover sequence.

HOMAGE TO HOMING
With a nod to John Carey, Lance Pierce and of course Francis Carlyle, this is a perfect anytime, anywhere card-to-pocket routine. Three luscious phases with an amazing ending. Tip: Study the Asher Twist at www.leeasher.com

QUANTUM KINGS
This is a great way to open up a set. It maximizes the staging and psychology in my effect Color Blind (Brainstorm) to add a card to anywhere surprise!

BIDDLELESS
This natural and deceptive sequence is an efficient alternative to the Biddle Steal. And as with many tricks in One Degree, it's completely impromptu and completely in the hands.

BEHIND THE BACK TRIUMPH
Give your participant the freedom to mix cards up and down behind their back. Yet when the deck is spread, the cards are all facing the same way except for the card they named early on.

More about ONE DEGREE

2010-08-10T11:57:00.000-07:00

My new book ONE DEGREE is finally out. While it's a book for magicians, I believe it goes far beyond explaining "tricks" - and covers a practical philosophy that has overarching benefits.

ONE DEGREE as a book and an approach is all about making small, intentional improvements that can turn a good trick into a GREAT trick! It can be something as simple as pausing before the final reveal, replacing a sleight with a subtlety (or vice versa), and more. I see many beginners completely changing effects or trying the latest and greatest stuff in order to heighten their newness factor. I say, instead of making massive changes to try to achieve massive results...make strategic and careful improvements to achieve the same.

I view it in three parts: IMPACT, CONNECTION, and BEING ON TARGET

1) IMPACT
Build upon an established foundation to increase the impact inordinately. Think about Olympic sprint runners; as they approach the finish line, even the smallest change can make the difference between a Gold and a Bronze. Or as the cover of the book depicts, just one degree above 211°F takes it to the every powerful boiling point. I give practical examples of this philosophy in the form of effects and essays throughout the book.

2) CONNECTION
We've all heard of "six degrees of separation.” Magic gives us the unique opportunity to turn this into ONE DEGREE of CONNECTION...even with a complete stranger. So, how do we maximize these connections? Just being aware of it and intentional in our actions is a great step. Borrowing from my experience in branding, it's important to speak in ONE "VOICE"...not just your spoken voice, but every other way you express yourself. This is how the best brands are built. I have an essay on branding in the book with suggestions to help you hone in your own brand as a magician (complete with my personal notes relative to MY brand).

3) BEING ON TARGET
Imagine yourself aiming an arrow at a target. A shift as little as ONE degree could make the difference between hitting your target...and not. So, in targetting our respective goals, viewing things through a one degree lens is so important.

An important note here is that one degree changes have to be a change for the BETTER. If you have a solid routine, and you make make a small change in the wrong direction, the effect does not just become a little worse...the results could be catastrophic. This is why it is vitally important to be wholly aware of who you are as a magician, what promise you make through your magic (brand), how you want the audience to FEEL...then making careful adjustments that are aligned with this.

You’ll soon recognize one degree changes everywhere...even beyond your magic. You'll become more aware why some magic just works, and some doesn't...or why some commercials grab you and inspire ACTION, while others don't...or why you're loyal to one brand over another. Here’s a quick non-magic example. I took my 2-year old daughter to Disneyland and we ordered pancakes. Out comes a "Mickey Mouse" shaped pancake. Wow! Here eyes grew wide and her smile lasted throughout the day. For Disney, it required very little effort or cost on their part to bring out a Mickey pancake (one degree improvement)...but the results were EXTRAORDINARY. Let's face it, it's just pancake batter...but the one degree change was completely aligned with the Disney brand promise to bring joy...and it worked in a BIG way.

THE BOOK
In addition to more than 20 tricks and moves in ONE DEGREE, I have practical tips throughout the book that cover all of the above.

Some of my one-degree magic examples:

Adding wine glasses to a classic Ace Assembly
Adding an odd-backed card to Optical Opener, and crafting a presentation that connects
Making Palm Reader and Jack Carpenter's "Mysterious" completely in-the-hands
Taking Triumph out of YOUR hands, and having your participant unmix the deck behind their back
and so many more!

It's my hope that ONE DEGREE will help you for beyond the tricks I share. The goal is to inspire you to identify small but important shifts that will lead to a WOW factor in your own magic. Needless to say, your one degree shifts will be different than mine since they must be wholly aligned with our respective brands.

For more information, visit www.vanishingincmagic.com and www.johnGmagic.com

NEW "ONE DEGREE" PROMOTIONAL VIDEO

NOW APPEARING

2010-08-09T18:27:00.000-07:00

August 9-15
Magic Cafe
Featured Guest (For Magicians)

August 14, 7:30-10:30 p.m.
Performing at Pop the Cork Wine Bar
O.C. DECADENCE event
Tickets and info at: http://www.ocweekly.com/microsites/decadence/

Mid-August
Featured guest Magic Newswire podcast
www.linkingpage.com

Tuesday, September 7
Lecture at International Brotherhood of Magicians
Jeff McBride Ring - Lake Elsinore, CA

September 10 & 11
Performing at The Magic Castle
Hat & Hare Pub with featured performer Matt Vizio

October 1-2
Carolina Close-Up Convention
Featured Lecturer/Performer
www.magicbyenigma.com/trics/

ONE DEGREE is Here!

2010-07-21T00:27:00.000-07:00

My new hardcover book, ONE DEGREE, is now available...on the same day I turn 42. What a great gift it is for me to share this with the magic community. I think you'll agree this is a simply gorgeous book. The Vanishing Inc. team did a superb job with the layout and design. More than two years in the making, One Degree contains more than 20 card routines (mostly new), a some "best of" items. I'm honored to have a wonderful Foreword by John Bannon and Introduction by Jack Carpenter. With 40,000 words, 240 photos, and five essays, this is more than just a book of tricks. It will get you thinking more about WHY you do magic and what guides your decisions.

You can order through Vanishing Inc. or directly through me here. With every order, I'm including a FREE clear sleeve for the effect Lost & Found (it makes a perfect bookmark too), and I'll personally sign the book to you!

Performance Tips

2010-06-29T15:10:00.000-07:00

I fellow magician was asked to show some magic to the incoming President of the Board of Trustees at his organization. In anticipation for this meeting, he struggled with a few things: he gets nervous and visibly shakes; and he did not know exactly what to show this gentleman at the time of their future meeting.

Man, with all this build up to the big meeting/performance with the Board President, I can see how the nerves can set in. Knowing he gets the shakes, then anticipating this moment where all eyes will be on him can seem scary. The scariest part, in my opinion, is the contrived setting...as in, "I'd like to introduce you both; now show us some magic!"

I suggested a few things that I really think would help. Don't look at this as a "performance." Look at as an introduction and conversation. Ask more about him when you meet. To make things less contrived, have a deck of cards handy on a nearby table...as if it's just laying around. Look for a natural transition in the conversation...and continue conversing. Ask an open question (one that cannot be answered with just a yes or no). This keeps the focus shared, and not all lasers on your hands. Don't look at it as instantly switching into performance mode. Pick up the cards and try to make a reference to something he said earlier. In the end, the "effect" is not about Aces or your hands, it's about HIM. This alone helps alleviate the shakes. Take the opportunity to prepare an effect that utilizes his name in some way, but be sure to present it in an "off the cuff" fashion.

A business mentor of mine once said: "Acknowledge and embrace your butterflies. Just get them to fly in formation."

Two New Tricks

2010-05-22T14:05:00.000-07:00

Isn't the digital age great? I've introduced a new two-trick download available exclusively at Vanishing Inc.

1. Homage to Homing - An amazing three-phase Card-to-Pocket routine

2. Extra-verted - A powerful and elegant royal flush production

Best thing is that BOTH are available for $10. Plus, you get the instant gratification of purchasing, downloading and watching instantly from your computer. Watch the clips and learn more at www.vanishingincmagic.com

In the meantime, Josh Jay, Andi Gladwin and I are hard at work at finalizing my upcoming hardbound book, One Degree. With 150 pages, 235 photos, 20 professional card routines, 5 essays, a foreword by John Bannon, and an intro by Jack Carpenter, this will be a major offering to the magic community. Can't wait to see what you think. No release date yet, but I'll keep you posted.

Share Your Craft

2010-05-16T12:49:00.001-07:00

Last week marked the second time this month I volunteered at a local after-school program to share some magic. Not only did I get to practice my chops in front of a cynical group of 25 high school students, I taught a few basic sleights, got them excited about the craft—and did something good.

Sharing your craft, whatever it may be, is a great way to not only give, but a great way to get something back. It refuels the heart and senses.

Look for opportunities around you to share your craft, and create a rich, fulfilling experience for yourself and others.

Looking Forward

2010-04-27T14:47:00.000-07:00

Yesterday, a friend mentioned he needs a vacation...just something to look forward to. Sure, we all need something to look forward to; it keeps us moving with optimism. It got me thinking about the things I have to look forward to. Here are some:

- Dinner this week to celebrate my four-year wedding anniversary.
- My new book (ONE DEGREE), which will be out in a few months.
- I'm meeting John Bannon at the Magic Castle next week.
- Raising support for a new YMCA facility.
- A family vacation.

The things we want/need to look forward to never just happen by chance; we must cause them to happen. It requires action. If you think about it, having something to look forward to involves first "looking forward."

As you look ahead, what can you do to create opportunities to look forward to. Maybe start by calling a friend. Accepting a new challenge. Thanking a mentor in your life. Asking a question of someone you respect. Scheduling an overnight getaway. And so on. Actions like these help plant the seeds for opportunities that will naturally grow into important events in our lives...and give us things to look forward to with excitement and anticipation.

Truly Impromptu

2010-04-18T11:09:00.000-07:00

I was invited to attend a very "high-end" fundraiser the other night. The mansion was filled with affluent, well-dressed guests. While I was not actually hired to perform magic, I was asked by my fellow guest to come prepared in case the opportunity presented itself to show a trick or two. The idea was that magic might break the ice, spark conversation, and ultimately open the door for support of the non-profit organization I work for during the day. I knew that for this to be pulled off naturally, the magic would have to come across as impromptu.

I'm not talking the type of impromptu that doesn't require preparation or rehearsal on my part; I'm talking coming across as impromptu through the eyes of the audience. There is a distinct different between simply pulling a poker chip from your pocket (just plain weird if you want to come across as natural and impromptu) and making the chip appear out of thin air as a relevant topic arises.

It was a great evening. I showed a lot of magic to a lot of people and made a lot of meaningful connections...all without overtly introducing anything that would be considered a magic prop. I began every set with empty hands. I waited for a topic relating to my opening effect to naturally come up (Vegas, traveling, money, etc.) or for my colleague to spark this along, then went into a a naturally evolving set:

With bare hands, I produced a Vegas poker chip from the Mirage casino. Just like a mirage, the chip disappeared, reappeared and multiplied.
The chip changed into a deck of cards, which led naturally into some card magic. The opening effect (Truth In Advertising) is based on my day job in marketing/advertising.
Depending on the topic of conversation, I performed any of the following card effects: Palm Reader, Lost & Found, Triumph, Homage to Homing.
After the final effect, I made the deck vanish.
I finished by passing out my business card. I had mine encircled with a few rubberbands, which provided a natural segue to perform one more but with the rubberbands....and move into talking business.

So, when reading magic books about so-called impromptu magic, look beyond just the lack of preparation required from your end; look at it through the eyes of your audience to ensure it comes across as being natural, off the cuff and meaningful to them.

What an honor

2010-03-04T10:51:00.000-08:00

In March 2009, I made my debut in MAGIC magazine with my effect "Intro-Verted." It was published in Joshua Jay's "Talk About Tricks," column.

Exactly one year later, I'm proud to say that "Intro-Verted" was selected as one of the top ten tricks of the year from Josh's column. What a nice surprise to open the current issue of MAGIC to see this.

Speaking of which, this effect will be among the more than 20 card effects slated for my upcoming book, One Degree. The book is in the final stages of editing before it hits layout and production.

Chicken or the Egg?

2010-01-10T20:46:00.001-08:00

“What came first—your repertoire or your personal style?” Did you know your personal style from the beginning and only select effects that fit? Or did you start by building your repertoire based on a more ambiguous ‘what feels right,’ which resulted in a list of favorite effects that, over time, defined your style.

Either way, I believe the important thing is to be authentic (when our inner self matches what people see). To help deepen your authenticity, follow your gut. Continue doing what feels right. Perform effects that you love, and that can be executed with passion and ease. In the end, that's your personal style in action. That's your personal brand. Now, be sure to make future choices consistent with your brand. And certainly, go market the hell out of your brand.

Surpassing Expectations

2010-01-01T15:33:00.000-08:00

Surpassing Expectations. Two simple words—with many powerful layers. It's a goal I continually aspire to, both in my magic and in other areas of my life. The phrase is more than just a devotional "feel good" slogan. First, it involves making the effort to understand what the expectations are in the first place—what is it that you want, and what is it that your audience hopes for? This is your target! Now, what can you do to surpass what is expected? Peel back another layer, and the phrase means respecting your audience's intelligence. They know that some sort of method is at work, so weaving their "gears at work" into your presentation is a great way to connect with them—and move beyond logic toward something much more extraordinary.

So What?

2009-08-30T22:27:00.000-07:00

The difference between asking "what?" and "so what?" is no small difference. In fact, it's a world of difference—an example how one small change can completely change your perspective.

Asking "what?" is all about the data. What props are in play? What's the first step? What happens next? What is the method? The patter? The presentation? What kind of trick is it? Cards? Coins? What is the effect? You get the idea.

So what? Exactly.

Asking yourself "so what?" forces you to ask why all this data is important. Why should you or anyone else care? What if you never did anything at all...would it be noticed? Are people impacted in the way you set out to do? Or did you even consider the what the desired impact would be? Is it meaningful? Memorable?

Let's illustrate this with the classic effect, "Triumph."

What? (the data)

Cards are used.
A card is selected and lost in the deck.
The cards are shuffled face up and face down.
All the cards right themselves, except for the selected card.

So What? Asking this about the above actions

So what if cards are used? Since most people can relate to using cards, it's a way to connect with your audience.
So what if a card is selected? Opportunity to involve the participant.
So what if the cards are shuffled face up and face down? It's unusual. It's raises curiosity. It begs for resolution.
So what if the cards "unshuffle" themselves? It brings natural order in a magical way.*
So what if the participant's card as the only one facing the other way? It validates their involvement. Having their card do something special makes it personally meaningful. It creates a memorable visual snapshot.

I also find that asking "so what?" often leads "what if?" questions. This has two primary benefits: 1) It can refine and perfect your current process; and 2) It can lead to something different...an unexpected avenue. For example, "What if I used coins instead?"or "What if the participant was allowed to mix the cards too?"

Keep in mind that you don't have to limit this approach just magic. Asking these types of questions any time can offer clarity on the meaningfulness of your actions, whatever they may be.

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*see past blog entry called Serendipity

Magic LIVE!

2009-08-26T12:15:00.000-07:00

So I was sworn to secrecy leading up to Magic LIVE!, held in Las Vegas August 16-19. I was asked by Joshua Jay and Stan Allen to present an original effect during the Wednesday morning session—in front of a thousand people! A bit nervous? Of course. An exciting rush? Absolutely. And it all went off without a hitch.

I presented my effect "Truth In Advertising" (an update to "Optical Opener," which I originally published on my Second Storm DVDs). We had a bit more time on stage,so I also taught my Ballet Cut.

Man, to have David Williamson come up to afterward actually doing the Ballet Cut... that was one of the many highlights. Also high on my list was exchanging ideas over lunch with John Bannon and Simon Aronson.

I also teamed up with Tyler Wilson, Andi Gladwin and Rune Klan to conduct two hour-long Card Workshops. I taught the latest version of my effect, "Palm Reader."

Before leaving Vegas, I filmed some material for potential publication later this year through Vanishing Inc. In all, a very memorable and amazing trip.

What's the effect?

2009-07-29T21:49:00.000-07:00

Magicians hate the word trick; we use effect. We know that magic is not about tricking someone; it's about creating a memorable and extraordinary moment.

But, it hit me that we don't use the word to it's fullest meaning. I'm just as guilty as anyone in using effect to merely offer a description if what happens with the props (e.g. "the Aces turn over" or "the card jumps to the pocket"). But what is the effect on people? What impression are we making on them?

Take for instance the classic Razor Blade Swallowing effect. The typical effect description is something like, "You take five razor blades, slice through a paper to prove their sharpness, swallow them, swallow a thread, then pull the thread back out with all five razor blades tied to it."

Now, what is the effect on the audience? I imagine it would be something like, "The audience wonders if his mouth will bleed; they squirm at the thought the pain and injury that might come from swallowing them; they watch with baited breath as the thread is slowly pulled out; they give a cautious sigh of relief and are left with a striking image of how something like this was even possible." Powerful stuff. And it's a reminder of how critical presentation and structure is to ensuring our desired effect on people is realized.

Do I think magic books should describe effects this way? Not really. Do I think this should be part of the thought process when developing an effect? Absolutely. And I'm sure that's what many of us do, but maybe not as intentionally as we should.

Try this: Open any magic book and read just the effect descriptions. After having a clear image of what happens to the props, ask yourself what the participants are likely saying or feeling? Rather than view the effect just from their eyes, view it through their emotions. I venture to say that the best effects will be those where the audience is most captivated and involved.

Lu Chen on Taiwanese TV

2009-06-29T21:34:00.000-07:00

One of my favorite opening tricks to perform is "Color Blind," a simple Ace production that I originally featured on my Brainstorm DVDs. I was honored when my good friend Caleb Wiles asked if he could use "Color Blind" as the lead-in for his acclaimed effect "Reswindled" (featured on Paul Harris' new project and Caleb's superb book, High Spots).

The pairing of these tricks caught the eye of acclaimed magician Lu Chen, who can be seen performing "Color Blind" and "Reswindled" on a Taiwanese variety show. And oh, the reactions he gets. Watch the video here.

While Caleb's trick is the true attraction here, it's fun to see how my simple opener can make such an astonishing impression half way around the globe.

More so, watching the clip reminded me that just because something is simple, does not mean it's insignificant. And just because something may have lost that "newness factor" to you, does not mean it can't be astonishingly new to others.

2009-06-19T21:29:00.000-07:00

One of my earliest magical memories was watching Doug Henning on television. I was 7. With all the lavish and whimsical illusions coming from the TV screen, one image captured me—a close up of Henning's hand. In it, one nickel. He slowly closed his hand, and when he opened it the nickel was gone! With my jaw still dropped and my eyes fixated on the screen, his fingers closed, then slowly opened to reveal the nickel. It was so simple and pure, yet incredibly magical. It defied explanation. Well, that's all it took for me. It was a tipping point. I officially became a student of the art so that I too could bring the same childlike wonder to others of any age.

As I approach turning 41 next month, it's kind of cool to look back at how the whole magic thing got started with me. What's your earliest memory? How has shaped you?

The Crazy Ones

2009-05-14T12:01:00.001-07:00

My favorite commercial of all time is from Apple's 1997 Think Different campaign. The visuals, the music, the inflection of Richard Dreyfus' voice, the carefully crafted message...they inspire me every time. It reaffirms my purpose as an artist, a leader, a husband and father, and practitioner of the magic arts; and my ability to personally impact people in unique and profound ways.

"Crazy Ones" commercial, 1997

We all have the opportunity to make a dent in the universe. Even something as simple as magic trick can create an extraordinary moment for someone. Am I crazy enough to think this can ever make a difference? The last line says it all: "...the people who are crazy enough to think they can change the world, are the ones who do."

In The Now

2009-05-12T15:24:00.001-07:00

When reading a book, it's not just about reaching the final pivotal chapter. Every word of every page is important to the present moment. Yet in life, how many times do we find ourselves skipping ahead—so focused on what's next—we lose sight of what's now?!

One of my favorite magic routines is a combination of two tricks: "Intuition" and "Out of the Blue" (both featured on my Brainstorm DVDs). Over time, I realized that I was not giving "Intuition" its due credit as a strong effect in itself. It's more than just a trick that sets up the next...more than just a connector to something better...it's an incredible mental effect in and of itself—and a Hofzinser-inspired classic. Yet, I often found my inner voice saying, "But just wait until they see the next trick. Those color-changing backs are going to blow them away." I was two steps ahead in the future to be fully invested in the present.

I was skimming and skipping ahead to the good part, instead of bringing the current page to life. This experience has reminded me to become more purely invested in every given moment and to maximize "now" with true conviction. Knowing this has helped me improve my performance in terms of pacing, accentuating the effect, being more expressive, and getting the most out of each magical moment.

So, whatever page you're on now, here's to making the most if it.

Getting Past Mental Block

2009-04-27T21:48:00.000-07:00

You know the feeling...you have hundreds of card tricks stored in your head, then someone asks to see a trick and you suddenly forget everything you've ever known. Mental block! We live in the information age. As we acquire more knowledge, it becomes more and more difficult to filter through it all. That's the challenge—adding to our knowledge base without forgetting past learnings.

To help avoid mental block in magic, I have a few mnemonic devices I use to help trigger my memory, especially in off the cuff performing situations. I begin by preparing a list of some favorite effects and group them by number, one through six. Each number represents a category of tricks to choose from. Here's an example I use:

ONE = Tricks where just one card is selected (Optical Opener; Double Trouble; spectator peek)
TWO = Tricks where two cards are selected (Club Sandwich & Double Monte; two-card transpo)
THREE = Think "tri" as in TRIumph; Collectors (three selections); or a sandwich trick (one selection between two cards)
FOUR = Four-card production, etc. (Color Blind; Tailspin; The Ripper)
FIVE = Five cards are used...four-of-a-kind plus one selection (Palm Reader; Homage to Homing)
SIX = The "X" represents the ending destination...a closer. (Ambitious; Ballet Stunner)

By grouping the tricks, it allows you to remember much more. It's similar to how we remember phone numbers in groups of three or four numbers rather than trying to remember all 10 digits at once. The fun part is choosing effects that have meaning to you and associating them with the appropriate number.

Sometimes instead of numbers, I'll use an acronym. Choose any word that has some significance to you or a specific performing situation (such as stroll or magic). Here's an example with the word impact:

I = Intro trick such as a shuffle demo / Invisible Deck
M = Monte / Money trick
P - Production (aces or selections)
A - Ambitious
C = Card change / Clairvoyance
T = Transposition / Triumph / Tailspin

Here's another example using an alphabetical order:

A = Advertising (my new version of Optical Opener) / All-backs
B = Biddleless (new) / Behind-the-back Triumph
C - Club Sandwich & Double Monte
D - Dreamcatcher (my version of Armstrong's Instantaneous Sandwich)
E = Either Or (new)

F = Flying Card (using Audley Walsh's Long Distant Spinner)

G = Syner-Gee Ace production

H = Homage to Homing / Here, There, Everywhere

I = Invisible Deck

So, call me a geek, but this stuff works. It allows me to store a lot more information, have some flexibility during performance, avoid mental blocks, and focus more on my audience. It enables me to carry an organized mental list with me wherever I go...especially handy when someone hands me a deck and asks to see something.

Nudge

2009-03-24T21:26:00.000-07:00

Influencing behavior does not require overt actions—in fact, you can actually alter human behavior dramatically using simple, subtle cues. This is the theory in Richard H. Thaler and Cass R. Sunstein's recent book, "Nudge."

"Nudges" can be used to influence people's eating choices, for example. In a recent experiment on Good Morning America, a camera was set up in the break room to observe employees eating from a catered spread of doughnuts and fruit. The first day, the majority went for the doughnuts (only a third went for the fruit).

The next day, the fruit was elevated on a pedestal dish—and more people opted for the fruit. When signs were posted citing that the average American consumes fruit for breakfast, and even more people went for the fruit.

What nudge that made the biggest difference? Mirrors! Mirrors were hung on the wall behind the food, and the group consumed far more fruit than any other day. Hardly any went for the doughnuts. See clip here.

While the book primarily focuses on influencing people's decisions regarding health and wellness, the theory can certainly applied to magic. Simple cues can be used to influence action in your participants. What types of "nudges" have you already used or can develop for future use to influence audience behavior? How might this be used intentionally in an effect?

Stronger Connections

2009-03-19T11:52:00.000-07:00

I've had some enlightening discussion this week, with both fellow magi and business colleagues. Here are a few things that resonated with me. They all revolve around connecting with your audience in more powerful ways.

Be you
How does your audience get to know you—not just your magic, but you? What's your opening line, opening gesture, opening effect? Are they all genuine expressions of who you truly are? Shoot for authenticity both on and off the stage, and you'll create stronger connections with others.

Parts in a play
Instead of treating your audience as strangers who are simply observing you, try this cool approach that a magician friend of mine uses: Treat your audience as cast members in a play whose parts you have not yet written. Throughout your performance, live in the moment, respond, react, and transition to the next scene based on what they say and do. Make them an integral part of the entire experience.

It's about the journey
Knowing where you want to go is great, but there's more than just getting from point A to point B. It's about making the most of every "sub-point" along the way and doing everything you can to create several extraordinary moments. Enjoy the journey, not just the destination.

Time to breathe
Sometimes it takes a few moments for genuine reactions emerge. I've mistaken people's initial silence as a sign that they were either bored or detached—but learned that fantastic reactions were just percolating and on their way to the surface. Next time you're waiting for a response of any kind, wait a few beats longer than you normally would before stepping in or moving on. Give your magic time to breathe. Watch David Blaine at the end of an effect. He remains quiet. He lets the audience replay what the heck just happened and allows them to react and respond at their own pace. Often this leads to some amazing expressions of astonishment.

Serendipity

2009-03-11T21:38:00.000-07:00

Does every magic effect have to contain a "magical moment"? Can it be equally as strong if instead of magic (as in defying rules of nature), it resulted in something that is in fact possible in real life?

Let's explore Triumph, a classic Vernon effect where a deck that's been shuffled with half the cards face up and face down "magically" straightens out. In most variations, there is a magical moment (casting a shadow, a mystic wave of the hand, a quick riffle of the cards, etc.) that causes the condition of the deck to change. But how connected is the audience in this process? Are they truly involved in the "hey, look what I can do" demonstration? Yeah, they selected a card, but are they genuinely part of the experience?

What if Triumph was presented with the spectator unshuffling the cards? Imagine hopelessly mixing the cards up and down, then simply handing the deck to your participant. They place the deck behind their back and turn groups of cards up and down, stopping whenever they want. They bring the deck back out, the cards are spread on the table, and they are all now face up, except the card they named before the trick started. The participant somehow defied all odds in unshuffling the deck—something that is in fact possible, but utterly unbelievable.

This approach is a reminder that not all magic has to highlight the magician's mystical powers, but rather the true magic is often in the audience doing, seeing, feeling and experiencing something rare and incredible. In these moments, I am not a magician in the traditional sense; I am a mere catalyst sparking remarkable and extraordinary experiences within the audience. They create the impact.

While this approach is not new and can be seen in many classic effects, it would be worth applying the idea to effects that aren't typically "participant-induced." By transferring the wonder from your hands into others' hands, I think you'll find them talking more about extraordinary possibilities, and how they play a role in it.

Marketing 101

2009-03-08T22:19:00.001-07:00

What does Marketing have to do with magic? A lot, as it turns out. We are ALL marketers in many levels of our lives. In magic, marketing is more than hiring a booking agent. Marketing means having an acute understanding of our very essence. And the classic "Four Ps of Marketing" are a good starting point to help us gain focus.

Product
This is what you're selling. Duh! But think about it...what ARE you selling? What is your product, your brand? Why your product over someone else's? How do you ensure consistent quality? What need are you filling? For more about this, see my earlier post, The Napkin Approach.

Price
What are you worth? What value do you provide (value in the sense of meaning and importance)? If you charge lower than others, is this a smart thing, or does it diminish your perceived value? If you're priced higher than average, why? What is it that you bring to the table? Utimately, does your price do justice to your brand? (Study other brands like Hyundai or Rolex to see how price works into their branding strategies.)

Place
Place typically refers to how the product moves from the factory to the shelf. And are you on the right "shelf?" What does it look like when your perform? What's the ambiance, the vibe? Is it dark and mysterious, or loud and boisterous? Would you do a kid's show, a Renaissance fair, a cabaret act, or a stage show? Why? Ultimately, is the place consistent with your brand?

Promotion
Who wants your brand? What are people saying about you? How are you targeting them? How are you delivering the promise of your brand? What are new trends? How are you tapping into people's interests? Do you focus more on reach (number of people) or frequency (the times of exposure)? Does you promotion adequately reflect the promise of your brand? And how are you ultimately delivering on your promise?

March of Progress

2009-03-01T22:52:00.000-08:00

What an exciting month of magic March is turning out to be...

Magic Magazine
March marks my debut in Magic Magazine. My effect, "Intro-Verted," is published in Joshua Jay's "Talk About Tricks," column. Magicians get to learn the trick step by step and read a brief interview with Josh and I.

The Notebook
Will Houstoun's, The Notebook, just arrived. In this superb book that sheds light on 81 card tricks performed in the latter half of the 18th century by some of the greatest magicians of the age. I had the pleasure of meeting Will during my recent trip to London, where he showed me around the legendary Magic Circle and the library where he did his research for the book.

True Astonishment
I just received Paul Harris' long anticipated 9-DVD True Astonishment project. Paul's a hero, and I'm honored to have my effect "Color Blind" (Brainstorm DVDs) included on the set (as an intro to Caleb Wiles' "Reswindled"). Very cool!

TFD Convention
I'm looking forward to sessioning with some of the best minds in card magic at The False Deal Convention in Oklahoma City, March 26-28. I had the pleasure of lecturing at last year's convention in Dallas.

Team Magic
I'm leading a team for philanthropic support at the YMCA, and we're calling ourselves, "Team Magic." We're using magic to inspire our team and make impact in the community.

Practice Makes Better

2009-02-16T22:28:00.000-08:00

In a business meeting the other day, a colleague mentioned she often uses the phrase "practice makes better" rather than the standard "practice makes perfect."

Interesting. It makes sense really. I'd rather consider perfection an ongoing ideal, not a destination where there's nowhere else to go. If you reach a level of total perfection, does that mean no more practice is necessary? (For the answer to that, see my earlier post, "Ladder to Mastery.")

So about practice. I practice my magic incessantly until moves become second nature. This allows me to focus my presentation on connecting with people. I practice almost every day. I have decks of cards all around the house (sorry, Debbie) so practice is always at arms reach. And I don't just practice moves and effects; I practice grace and finesse. I practice holding the cards with the lightest possible touch and doing the moves with a fluid motion. Having a refined touch with the cards helps separate the above average from the average.

I often practice without holding any props at all; I simply pantomime with my bare hands. It helps to heighten my awareness of movement and motion. Try it. Practice an entire effect using nothing but your hands. Pretend to hold the cards; pretend to do a your sleights; pretend to make a coin vanish. Watch your hands. How do they look? Are they cramped? Do they move with grace and fluidity? Magic should be a beautiful thing to watch, even when something magical is not happening.

I also practice in my head—by reciting patter, dreaming up potential plots and making mental notes of things I'd like to try. Carry a pocket digital recorder with you (I have mine in the car). This way, if an idea strikes you, you can record it at a moment's notice.

My favorite way to practice is to have card sessions with fellow magicians. Whether at the Magic Castle, the local magic shop, or magic convention, it's a great opportunity to exchange ideas and chops with fellow magicians. It's how my first DVDs got their name: Brainstorm.

The best practice comes when actually performing for people. Let them be your true mirror. Test out new tricks with small groups to help work out the kinks and build confidence. This also helps develop the presentation, choreography and address issues that did not arise during solo practice sessions.

And finally, be sure to practice the right things. As Richard Turner put it in the latest ReelMagic magazine, if you practice something over and over again, but do it incorrectly, you've pretty much mastered how to do it wrong. So be sure to use sound technique, always!

And when you feel you've reached a level of perfection, keep practicing, because practice makes better.

T.I.P.S. (vol. 1)

2009-02-06T13:19:00.000-08:00

T.I.P.S. - Tested Ideas and Practical Suggestions
A friend recently asked for my advice on an upcoming strolling gig. He's fairly new to taking his skill into real world performing situations, but is by all means ready. Formulating a response meant looking into my own practices—a learning experience in itself. Here are some nuggets I shared:

Focus on cohesive sets of three.
Plan ahead. Instead of just listing the tricks, be clear about how you want your audience to react to you (see "The Napkin Approach").
Your opener should be quick, visual, and authentically you.
Know as much about the gig, environment and guests before the show. Standing only? Small groups? Round tables of 8-10 seated guests? Ambient noise? Number of guests? Plan accordingly.
Dress one level above your guests.
Be a people person. Make eye contact. It's about you and them, not just about the tricks.
Exude confidence.
I usually make my set list by listing primary and alternative effects. This gives me breathing room to change things up a bit. Here's an example from my own repertoire:

Rubberbands routine (or Full Circle)
Casino Chip and deck production (or Copper/Silver)
Optical Opener (or Ballet Stunner)
Card Transpo (or Triumph)
Homage to Homing (or Palm Reader)
Ambitious Card (or In a Flash)
(Encore if appropriate: Invisible Deck or Constellation)

After the gig, be curious. What worked? What could have gone better? What surprised you? What did you learn?

Bonjour!

2009-01-29T12:10:00.000-08:00

So I recently returned from lecturing and performing at The Session in Gloucester, UK. What an incredible experience it was, sharing my magic with 120 magicians from around the globe.

After the three-day convention, my wife and I and our 8-year old daughter spent a week in London—and a full day in Paris! Seeing the Mona Lisa in the Louvre was an incredible rush—but that's not the only work of art that caught my eye.

Look closely at this painting, entitled The Cheat with the Ace of Diamonds, by French baroque painter Georges de la Tour. At first glance, we are are seeing a fairly typical game of cards; but look deeper. The young man on the right is so focused on his hand, that he is oblivious to the cheating taking place on the other side of the table. The women are exchanging glances, either because they're on to the cheater or they're in on the scam. Moreso, the artist offers a moral statement into the dangers of wine, women, and gambling.

As a card magician, there is another level of captivation—this painting is from the 1630s, nearly 380 years ago. If you think that's a long time ago, consider that playing cards were actually fairly modern at that time since they date back as early as the 9th century in China during the Tang Dynasty.

The first book on magic was published in 1594 by Englishman Reginald Scott, entitled The Discover of Witchcraft. With this important turning point in magic, the author gave detailed analysis of sleight-of-hand and magic tricks in order to refute superstitions around them.

In the 1800s, Johann Hofzinser, remembered as the father of card magic, frequently entertained the high Society of Vienna, mixing social satire with magic. Many of the card effects we know and love today are attributed directly to Hofzinser.

So why share these bits of history? In many ways, it's the history that's the real magic. And while I've shared just a few milestones, I hope it serves as a reminder of magic's power throughout history to impact people in unique and profound ways. Keep this in mind next time you pick up a deck of cards. I think you'll find yourself handling them with a new air of grace, finesse and care that gives a nod the magic's rich heritage as a performing art—and ultimately elevates your magic onward.

Inducing Challenges

2008-12-22T23:44:00.000-08:00

So I had a great Holiday gig the other night, performing for about 20 lawyers and their spouses at a country club. I was standing with my last group of the evening and opened with one of the effects I've been flooring the rest with all night—"Ballet Stunner" (my take on Paul Harris' "Color Stunner"), where after a classic Triumph effect, the deck visually changes from blue to red.

As the crowd went wild, the lady on my left screamed "Change it back! Can you change it back to blue?!"

Hmm, that's not a response I've ever gotten before, nor one that I was prepared for. "We'll see..." was all I could muster at the moment. I continued with the set. Amidst conversation and laughter during the set, I was able to prepare to meet her challenge to "change the deck back back to blue," but I wanted her to bring it up again. I let a little more time slip by and sure enough, she said, "So, can you change it back before you leave?"

"Perfect!," I silently screamed to myself. I slowly waved my hand over the red deck, and it changed to blue. She and the group of six went nuts!

It was a great moment, but something that can't happen all the time. Or can it? In Pit Hartling's superb book, Card Fictions, he has a wonderful essay on the topic of Inducing Challenges. These are moments you purposefully design into your performance to "trigger" the audience to pose a challenge. The challenge might be something like, "Let me shuffle the cards," or "Can you make the card appear in MY pocket?" or in my case, "Can you change the deck back to it's original color?" As Hartling stresses, these moments must appear unrehearsed and spontaneous. This leads to extraordinary moments that go far beyond the effects themselves—it implies that you could, in fact, do anything. Wow! Hartling lucidly explains the various motives that drive audience members to pose a challenge, and the related tactics you can use to induce them.

In my example earlier, I had not premeditated the challenge to do a second color change. But I realized I had everything I needed to still make it happen. And what a powerful moment it was.

The best part?...Moments like these don't have to be random and unlikely; you can plan for them to organically occur. I'm now engrossed in Card Fictions and reviewing my repertoire with a different lens to identify moments I can trigger to involve the audience, tap into their curiosity and heighten the magic.

The Ladder to Mastery

2008-12-16T21:51:00.000-08:00

I just finished watching the new John Carney Master Sessions, volume 1. Inspirational and educational on all levels. The explanations were particularly captivating, as Carney managed to transport me in history through the evolution of his presented effects. There's also a section where Carney offers insights on learning - which is the topic of today's post. In comparing DVDs to books as learning tools, he believes they are both necessary; but with books comprising the vast majority of knowledge out there, books have the power to propel our learning in unprecedented ways.

As students in magic, we never stop learning. We've probably all gotten started in similar ways...being captivated by a trick in our youth, but knowing nothing about it, or how to do it. We were at ground zero. This is where lay audiences reside.

But we became curious—we dived into a magic kit (in my day, it was ordering something from Marshall Brodine on TV). We got our feet wet, experimented and officially became apprentices—in pursuit of knowledge, even if our proficiency and ability was low.

But we didn't stop there. We couldn't. We made the effort and commitment to deepen our knowledge—reading, sharing, refining, and reading some more. And since magic is a performing art, we replaced the mirror with a live audience, eventually reaching a level of expertise—one that combines both highly developed knowledge and competence.

But, through continued experience, there comes a point where our competence extends beyond our consciousness. It's a state where we perform without conscious effort and with automatic ease. We'll call it mastery. You may have already reached this level in at least one aspect of your magic—perhaps in performing the Pass without consciously telling your fingers what to do. And often, your fingers begin teaching you a thing or two about stuff not even you knew you knew.

Caution. If you feel you've reached mastery, don't stay there for long, or else you might get stuck on an endless plateau where learning eventually ceases (think an EKG that flat lines).

So where to from here? It's time to add another rung on the ladder and start again at ground zero. It's where something can peak our curiosity, perhaps from watching a new effect that fools us, giving us a rush that transports us to the childlike feeling we had when we first got into magic. And even though we're back at the level where we "don't know what we don't know"—at least we know where we are. What great spot to be in. A rebirth. Putting ever-growing curiosity into action and moving through a cycle of constant learning and continuous improvement—the ladder to increasing levels of mastery.

I find myself on various rungs of the ladder. But no matter where I am, there's always a desire to move up. So where are you on the ladder? Answering this question is a great way to get a firm footing and take the next step.

There's a lot of knowledge out there on this topic. I found this site particularly informative.

Lost and Found...Again

2008-12-09T22:51:00.000-08:00

"Lost and Found" is one of the stand out effects from my Brainstorm DVDs, and continues to be a high point in my shows and lectures. The effect is an extension Steve Hamilton's "Clearly Vanished," Peter Duffie's "Clear and to the Point, and Roy Walton's "Jefferson's Jest." In all of these effects, a card vanishes from a clear sleeve (and perhaps reappears somewhere else). It's incredibly magical and intriguing. But is that the end? What if the signed card could be made to reappear back inside the sleeve? In 1999, I developed "Lost & Found," which features a quite devious solution to do just that. And I've been flooring audiences with it for 10 years now.

Clearly Better
So, I recently had another "what if?" moment. What if I attached a strap to one end of the sleeve? It would allow the sleeve to more closely resemble a luggage tag (which fits with the "airline" presentation). I could even begin my having the sleeve hanging from a suitcase. But here's the real benefit. By leaving the strap on throughout the effect, you could actually hold the strap during the vanish and reappearance. Whoa! For those of you familiar with the effect, think about it. During the last phase, as the participant is pinching the empty sleeve between two Jokers, simply pull the end of the strap. Emerging from the spectators fingertips, inches away, will be the sleeve with the signed card clearly inside. Normally, you would have to pinch the extreme edge of the sleeve itself. The addition of the strap not only makes the procedure easier, it strengthens the magical moment. The strap works great during the initial vanish too; just tug on the strap while retaining the Jokers in the other hand. You will be left with a pretty picture of the sleeve hanging empty from the strap.

Give it a try. Just punch a hole at the bottom of the sleeve and lace on a spare camera strap. The strap does not interfere with the handling. Just perform the effect the way you always do.

I recently shared this idea at my latest lecture in Detroit, and the magicians dug it. I hope you do too. If you're in need of some more sleeves, they are available on my product page. Enjoy!

The Napkin Approach

2008-12-05T15:46:00.000-08:00

In the marketing/development world, we sometimes summarize a road map to desired outcomes using a “napkin.” We call it a napkin because it includes the things you might jot down across the table from someone to articulate your message succinctly, visually, spontaneously and with room for dialogue.

So what would you write down or draw on a napkin to define who you are as a magician? A napkin forces you to be focused and brief – and to have a dialogue with yourself. This process will hopefully better define your “BRAND.”

What does YOUR "brand” look like? What sets it apart from others?”

Remember, a brand is not a logo or name...it is a promise! And everything you do must be focused on fulfilling that promise to your audience.

I decided to take the napkin approach myself recently. It started off with a quick sketch, which I then articulated in more detail by typing my outcomes, priorities and strategies. I’ve never really shown this to anyone...it’s just something to help my keep the “John G brand” on track. If you're curious, here's what I came up with. I wonder what you'll come up with.

THE JOHN G. NAPKIN

THE CASE (Why me? What do I offer?)
To deliver extraordinary moments through close-up magic (primarily playing cards) that offers a distinctive combination of artistic handling, creativity and engaging presentation.

DESIRED OUTCOMES (What do I want my audience to say or feel about my performance?)
- Astonishing/remarkable
- Beautiful to watch
- Entertaining
- Creative
- Memorable

MY PRIORITIES & STRATEGIES (My main three areas of focus with specific strategies)

Priority 1 - DEFT TECHNIQUE: Exhibit the skill and confidence of a virtuoso

Approach with sureness & control
Light touch, smooth and fluid, grace and finesse
Practical handling that can be done slowly and deliberately
Naturally-choreographed and justified actions
Supplement dexterity with subtlety

Priority 2 - SOLID PRESENTATION: Presentation is designed to strengthen impact

Focus on scripting/performance
Craft act toward audience
Structure effects to reveal "extraordinary moments"
Relevant topics; not contrived
Natural props
Original ideas
Clever methods
Cohesive sets; thematic
Designed to surpass the expected
Capitalize on what you CAN show; camouflage what you can't

Priority 3 - RAPPORT: Engaging presentation that connects with people

Listen to them
Be authentic
Draw from genuine experiences
Use quick wit
Exhibit class and modern charm
Involve them as partners in creating the impact
Enjoy the magic WITH them
Mirror their level of enthusiasm
Tap into their interests
Respect their intelligence
Use "conversational misdirection"

The search is on

2008-12-03T18:21:00.001-08:00

So I've read every page of Joshua Jay's new book. "Magic - The Complete Course" is remarkable piece of work. Although the target audience is the general public, there are absolute gems within these pages.

Of the many effects that caught my eye is "Ovation Position" - a wonderful opener that ends with the production of a drink. So the search is on to find a glass (actually durable plastic) that will travel well and be available for future performances. While virtually any glass will work, I'm looking for a tall, tropical looking one. It's visually appealing, and would be a great addition to my Postcard Act, during the imaginary flight to Hawaii.

So that's where my head is at today. If you haven't checked out Josh's book, do it.

Upcoming appearances

2008-12-02T23:02:00.000-08:00

THE SESSION 2009 • Gloucester, England • January 17-18, 2009

I will be a among select international performers at one of the UK's most prestigious magic conventions. In addition to sessioning with magicians worldwide, I'll be performing and lecturing material from my DVD and lecture notes. I'll also be participating in a benefit close-up show for charity while I'm there. For more information, click here.

Just back from the MOTOR CITY CONVENTION

I recently returned from performing and lecturing at the 12th annual Motor City Convention, where I got to share the stage with Geoff Williams, Eric Jones and Kozmo. It was great hooking up with my fellow TSDers and making new connections. The lecture and workshop were very well recieved. One highlight of the the 2-hour workshop I presented was a new effect, Ballet Stunner (based on Paul Harris' superb Color Stunner). I have a rough clip on my YouTube page here. I'm still making some really cool refinements, but you'll get the idea.

Welcome

2008-12-02T21:35:00.000-08:00

Welcome. Is that how to start a blog? This is my first. But I hope to make it a place of interest; a place of inspiration...for my fellow magi anyway.

It's a place where I plan on sharing magical thoughts of the day - or week. If there's a new effect in the works, you'll learn about it here. If there's a fine nuance I've added to the performance an old effect, sure, I'll share that as well. Some things may be of high interest, while others may seem trivial; but I'm sure there will be something for everyone.

In the end, it's a place that I hope catapults creativity and elevates the magical art. Feel free to join in, comment and discuss.

So, welcome. Thanks for letting me begin what I hope will be an ongoing discussion.

There's lots more to come.