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FIRST AND FOREMOST – THANK YOU! It’s difficult to express the depth of my appreciation for your decision to invest (your time and money – both are precious commodities) in this lecture. In the following pages you’ll find the exact outline that Dan and I used during the filming. It’s not the most attractive document and many of the topics are simply listed as bullet points but if you’d like additional information regarding these topics don’t hesitate to post your question(s) on the private forum linked to this lecture (you can find it under the “Discuss” button right next to where you accessed the video content). I STRONGLY encourage you to review over the “Recommended Informational Material” listed on page 3 and 4 of the outline along with the credits section for each of the routines in the act. I’m a firm believer in obtaining as much (quality) information as I can – the ideas shared by those individuals will help you grow as a performer and creator of magic/mentalism. In the interest of time I didn’t mention all relevant credits during the filming but acknowledging these great thinkers is the least I can do to repay them for the inspiration they’ve provided to me over the years. Being caught up in the excitement of filming caused me to forget some of the concepts I intended to speak about. There were also a few times during the lecture where I said that I’d discuss something and then never came back around to it – MY APOLOGIES! I’d like to rectify both oversights now. What if someone simply doesn’t want to participate in the show? To be honest, this has only happened ONCE to me over the last several years of performances. A woman was selected at random by the toss of the paper ball and I VERY QUICKLY recognized her genuine reservations about joining me on stage. Instead of strong-arming her to participate I simply requested that she give the ball one final toss to select another person at random and I moved on. There’s always a slight concern that by complying with someone’s request NOT to participate you might inadvertently encourage others to do the same, but I feel like the alternative is even less favorable. If you pressure someone like that to get actively involved their nerves could cause them to behave anywhere from completely non-responsive to allout combative.

I feel the best way to handle this situation follows the old adage “an ounce of prevention is worth a pound of cure.” You should do everything possible to make sure that people recognize the stage as a “safe zone.” Treat participates with the UPMOST respect and let your interactions with people early in the show telegraph the great time others will have with you as the performance continues. Contextualizing the phenomena This topic is addressed during the recorded Skype call with Marc Paul so I encourage you to review over that conversation for the details. The “Great Secret” from Henning Nelms – CONSISTENCY During my discussion with Dan I neglected to read the following passage from Magic and Showmanship, A Handbook for Conjurers by Henning Nelms (pg. 130). In my eyes the insight Nelms provides is PARAMOUNT to a strong (and entertaining) performance of mentalism. “An illusion is, by definition, untrue. In every field, we detect untruth by inconsistency. We recognize statements as false when they contradict themselves. An actor who does something which is not in keeping with his role falls out of character, and the spell of the play is broken. If a conjurer’s words and actions fail to match the power he claims, he pricks the bubble of illusion; he may still entertain his audience with a trick, but he loses the magic of drama. Consistency is the key to conviction. Consistency is also the key to entertainment. In entertainment as in physics, we achieve the greatest effect when all the available forces are directed toward the same goal… You make the best impression when you present a unified routine built around a definite theme and give it a consistent treatment throughout.” I strive to apply consistency to every aspect of my show and business. In performance this consistency comes in the form of congruent acting by way of a silent script that helps me behave as a “mind reader;” it also is found by first defining my character to the extent that when I have to go off script (to react authentically to an unexpected circumstance or comment) I don’t suddenly slip OUT of character and betray the illusion I’m striving to create. In business this consistency is built over time by consciously and carefully crafting my communication with clients (whether that be

during the initial phone consultation, the performance contract, or the post-show follow up to request a review). CONSISTENCY REALLY IS THE KEY! The Prompts for KISSing PINs The “long (i.e. top) cards” display: Think of a RANDOM PIN (This is the prompt that cements the dual-reality) Think of your current address Think of 4 digits from your SSN in REVERSE Think of 4 digits from your debit card Think of your mom’s date of birth Think of your real PIN but in REVERSE Think of 4 digits from your phone number Think of an OLD address Think of a PIN you used in the past Think of your date of birth but in REVERSE Think of your date of birth Think of 4 digits from your SSN Think of 4 digits from a friend’s phone number Think of your dad’s date of birth Think of your real PIN but MIX UP the digits Think of a special year from your past The “short (i.e. bottom) cards” ALL display: Think of one of these RANDOM PINS: 1824 or 9445

**NOW ON TO THE LECTURE NOTES PROPER**

Drew Backenstoss

Penguin LIVE Act Recorded on March 20th, 2019

Remaining Transparent in the Art of Deception Within the “business of magic” the use of deception should be strictly confined to our performances, and even then, it acts merely as a vehicle for entertainment – in ALL other areas we should be completely honest and transparent. Sadly, it’s not uncommon to see deception used AGAINST other members of the magic community. This happens in many ways… misleading ad-copy; magic sellers who happily take pre orders but fail to deliver the product; performers who embellish how often they work and how much they earn from that work. That last deception may seem innocuous and superficial but it makes it challenging for new magicians to discern who is worth listening to among the chorus of selfproclaimed “experts” and “professionals.” So, for the sake of full transparency, here’s what you should know about my experience as a performer. I’m clarifying these points in an effort to help you understand my perspectives and how (or why) they may differ from yours: 1. I’m a “Part-time Professional” so I fully admit that I’m not the most show-biz savvy individual to ever grace this studio. That said, there are many “Full-time Professionals” out there who barely make ends meet so “time in the trenches” doesn’t always equate to financial success as a performer. 2. On average I’m booked for 35 shows a year. The VAST majority of those performances are for corporate clients who hire me as after-dinner entertainment. My mantra is, “Work less for more,” so in building my entertainment business my focus has been on increasing my fee and being more selective in the work I take to maintain the work/life balance I seek. 3. The size of my typical audience is around 200 guests (though my largest audience to date numbered over 1,000) and 90% of the time the venue is set up in banquet style seating (consisting of round tables where 8-10 guests are sat). 4. I perform mix-and-mingle SPARINGLY and typically only as an add-on service to my stage work. 5. I almost never perform in casual, social environments so most of my work wasn’t designed with that context in mind.

6. Although I’ve studied nearly every genre of magic, in my paid performances I’m strictly a mentalist. I’m also a “purist” and avoid anything that looks like standard magic. 7. My ACTIVE performing repertoire is limited to a little over a dozen routines that I mix and match. Although I’ve developed dozens of routines over the years, I’d rather be exceptional at a few pieces then strive for mediocrity with many. 8. This is the first time I’ve ever lectured… so I’m likely going to ramble incoherently from time to time as I struggle to put into words concepts that, up to this point, have really only existed in my mind. A Polite Request to Respect the Act I want to provide you with the best content I'm capable of and for that reason I've made the decision to demonstrate the act I CURRENTLY use. As a purchaser of this lecture you're welcome to use the concepts, methods, and even isolated routines in your live performances but I request that you refrain from performing the act in its entirety. If you'd like to use these routines on television or the internet, I'd appreciate that you contact me first – I'm a nice guy, I'm sure we can work something out. I've worked REALLY hard on this over the years so hopefully you can appreciate my reservations in sharing my working material. I'm not here to create competition or cannibalize my act – I’m here to encourage the magic community to move beyond "tricks" and focus on what's important, spreading wonder and entertaining our audiences. My Overall Objectives When Designing the Act Portability Everything (including the table and easel) should fit in one carry-on. Variety I didn’t want portability to sacrifice production value or variety. I tend to think in terms of memory snapshots that I want the audience to retain after the show – so I try to find interesting and visual revelations that don’t require additional props. Variety can also stem from staging choices (working with people in the audience vs. on stage etc.).

Highly Interactive This is where mentalism shines. I want everyone to feel as though they’ve contributed to the show. The random selection procedures, the embarrassing memory cards, and the invitations to have the audience “play along” with me during the revelations cultivate interactivity. Filled with Extraordinary Moments I don’t want to perform “amusing puzzles” or “clever tricks” – I want to perform powerful illusions capable of eliciting deep conviction for the duration of the show. Not Dependent on Pre-show I have no ethical qualms with pre-show as a method – it ABSOLUTELY has its place in mentalism – but because I can’t always guarantee that I’ll have access to the audience before the show I’d rather have a STRONG act using only realtime techniques. Pre-show then becomes more of an “opportunistic strategy” if circumstances allow it. I also prefer to be 100% honest with my claims that I’ve had no access to anyone before the show and that nothing has been prearranged. Reliable Methods I’m paid to deliver. While I’m happy to take risks to enhance a routine, I always want a dependable method its core. Why Use a Stage Name? 1) Drew Backenstoss is a mouthful – Scott Andrews is straightforward and easy 2) I want to keep my stage persona SEPARATE from my releases to the magic community 3) I immediately know who/why someone is calling me 4) It helps me internalize my performing character Recommended Informational Material A, B, Z’s of Magic, Astonishing Essays No. 2 by Rob Zabrecky and Vanishing, Inc. Act Two, Curtain Call, & Theater of the Mind by Barrie Richardson

Ask Paul Podcast by Paul Brook Bairn by Ken Dyne Magic and Showmanship by Henning Nelms Maximum Entertainment by Ken Weber Mentalism Incorporated Vol. 1 & 2 by Chuck Hickok Scripting Magic Vol. 1 & 2 by Pete McCabe Strong Magic by Darwin Ortiz The Bigger Fish Files by Peter Turner What Lies Inside by Florian Severin and Vanishing, Inc. Set-up and Show Prep MY 10 STEP PROCESS FOR DESIGNING AN ACT [An Overview] 1. Create Your Character and Define the Theme 2. Finish with a BANG (Now Work Backwards) 3. Find Your “Core” Then Construct Your “Spine” 4. Get Personal 5. Involve the Audience 6. Establish “Flow” and “Build” 7. Develop Contingencies 8. Commit to a Script and Rehearse 9. Uncover the Moments 10. Fight Against Complacency STEP 1.

Create Your Character and Define the Theme

“The Great Secret” according Henning Nelms – CONSISTENCY “An illusion is, by definition, untrue. In every field, we detect untruth by inconsistency. We recognize statements as false when they contradict themselves. An actor who does something which is not in keeping with his role falls out of character, and the spell of the play is broken. If a conjurer’s words and actions fail to match the power he claims, he pricks the bubble of illusion; he may still entertain his audience with a trick, but he loses the magic of drama. Consistency is the key to conviction. Consistency is also the key to entertainment. In entertainment as in physics, we achieve the greatest effect when all the available forces are directed toward the same goal… You make the best impression when you present a unified routine built around a definite theme and give it a

consistent treatment throughout.” (Magic and Showmanship, A Handbook for Conjurers by Henning Nelms, pg. 130) Dai Vernon’s advice to, “Be natural and use your head,” is really a call to behave CONSISTENTLY within the confines of your character so as not to draw undue attention towards a secret action. Naturalness varies from individual to individual - so it’s possible to appear inconsistent when your normal naturalness contradicts your character’s naturalness. The Jungian Character Archetypes The following information was obtained from the blog-post provided below. I’ve added the examples of magicians who might fit within each archetype (these are generalities – it’s not my intention to offend anyone!). https://conorneill.com/2018/04/21/understanding-personality-the-12jungian-archetypes/ 1. The Magician • Motto: “I make things happen.” • Core desire: understanding the fundamental laws of the universe • Goal: to make dreams come true • Greatest fear: unintended negative consequences • Strategy: develop a vision and live by it • Weakness: becoming manipulative • Talent: finding win-win solutions • The Magician is also known as: The visionary, catalyst, inventor, charismatic leader, shaman, healer, medicine man • Example(s): We all, inherently, play this part – but we should strive to incorporate another archetype or two so as to have a fleshed out and robust character. 2. The Innocent • Motto: “Free to be you and me.” • Core desire: to get to paradise • Goal: to be happy • Greatest fear: to be punished for doing something bad or wrong • Strategy: to do things right • Weakness: boring for all their naive innocence • Talent: faith and optimism

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The Innocent is also known as: Utopian, traditionalist, naive, mystic, saint, romantic, dreamer Example(s): Doug Henning, Uri Geller

3. The Everyman • Motto: “All men and women are created equal.” • Core Desire: connecting with others • Goal: to belong • Greatest fear: to be left out or to stand out from the crowd • Strategy: develop ordinary solid virtues, be down to earth, the common touch • Weakness: losing one’s own self in an effort to blend in or for the sake of superficial relationships • Talent: realism, empathy, lack of pretense • The Everyman is also known as: The good old boy, regular guy/girl, the person next door, the realist, the working stiff, the solid citizen, the good neighbor, the silent majority • Example(s): Lance Burton, Dynamo, Richard Osterlind 4. The Hero • Motto: “Where there’s a will, there’s a way.” • Core desire: to prove one’s worth through courageous acts • Goal: expert mastery in a way that improves the world • Greatest fear: weakness, vulnerability, being a “chicken” • Strategy: to be as strong and competent as possible • Weakness: arrogance, always needing another battle to fight • Talent: competence and courage • The Hero is also known as: The warrior, crusader, rescuer, superhero, the soldier, dragon slayer, the winner and the team player • Example(s): Houdini 5. The Caregiver • Motto: “Love your neighbor as yourself.” • Core desire: to protect and care for others • Goal: to help others • Greatest fear: selfishness and ingratitude • Strategy: doing things for others • Weakness: martyrdom and being exploited • Talent: compassion, generosity

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The Caregiver is also known as: The saint, altruist, parent, helper, supporter Example(s): Richard Webster

6. The Explorer • Motto: “Don’t fence me in!” • Core desire: the freedom to find out who you are through exploring the world • Goal: to experience a better, more authentic, more fulfilling life • Biggest fear: getting trapped, conformity, and inner emptiness • Strategy: journey, seeking out and experiencing new things, escape from boredom • Weakness: aimless wandering, becoming a misfit • Talent: autonomy, ambition, being true to one’s soul • The Explorer is also known as: The seeker, iconoclast, wanderer, individualist, pilgrim • Example(s): Peter Turner, DMC, David Blaine 7. The Rebel • Motto: “Rules are made to be broken.” • Core desire: revenge or revolution • Goal: to overturn what isn’t working • Greatest fear: to be powerless or ineffectual • Strategy: disrupt, destroy, or shock • Weakness: crossing over to the dark side, crime • Talent: outrageousness, radical freedom • The Rebel is also known as: The re bel, revolutionary, wild man, the misfit, or iconoclast • Example(s): Criss Angel, Penn & Teller 8. The Lover • Motto: “You’re the only one.” • Core desire: intimacy and experience • Goal: being in a relationship with the people, work and surroundings they love • Greatest fear: being alone, a wallflower, unwanted, unloved • Strategy: to become more and more physically and emotionally attractive • Weakness: outward-directed desire to please others at risk of losing own identity

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Talent: passion, gratitude, appreciation, and commitment The Lover is also known as: The partner, friend, intimate, enthusiast, sensualist, spouse, team-builder Example(s): David Copperfield, Luca Volpe

9. The Creator/Artist • Motto: “If you can imagine it, it can be done.” • Core desire: to create things of enduring value • Goal: to realize a vision • Greatest fear: mediocre vision or execution • Strategy: develop artistic control and skill • Weakness: perfectionism, bad solutions • Talent: creativity and imagination • The Creator is also known as: The artist, inventor, innovator, musician, writer or dreamer • Example(s): Tommy Wonder, Robert Houdin 10. The Jester • Motto: “You only live once.” • Core desire: to live in the moment with full enjoyment • Goal: to have a great time and lighten up the world • Greatest fear: being bored or boring others • Strategy: play, make jokes, be funny • Weakness: frivolity, wasting time • Talent: joy • The Jester is also known as: The fool, trickster, joker, practical joker or comedian • Example(s): John Archer, Mac King, Juan Tamariz 11. The Sage • Motto: “The truth will set you free.” • Core desire: to find the truth. • Goal: to use intelligence and analysis to understand the world. • Biggest fear: being duped, misled—or ignorance. • Strategy: seeking out information and knowledge; self-reflection and understanding thought processes. • Weakness: can study details forever and never act. • Talent: wisdom, intelligence.

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The Sage is also known as: The expert, scholar, detective, advisor, thinker, philosopher, academic, researcher, thinker, planner, professional, mentor, teacher, contemplative Example(s): Derren Brown, Eugene Burger, Colin McLeod

12. The Ruler • Motto: “Power isn’t everything, it’s the only thing.” • Core desire: control • Goal: create a prosperous, successful family or community • Strategy: exercise power • Greatest fear: chaos, being overthrown • Weakness: being authoritarian, unable to delegate • Talent: responsibility, leadership • The Ruler is also known as: The boss, leader, aristocrat, king, queen, politician, role model, manager or administrator • Example(s): Max Maven MY CHARACTER: A Hybrid of Magician, Sage, and Everyman • Motto: “The truth is that we ALL have untapped potential.” • Core desire: to connect with others by understanding the fundamental nature of the mind • Goal: to promote unity through the analysis of the human mind • Strategy: use applied psychology coupled with intuition to demonstrate feats of the mind that people would commonly assume were impossible • Greatest fear: the loss of belief in one’s own potential • Weakness: becoming manipulative in the pursuit of my goal • Talent: approachable intelligence, finding win-win solutions, interpersonal skills and building rapport Discussion on Themes “Most tricks have the same theme: ‘The performer does something that seems impossible.’ The nature of the impossibility is of secondary importance. What really counts in the lack of rational explanation. This theme supplies interest but cannot make it rise very high, nor can such a theme sustain interest for more than a few minutes at most… Furthermore, if any interest remains after the climax, it concerns only the method used. The phenomenon itself is dismissed at once.

The situation in an illusion is entirely different. The theme involves freakshow secrets, telepathy, or astrology—something that is interesting in its own right. This interest is aroused immediately and can be sustained indefinitely if properly handled. It does not depend on the climax, except that a weak climax would be disappointing… Every conjuring theme has four elements: Who is involved? The PERSONALITIES What is being exhibited? The PHENOMENON Why is the routine performed? The PURPOSE How is the Purpose achieved? The PROOF” (Magic and Showmanship, A Handbook for Conjurers by Henning Nelms, pg. 36-37) STEP 2.

Finish with a BANG (Now Work Backwards)

Begin with the end in mind Alice: Would you tell me, please, which way I ought to go from here? The Cheshire Cat: That depends a good deal on where you want to get to. Alice: I don't much care where. The Cheshire Cat: Then it doesn't much matter which way you go. Alice: ...So long as I get somewhere. The Cheshire Cat: Oh, you're sure to do that, if only you walk long enough. Solo-fab Thoughts closing routines 1) A STUNNING CLIMAX 2) An empty stage besides me ready to take a bow 3) Tying up the loose ends in a satisfying (but hopefully surprising) manner 4) My preferred structure is to bring the show full-circle The Last Man Standing Strategy Walk-through of routine Using Time Delay as a Method

Solo-fab CREDITS An Evening of Wonders by Derren Brown “Confabulation” by Alan Shaxon, circa 1960 “Final Forecast” from Mentalism Incorporated by Chuck Hickok “Mental Projection Extraordinary” from The Life and Mysteries of the Celebrated Dr. Q by Alexander (stage name of Claude Conlin), 1921 “Mobile Opener” from Lior Manor LIVE (Penguin LIVE) by Lior Manor and Penguin Magic “The Bold Book Test” from The Bold and Subtle Miracles of Dr. Faust by David Hoy “The Double Blind-Drawing Duplication PLUS” from Marc Paul LIVE (Penguin LIVE) by Marc Paul and Penguin Magic KISSing PINs Thoughts on opening a show (not always the same as opening effects) EVERYTHING either adds or detracts from the atmosphere of the show and the prestige you’re striving to elicit (the venue, the stage layout, your intro, your dress, your walk onto the stage, your opening lines, etc.) BE AWARE THOSE ELEMENTS AND TAKE CONTROL. Bob Cassidy speaks of “The Thirty Second Rule” “Those thirty second are the ‘opening’ of the act. An experienced performer realizes that this critical period will pretty much determine how the show is going to proceed. During his first routine, he is either seeking to strengthen a weak connection or maintain the level of a strong one. His skill at creating, manipulating and controlling the connection defines his ability as a performer.” (The Artful Mentalism of Bob Cassidy, Vol. 2: Fundamentals, pg. 21-22) A compelling, yet understated, introduction (don’t oversell and then under-deliver)

“…the strongest prestige-builder is your own magic. The stronger each effect is, the more your prestige builds as the performance progresses. Each effect you perform acts as an advertisement of the one you’re going to do next.” (Strong Magic by Darwin Ortiz, pg. 89) Walk-through of routine Establishing “powers” Credibility REALLY FIND THE FREAKING PULSE! We should strive to be authentic despite our deceptions. Silent Script KISSing PINs CREDITS This Way Up by Paul Brook and Colin McLeod “Pseudo-Telepathy” from Unreal by Bruce Bernstein “Almost Perfect Drawing Duplication” from New York Lecture Notes by Peter Turner “The Bulldog Deck a.k.a. The Scary Movie Routine” from The Artful Mentalism of Bob Cassidy Vol. 2: Fundamentals by Bob Cassidy “The ‘Ever-Ready’ Forcing Pack” from Tricks with Prepared Cards by Donald Holmes (contribution by Dr. Ford B. Rogers – this idea is often misattributed to Lu Brent and Jean Hugard and has since been renamed the “Telematic Deck”) STEP 3.

Find Your “Core” Then Construct Your “Spine”

What I mean by “core” routines Further examples: Q&A, 4DT (aka “3 Envelope Test”), Hypnosis demonstrations “Core”: Omni-test Walk-through of routine Layering/Cancelling Methods

The flashback principle cancels the force of “exercise”. The MOABT cancels the force of “chug.” Accidental vs. Incidental Convincers “What both accidental convincers and incidental convincers have in common is that they’re both seemingly unintentional. The “unintentional” approach is always best using convincers because convincers provide INDIRECT proof that something is so. If this is overtly presented with the intention of convincing the audience, they’re likely to wonder why, if you really want to convince them of your claim, you don’t provide DIRECT proof… Another important strength of the unintentional approach is that, if the audience interprets an action as unintentional or accidental, they will attribute to it a sincerity and honesty that people are understandably reluctant to grant to the actions of a magician in most cases.” (Strong Magic by Darwin Ortiz, pg. 77) Withholding potential (a.k.a. “Conservation”) I refrain from revealing the first word (forced) on the fourth participant so that I can bring it back into play for the finale. The same treatment is given to the word forced on the third person which then becomes the “final secret” in the finale. This strategy goes hand-in-hand with leveraging time delay. The “near miss” concept frequently used within mentalism is also an example of “conservation.” Consistency in “powers” First – verbal tells and contact mind reading Second – predictability Third – no contact Fourth – taking it to the next level Contextualizing the phenomena Driving home the “subtext” (what does the phenomena imply?)

by presenting the demonstration in terms of the word acting as a substitute for the participant’s computer password. Varying the pacing and staging of the reveals A call for originality: Thinking outside of “pre-boxed material” Omni-test CREDITS “A Strange Feeling” from The Eureka Moment by Robert Domenech “Books Galore” from Mentalism Incorporated by Chuck Hickok Cody’s Comedy Book Test by Cody Fisher and The Magic Estate Dyna by U.F. Grant Mother of All Book Tests by Ted Karmilovich Peek-a-Book by Dan Tong Ultimate Flashback by Larry Becker Wayne’s Exchange by Wayne Dobson Alternative strategies for Omni-test “AAA Book Test” from March Paul LIVE (Penguin LIVE) by Marc Paul and Penguin Magic Glance by Steve Thompson “Invisible Book Test” from The Vault: Gerard on Hoy by Andrew Gerard Making Mind Reading Look Real by Luke Jermay “Psychol” from Secret Manuscript One by Jose Prager “The Bold Book Test” from The Bold and Subtle Miracles of Dr. Faust by David Hoy The Impromptu Book Test (IBT) by Josh Zandman The Lost Luggage Book Test by Matt Packard “Spine”: Obviously Influenced What constitutes a “spine”? Doesn’t have to be an effect (example: The Gorilla and Banana running bit through Derren Brown’s “Something Wicked This Way Comes”) Callbacks Walk-through of routine

Theatrical Device: Conflict through financial risk DRAMA ISN’T DEFINED BY HAPPY ENDINGS… IT’S COMMUNICATED THROUGH THE STRUGGLE TO REACH THAT DESTINATION. THE MORE THE AUDIENCE CAN CONNECT WITH THE CONFLICT THE MORE COMPELLING THE DRAMA. “In most magic…the plot is, ‘I wish for something. I get it. And it’s what I want.’ The ‘cause’ in this case is the ‘magician’s will.’ He wills it; it comes true. This is not a drama about a human being. It is the depiction of a god, generally a capricious and trivial one. And it’s just as dull as the biography of any omnipotent being would be. It contains not a smidgen of genuine conflict. And without this conflict, the magician in a position of a god-like power at all times has not a flicker of humanity.” (Absolute Magic by Derren Brown, taken from a conversation with Teller, pg. 21) Win-Win Situations Obviously Influenced CREDITS “Brick Opener” from Unveil – Part I by Manos “Chair Swindle” from Get Nyman by Andy Nyman & Alakazam Magic “Choices Have Consequences” from Curtain Call by Barrie Richardson “Heads & Tails” from Mental Deceptions Vol. 1 by Rick Maue “Kolintrol” from Opening Minds by Colin McLeod (inspired by Kenton Knepper’s “Kontrol”) Mark Elsdon Live – Penguin Live by Mark Elsdon and Penguin Magic Primal Prediction by Ken Dyne “Ring Monte” from Derren Brown: Trick of the Mind -Season 2, Episode 2 “TERASABOS” from The Book of Haunted Magick by Rick Maue “Thanks to Dunninger” from 3510 by Luke Jermay “The Croiset Affair” from Unreal by Bruce Bernstein The Envelope Game by Matt Mello The Target Number Manual by Ted Karmilovich “Two Envelope Monte” from The Gathering by Derren Brown

STEP 4.

Get Personal

The Ultimate Trust Exercise Walk-through of routine Choose Your Words Carefully – Google knows all I say “Ultimate Trust Exercise” NOT “Staple Gun Russian Roulette” to avoid exposure of “RISK” Theatrical Device: Conflict through physical risk Word of Caution: ONLY USE FAILSAFE METHODS. Penn Jillette said something to the effect of, “If you’re doing a danger routine and you’re in REAL danger, you’re an idiot!” It’s the ILLUSION of risk that we are presenting… not genuine risk. The Ultimate Trust Exercise CREDITS “A Question and Answer” from Jinxed by Peter Turner “Connected” from Jermay’s Mind by Luke Jermay “Dream Paper” from Dreamer by Jose Prager “J.P. Mental Pad” from Mentology by John Pomeroy Risk by Francesco Tesei “The Informatico Principle” by Ted Lesley “The Simplex Mind-reading Routine” & “The Double Billet” from Act Two: Theater of the Mind by Barrie Richardson STEP 5.

Involve the Audience

You Did What?! Walk-through of routine Finding Efficiencies Since I’m already swapping OUT the name card for the peek why not swap IN information that can be used during a subsequent part of the show? Take the tools and INNOVATE

“I fully admit that my strengths aren’t typically found in developing never-before-seen principles and techniques… My creativity stems from an ability to combine existing concepts in new and hopefully interesting ways to produce convincing demonstrations of ‘mind reading’ and ‘influence.’” (Architect of the Mind, pg. xii) You Did What?! CREDITS “Dirty Secret Club” from Premise & Premonition & Distractions by Luke Jermay “Double Drawing” from Jermay’s Mind by Luke Jermay “The Double Blind-Drawing Duplication PLUS” from Marc Paul LIVE (Penguin LIVE) by Marc Paul and Penguin Magic “The Sixth Sense Ploy” from Hybrid Mentalism by Alexander Marsh STEP 6.

Establish “Flow” and “Build”

Plan Transitions A consistent character and unified theme make transitions more natural and intuitive. Eliminate dead time Interactive bits with the entire audience: Bob Cassidy’s “Macro Effect”; Magnetic Fingers; the Hand Scam; Derren Brown using “Hole Tempting” as a running gag from “Something Wicked This Way Comes.” You should also look for opportunities to piggy-back processes so that you can get them out of the way simultaneously. Examples from my act are: instructing people on the embarrassing memory cards WHILE inviting the first man up on stage; then, having the cards collected WHILE the woman is committing to the name for the “Ultimate Trust Exercise” Call-backs help create the feel of a unified show This relates right back to the idea of having a “spine” for the show

Building Techniques “We build interest by adding more: more movement, more color, more sound, more light, more people, more intensity, more concentration, more excitement. In short, anything that the spectators regard as increasing will also increase their interest… Increase the intensity of your own interest. Concentrate more and more on the source of information… Let your movements become broader, quicker, more abrupt, and more varied. As the climax nears, introduce sudden shifts in technique. A shift is stronger than an increase.” (Magic and Showmanship, A Handbook for Conjurers by Henning Nelms, pg. 239 and 241) You can also “build” simply through telling the audience that what you are attempting is progressively more difficult (even if that isn’t the reality). The PERCEPTION of increasing the challenge is what matters. ***My personal favorite strategy is to layer climaxes in close succession. I like to “plant seeds” throughout the show (the embarrassing memory cards for example) and reap the fruit at the end during an avalanche of other reveals. The challenge is maintaining clarity and avoiding confusion.*** STEP 7.

Develop Contingencies

Murphy’s Law KISSing PINs: Pull a different person up if the first person goes rogue Obviously Influenced: Michael Murray’s “Tombola Principle” if the force person disappears at the beginning of the show Omni-test: Multiple eyes on the thought-of words to avoid them being forgotten and to lessen the likelihood of a “challenger” Solo-fab: If the birthday isn’t provided just accept the miss and move on Mitigate failure by controlling your response to it Personal Performance Hiccup Stories 1) Flashing the window envelope

2) Missing the MOABT word with “Father Christmas” (Pipe instead of Predetermined) STEP 8.

Commit to a Script and Rehearse

Advantages of script writing 1) 2) 3) 4)

Peace of mind Clarity of progression Effective Instructions Freedom to improvise

Don’t Neglect Stage Directions Mental Rehearsal “As If?” from Contemplations by Sean Waters STEP 9.

Uncover the Moments

Record your performances On a whim I added the funny assignment at the start of Omni-test and it had a fantastic response If you can’t arrange a video recording simply open the voice memo app on your phone and stick it in your pocket. You can still learn A LOT from an audio recording of your show Update your script That gag has never left my show STEP 10.

Fight Against Complacency

Be present 1) Comment on the group, location, or event 2) Use and remember names 3) REACT & RESPOND IN THE MOMENT Seek feedback from audiences and trusted peers

Business Tips Book Recommendations 1) Quitter: Closing the Gap Between Your Day Job and Your Dream Job by John Acuff 2) Going Pro by Andi Gladwin The Perks of Being Part-time 1) You can cherry pick the gigs you want – YOU HAVE THE FREEDOM TO SAY NO 2) You have multiple streams of income 3) You can maintain the work/life balance you want in terms of travel and time away from family 4) A day job can provide you with transferrable skills 5) Employer sponsored benefits (health insurance, 401K, life insurance, etc.) Raise Your Fee – NOW! Tarbell 103: Making Magic Pay Develop CONSISTENT Business Habits 3) Replying to gig inquiries 4) Performance Agreements (Contracts) 5) Soliciting feedback/testimonials Upselling 1) Add-on services 2) Finale options 3) Customization