How to do Magic Tricks

Advice and Support for Magicians

Doing Card Tricks – Do Not Use These Words

by Merchant of Magic 7 Comments

words-magicians-should-not-useI want to talk you to about language. The words you use when you perform your magic tricks, and how you can improve them to get a better reaction from your audience. It’s specifically about using the wrong words.

What are the wrong words?

Every word that you use, when you perform a magic trick, counts. It sets the stage for the magic, defined your character, moves the action forward, and ensures the spectator understands what should happen, and what did actually happen. It also signals to the spectator, how they should react to the trick. Any words that don’t perform these actions are clutter and should be removed from your script as much as possible.

Magicians Instructions.

As magicians, we are so used to reading about magic tricks, going through the instructions and talking with other magicians, that we forget our spectators are not the same. They aren’t immersed in the language of magic.

Approach a spectator, pull out your Bicycle playing cards and tell them:.  

“Say ‘stop’ as I riffle through the deck.”

What on earth is a “riffle”? The spectator never uses that word, and probably has no inclination to  do so. Swap  it for something like this..

“As I go through the playing cards, say ‘stop’ at any time”

That’s a much better line. It doesn’t assume any previous knowledge of magic from the audience.

Asking a spectator to “Cut the top half of the deck please.”  Again, what exactly is a ‘cut’ and what’s the top half of the deck? It’s clear to us as magicians, but these assumptions of prior knowledge in your patter, cause the spectator to pause for just a moment, to check internally that they understand what you are asking of them.  Simplifying the language you use in your instructions will improve the pace and flow of your magic and the clarity of the trick for spectator.

Call a spade a spade.

As much as possible, check that you are not referring to items by their magic names. Let’s say the magician is about to perform some card tricks. He asks the spectator to sign a card and wrap the playing cards up in a silk:.

“Please pick up the Sharpie, sign the front of the deck and then wrap it up in the silk.”

For just a second, these questions jump into the spectators mind:

1) What’s a Sharpie? —–   Oh, he meant the pen!

2)  Sign? ——  He wants me to write on the playing card?

3) Front of the deck?  ——  Is that the top card? But where on the card?

4) What is a  Silk?  Does he mean that piece of cloth on the table?

The spectator how has 4 questions to process, and confusion can jump in at any step.

Introducing a magic trick.

“OK, here’s a bit of magic for you”

Using the word bit, makes the trick sound like something less that awesome. It’s dismissive and almost apologetic. Instead, say something like “Here’s something very strange, for you.” or “Let me show you something, I think you will really like.”

Another common mistake is to use the word effect.

“Let me show you this magic effect.”

Nobody, other than magicians, call magic tricks ‘effects’. Save that, for when you are talking to other magicians. Instead, refer to the trick as “magic” or “magic trick”.

Patronising

“Please, sign your name here. Brilliant!”

“Please take a card, great job!”

Brilliant, Fantastic, Amazing, Great!

It’s so tempting to add this, as some kind of little reward for the spectator after every action they do.

“You put the lid back on the pen! AWESOME!!!”

This is simply clutter and adds nothing to the presentation. Unless you are specifically trying to be funny, this gives a message to the spectator that you thought he or she was incapable of performing these simple tasks.  Instead, just say “Thanks” and move on with the trick.

It’s likely that you may now notice that you use these words when performing. Filming your magic performances can help you identify these habits, so you can work to remove them.

Redundant sentences and cliches.

We all do it. We all use the same stock lines, when talking to spectators. After all, we grew up watching magic and learning the way a magician acts. However, taking a moment to study what you say, and choosing alternatives to these common phrases, will dramatically chance how you are perceived by your audience.

Here, are some of the most popular cliches that should be avoided:

“And now, for my next trick..”   Just get on with it. When you end a trick and start another, it’s obvious to everyone. There is no need to tell everyone that you are starting a new trick.

“And with luck…” Telling a spectator that the trick requires luck to end correctly, is a huge fat signal that you are not confident with your technique. The trick works because of magic, not luck.

“Are you sure?” This is common. You ask them to pick a card then ask them if they want to chance their mind. Why? As a magician, you want to let them know that they could have picked ANY card. But they already know that, as you asked them to do just that, a moment ago.

Just accept their first decision and move on with the trick. Adding doubt in the spectators mind, that they picked the right card is a distraction from the card trick. Unless your card tricks are specifically about the nature of free will or influence, making the spectator question each of their choices serves no real purpose and adds nothing but fluff.

“So, now I am going to…” Don’t introduce each of your actions. Just do them. The spectators don’t need a running commentary about your future actions. They are there in front of you to experience the trick for themselves.

“Is that fair?”  By asking a spectator to judge, what should be a simply innocent action you create doubt and a challenge mentality. The spectator is invited to think:.

  • Why wouldn’t the action be fair?
  • Did I just miss something sneaky?
  • Should I care at all?

These common mistakes that magicians make, often just spring from assuming the spectator has prior knowledge of magic. That’s often fine if you perform mainly to other magicians, but even magicians will appreciate good language. In fact, they will probably notice it just as much, as they compare your presentation to their own.

DO THIS:

It’s very hard to remove these negative words from your presentation, if you don’t script your magic. Watch some performances of magicians who favor the ‘ad-lib’, jazz style of magic and you will often find their patter is full of these lines. We highly recommend that you start creating a script for each of your tricks. As you become aware of mistakes like these, you can remove them. Scripting your magic down to only what is essential for the trick to work. Once you have this habit, you will find that you can ad-lib in a more powerful and meaningful way.

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Filed Under: how to do magic tricks Tagged With: beginners, learning magic, practice, presentation, showmanship, video

I Do Card Tricks – What Magic Trick Should I Learn Next?

by Merchant of Magic Leave a Comment

sams-question-about-magic-tricks-MoMWe received this question today. It’s very common for us to be asked what magic trick should I learn next.. Here’s the answers from the MoM team:

Paul Knight: The first suggestion I highly recommend is a DVD called Fiber Optics Extended. Fiber Optics is a highly visual rope routine that lasts between 2 and 5 minutes, is ideal for one on one or groups of people, perfect for close up or stage and resets instantly. Another excellent plus point of this rope trick is it takes up very little pocket space. I personally use this at every booking and often get asked to show it again. If its non card magic your after I highly recommend Fiber Optics.

Secondly I would recommend a good chop cup routine. The World’s Greatest Magic Chop Cup routines is a good reference point for chop cup routines. The beauty of a Chop cup routine is that yet again it is highly visual and involves a lot of audience participation. Plus it guarantees great reactions when you reveal the final load(s) whether it be fruit, or any other large item. Another great point is the chop cup routine leads great into a bill in lemon routine which is a classic crowd pleaser.

Finally I would recommend a DVD jam packed full of impromptu routines. On the Spot by Gregory Wilson this covers lots of excellent tricks with things that you will have either on you already or items that are easily borrowed. This DVD has Greg performing all of these routines live which in itself is priceless. Hope this helps!

Ben Williams: Hi Sam, the sponge balls DVD is a great idea, sponge ball magic really helps you learn the basics of sleight of hand so you will quickly learn vanishes, productions and linking these elements together to create a routine. You may want to look into some sleight of hand with coins tutorials also as the sooner you begin with coins, the better. Coin magic is not like card magic, some coin magic is very easy but then as you progress you are training your hands to use muscles that they don’t usually use so the sooner you start, the better!! Learning from a DVD like In The Beginning There Were Coins

My top 5 suggestions I would recommend to take your magic outside of the realm of card magic and into everyday objects are:

1) Psypher – This is one of the best tools you can use for mind reading.
2) First Hand – A really visual change of money on the spectator’s hand.
3) Loops – For animations and small levitations
4) Stitched – A fantastic illusion where you heal a rip in your jeans.
5) Self Tying Shoelace – You tie your shoelaces without touching them, killer!

These are some of my favourite tricks to perform, besides my own tricks of course 😉 (just check our Ben Williams section in the magic shop)!

Dominic Reyes : Sam, It’s great news that you are looking to add in some material into your sets that don’t involve playing cards. Nothing wrong with cards at all, but it can be very easy to overly focus on card magic, the more you get into it. As you learn more and more material, it’s a big jump to start right at the beginning with a new field of magic.  The great news is that most of the skills you learn in any area of magic are transferable. After all, misdirection, is misdirection, regardless of the props you use. You mention that you were thinking of using Easy Vanish. It’s good, in that it does exactly what is promises, but it is a short cut, at the end of the day. You would send your time more wisely, by studying an introduction to coin magic DVD to pick up some easy vanishes you can do anytime.

 

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Rus Andrews on Jazz Magic and Card Tricks

by Merchant of Magic 2 Comments

rus-andrews-magician By Rus Andrews

Getting a first gig is probably one of the biggest leaps you will make when trying to move your newly found art and interest to the big wide world, it’s a nerve racking experience as you are about to show the world what you are capable of in a paid environment.

Getting a magic gig.

The first obstacle is actually getting your first magic gig. There are various ways that this can be accomplished, but I will share the route that I took that got me started. The first key to this is everyone likes a freebie. It’s a known fact that people will always like something for nothing. This can be used to your advantage in terms of getting yourself through the door and recognised be it in either a restaurant, bar or club. By offering to work a night or two for free so the manager can see the type of reactions that can be achieved and also hear the feedback it creates, this puts you in a great situation and doesn’t place the owner under any pressure. If the manager likes you, he will hire you, if he doesn’t think it suits the venue then he hasn’t lost anything, by offering a couple of free nights as a test, the owner will find it hard to refuse, I mean who’s going to turn down free entertainment that will keep customers  happy?

Clones.

I remember when I first started out performing professionally there were a few things I learn’t along the way that I wish I had been told about or wish I had come across, and that was about ignoring what is right for others. Too many magicians base themselves on other performers, be it David Blaine, Criss Angel etc. There are too many clones floating about. When I first started out, Blaine was all the rage, and many of the magic tricks he was performing I was too, but it got to a point where so many people were starting to point this out to me “wow I saw David Blaine do that” This is what I wanted to get away from, and so by developing my own style, this bold deceptive side of me was born. This is the style I have continued through my career.

Try something new

Which magic tricks to perform when you get to an event is always the question on everyone’s mind. For me personally, pretty much everything I do is done with a normal deck of playing cards, I have never been a huge fan of gaffs etc. My advice on this would be to perform what ever you are comfortable with. Don’t be afraid to try something new at each gig, if you have something you’ve wanted to test out for sometime, go for it! These are the best environments to give these things a go. I can’t stress enough, always have an out that can be adapted to any trick. This way, if you do attempt something you’ve never done before and things do go pear shaped you can still recover.

Jazz magic.

Routine building is always made a big issue with working magicians, and I have never understood why? I have always enjoyed what many magicians call JAZZ magic, which basically means performing off the cuff with no routine, this I feel keeps the magic fresh, and you will also discover new ideas to add to existing plots. Jazz magic also keeps your performance exciting for YOU, and  I feel this is really important. I cant think of anything worse than performing the same effects over and over again throughout an evening YAWN…… Yes have a few tricks that you may use at each table, but also throw stuff in material that’s different. I love making it up on the spot and playing with a few moves. I have met a few magicians in my time that I have felt have been programmed to do a certain set of tricks, and the thought of changing something within that routine throws them into a spin and eventually impacts there performance…..  Keep it BOLD my friends!

DO THIS:
1) Rus gives us some great advice here. He contacted local business owners and proposed a free trial. The key here, is that it was just a trial, so both parties understood that a normal fee would be expected if his services proved to be a positive move for the venue. Make a list, right now of venues close to you, that you could approach to offer a free trial of your magic.

2) Finding your own style is important and Rus, quite rightly, warns that it’s far too easy to become a clone. Ordering and learning tricks from famous magicians is fine, but find a way to present them in your own style. A copy of something will never be the best, even if it is much better, it will always be considered second place.

3) Rus suggests that you jazz your magic. Although the MoM team disagrees with this, we do understand it works well for Rus. It’s an individual talent, and if you can perform consistently well every time without a plan or structure, it can set you apart from the competition. We recommend that beginners structure and script their act FIRST. This gives them something to fall back on, when unexpected things happen at a gig. We would love to know your thought on this subject in the comments section below.

About Magician Rus Andrews
Rus is a seasoned performer and magic creator. His magic routines and tricks are performed worldwide by many of the top names in close-up magic. You can find out more about his published works in the Rus Andrews section.

 

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Filed Under: how to do magic tricks Tagged With: beginners, learning magic, performing for the public, performing magic

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