First Fruits

Although I’ve been performing magic from one degree or another for 30 years, I never wrote scripts for my repertoire until this past fall. Since last Spring I have put my study of the art into high gear and hungrily consumed essential books by authors such as Maskelyne and Devant, Fitzkee, Nelms, Ortiz, Weber, Neale and Hass. There is the risk of shutting down due to information overload but I just can’t get enough of this stuff. It was certainly a no-brainer that if I wanted to take my art to the next level script writing was the unavoidable next step. There are so many variables to rein in it boggles the mind: Character, meaning, theme, timing, misdirection (both physical and mental), motivation, dramatic structure, logic, contradiction and dilemma. Just to name a few. I was aware of some of the important details, but most others would have never occurred to me. Always a beginner I suppose.

If last year was about revitalizing, learning and performing old favorites and standard classics, this year is about building more powerful presentations from last year’s accomplishments. The results have thus far been fruitful. To name just a few: A three-phase routine I worked out based on “The Last Trick of Dr. Daley”, “Card to Pocket”, an old effect with a handkerchief I learned as a 12 year old, “Red Hot Mama”, “Gypsy Thread” “Three-Ball Transposition”, “Expansion of Texture”, “Winged Silver” and more. All scripted and motivated to mesh with my performing persona and style. As a result there is a common theme that runs through all these pieces. One advantage is the most obvious. The effects are stronger and seem more like real magic rather than amusing and clever puzzles. Another advantage of script writing is since they all conform to my vision and style, they all fit together. That makes the construction of a strong series of themed effects much easier.


At this point I have about 40 effects in my repertoire. (That’s 30 years worth and they’re not all “A” material). About 13 of them are formally scripted, so far. It’s time-consuming and requires all my effort and focus, but it’s not drudgery. It is a joyful labor of gratitude as Dr. Larry Hass might put it.

Here’s one that flopped. The Sympathetic Pendulum. It appears in Henning Nelms’ outstanding and essential book “Magic and Showmanship”. Unconvinced it was a great piece of magic, but still curious how it might play, I decided to see what I could do with it. I must have spent 2 weeks scripting the effect for this experiment. I used a small quartz hatchet head and historical information about local ancient tribes and medicine men. I performed it before five different audiences. The response was polite and mildly amused smiles. Not the reaction I was working for. The piece is intriguing but just too slow. I would be curious to know of anyone else’s experience with this illusion. It was still a good exercise in script writing. At least I now had practical experience of the importance of a brisk pace.

One the other hand there is my treatment of “Card on Ceiling”. I have been performing this effect for years but the response was never what I thought it should be for such an impossible demonstration. I had just finished reading Robert Neale’s “Magic Matters” and although I’m still scratching my head over that book, it did put my mind in a different place. So I worked up a handling of “Card on Ceiling” that was a little dark. I was apprehensive about presenting it. I feared it would be melodramatic at best and hackney at worse. But I spent so much time with it I had to know how it would play. The response took me totally by surprise. Each audience was collectively astounded and very emotionally involved. Silent and astonished gasps followed by giddy release and enthusiastic applause. Ahhhh, now that there’s the stuff ain’t it. It is now probably the most powerful effect I perform.


The results speak for themselves. The experts are correct to suggest, cajole, persuade or threaten with a stick those of us who aspire to the rank of artist into taking script writing as seriously as one takes a double lift. So if anyone feels these silly blog posts are few and far between, the reason is obvious. I’m busy scripting.

Unveiled Arcana

The Dan Harlan / Jeff McBride shows and lectures last summer were, to say the very least, pivotal moments in my growth in the art. (See the two previous posts). There are two other elements that are making a powerful impact on my progress as I continue along the road toward artistry. One category is books and other is a mix of various resources such as magazine columns, websites and blogs.


I can’t help but wonder how things would have turned out if I had read some of these books as a teenager or young man. As is the case with most magicians, I caught the passion for magic as an eight year old child. In my early life I developed an adequate level of technical skill. I was able to make a few dollars here and there doing the odd birthday party, banquet or strolling work. I was even fortunate enough to have taken a few lessons from the late, great Jim Cellini. (Thanks Dad)! But I never developed into an artist. I lacked the discipline and courage necessary for that. That’s why I never read the essential books on the real secrets of magic. As a result I was a posterboy for poor showmanship. And even if all the best resources had fallen into my lap, I guess it’s safe to say it wouldn’t have done me any good anyway. I just wasn’t ready. As cliche as it is to say, it is nonetheless true..."Better late than never".


On the topic of books, the ones I have been reading and re-reading since last spring (in no particular order) are...

• “Our Magic” by Maskelyne and Devant
• “The Fitzkee Trilogy” by Dariel
Fitzkee. (“Showmanship for Magicians”,
“Magic by Misdirection” and “The Trick
Brain”)
• “Magic and Showmanship” by Henning Nelms
• “Strong Magic” by Darwin Ortiz
• “Maximum Entertainment” by Ken Weber
• “Magic Matters” by Robert Neale
• “Gift Magic” Edited by Larry Hass



I will refrain from attempting to review these books. I am neither qualified nor articulate enough to do them justice. But I can say that from a personal point of view, reading these books was like being lifted from a dark and tangled forest of disconnected ideas and incomplete thoughts. Suddenly a pattern became visible. These books provide a road map to artistry for anyone willing to apply the disciplines and exercises offered.


All these books are dog-eared and highlighted. I have been applying the advice, techniques and exercises to the effects in my repertoire. The authors of most of these books warn that putting their respective suggestions into practice is not easy. That is an understatement to be sure! The hatching of unique ideas and treatments, the script writing, the tailoring of effects to custom fit one's own style and idiom; the breaking of old
habits and learning new ones are just some of the building work involved. But the key word here is “Building”. For me, personally speaking, this is NO hobby. It is an investment. It is a passionate respect for the art. I have been cranking every micro joule of energy into this effort, but it is NOT drudgery. It's a blast. It is a pure joy. I can’t get enough of this stuff. I now actually feel like I know what I’m doing and why I’m doing it!


Since putting these tomes of wisdom to use I am getting stronger reactions from my newly re-engineered effects than ever before. I can feel the acceleration of my progress. If I keep this up for another year or so I’m confident I will close the 20-year non-magical time gap between my old life and this one. And the best part is, I now know where I am going and how to get there.