The Retrospective column in Chronicles #13 and #14 feature Durham's "Pin Thru Hank" and Victor's "Eleven Card Trick," two outstanding routines that are among the best of their kind. It should be clear that Retrospective is not printed for the well-informed because they already know the material. It is published for the benefit of those who don't have ready access to high calibre out-of-print material that circulates thru inner circle conduits. The column is popular and attracts a good deal of mail. Typical is this letter from Allen Lang:

"The article on The Red Prediction was really appreciated. I didn't know that this even existed as a card effect on which a lot of work had been done. The "Ten Card Deal" article was also appreciated. In a few pages of reading, I got an accurate idea of the development of this great trick, loads of excellent reference material, and for a bonus the great ideas by Ken Beale. what else could anyone ask for?"

The Self-Employed

Whenever I meet a talented magician who obviously has fresh ideas and something novel in the way of viewpoint, I advise him to get his ideas down on paper and get published.

There are several routes to take, and in a paragraph I'll give my opinion of the best. The usual way to begin is to contribute material to magazines. Unlike newsstand magazines, magic magazines don't pay for material so they are likely to publish anything sent to them (perhaps not anything,but almost). Once your name starts to become known, you can go to a dealer with a ms. and ask if he'd be interested in publishing it. If he isn't, don't despair; he probably has a backlog and a waiting list, so he may not be altogether that eager to print the work of a comparative unknown. If one dealer turns you down, go to another.

By taking your ms. to a dealer & hving him handle it, you gain several advantages. The dealer usually has the money to advertise in the major magazines. He has his own mailing list and can thus reach potential customers who are very likely to buy anything he sells. The dealer has a showroom and he'll give your book prominent display space. All of this is to the good and will help promote your name.

You can also arrange to have someone else write your book for you. If a "name" author writes the book,it is his name that is selling your mat erial. The problem here is that it is his book, and if it really isn't his, he'll tell people it is. If the book is a success, he'll make sure to take credit. If the book bombs, you get the blame.

My advise to people starting out is to put their own material in manuscript form and handle the sales themselves. If you're looking for a get-rich-quick scheme, this isn't it. There is no reason why any magician will want to buy a book from an unknown. You have all the headaches, and that means handling the advertising, filling mail orders, maybe going around to conventions and promoting the book yourself.

But if you're willing to invest the time and money, it's my feeling that you will benefit more from reader feedback, that you'll get a better feel for the demands of the marketplace, and that if your work catches on, you'll be in a position to realize a profit from back titles that maybe didn't do as well first time out.

If you decide to advertise, the hard facts are these. There is only one magazine that reaches an active buying audience and that magazine is Linking Ring. It used to be that Genii shared top honors, but in recent years the comments I've heard tend to indicate that Genii has slipped badly. On more than one occasion I've gotten letters from people saying that a single mention of a book or trick in Interlocutor is worth more than any ad in Genii.

Don't expect encouragement or financial aid from friends. You have to go it alone, but I think that if you're in this for the long haul and not for the quick buck, it is overwhelmingly clear that you should go into business for yourself. I've found this to be true in my own case; starting out in 1965 as a complete unknown, I can now state that there are at least four people outside my immediate family who know my name and can pronounce it correctly- a true American success story.

or tamper with the cards in any way.

You ask that one of the 41s be named. Say the 4H is named. Extend your palm to the lady on your left and ask her to remove one segment of the 4H. Then extend your open palm to the fellow on the right and ask him to remove the other 4H segment.

When this has been done, you o-penly show that you are left with the two segments that comprise the 4D.

"What you have," the patter goes, "is the world's easiest jigsaw puzzle. It consists of only two pieces. All you have to do is put the pieces together correctly to form the 4H and you win the prize. You have five secunds."

Seems easy, yet it is impossible. When the spectators give up, drop the two segments of the 4D on the table and form the card from the two halves, saying, "Too bad you didn't pick this card. Some puzzles



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are easier than others."

Method: This will be a brief des-sciption. Few are likely to make up the trick, despite the simplicity of the method, because a standard gimmick is used.

Required are two double-index cards. Each shows the 4H/4D. Place them in the deck so that the 4H-half is uppermost on one card, the 4d-half uppermost on the other. Remove the regular 4H and 4D. Tear each of these ordinary cards in half. Place the two 4D halves in the left jacket pocket, the two 4H halves in the right jacket pocket.

To present, spread the deck on the table, face-up, and upjog the 4H and 4D about halfway. Explain that you'd like to demonstrate a simple puzzle- in fact, the simplest- with these cards.

Square up the deck. Then remove the two 4 * s as a unit and turn them face-down in the LH. The RH grasps the topmost card, fingers on top, thumb below, and turns this card face-up. It is placed under the other card so they are face-to-face .

Fold the two cards in half across their width, but at a slight angle as shown in the sketch.

Tear along the fold. Drop the foU-t pieces in the open palm of one hand. Ask that a 4 be named. A spectator on the left removes half of that four, the other spectator removes the remaining half.

While they try to put the two halves together to make up the whole card, you have plenty of time to go to the proper pocket, retrieve the honestly torn pieces and switch out the pieces in the hand.

This trick can be done with a father and son, husband and wife, etc. Father/husband fails. YOu then hand the remaining pieces to the son and he succeeds.

Fold the two cards in half across their width, but at a slight angle as shown in the sketch.

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