ONE DEGREE is Here!

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

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

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

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

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

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:

1. With bare hands, I produced a Vegas poker chip from the Mirage casino. Just like a mirage, the chip disappeared, reappeared and multiplied.
2. 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.
3. Depending on the topic of conversation, I performed any of the following card effects: Palm Reader, Lost & Found, Triumph, Homage to Homing.
4. After the final effect, I made the deck vanish.
5. 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

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?

“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

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?

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!

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?

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

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.

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

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

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

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:

1. ONE = Tricks where just one card is selected (Optical Opener; Double Trouble; spectator peek)
2. TWO = Tricks where two cards are selected (Club Sandwich & Double Monte; two-card transpo)
3. THREE = Think "tri" as in TRIumph; Collectors (three selections); or a sandwich trick (one selection between two cards)
4. FOUR = Four-card production, etc. (Color Blind; Tailspin; The Ripper)
5. FIVE = Five cards are used...four-of-a-kind plus one selection (Palm Reader; Homage to Homing)
6. 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

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

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

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.