Magia De Michael Ammar V2 Ocr.pdf - Miau.pdf

Chapter Eight

MAGIC MANAGEMENT GENERAL INSTRUCTIONS I it is necessary to point out something the very beginning. The enclosed sheets you to Period. They are not difficult to use or understand, but if they are not used, they must therefore be considered worthless. However, if you do dedicate yourself to following through with this method of organization and management, you will count your blessings in the years to come. They are designed for long term use and benefits. vitally important to manage and organize,the skills and knowledge which you possess. The Custom Cue Sheets, once completed, put your entire repertoire at your fingertips. Once you decide what show you wish to perform, you can instantly have a complete script of that show. The Show Sheets will provide long-range benefits concerning repeat bookings. Also, perhaps more important than any other point, by reviewing each show you present, you will improve, learn, and benefit from every performance. People who are anxious to succeed and improve will realize that if this constant reviewing and analyzing process doesn't help, then nothing else The Project Planner is designed to teach you to become goal-oriented. Work from a three-stage point of view: (1) Set your goals; (2) Make your plans; (3) And take ACTION. You will benefit in every phase of your life if you ask yourself certain questions and apply certain principles to every problem you face. These systems were developed for my private use, and have helped me to improve my magic and management. I hope you benefit from my viewpoints. CUSTOM CUE SHEETS We begin our efforts to better organize and manage our magic by reviewing the Custom Cue Sheets. A number of factors make these sheets quite interesting. We will look at some of the benefits which these sheets provide, and then we will learn how to best use and apply them. I have some good news, and I have some bad news. The Cue Sheets will require a one-shot or investment of your time. (That's the bad news.) The good news is that the time is invested wisely. Once completed, your sheets become a permanent record of your repertoire; providing you with a wonderful collection of your material, allowing you to trace and note your improvements and developments over your life in Not only that, but you will see them transform into true "peace of mind" and the best time-saving device you will ever have. They allow you to comfortably expand your horizons and add professionalism to every show you perform. If that sounds like a lot

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to promise, then please read on and try to visualize the security that a completed set of Custom Cue Sheets would bring to your performing The Cue Sheets were developed for a number of reasons, among them are: (1) New material to my performing "arsenal" without losing the polish my existing routines had developed; (2) I had forgotten one too many of my lines during a performance; (3) I was fed up with fighting to piece together the different routines into the best possible show after laying off for a month. Each Cue Sheet is designed to record the information you would ever need concerning a routine. The headings were selected to allow you to perform that particular effect in its entirety after reviewing the sheet a couple of times. Each routine you should be given a title which you can easily recognize. Begin by listing these titles on the Effect line. Judge the angle problems you may face along with the props, etc., which are employed, and place a check beside the appropriate performing situations (Stages, Platform, or If your routine has a particularly bad set of angles (Zombie, example), or if it involves a specific set of performing conditions (Hippity Hop Rabbits for children), or if it requires certain important lighting or staging sequences (Dancing Cane) then these things should be detailed in Performing Conditions and Special Lighting: Staging. Certain tricks play better with certain types of audience volunteers. The key is to decide upon the best type of person, the best age, and sex for the particular routine. It would be rude to select a distinguished elderly gentleman to place an eggbeater to his head in front of all his friends. So determine the criteria for the best possible helper and list them under Volunteer from the Audience and Sex. Remember - our goal is to the Cue with the ideal performing information so we can work towards standardizing our shows. It speed up our improvements if the standard with which we measure ourselves is a high one. To avoid unnecessary stage movement, to insure proper placing and economy of motion, you should plan your Positioning and Cues in advance. Where is the best place to put your props or to have a spectator stand? What Cues can you give your volunteer in order for the effect to flow as smoothly as possible? An example of excellent Positioning and Cues would be the Blackstone Rope Escape. Years of trial and error have polished this routine to perfection. Often it is the little things which transform a trick into a full-fledged piece of entertainment. These Bits of Business deserve all the attention we can give them. As your experience and repertoire expand you may find it difficult to use and remember every key line which goes with every routine. Your Key Patter Lines can literally make all the difference in the world. It's the icing on the cake which separates the amateurs from the pros in most cases. Some routines are natural closers. On the other hand, some routines are natural openers. Most important is the fact that your particular handling of the routine is what will determine that routine's Preferred Show Position. Certain routines, due to the length of time they require, or to the number of volunteers required, may need to be sandwiched in-between two fast-paced effects. You you need to judge not only from the routine you are working on, but you also need to consider the general nature of every other routine which you perform. The Props is crucial. This section could help you avoid much heartache if you always check it before you leave for your show, and before each show begins.

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As your file of Cue Sheets expands, you will find that you have some routines which may conflict with each other. You don't want an entire act of effects or card tricks. One experienced performer did an entire show where things disappeared and reappeared inside of something else. It wasn't before most of the audience anticipated the outcome of each effect. This, of course, diluted the impact of the entire show. Judge the material you have, and list the Conflicting Effects for each routine. USE OF

CUE SHEETS

After your initial investment of effort you are now in the position to enjoy great benefits. This is not merely a recording system. It actually will provide you a "return" on your invested time each and every time you perform. The next step after filling out each sheet is to have five copies made of every sheet. I have "color coded" my copies to tell me if a routine is for children, adults, or for any age group. Childrens' routines were copies on pink paper; routines for all age groups are copied on yellow; and adult routines are on blue paper. Place the originals in a safe place for a permanent record. Then place the copies (separated in colors if you like) into a large notebook which your Master File. When you receive a call for your next show all you need to do is go through your Master File and remove an a etc... until you have removed a sheet for each routine you plan on performing. Place these into the proper order and put them into a smaller notebook or Presto! Just minutes after you began you now have a complete script of the you plan on doing. Anyone who has performed for any length of time can easily see how this could be extremely valuable as time goes by. The less time you have to throw away the more this system could benefit you. The reason for making five copies of each sheet is so you can fill out several shows at once if you like. This script will provide you endless peace of mind, and does lot to cure pre-show jitters. Instead of pacing around waiting for the show to start you can now wisely use your time to review the show you are about to do. The efforts here resemble a seed which matures slowly, but which produces a rich harvest. All too quickly, your years of interest in magic will grow - the key is to have your talents grow at a rate that out-paces your years. This, I believe, is the sort of thing that makes that possible.

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Magic Management

SHOW SHEETS Performers who intend to pursue magic as a career can gain valuable benefits from a long-term, accurate record of their performances. This applies to the performer who is "in it for the long haul." One who has a serious desire to perform for several years, and also improve as quickly as possible. Everyone would like to have 30 years of experience, but who wants to take 30 years to get it? The front page of the show sheet is designed to keep an accurate record of the person who hired you, the date of the show, the type of audience, fee, etc. These things become crucial to the perwho may eventually re-book that group. This information could be valuable mailing lists and for keeping track of earnings. As a sincere student of the you must want to do as polished a show as possible. By keeping an accurate record of the group and the show presented, you can more economically plan the repeat shows (especially if you use your custom cue sheets to provide you an instant script). However, your most important benefit of the sheet be your ability to judge, rate, and learn as much as possible from each and every show you perform. This is CRUCIAL. Can't let those clever spur of the moment jokes be forgotten. Can't continue to perfonn an effect which continually shows up in the "weakest numbers" section. If the show goes great - learn from it. If the show bombs - learn from it. Just as with the other sheets enclosed (Custom Cue and Project Planner) The headings and titles are suggestions which the greatest number of people may be able to use. If they aren't perfect for you, or if something else would be better, then change them. If these sheets cause you to think a little deeper, or from a different viewpoint, then they have accomplished their purpose. I hope that this system proves itself to be as much of an aid to you as it has to me. Good Luck!

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PERSONAL PROJECT PLANNER A glance at the headings on this pad will show you this pad is almost self-explanatory. However, keep in mind that these sheets are tools for your use. up to you to draw as many benefits as possible from the basic format. If the headings don't fit the needs of a project, change them. goal when using the planner should be to increase the quality of the time which you devote to your magic. This doesn't mean that a switch from practice to recordkeeping is the answer. The point is this; the instant you seriously put your project into an organized form to be developed, you have taken the biggest step towards a successful conclusion. filling out a few of the sheets you will be delighted to see your thoughts begin to crystalize. It is important too that you forget the "practice makes concept. Practice does not make perfect, perfect practice makes perfect. Just sitting down for a general practice will do nothing to lead you to perfection. Concentrated effort towards a clear goal is what makes perfection possible. For example, your subject may be: "1 want to develop an outstanding cups and balls routine." Under you literally your mind run free. Comment on stand-up routines, sit down routines, potential end loads, number of cups or balls to use or load, etc... after exhausting all your thought on the subject, decide on the one best method or routine to work on. assume you decided to load a glass of liquid under each cup. Unless you are a few steps ahead of everyone else, this may pose some barriers. on the best strategy for overcoming any barriers and (this is important) commit yourself to reaching a potential solution. Actually give yourself an initiation date and a completion date which you believe to be reasonable. It is not always necessary to complete each sheet. If cups and balls eventually, then just fill out the

you know is that you want to and file it away for future work.

the

As the months and years go by you will develop the habit of looking at your routines (and daily problems as well!) from an overview perspective. You will think in terms of potential problems, best strategies, and overall benefits to yourself. Also, it is always a source of pleasure to review our past thoughts. A long range system such as this can give you valuable insight to your thinking as you pass through different stages of knowledge, skills, etc. Become your own "task master" and commit yourself to a comprehensive program for developing your own material to a level you can truly be proud of.

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The Magic of Michael

BOOKING SHEET The following two pages comprise a BOOKING SHEET for use when booking shows. They are a copy of the sheet that professional magician, STUART uses for all of his shows. Stuart, who lives in Southern California, has been very thorough in preparing these sheets. They are an invaluable tool for anyone who performs any type of show. If you find that the Booking Sheet does not fit your needs exactly, simply modify them to meet your own personal needs.

Magician from Bluefield to appear on TV tonight Area residents should stay up late tonight and watch Michael Ammar perform his magic on The Johnny Carson Show at p.m. The son of Mr. and Mrs. A.S. "Buddy" Ammar of 516 Monterey Drive, Bluefield, the is no stranger to national television to awards. He has appeared on the Merv Griffin Show where he red six times and starred in and produced a video tape for Toys 'r Us children's toy store chain, teaching children how to perform magic acts using household items. Ammar recently moved to California, is a published author has won the world Sleight of Hand Championship at the 15th World Congress of Magic in Switzerland. He won the award with magic that he originated and competed against magicians from throughout the world. The contest is held every three years and is considered to be the most prestigious award in magic. Ammar was only the second American in the history of the competition to win the award. Ammar has won numerous other awards and honors. In 1984, he became the only person to ever

Michael Ammar ...Johnny Carson's guest win the Lecturer of the Year twice from the of Magical Arts. He was born in Logan and moved to Bluefield with his family when he was 13 years old. He's been a magician for 14 years and has performed throughout the United States and abroad. Ammar is a graduate of West Virginia University and has a degree in business management.

In a classic case of false alarm, I was actually bumped from the show after headlines back home asked people to stay up! Eventually, of course, it all came together beautifully.

Chapter Eleven Excerpts from the "Inner Circle Audio Series"

MAKING MAGIC MEMORABLE The Development of Style Magicians wanting to excel face the challenge of dividing their available time between technical, hands-on and heavy information processing studies that are crucial to artistic and professional advancement. I will detail the development of my performing style, and also reveal what I believe to be some of magic's most fundamental secrets. Truths so basic, yet universal, that all magicians must be familiar with them, whether they are working close-up, producing birds, or performing illusions. I will tell you exactly WHY I perform the style of magic I do. Notice I said WHY, and not HOW. There are thousands of books that can you HOW, but not so many on the WHY. After explaining the WHY, I will then reveal eight principles for Making Magic Memorable. Some of these principles have been chisled from experience, others were gathered from various magical mentors from around the world. Together, they represent the most important "secrets" in my magical repertoire. THE NURSING HOME CIRCUIT I didn't have any particular performing style when I first became a magician, as anyone who saw my beginning performances surely agree. But boy, did I love So much so, that I tried to learn it all. And, j ust as any type of seed will grow if the soil is fertile enough, my early days in magic found me doing doves, close-up, silent manipulation, whatever. Unfortunately, being a "jack of all tricks" meant never really mastering any given style.

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Who could worry about getting better? I was practicing as fast as I could just to make sure I remembered it all! But I must have been lucky, because my environment supported it. By some stroke of fate, my youth found me in a somewhat secluded mountain town, where audiences valued enthusiasm more than polish. There may be a little truth a comedian 1 heard recently who said some parts of West Virginia make Mayberry look like a think tank! But to some extent, the size of my home town worked against me as well. To some extent, 1 HAD to be the ever evolving, entertainter in order to deal with my tiny pool of potential audience members. Of the three West Virginia towns 1 divided my youth in, the population of the largest one peaked at 17,000, and that was during hunting season. In situations like this, it's easier act a new audience. All I had to do was one school show, the local men's club, a church function, a few birthday parties, and everyone in town would have seen my act. I wanted to be rebooked, I had to get a new act. But then, in a series of experiences changed FOREVER the way I would view magic. It was in Morgantown, West Virginia, where I was going to college. I found that the five nursing homes in town each had a $25 budget for their bi-monthly entertainment. Soon after this, I developed what you might The Nursing Home Circuit. Every two months, I got to go to all five homes, for two full years. Thaf s sixty shows! For me, and for my

The Magic of Michael

environment, this was a rare opportunity. After all, EVERYONE needs SOMEPLACE be bad. Someplace to try something several times in several ways to find out if it will For me, it was the Nursing Home Circuit

It was always their quarter, their pocket, their hand. Never did I hear them say, "He had this big box, see, and he'd spin it around a couple times, right, and I don't know what happened, but there were these scarves, and paper fold up flowers, and all....Do you have one them boxes?..."

But guess what? I discovered you just can't predict the results of experience. I learned a lot from these shows, but not what I went into them to learn. Speaking from a very Zen-like point of view, I didn't go into them with an empty cup, waiting for it to be filled with whatever knowledge the experiences would bring. No, I went into them just sure that what I would learn would be a better way to steal that bird, or to do that switch. I was so sure I knew what I was going to learn, that I almost let the real value of this experience escape me. The experience had to hit me twenty or thirty before I noticed the pattern. Eventually, I noticed that at virtually every show, at least one of the residents would approach me, saying some-

Apparently, things they just witnessed, without EXPERIENCING, just didn't become part of long term memory. I've heard purely visual experiences compared to bubble gum for the eyes. And while there's nothing wrong with that, I've grown to believe that, except in rare cases, the purely visual experiences don't go any deeper than the eyes. And personally, I wanted more than that I wanted to go past the eyes, working my way deep into their psyche. I wanted my magic to move them. I wanted to deeply etch the experience into their long-term memory. In a nutshell, and no pun intended, I to be the of the Nursing Home Cir2030.

thing like, "...when I was a little girl down in a magician would come thru once a year at our school. When I zvas in the 5th grade, he brought me in front of the class had worn a skirt that day, and he put an egg into my pocket, and made it disappear. Do you do the egg trick?"

Now, everyone has goals, whether they verbalize them or not. And every goal has its own demands. By acknowledging, then embracing, this particular goal, I realized I would have to study more than magic techniques alone. I've often felt that magic methods and techniques, for the most part, were meant for fooling the eyes. Mirrors, false bottoms and palming techniques were created to conceal methods from curious eyes, but my goals distinctly mention the mind, not just the eye.

Or, "...we grew up in Logan, but my uncle lived down in Charlotte, and he knew all about magic. Every Christmas he would come in, and there was one of his tricks I never could figure out. hold a quarter in hand, and he'd hold a nickle. Without touching anything, I'd have the nickle and he'd have the quarter. Do you do that quarter trick?"

I'm reminded of one of my favorite quotes from a magic book. It comes from Erdnase in EXPERT AT THE CARD TABLE. While teaching how to a card, he reveals a secret so fundamental to the performance of magic that if someone DIDN'T understand if s full they would have a hard time doing close-up, dove magic, or even illusions deceptively. The

Well, I thought that was all pretty neat, and taken in isolation, that's all it would have been, just some pretty neat interactions. But

just it - it wasn't an isolated event. If it became a PREDICTABLE event. I could count on hearing at least one such story at each stop.

quote goes: "...it's one thing to put a card into the palm and turn the hand so it is out of view, but it altogether another to put it there in a way that the most critical observer would not even SUSPECT, LET ALONE DETECT the action."

Then, as time passed, I finally came to realize, there were patterns, INSIDE the patterns. Common thread that ran through each of the stories retold decades earlier. All of the stories were about things that happened to They were all personal experiences.

I repeat: "in a way that the most critical observer would not even SUSPECT, LET ALONE DETECT the action."

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Why is this such a valuable insight? Because it articulates one of the most truths about To laymen, suspicion is a method. they have to do is say, he did it. Wow. I'd sure hate to play cards with

in

mind they don't have to know EXACTLY what you did, all they have to be able to do is say, he did it. I couldn't do it of course,

but I caught and as far as they are concerned, the fat lady has sung... And do you know s REALLY bad? They don't even have to be right about WHEN they think you did it. All they have to do is SUSPECT, and as far as they are concerned, they got ya. When you start to accept responsibility for things an audience might just SUSPECT, alone DETECT, you realize that your studies must then go beyond technique. To deal with people on this level, I feel you must develop an understanding of psychology, human nature, people skills, and emotional supported by all the help you can get from dramatic, comedic and studies. Trying to create experiences worthy of longterm memory with technique alone would been like trying to lounge backwards with my feet proped up in a chair with only one leg. Granted. Maybe SOMEBODY could do it. But why take a chance?

In fact, I believe that my studies and experiences over the last year have revealed things to me that can dramatically SHORTEN the length of this particular stick for any of those who share my passion for this particular carrot SHORTENING THE STICK I've identified eight different principles I try to revolve my style around. You, like me, may find some of them to be very obvious. While others have taken every day of the twelve years since the Nursing Home Circuit to crystalize. Lef s start out with the obvious, since s so often overlooked. I heard a guy say, "There's no telling who

water, but we're pretty

sure it wasn't fish..." So at the sake of sounding obvious, Principle Number One is:

Involve them.

Why? One reason is because the world around all of us is constantly bombarding all of the known senses with every sort of The competition for our attention is so incredibly fierce, that we have developed incredible systems NOT for processing MORE information, but FOR FILTERING OUT information. Just think of all the hours you personally have in front of a television, watching programs that may have costs millions to produce, yet you are able to tune it all out as you replay some obscure conversation you've had in your head. It is TOUGH to compete on a purely visual level, and don't kid yourself, if all you do is compete on a visual level, your competition is INDIANA JONES or STAR WARS. When you consider, that if they are you, there is a price on their time. If s called OPPORTUNITY COST. What they are paying - in time - to watch you, is the OPPORTUNITY to watch something

THE CARROT One way I look at goals is to see them as carrots on a stick. The nature of the goal relating to the size of the carrot. my world, pushing people's so hard the experience sticks with them for a lifetime, takes on the appearance of a 30 foot, two ton carrot. Sounds right? Well, maybe yes. Maybe no. What if the stick that holds that carrot turns out to be a mile long? What if the goal is good, but the effort to accomplish it is just too great? What if the studies are too demanding, the price just too high? There has to be some ratio of carrot size to stick length for either horses or humans to be motivated. The good news is that it is here, in dealing with the length of the stick, that I think I can be of help.

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But that is where this first principle comes in. There is one thing TV and film can't do yet, and that is INTERACT WITH and RESPOND TO the audience members as individuals. You can't -or you shouldn't the theater and talk to the screen. And no couch potato is sitting around waiting for Johnny Carson to ask him questions make Ed laugh. And no matter how tender the no telephone is going to reach out and touch you. But WE - MAGICIANS - CAN. In ways that very few other forms of entertainment can. John Nasbitt, in his smash hit book MEGATRENDS, TEN NEW DIRECTIONS SHAPING OUR talks about the HIGH TOUCH trend plays a major role in our society. It seems that the greater the role technology plays in our lives, the greater we respond to it by turning to high touch activities. The more mass production plays a role, the more we value personalized expressions. I'd like to point out that, while involving someone from the audience, a certain very specific option opens up before us. We can either: a) Make at least one enemy for so alienating a percentage of the audience that the future pool of potential magic viewers is permanently lowered, or b) We can make a friend, spread joy, and add to the artistic presence of the field. Nate Leipzig, a magician who worked his way to the peak of Vaudeville success, said, "People

I've compared special effects to bubble gum for the eyes, but that isn't to say or theater stops there. An actor with a single spot might be able to bring us to tears, but the tears themselves are a clue to the source of impact. We have been touched EMOTIONALLY. Maybe we felt triumphant at his victory, or terrified at his plight, but through whatever combination of theater and writing, he found an emotional cord and plucked it. Magic has one particularly common sceSo common, I suspect it is often used without any real understanding of its theatrical roots. where the magician borrows something of value, and "accident!/' destroys it. the scene is carried out with conviction, you can rest assured you'll have that spectators emotional interest! Unfortunately, this is so common a scenario it is almost totally predict- and that fact lessens to some degree how deep the emotional hook gets driven. But what if the scenario were constructed with such finesse, and carried out with such conviction, that it was NOT an obvious set up. What if, and I mean this, they REALLY BELIEVED you had accidently broken their watch. Magically resolve THAT scenario, and you will have touched people where they live and breath. Other ways to hook them, without involving them, might be to relate anicdotes with which they can relate to. Or reveal to them moments of personal triumph, heartache, or enlightenment; illustrated with magical surprises.

don't MIND being fooled by a gentleman..."

By accepting INVOLVEMENT as a principle of my style, it became clear that I should focus the most of my towards talking material. This way, I could either use audience participation, taking care of Principle Number One, or I could construct a presentation that would meet with Principle Number Two:

It will be obvious that I take Principle Number Three to heart, since practice has already earned me recognition. To many, I am associated with the Card on Ceiling, having done it many thousands of times, all over the world. Having been with me longer than any other effect in my repertoire, it was this effect which uncovered a whole new way of thinking for me. I began doing it in the Student Union during my college days at West Virginia University. This was my hangout, and as you can imagine, the cards began to gather on the ceiling. Then something interesting began to happen. At times, while I was there to study, 1 would overhear people talking about the cards

Emotionally hook the audience.

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on the ceiling. Sometimes ask their friends how they were up there. Sometimes their friends WHY they were up there. But the point is, the conversation flowed. It began to occur to me that many experiences aren't forgotten, they're merely overwritten. The clarity of the image deteriorating as time distances us from the moment of greatest sensory impact. What if we could permanently freeze that moment for them. it, perserving it for all time. That is, after exactly what the card on ceiling does. The Big Moment, and nutshell description of this effect is: the card sticks to the ceiling. And, if the ceiling is high enough, and if you use enough wax, stay that way for a long time. Principle Number Three then could be stated as:

Just one more example here. The OneHundred Dollar Bill Switch is a common technique these days. With just four simple folds you can switch one bill for another. You could change a one to a hundred, and then give that away... or more reasonably, change a ten into two fives, but what about a slightly different approach. What about carefully folding a complex oragami figure with a single bill, and loading that into the thumbtip to be switched in. Now, the effect is not a trasformation, but a puzzle bordering on the magical. In just four, very slow folds, you create a ring they can wear, or a rabbit that pops from a hat. To add to the enigma, they can keep it that way, for riddling their friends with later. Principle Number Four is a natural, but incredibly potent step beyond freezing the moment of impact. In order to burrow your way into deep memory:

Freeze the effect permanently at it's of impact.

In the first example, the card sticks to the ceiling, and remains there. Another example would be the card to envelope in wallet with a window envelope, using rubber cement methods that leave the envelope completely sealed. Now, not only does it travel impossibly to the envelope, but it can be kept that way as a permanent souvenier of the event Another example would be effects where separate things become magically stapled together. Paul Harris worked out a version of two selected cards being found together, called "Stapled". I had a version where my business card was found stapled to a signed selection. Any torn, then restored effect would work. The torn and restored vest button, for example, might be possible with all the three-piece suits around today, and if presented as pure effect, you wouldn't have to carry off the acting necessary for making it look like an accident.

Borrow objects, alter them magically, then return them in their permanently altered state.

To use an analogy, out here, in the magic frontier, the crowds thin out. Just as in the wild west, where the cowards stayed home and the weak died on the way, going this far isn't easy. But don't worry, magic isn't nearly as demanding as the wild, wild west was. Here, the biggest challenge is the willingness to plan ahead, because that is the most important thing this principle demands. My first adventure with this sort of thing goes way back to my handling of the Pencil Thru Quarter (see page 161). Bob Nixon, in an issue of the MAGICAL ARTS JOURNAL, gives a wonderful example of this principle. There, he printed his method for secretly bending a borrowed key, but in my

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mind, more importantly, he gives the idea of returning the permanently bent key on a keychain, which carries his name and address. Since getting this idea from Bob, I've used it several times for trade show clients. Instead of putting it on a simple plastic key ring, I used beautiful, customized solid brass key rings, commemorating the event, costing several dollars even when ordered by the thousands. The method I used to bend the is simple. I used a bongo bender, which you can get from Magic Inc., only I cut the elastic off, and hid the small metal gimmick in my right hand. Upon taking the borrowed key with the left hand, I place it into the right hand, actually loading it into the bender. A gesture to the spectator with the left hand towards my right side covers the actions of the right hand perfectly for the instant needed. Once the key is have the spectator hold out their left hand, and place the key into it, dosing their hand.

tridty is a riot, and the sight of forty business men in a doing it really builds a crowd. If you want, you can connect the cirde, letting off a Funkenring as you do, then revealing the key as being bent. By the way, I get rid of the bender as you might expect, by ditching it into the Topit during a simple gesture. A final example of borrowing an object, altering it magically, and then returning it its permanently altered is to use Howard Lyons' Inside-Out Dollar Bill. This bill, cut from uncut sheets sold by the U.S. Mint, is a bizarre sight. Unless you are going to be giving away large quantities of these, you might want to buy one from your local magic dealer, marketed under the name "The Mismade Bill." This notesize rectangle is cut from a fresh sheet of bills, only, instead of following the intended boarders, you put the corners in the middle, and the middle in the

Harry Anderson had the idea of tearing a One tip here. When you are going to borrow into four quarters, and restoring it, only to find an object, like a key, and permanently damage you had made the mistake of restoring it inside it, you really have to cover your bases up front. out! I cause the transformation to take place by You don't want to leave the show only to find relating it to the old trick of folding the up, your volunteer out in the parking lot trying to then unfolding it to show it upside down. straighten out his so he can leave. Unfortu- Going one step further, I volunteer to turn it nately, I had to qualify the effect so much up inside out with the same method, At this point, front during my tradeshows, that I was having perform the $100 switch, turning their bill a lot of trouble getting volunteers. Then, it hit inside out And yes, as often as possible, I try to me. Everyone is out of town. So, I began convince them to keep it that way. (The by "How many people here have hotel keys Thumbtip Bill Switch is described on page 227.) with them?" Everyone raises their hand. me Number Five was developed as a by ask you. If your key were damaged in some way, product of my aftershow review sheet (see would you still be able to get into your room. You would? Fine, step right up..." Now, if you really page 221). It was designed to help me milk every performance for all the experience I could. want to draw a crowd, once you get the key As I reviewed my listings for unexpected reacinto their hand, say, "What I'm going to attempt tions, I noticed that unexpected reactions - for requires tremendous amounts of channeled energies. some odd reason - usually got a higher rating Mental, as as physical energies. Sir, I'll need to hold your hand, and you'll need to hold his hand, than the expected reactions. Eventually, I began to suspect the fact that the encounter that then he'll hold hers, and on produced the reaction was obviously unplanned was the very factor that resulted in this betterSaying this, you end up forming a large response. My best responses cirde, which, if your performing persona is were from unexpected interactions with volunpositive enough, can grow pretty large. Once the drde comes back around to your right, teers, or with some obviously witty response to continue by saying, "now, everyone shuffle your a spur of the moment event, or some magical resolution of an apparently legitimate problem. obvious attempt to build

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Just as John s High Touch theory to indicate, the amount of mass production, and structuring in general we all encounter carries with it sort of side effect. It causes us to value the isolated incidents, to cherish those times that convey an US-ness and Unless we're careful, even live shows can come across as processed events, like cookies pressed out of a cutter. But even as a kid, I loved to lick up that wonderful batter that the cookie cutter didn't catch. Today, as a performer, Principle Number Five for Making Magic Memorable is:

ing many an interesting conversation. Add to this any of the previous principles, and you'll be fanning that fire to legendary proportions. My final advice on Principle Number Five comes from John Ramsey. Learn to hide and hold. Anticipate. ready in advance and be willing to wait When asked how long you should wait, Malini is supposed to have said, "You and he's worth listening to. been almost half of a century since his death, and people still talk about the blocks of ice he would produce, after Vaiting for hours. Principle Number Six was one revealed to me by Dai He has watched generations of magicians come and go, observing closely those magicians who gained fame, and whose magic has endured after them. I asked him how to make my magic memorable, and I will never forget his advice. He told me to:

Create moments that clearly unplanned or unpredictable. Moments from outside the cookie cutter. Experiences that convey us and now.

In terms of material, almost anything involving a spectator would into this catagory, but there is a lot of leeway, even with a spectator. 1 try to select material that clearly shares responsibility with the spectator. Putting them into situations that allow them a lot of latitude for reaction. Asking them open-ended questions, drawing enough background out of them, hopefully in an entertaining way, to give their current reactions more depth. The beautiful thing about the close-up field, is that it is considerably easier to create moments that seem spontaneous. At any given moment we might encounter minor real world obstacles which might be resolved conveniently by a real magician. Performing in the real world might be compared to in the trenches, in that your chances of encountering a face-to-face challenge are considerably greater. If we manipulate circumstances in such a way that we can overcome obstacles or triumph over challenges, we have created "moments outside the cookie cutter." We have also provided those present with fit for fir-

Find one and try it better than Becoming so good at that one thing, that whenever anyone, anywhere in the world, talks about that one thing, they will say, "Yeah, but you should see Michael Ammar do that..."

One Thing. Just One thought about that advice a lot since then. It seemed so simple. It seemed so obvious. I also found it encouraging. "Just One Thing" sounds so attainable. The only catch, I later decided, came dressed as responsibility. Personally, I wasn't intimidated by the responsibility for 1 was more hung up on the responsibilities of choice. It seemed so important to choose the right thing to excel at. Heaven forbid I should ever make a poor choice and end up being the best in the world at something no one wanted to see! I was hung up at this "point of until 1978, when I saw Fred lecture at Magic Shop in Washington,

The Magic of Michael

He so blew me away with his use of the Topit, that I was finally able to take the responsibility for choosing a direction. 1 wanted to master the use of the Topit Not only is the Topit an unbelievably powerful weapon, but was comforted by the thought that in choosing that, I wasn't in fact choosing a singularity. By choosing a technique, I felt I was actually choosing to open entirely new worlds of options. And, as to the validity of advice, and without having to judge superiority, I can say that the results are, that in many places, when people discuss the Topit, at least some mention my name.

time will wear away your memory, as you are mentally by the mulititude of other very good experiences that come to everyone. 1 had been vaguely convinced of part two of this principle for some time, but 1 didn't really embrace it until was during a conversation with Christian Fetchner while I was in Paris. Christian is well known in the European magic community for his inventions and appearances. A successful producer of French films, he has a wonderful presence about him. His reply, when I asked him how someone might make magic truly memorable, was not what I expected. He said "You must do something they believe is real. Really real. Not

Principle Number Seven was developed partially from instinct, and partially from the frustration of not being able to accomodate certain exceptions to previous principles. Exceptions such as Channing Pollock, and currently, Lance Burton. You see, Lance doesn't bring me on stage, he doesn't permanendy alter objects I bring to his show, he seems to be just bubble gum for the eyes, and yet, never forget his act, and the sense of wonder 1 felt watching it People who have seen Cardini and Channing perform live speak of them. To cover people such as Principle Number Seven for Making Magic Memorable is:

Not

with trickery." Geller, he pointed out, became world famous, because he claimed to be real. Fault his morals if you want, but he did create memorable events. There are other approaches, and only judge this area in how it meets goal of Making Magic Memorable. Dai once told me that the mind held the last frontier for If s the last phase of magic that contains the seeds of possibility. We know so little about it, there's always hope in the unknown. And when you think about it, you can't really involve someone any more than when you are reading their mind! Talk about a personal experience! I remember Principle Number Eight with a simple acronym. If s and if s very close to the public speaking version of which stands for "Keep It Simple, Stupid!" I've changed it for two reasons. First, because these are principles designed for my own use, and I don't like to talk to myself that way. Second, I feel my version is more accurate for me. It is:

Do either two 1) Display mind-boggling skill Display effects that go BEYOND what any learned skill should be able to

Part one of this principle is somewhat akin to Principle Number Six. you are going to do an act that is essentially a cookie cutter presentation of a pre-conceived sequence of events, if you should hope to be remembered above all others, it must be done superbly So well, that in effect, you accomplish Principle Number Six. If all you are is pretty good, or even one of the very good ones, the evidence indicates

Keep It Slogan Simple.

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"Keep It Simple". It seems the human mind just isn't capable of remembering complex details vividly over time. If we ever hope to make it to long-term memory, we have to be as simple as a slogan. Say it in a sentence, and you stand a great chance of being remembered. The coin in the bottle. The pencil through the coin. The card on the ceiling. The floating bill. The in lemon. Make it easy, give them a handle.

PRINCIPLE NUMBER ONE: Involve them. PRINCIPLE NUMBER TWO: Emotionally hook the audience. PRINCIPLE NUMBER THREE:

A memory class I took once explained that memories be recalled more easily if they are effects, catch phrases into your performance, and select slogan simple effects. Taking advantage of legitimate memory techniques might skew the odds ever so slightly in our favor.

Freeze the effect permanently at its moment of impact.

The advertising field is full of examples of slogans remembered for decades, and I'm convinced our goals are just as noble as theirs. So, as you look for something new to add to your repertoire, "Keep Slogan Simple".

Borrow objects, alter them magically, then return them in their permanently altered state.

In unfolding these eight principles, you now have the fundamentals of my performing style, along with the origin of its awakening. But I must confess to a secret hidden agenda of my own. I've also intended to create such a large and appetizing carrot, that others will also want to embrace it. Because if that happens, other principles may come to light in a soul that is willing to share.

Create moments that are clearly unplanned or unpredictable. Moments that come from outside the cookie cutter. Experiences that convey Us and Now.

PRINCIPLE NUMBER FIVE:

PRINCIPLE NUMBER SIX: Dai advice, about finding one and doing it so well that whenever anyone else does that effect, people will always say, but you should see so-and-so do that."

Finally, if you like approaches to magic that are similar to the ones I have expressed here, you might also enjoy the "Good Trick, Trick Theory," from a manuscript called, THEORIES, by Jamy Ian Swiss. Magicians seldom have approached these topics with "lists" in mind. I came up with eight principles, while Jamy came up with five, yet it is interesting that we only overlap on just two of the basics. So, one

PRINCIPLE NUMBER FOUR:

PRINCIPLE NUMBER SEVEN: Do either of two things: 1) Display mindboggling skill, or; 2) Display effects that go BEYOND what any learned skill should be able to accomplish.

for the record, my:

EIGHT PRINCIPLES FOR MAKING MAGIC MEMORABLE

PRINCIPLE NUMBER EIGHT: Keep It SLOGAN Simple.

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Chapter Twelve Excerpts from the

Circle Audio Series"

NEGOTIATING HIGHER PERFORMANCE FEES If you are one of the many whose hobby of magic, comedy, juggling, or whatever has become self-supporting because of an occasional paid or if you are one of the many • part time professionals supporting your primary income and particularly, if you are someone whose primary income comes from then negotiating be the highest paid you will actually do. Thaf s a strong statement, so illustrate it with an example. Suppose you have spent several years developing a stand up act, which you sell to the after-dinner market for $200.

If you are already in the marketplace now, and are already commanding sizable fees, then even small percentage jumps can add up to large numbers. Of course, negotiating isn't a "con", nor is a study of swindles. But it doesn't take a genius to realize that accurately determining the market value of your entertainment will require Services - particularly entertainment - are delivered to an imperfect marketplace. Values vary wildly depending on urgency, competition, reputation, quality, etc. Fortunately, centuries of people interacting with people have provided us patterns of human nature. Predictable actions and reactions have evolved, and those willing to study them are able to use them to their advantage, and are able to recognize their use by opponents. In the open marketplace, these skills are as useful during business interactions as are moves magicians use to control a card during the shuffle.

Suppose further, that you just acquired this information and have read it several times to really absorb the material. You make up your mind to give the ideas a shot, and sure enough, someone calls looking for a show. One interesting phone call later, you've got a commitment for a $300 show. it is the same show, and it will take the same effort. Only now you earn $100 more - a 50% increase - for doing it. How many years of rehearsal did it take to be worth $200? How many more years did it take to increase your earning power to $300? None. Just a few minutes on the phone, and a couple of hours absorbing the techniques. If you are just getting started marketing yourself, the cumulative effect of intelligently representing your value will be amazing.

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Of course, there are those who might say "But I haven't finished perfecting my technique. Why should I spend time learning to negotiate?". admit, some people who say that will be entirely right. If you are unprepared, and end up misrepresenting your value and if you negotiate in bad faith, you'll almost certainly eliminate yourselves from the field. Unfortunately, you'll still probably deal a devastating blow to the credibility of the rest of the industry. So to properly cover this base, let me say what shouldn't need to be said; and that is, if you haven't learned the craft, if your founda-

Negotiating Higher Performance Fees

tion isn't developed, and if your act isn't ready, obviously, your first efforts should go there. But the opposite, quite legitimate side of the coin, is that technique never becomes perfect. Performing artistry evolves over a lifetime. And, if you are one of those who have "sown" their technique, and have "reaped" an act, s increase the bounty of your harvest with some sound understanding of negotiating. Working from an overview of negotiations throughout history, experts have identified three stages characteristic of successful negotiations. By understanding these stages, and working with them, not only can we expect to earn higher fees, but we'll also resolve personal and professional problems more effectively. As entertainers, carefully going through each step in succession will eliminate what I predict to be the number one problem of self I a problem because is only human nature, when someone asks how much you charge for a show, to give them an answer. I know that doesn't sound like a big problem, but if you quote your price before going through all three stages of you will, at the very least, be limiting your options. At worst, you'll for your services and leave your client with unfilled needs. If s a very human once you finally establish a price you're comfortable with, to lock yourself into it. For some types of acts, in some types of working arenas, this might be the best way. On the other hand, depending on the needs of some clients, and range of capabilities, going to the bottom line too soon might be considered blatantly insensitive. Negotiating is such an important topic to many industries, that several effective books, tapes and courses have been developed on the subject. I studied those I could find, that I thought applied, and one author I enjoyed the most was Roger Dawson. In his program, he illustrated the three stages of negotiating with a terrorist hostage situation. The humor he put into it helped my learning process, so just for fun, twist it around a little bit. So we don't stray too far, compare our hostage situ297

with the request for a magician at a private party. Voice: "In a bold move today, terrorists have stormed the Magic Castle in Hollywood, California, and are currently holding President for Life, Bill hostage. The question on everyone's is: will Mayor Tom Bradley do?" All those who said "Call a for a swap meet..." or "Provide the terrorists with transportation out of town..." move to the head of the class. Not because you are right, but because you really need to listen! By the same token, if you answer the and someone asks you how much you charge for a private party, you should neither: A) Quote them what you quoted show, or;

your last

B) Ask them how much money they have. It is here, when the conflict begins, or with the initial phone call, that we enter the first stage of negotiation. The first thing you would do in both cases is: STAGE NUMBER ONE:

Do they want a million dollars in exchange for Mr. Larsen's life? Do they want a world wide ban on bad card tricks? Maybe they just want to get booked for a week at the Castle! What they want might be very easy to give, or like a ban of bad card tricks, it may be nearly impossible. But, as I said before, if any action whatsoever is taken before you know what they want, at the very least, you would be limiting your options. In the case of private party, how can we give them our price before we now exactly they want? Do they want an illusion show?

The Magic

Do they want wild animals or just standard balloon animals?

STAGE NUMBER TWO:

Maybe some guy really wants you to make his wife disappear! Some people 1 know feel it is more professional to have an iron-clad price for a pre-determined service. That's fine.

As for the terrorist, holding onto Larsen, who is this guy? Is this a group effort? Has he paid his Castle dues?

from a negotiating point of view, those prices and conditions should never be laid on the table before step one of the interaction is taken care of, which is, again, to find out:

Now for the private party, you ask different questions: "How many people will be attending?... part of town do they live in?... Will there be any other entertainment?... What sort of entertainment has worked well in the past?... How did you get my name?... Have you decided on a budget?"

EXACTLY

These are not casually selected questions. Hopefully, questions such as these will reveal information about the value they might place on the service you intend to provide them. At the same time, you begin to reveal the customer sensitive attitude thatbuilds long term relationships. The flow of information works to the benefit of all concerned, as it reveals their value structures, while further enabling you to mesh your talents with their needs.

THE OTHER SIDE WANT? if you know exactly whatyou are going to charge, it is still more professional to follow these stages of negotiating. You convey a more service attitude if you clearly try to determine their needs, blurting out what your fees are going to be.

Now, and only now, should you move on to Stage Three of the negotiation. That stage most people associate with the act of negotiating.

In the case of our kidnaping, s say all the terrorists want is to work a in the close-up room of the Castle. Does this mean we state our position now?

STAGE NUMBER THREE:

Do we answer the telephone and say, "No, you work a week in the booked 9 months in advance seat your act..."

room. We are Peter Pit

our phone call for the private party, lef s say they ask for thirty minutes of children's magic. Is that all the information we need to

Here, you begin to see the value of the ous steps. Obviously, executing steps One and Two before moving to step Three might well reveal the key information necessary you to first, determine more accurately their needs and their values. Second, their information may you to think of other ways to add value to your service. Information is the fuel to better service.

say, "Kid's magic? You bet! $75 will buy little Joey the time his life..."

No. On both accounts. someone presses you for a quote the instant they get you on the phone, as gently as possible, lead them into stage two of the negotiating process.

In true terrorist Stages One and Two might reveal enough information to turn the tide of power, thereby affecting the out-

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come of the But without these steps, human nature might tempt us to move into action with the knowledge at hand. In our example, if terrorists did take over the Magic Castle and kidnap our highly respected our fury might tempt us into an immediate use of However, properly the steps of negotiation might reveal the fact that a previous award winner just wants a chance to make an honest buck. So I understand how tempting it is, when called and asked the direct question, how much do you charge for a to go ahead and quote your price. hard to follow through all three phases of negotiating when you hear things like... "Because after all, although tot don't have much money, there will be lots of people here who do, and you'll get lot's free publicity..."

Yeah, right The publicity you'll get is that work for free! No, far better to follow all three stages, which, when properly applied, to situations, both parties acting as partners, sharing a mutually satisfying agreement

Why not, after gathering all the information, offer to provide a small army of close-up magicians for the cocktail party? And how could they know - unless you suggest the option that this small army could also hand out specially packaged private party magic tricks for the guests themselves to perform? Tricks which commemorate the event long after the evening is over. To end this special extravaganza, there could be a show where the guest of honor himself all the illusions. Understandably, for something like this you earn thousands of dollars more because you have provided infinitely more services. Services neither you - nor the caller - would have realized, had you not followed the proper steps of: 1) Finding out exactly what they want, and; 2) Drawing out more information, and; 3) Reach an understanding between their needs and your abilities to provide services.

Would and should you, charge the same amount for the "average" private party as you would for a five-hundred guest blow-out for Malcolm Forbes? If you answered before you also knew Bruce Springsteen will be you probably lost money. VALUE PRICE

One reason for Step Two - where you gather information about their needs, as you convey details of your capacities, is that many people are not even remotely aware of what services might be best for their specific situation. Nor do they know what options you or your network might have access to.

As simple as these three steps might seem, my mentors all assure me, that all negotiations, regardless of their importance or delicacy, benefit from following this simple outline.

SAME

Now that we've identified the s fill in around these basics with negotiating tactics known as GAMBITS. Understanding more about these predictable patterns of human interactions, will serve us well, when our real world negotiations take their unpredictable turns.

TO ALL

I have worked for some people and companies that would not hire an act that didn't charge a certain minimuin amount. They figure if you don't charge a certain amount, how good can you be? As wrong as that might seem, of human nature must be considered when pricing services like entertainment. The simple fact is, the amount you charge for the current gig shouldn't be limited to the you charged for your last gig. Nor should be determined by what you would be willing to

Politics, and countless other aspects of life might be compared to games, since each have their own specific set of rules. The

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more you know about those rules, the better your chances of winning that particular game. It's good advice to make certain just what game you're involved with, and what rules go with it.

Tourists by the hundreds approach these artists every day of the year, asking the prices for their Art. The artist might say, "That painting is

Negotiating is a game best played and most enjoyed when everyone wins. That makes this an unusual game, but it is possible if we cultivate certain skills and strategies.

At this point, they watch the reaction closely. If the tourist were to flinch at this point, it would seriously undermine the expectations of the artist. However, if they don't flinch, the artist would immediately follow up

$100."

The game of negotiating is played with a set of gambits, just as the game of Chess has a set of gambits. The word "gambit" refers to any maneuver for advantage.

with, "...of course, the frame is only $20 If they st3I don't flinch, "...and for only can package it perfectly for your trip back to the States..."

The more you know about the application of gambits, the more you can control the other person and outcome. If he or she in turn knows the gambits, the game becomes more challengbut it is correspondingly more fun and rewarding.

Now, s go back to the beginning, only this time, lef s include The Flinch into the scenario. 'That painting is only $100." "WHAT!!"

There are some gambits that apply to general negotiations, and others to specific areas of negotiating. The ones I've selected apply best in negotiations for higher performing fees.

"But... that price also includes this beautiful handmade frame..." "But STILL!" "...AND even package it perfectly for your trip back to the States..."

GAMBIT NUMBER ONE:

This is one of my favorites! Properly using this technique can work wonders on the thoughts, feelings, and expectations of the people you are dealing with. It might best be illustrated with an example from the real world.

Those who depend on the marketing of their personal services realize their standard of living is directly influenced by their understanding and use of Flinching as both a gambit, and a counter gambit. For a magic example, let's suppose you have been asked your price for an after dinner Through Stages One and Two, we have found out the show is 45 miles away, in an expensive hotel, and that there is a cocktail hour before dinner. During the cocktail hour, there will be a three piece classic music group playing live back ground music. As you quote for the 30 minute stand up act, listen very closely. If they don't flinch at that, throw in, course, all

A friend and I were in Italy on business. Since we had a few days to spare, we decided to spend them in Florence, so we could absorb the wonders of Michelangelo's work. For centuries this city inspired and supported artists. Marking the heart of town is a beautiful, shop-lined bridge. Local artists flood this area with their work, and it is here, unknown to visitors from around the world, that Flinching becomes the practiced work of

expenses are extra."

If they still don't flinch, you might throw in, "But you know, people love magic the most, when it happens for them, in hands. I specialize in these personal magical experiences, and can stroll around for the entire cocktail hour performing for individuals, preparing for the magic to come. I

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Use this idea just once, and profit from it Make it a progressive habit, and change your standard of living.

of your expenses more effectively on the small gigs, life could get easier. Ask them to throw in dinner, or or pay for your travel time.

This idea of "going for it" goes beyond price as well. In the world of sales there is the phrase, have to ASK to GET." Sounds like a pretty good plan.

Of course, if s wise to watch out for clients who have mastered the Salami Technique. It is so tempting to say yes to simple extras, "since you're going to be there anyway..." But let it get out of hand, and they will seriously chip away your value structure.

GAMBIT NUMBER FIVE:

GAMBIT NUMBER SIX:

As you listen to some of these ideas, you might wonder, "Now come on, does he expect me to use all these GAMBITS? I'm an ARTIST!" I understand. I offer this variety of gambits, some of which may make you too uncomfortable to use, for the sake of completeness. Being aware of them provides you a defense, as much as an arsenal. This particular tactic is used during the moment of relaxation that takes place in both parties, immediately following an agreement. Reaching a decision relieves tension on both sides, creating an ideal climate for a good nabut aggressive approach. Following the agreement on price and service, now is the perfect time to throw in requests like, "Of course, plus all expenses..." or just, "You'll throw in

hotel,

you?" Some might be able to say,

"Since be using an assistant, expenses separately."

need to bill their

When traveling for several days, you might say,

usually get a per diem for for living expenses..."

day on the

Sometimes, even though you are very interested in working for a particular client, you might not be able to agree on a price. Rather than to lower your price now, which could set a that would work against you on future dates, begin to explore different areas your services might be of value to them. Maybe this is just the picnic for a company that has Easter or Halloween functions for the children, a Christmas party for the employees, and sends out special customized gifts for their customers each year. If you bring these other considerations into the picture, perhaps you can justify a lower price now, with the guarantee of additional in other areas. Sometimes, if you can't come together on a price, you might want to pass the show on to a different performer, while still exploring possibilities for other work from that client. If you are clearly sensitive to their needs, and if you are professional in the way you approach your business, any client should be happy to consider you for other openings.

Do you see why if s called the salami technique? You might never think of eating a whole salami, but it goes down easy a slice at a time. The same is true of the total value of the end agreement If you ask for it all up front, they might talk you out of the extras during the negotiation. But they seem easy enough to grant once the big decision is out of the way.

In approaching new work, there is the idea of horizontal where you try to approach the different companies in a given industry. But there is also vertical marketing, where your client sensitivity opens you up to many options inside the same company.

They say one of the best ways to make money, is save money. you can cover some

By sticking to your price, while exploring other possible relationships, you lock in the

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impression that there is tangible value to the somewhat nebulous service of entertainment. A value not to be distorted or compromised.

One very talented friend of mine realty loves to perform. As a result, he never walks away from a booking. If they don't have his normal fee, work for less. His position is, "What harm could it possibly do? I quote my fee up front, but if it is too much, 1 ask what they want to spend. It always turns out to be more than make staying at home!"

GAMBIT NUMBER SEVEN:

If there is one single gambit that will result in your making more money from self representation, it will be the ability to walk away from a booking. In fact, this is such a fundamental train of thought, calling it a gambit might not it justice. Siegfried, of Siegfried and Roy, once pointed out that before you could make good money in Las Vegas, you had to look you didn't need it If you needed the money, or if you needed the it was like the kiss of death. Successful people like associating with successful people. Thaf s point number one. A second point is, that if you are truly afraid of losing this you are going to build in a pricing cushion that will prevent any threat of being too expensive. You'll leave a margin between what you are willing to work for, and the upper limit of what you might be worth, just to be sure you get the booking. Does this margin exist in your pricing now? If you had the confidence to push it, if you had conviction in your service, would be able to charge for an act you normally sell for $300? s a 25% increase.

It is hard to argue directly with this position. But consider the effect on your negotiating, however subtle, that would result from being more sensitive to the lower earning ranges than the upper ones. Consider the number of that become aware of your lower salaries. Consider the possible future bookings that might go to others, when these particular people do come across a higher budget. Here is another consideration. If I need the show - if I need the money, I'm going to try to book anything I can. In other words, no matter round the hole, I can get a square peg into it if I have to. But if I'm willing to walk away from a booking if everything isn't right for involved, then I'm likely to come across much more professionally to the caller. If I'm willing to recommend another act "who might serve their needs, and budget, better....", don't I increase the chances for getting the fee I really deserve when the time comes for these people to increase their budget? Even if the cheaper act does a good job, don't you think the booker wonders how much better it would have been to have gotten a "really professional act"? GAMBIT NUMBER EIGHT:

If you work on factors supporting your service, and if you consider ways increasing your value, do you think they'll be able to afford $450, instead of $300? That's a 50% increase. It might really help, if you looked at the clients you have talked with over the last year. How many of these shows have you lost because you were too expensive? Do 25% of the people who call you hire someone else because you were too expensive? Or are you like many, who never let someone walk away because they couldn't afford you?

If you and your potential client aren't able to come to a price agreement, and you've mastered the ability to walk away from it all, don't think the fat lady has sung. Give them just one more chance to see the error of their ways.

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Negotiating Higher Performance Fees

I can certainly understand it if your budget just won't allow it, or you need something a little different. But, before you commit, still like to send you a brochure and a video some the things 1 do. At least this way, you'll know what your future options mightbe..."

If you work quickly, there is an excellent chance your formation will arrive before they commit to another act. In my case, I've been able to turn 3 or 4 "No's" into "Yes!" That isn't a huge number, but every one of them counted. By giving them a second chance, you are certain you are in their files, you make certain they are your files, and by following up your mailing with a phone call, you make it easier than ever to do business with you. GAMBIT NUMBER NINE:

quote on that act. If they truly don't have the budget, for the act in question, explain that you have another act. One which requires less set up time, or is less expense to produce. Explain that, even though the pricing is for your award winning show, both shows are good. It just so happens the second show is more affordable. As remember, the 3 stages of negotiating are: First, find out what the other side wants. Then, gather more information. And finally: Reach for an By following these three steps, with an understanding of the GAMBITS just covered, you will pull your earnings into line with your value. In remember that negotiating is not just a matter of getting what you want It is also discovering what others truly want, and what value they place in achieving it.

Build A Safety Net Into Your Pricing

Exposing yourself to the different stages of negotiating and the gambits that go along with them is only part of the battle. Since putting them to use is the ultimate objective, you might want to consider easing yourself into it

One way to prevent yourself from losing shows as a result of your original quote being too high, would be to build what I call a "safety into your pricing structure.

In magic, I've always felt that who is good now, needed someplace to be bad. For example, it really helped me to have my home state of West Virginia as a developing ground. It allowed me to develop maturity away from possibly critical eyes that might have discouraged further effort.

What that amounts to, basically, is a second act that you can perform for a lower fee. Or, it might be a different performing character - still played by you, but capable of working for a lower fee.

By the same token, you might want to practice these negotiating techniques your everyday life, so that when the big deals roll in, they'll be second nature to you.

As an example, perhaps you have a non-livestock act, that you'd be willing to perform for instead of your normal $250.

For example, the next time you eat at try Flinching when you get your Or, if you truly ARE shocked by the price of allow yourself to react naturally, and remember that reaction. File it away, for reuse in the future.

Another great example was developed by Hank Moorehouse. as "Hank", does a very funny professional act. But if you can't afford "Hank", perhaps you'd like Mr. Bubbles. The Mr. Bubbles act is perfect for kids. "Because", Hank tells me with a smile, "I don't like kids. But Mr. Bubbles loves them!"

Finally, let me end with a sincere hope, and also issue a challenge: Make all your negotiations win-win interactions. Make of your relationships value for value. And make most of your money from repeat bookings.

If you have an act that has been recognized with a prestigious award, or a television appearance, you might be able to base your initial

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The Magic of Michael

(1) Find out what the other side wants. (2) Seek more information. (3) Reach for an understanding.

The (2) Delayed Approval. (3) Call To A Higher Authority. (4) The

Gambit.

(5) The Salami Technique. Piggy-Back Booking. (7) Develop Walk-Away Power. (8) Give 'Em A Second Chance. (9) Build A Safety Net Into Your Pricing.

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