Performers Thoughts on Methods Effects Creation and Publishing

"This is what I want to say to some", my friend said with a laugh. "I wish to say that they have very good ideas based on my efforts. I do not wish to be mean. It is just the way I see it happen repeatedly. I create a new method or novel application. This is life in a test tube sort of creation. I create life in a test tube, and configure this life in a test tube idea to make both male and female within the test tube. I publish my findings."

"Then I get phone calls and letters that say, 'Dear Sir, while I like your idea I feel it pales in comparison to my original thought - that of making a grocery boy in a test tube! Imagine THAT. Am I not brilliant? This test tube boy will even make deliveries! Am I not the world's newest and greatest'? I write back, yes gee that is such a wonderful idea and no doubt, you can find many applications and different kinds of life to make from within a test tube. I suggested a few - it would have been absurd to try and detail them all. But I would like it very much if they might remember it was I that published this life in a test tube idea as they hit the ceiling with their own enthusiasm".

"To which I get a response saying,6 Yes but I thought of a GROCERY boy and you only mentioned male and female. I do not need to ask your permission to publish my great breakthrough finding. I was simply attempting to be polite. Never mind your sour ass, I know a god when I see him and you are not it - that would be ME'! So my friend, I am tired of fighting for what is mine and running madly to publish so that I will not have my performances stolen, to find that they will be stolen by my publishing the material instead. It is time to move on. Time to do that which my heart says to do, and in which footsteps few dare follow. Magic was once that way. It is not too often that way now".

I share this with you dear Reader for any number of reasons, but I am certain you will have your own understanding. This same man on several occasions said to me with a smile, "Yes these tricks might be brilliant at times, but if I ever applied my thinking to REAL life I might be worth millions". Sort of, like "disappearing ink". It was a great gag worth a few bucks here and there. Now it has practical value in "real life", and that idea IS worth millions. My friend has his way with insights.

As far as magic, mentalism, and any other applications you might bring to mind, all ideas, objects, et al in this manuscript are copyright and protected - just in case someone thinks they have a way to make a million off of my two cents.

I hate having to say things like that, but we are after all in a business, which touts tactics akin to thievery on the not-so-high-seas. Magic and mentalism is hardly alone in this venture. Ask any creative soul who has to deal with modern day selling. Copies are sold of ones works - but these days they truly are COPIES.

I recall a man who wrote to me recently saying, "Kenton you cannot stop anyone from stealing from you. We can do whatever we please. If that upsets you so damn much, then quit putting your ideas in print and in recordings". I responded, "Thanks for the thought - point well taken. I may well join my friends at that". He DOES make a point.

Grains of Truth or "Sunny Beaches"

A spectator is asked to go upon a mental journey. As they mentally travel, they should notice every detail. The spectator should silently note the smells, feelings, and sights of this visualization. The Wizard jots something down on a pad or board. The spectator opens his eyes and speaks about his experience. It was an outside scene, somewhere near an ocean. The Wizard turns around his jottings to show a beach scene.

But this is not the end. The Wizard remarks that the spectator's imagery was so clear, perhaps the spectator was actually at that place for a moment. The spectator is asked to remove one of his shoes, out of which sand from the beach is poured. Proof positive that the spectator has apparently taken his mental journey to great heights!

I won't say this isn't scary to witness or to perform. It can be a bit frightening on both sides of the performance. Docc Hilford and I came up with this ages ago. It was going to be published in The New Invocation but then we thought otherwise.

Here for the first time is Docc and my little "experiment" in olfactory influence. Yes that's right. The secret is a gimmick of words and scent. At the very least, this should inspire you to thinking in new ways.

Essentially we are going to "force" a spectator to think of a beachside type of property. Besides forcing by allusion with words, we also have a gimmick to be made. Pull out an old encrusted thumbtip and poke a lot of holes at the tip end. Soak a ball of cotton or absorbent cloth in an essence that smells to you to be "beach-like". That's a tad vague so here is what we use. After much experimenting with oils that are meant to smell like the sea, we changed instead to cocoa butter. Many hand lotions and sun tanning oils contain this smell. When you smell it, you tend to be reminded instantly of being on the beach around people covered in this scent.

I have found that Palmer's Cocoa Butter Formula hand lotion not only works wonders but smells perfectly like what we were after. In fact one could use this on one hand only and not need the thumbtip - except for what follows.

Place a bit of foil or plastic over the scented and damp cotton. This needs not be anything fancy. You merely want to keep this wet unit separated in the tip. Pour some sand or salt (which can look like sand from a distance) into the rest of the tip. Leave enough room for your thumb of course.

Now you have a thumbtip that makes the required scent to trigger memory, out of which you may also pour some "sand" when desired. As you speak to the spectator on stage, you casually move the gaff near him as you speak. I suggest you do this at certain key moments. In our experience, it makes sense to do this as you wish the spectator to close their eyes, as you describe "taking in the scene and the sense (scents)", and so forth.

I will not go into full bore breakouts of linguistics and movements here. Rather I will give you far more than either Docc or I had when we first began performing and experimenting with this piece. You can add, delete, or expound based on our work. I will give you plenty of foundation and then some. Examples of our word usage are as follows:

" What we sense, some say, determines our desire. Our senses point us in the direction we choose to go. So, our senses influence where we're headed. When we focus on our sense of something, it naturally suggests a certain time or place. Think of a nice relaxing sort of vacation... but not yet".

"We will do this with a little meditative breathing exercise. Breathe in through your nose, and then breathe out through your mouth. Just breathe in and out calmly and slowly: Out through your mouth, in through your nose. That's right, just breathe and relax. Out through your mouth, in through your nose. Breathe out and relax, breathe in and close your eyes relaxing deeper

"Breathe out through mouth. Breathe in through your nose and get a sense of things. Out through your mouth and relax. In through your nose and focus on a sense (scents)("a sense" = "essence" too). Let this sense mentally guide you to a place. A place in your mind you wander to by this scent/sense

"Allow your mind to take you to a higher place. Assent (a scent) - leading to pleasant feelings and warmth. Hear the calming sounds. Catch the wave of relaxation. The air is fresh and clean to breathe in and out and relax even more. You can relax to these calming senses (scents) and sensations

"Taking in the senses, you have some clues as to where you are now. You don't need to say anything yet. Just see it and feel it deeply. That's right. Feel the warmth. Hear the sound relaxing you over and over as you relax deeper still. Walk around where you are right now, in your mind. Walk around and pay attention to your feet. It's only natural for you to take your shoes off, but do so only in your mind for now. Good If that gets too hot, you can always put your shoes back on

Notice how the words can have double meanings in these comments. Note especially that at this point nothing has been said directly about a beach. But the words hint at this idea many times via indirect ways. "The sound relaxing over and over", "calming sounds", and "WAVES of relaxation" hint strongly at waves of water or ocean sounds. The comments about shoes or no shoes allude to something obviously. Put in context with the scent and other words, a sandy beach might easily come to mind. You will certainly uncover many other such influences occurring in these statements.

Now comes the time you must choose how bold you will be, and in which way you will choose such boldness. You may be bold in your actions by presuming that the scent and words have caused the spectator to think of SOME vacation spot that includes a beach. Chances are pretty good anyway, right? Your other option is to tell the spectator what to think, by apparently describing what they ARE ALREADY THINKING.

In either case you will draw a "beach scene" any way that you can, as well as you can. It's okay if that means your drawing is anything but a work of art. These are supposedly "impressions" you are drawing, not impressionism itself. We suggest a sort of palm-like tree, a squiggle line for land, some more rippled lines for water, a circle for sun in the sky, a little sailboat on the "water" - just be sure there is NO doubt about this being a "beach scene" at least. I have been known at times to write the letters "HI!" at the bottom. This seems friendly and childlike. But if the spectator chose to go to "Hawaii" in their minds, I point out I had the state initials for Hawaii added in at the bottom.

If you are going for the descriptive/force/coaxing here are a few possible linguistic patterns:

"Feel the warmth... Look into the sky but don 7 stare directly at the SUN! Thank goodness. Sun worship doesn 7 include going blind anymore! Now what is this... ? This repetitious sound is the sound of water. Imagine that! The smell... as if someone has oil on them... Why might that be? Oh, not THAT! Yes, of course. In our imaginary journey, there are people on the beach sun bathing. Yes that is it. But we need our shade... Good thing in this scene we imagined a palm tree too! I cannot say for certain what vacation spot we are in like this, but YOU can say what IT MIGHT BE9'.

I wish to point out that the linguistic direction has moved from "I" and "You" to "OUR" and "WE". This not only helps in the rapport; it gets the spectator to understand that you are BOTH IMAGINING TOGETHER. The spectator may have originally felt he was to make up in his mind his own place in which to travel, but he now understands differently.

Another approach is to combine this with something more descriptive:

"I hear the sound over and over... Like a rhythm, a flow... Yes, lean draw that... Well, sort of... Now what is the feeling between the toes... ? Something else - here back on land... Wet but then dry... What can that be here... between the toes and under the feet? I think I get it... That took some gritty drawing./"

Yet one more approach is for the audience to assume the spectator simply chooses a place in which to "travel", while the spectator understands this to be a "guided meditation". In this case, the spectator does not understand what the outcome of all this is until sand falls out of his shoe.

"I am going to ask you to mentally travel anywhere you would like, for a vacation and a getaway to relax. But don Y do this yet -1 will help guide you. Have you ever been part of a guided meditation before tonight? This one will be quite simple. I will make sure we are going along on the same wavelength. As we do this mind-travel together, we may share certain ideas and visions of course. The way it will end tonight though will depend upon you. If you are very good at this, we may show everyone just how real this experience can be."

You must, I am afraid, choose for yourself which approach (es) fit you best. We cannot tell you everything that YOU should do and in what manner. We can make suggestions only. You are the one who must make the decisions. But are not such interpretations those, which make for individual art?

After making descriptions, suggestions, forces through wording or your own combinations, you actually DO something at the end. The spectator "comes back" and opens his eyes. "Can you tell me what YOU saw too?" you might ask - "too" being another sneaky word ploy to get secret agreement. The wording "too" suggests the spectator "saw" certain things all on their own, without your influence.

You may now ask or confirm (as the case may be) what scene the spectator imagined.

If he describes anything that even comes close to your drawing - hurrah. BIG finish. Absolute miracle. If he does not, don't be bothered by that.

Regardless of what his reaction, you state firmly yet kindly that the experiment has worked. That even if the spectator has "struggled valiantly" to fight off your influence, he has taken the journey you wished. While the spectator kept his conscious mind busy, you were able to make his subconscious mind go on another adventure entirely. This subconscious travelling that has made for sometimes startling results. At least you should say some such.

"As you may well know, ancient wisdom states that the subconscious is the doorway to all places and times. You have left your body and returned\ yet you were conscious the entire time... But only part ofyou was here..."

You now prove all of this - no matter how the spectator responded or played along - by making a very odd request. You ask the spectator to remove one of his shoes. "I know you have an incredible imagination. You travel well. You truly DID have a day at the beach. See there? You brought back your own souvenir in your SHOE. SAND FROM THE BEACH"V.\

Naturally, this is the time you turn the spectator's shoe upside down and allow the sand from your thumbtip to pour out. Position the tip behind the shoe and shake. The illusion is quite convincing. Try it a few times to find the best position for your hand and angles. Sometimes you may stab the thumbtip in between the laces. Do what works for you.

If you need a larger amount of "sand" from the shoe, you might test this out: Use one of those plastic change holders that squeeze open and closed. This will hold a great deal of sand and remains flat. Steal this from a pocket as the spectator takes off a shoe. This allows plenty of misdirection for such a minor steal. I do not know how to use this gaff without using the "scented hand" mentioned earlier. If you wish not to have your hand scented with lotion, then you'll have to use a tip and the change holder, or find something of your own. Also, certain small and flat breathmint containers can work wonders.

When Docc and I spoke about this to the Six and One-Half group way back, some of the One-Half objected. One member pointed out that he was very fair skinned and had to be cautious of the sun. His point was that he would "never" imagine a "beach scene". Based on this Docc and I both tend to look for tanned or darker skin people for spectators in this experiment. You will also note the "palm tree as shade" is used in our linguistics now for this same reason. If a spectator is concerned (as was our friend) about the sun, this phrase turns his reaction into a mind-connect without him saying a thing aloud. How could we know he needed shade and was concerned about it - unless we were reading his thoughts?

Docc and I are aware few will actually do this, because it is scary. But I told you that up front. We do know that the right people will do it, or some version of it. We also know it will inspire many others. For this latter reason, we thought it best to finally put it in print. We shall see if this was a wise choice in the long run.

You will note we have given you many options and even diverse "outs". The worst case to me means I say to the spectator, "I had this picture in mind as you were travelling" and I get no obvious affirmation immediately. In such cases, I continue right along with, "But who knows where your mind really went? Even more odd, who knows where your body was. .."and then I ask for the shoe. The sand appears to prove that I "made him" travel to the beach-scene at least. It is bold, but it works.

For you thinkers and feelers unafraid to try the miraculous, Docc and I hope you enjoy this completely.

The Crop Circle Readings Revealed

A very few of you know this has been in my "notebooks". I am glad to finally release the basic props and concepts here, and then let you go at it as best fits you. While you may certainly do fine readings based on what is given, might I suggest you also look into "Completely Cold", "Wonder Readings" and the "Wonder Words Series" for further options and details that may be applied. Check with your local dealer or visit us directly at www.wondervvizards.com for these and other reputation making products. I have no desire at this point to write out all the unnecessary details just to sell this separately for big bucks. I am giving this system to you with my primary usage and suggestions, knowing that you can expand, as you will. All of the sheets to make the cards and from which you may make copies for your OWN use are to be found at the end of this book.

Why The Wording On The Final Overview Diagram Sheet?

Before continuing, let me answer a most basic quandary. A diagram has printed at the top "Crop Circles of Recent Discoverie and the Analytic Astrology Thereto". Many spectators take such words to mean that what you are doing is ancient. Others take these odd spellings and word combinations to mean whatever you are doing, it is legitimate.

Those with backgrounds in astrology or psychology may pry into what the term "analytic astrology" actually means. I will tell you. It means whatever you say that it means. Do not tell others that of course. You might say it has to do with how ancient astrology has been used symbolically to represent numbers and psychological typing. You could say the meanings of the circles have been analyzed from an astrological basis. I suggest you say this as long as you have true astrological background to back such comments up. You may not believe, but one who does can often tell an illiterate fraud. They will not likely say this to you directly, but they will tell others about your blatant mistakes.

I feel it is best NOT to claim "astrological knowledge" nor "psychology". I claim to know that which this system uses from the level of interpretative results primarily. Or something such as that. You get the idea. The phrasing looks like some old pseudo-scientific paper, and it generates interest and an air of legitimacy. That is why this phrasing is there. What it means I leave to you and your style and level of clients.

The Sacred Single Site Discovery

While most crop circle sites have one or two crop circle diagrams, an amazing amount of activity was found at one particular single site. Some say this area and its designs have such tremendous pull that few people cannot be swayed by its influence. Fortunately this is a positive influence, as so many will attest. Those involved in magical geometry have tried various tests throughout the world attempting to discover the exact influence of these designs. Oddly, they have found these same diagrams useful in modern day psychology, as well as being influential icons in pictorial form. Even at its most basic level, this diagram analysis is a sort of "personality type" reading. Which diagrams people choose may tell us much about a person's tendencies and patterns. The text you are reading and the tools contained within have been constructed from these studies.

It is perhaps important for you to know that the above is my story and I'm sticking to it. You may too if you like. The diagrams used in this are actual diagrams based upon sites where these circles and designs were discovered. I am not saying which if any of these discoveries are "real", only that they did happen, including the multiple site layout. So you may rest assured that what you are doing is not total fiction, and that those with knowledge and belief in this will not find you way off base or offensive.

Chances of the Sheet Diagram "Force"

My favorite use of these crop circle diagrams is without doubt the following. On one of the diagrams, you will note that an entire group of crop circles is delineated. This segment is noted as being the (10) Group or "Single Site Grouping". I show the spectator or client the single sheet of crop circles - the one without any line drawn around the "10" or "single site grouping" area to begin.

Giving the spectator a pencil, I tell the spectator to "simply draw a complete circle around a few of those"... as I point to the diagrams of crop circles on the diagram paper. Please notice the careful wording. I ask the spectator to draw a COMPLETE circle around a FEW of the diagrams. This implies that she should enclose more than one diagram with her circle, and that she should do this drawing a single circle only.

This drastically limits the spectator's choice. Chances are the spectator will not circle those few designs at the top of the page alone. These are the obviously "exposed" diagrams at the "exposed" region of the paper. This would be the equivalent of selecting items at the ends of a row in an "equivoque" or "magician's /Hobson's choice". Yes it CAN happen, but it is not very likely.

Just as people choose those items more in the center of a row, so do they tend to choose items "hidden" away in the center of the page - away from the outside edges. Given this likelihood is coupled with the aforementioned verbal directions, the spectator almost needs to circle at least part of a diagram within the single site grouping. Often they will select and circle diagrams within this area only.

Once a spectator has circled a few things with one continuous circle, I take out the other single sheet diagram - similar to the one just used - but this one has the "single site grouping" clearly marked on it. When I point out to great degree how the spectator chose this very area herself, and must have used her intuition to unearth this truth hidden from her, well you can imagine how she feels! Add in the meanings of the shapes she had circled with the fact that she chose the "big 10 group", and we have a peculiar and memorable happening.

Remember you are not doing "a trick". You do not need "an out" if she draws elsewhere. You are going to be doing a reading that is unusual as it is. But take the chances too, because the pay off is big. It may seem obvious to YOU now that a spectator would almost have to hit this area, but to the spectator it seems another story.

I at times mention if a spectator circles way outside of this area that they are individuals who like to be different and do not just go along with the masses, etc. This makes sense when they see the "big giant group circled here you almost HAD to touch, but you stayed clear of it somehow... Remarkable"! In point of psychology, a person who would circle the diagram along the outside areas only may well tend to be an "outsider", so there is some real basis in truth to this notion.

Reading By Numbers

You will no doubt notice many of the diagrams have numbers assigned to them. Numbers have meanings. If you think you do not know the meanings of these numbers, that's okay. You do even if you think you do not. There is no need for concern if you think you don't know what you do know. On one of the overall diagrams, you will find meanings assigned to the numbers used in the cards.

But I bet you know that the number "1" can stand for individuality, and "2" for relationships, "3" for productivity and growth, "4" for stability (like the legs on a table) and so on. If you stop and think about a few simple associations with numbers - you'll find you DO know a few things after all. The written descriptions on the chart are all you need if that is all you choose to rely upon however.

Now if a spectator is "not so sure" how well the numbers on the diagram fit (but they usually do rather well) you can incorporate a great many fun things to prove it. You may appear very knowledgeable indeed, when you need know nothing. For instance, you might add the two numbers together if two numbers appear on a single card. Take this combined number total and see what meaning that might indicate.

You can count the number of circles, the number of dots, the number of dark and light circles or the number of straight lines compared to circles - all to generate more numbers in which to "read" the spectator. Recall that you have a set of descriptions of numbers right in front of you on one of your diagram sheets. So the more numbers you see, or can make, the more you can say to the spectator. If a total is larger than "10", then add the digits together to get a single digit number just like in numerology.

You don't have to do that, but you could. You don't have to do anything the way I am describing it. These are options I have used and want you to be able to use if you so choose.

The Designs as Reminders for What You Might Say

One of the true wonders in this crop circle design reading is how each diagram can remind you of something concerning personalities and human interaction. At first this may seem difficult, but it is that way if you insist on attempting to memorize these only. Instead of trying to force recalling all of sorts of details, think instead of how these drawings hint at psychological and societal interactions. The fact that you need memorize nothing is another wonder of these crop circle readings. See for yourself how this works.

A single circle all by itself may suggest a unique individual, a loner being alone, or both. It isn't difficult to imagine how such a circle can "look that way" to us. Perhaps you see another circle with many rings around it. This could suggest family and friends, couldn't it? Such outer circles might hint at outside influences too or the extension of a personal aura or per chance electric vibrations or waves. Think of this as a sort of free association game. It's fun to see what all one can say by seeing what a design might suggest.

Let's try a few more. A large circle with four smaller ones around it might be a table and chairs. Tables and chairs may suggest the importance of family and/or friends. This might indicate celebrations or "food issues". These same circles may suggest spots on a die. If these circles are neat and orderly, then perhaps this is an issue in the spectator or client's life as well. If the spots look messy and scattered, maybe this is the issue instead.

A dark circle with white on it might appear similar to a tire and so suggest travel or active movement. When two circles are joined, it could be communication or a relationship. If lines cross where the circles are joined, maybe that is interference, or it could be the "vibes" the couple is emanating.

You see it isn't hard to imagine what these designs MIGHT represent. If you speak gently and easily about what these designs seem to be saying or showing, chances are what you say will make much sense to a client/spectator. Is that easy enough for you?

One of the secret things you have going in this set is that the spectator is involved by touching the cards and diagrams, listening to what you are saying, and looking at the cards which are completely absorbing as they are unique. This takes into account the three main modes people communicate and process ideas with about others. These three modes now referred to as VAK in NLP and other circles, simply means "three main ways we experience the world". Get a spectator involved in all three modes, and you have great interest generally. But don't tell the spectator this situation helps you do that.

Pure fascination figures in during the crop circle readings too. People are intrigued by the stories of such odd circles appearing out of nowhere in various countries. Add to this the unusual look of these diagrams and designs. They just seem to be meaningful in some way. If you appear to know even a little about what these odd designs might mean, and can relate this to a spectator's life as well - major interest will be generated.

When you were very young you may have played a game in which a friend would draw a design or shape and then ask you what you thought it was. Invariably there was a nasty joke assigned to the simple drawing, and from then on you could not help but believe this is what those few simple lines represented. The crop circle diagrams are much like this -without the "nasty" part. If you will spend just the slightest amount of time looking at these diagrams and making up quick stories based on what you see, you will have the "memory" part down. Because they're really isn't ANY memory. It just looks and sounds that way.

Some diagrams may look like "keys", "flags", "love", or "war" to you. Tell the spectator a few things about what you see in this way. Keep it from being offensive of course. If you know something about the attributes of certain planets, then perhaps these will come to mind in certain diagrams. One thing I have found is that what the diagrams means will change at times from person to person.

Be willing to change and allow ideas to come to your mind by looking at these odd pictures of the circles. Who knows, maybe they truly are communicating something deeper? To be sure, in all cultures in all times of recorded history there have been people in charge of understanding the deeper meaning of symbols and their influence. Even if charlatans are involved in making these crop circles, who says their subconscious mind wasn't directing them to chop out something highly symbolic just the same. It wouldn't be the first time our deeper mind took control of our conscious acts, now would it?

The Crop Circle Cards

The smaller squares of some diagrams have darkened backgrounds. One of the reasons for this is so that it is confusing for spectators to relate these to each other and to the same diagrams on the larger charts.

These smaller squares should be copied or scanned and then pasted on to a black card stock, making them effective "crop circle cards". The cards are of varied groupings. They can be stacked in order, the numbers and pictures coinciding to the larger diagrams. You will note that five to six of the cards fall into the sectioned off "single site group". I consider these "The Force Group". Eleven of the cards are not from this area on the chart and may be considered "indifferent". Add to this the fact that each card looks different in various ways, including the "force" area cards, and all appears quite unusual, but honest.

This ratio of cards allows for a "fair force" too.

Five to eleven odds are quite good alone, but we shall make our odds much better. You might add one more force card to the stack. You might also like to use another simple stacking procedure. I claim no originality for this second stacking notion, only for the weerd application and the deceptions that occur using the "crop" cards.

Simply place each force card as every other card in the stack of your crop cards. It matters not much, which diagram goes where. Have your indifferent cards alternate between the force cards, and you are set. Now a spectator or client may deal the cards down one at a time FACE UP and stop "wherever she feels like it". This implies that she has feelings about this in the first place. Given that she stops "using feelings as intuition", she must land on your target area cards. She must as it will be the last card she chose to deal, or the one right after it - the card which remains safely in her own hands.

Wherever the spectator stops dealing cards onto the table, she might stop dealing cards ON a target card. You will know if this is the case as she is dealing the cards crop faces up. Why deal the cards with the crop design sides upward and showing? Doesn't that seem suspicious? No it does not seem odd at all, because this is NOT a "magic trick". This IS a demonstration of how the designs in crop circles may affect us at very deep levels - levels of which we may not even be consciously aware. However, by dealing the designs faces up we do know that the conscious mind will at least play a PART in the demonstration. Obvious to all in the end - some "other part" of the mind must have had a hand in this as well.

Another possibility from your point of view is the spectator might stop after she has dealt an indifferent card on the table, LEAVING a target card left "unseen by anyone" on top of the pack in her hands. Again, you know this is the case - but she doesn't. When you see a spectator has stopped with a non-force card dealt last to the table, go in for the big sell. You have touched nothing; you have done nothing. Only psychological and perhaps psychic forces have been at work through the mind and hands of the spectator. So how could you have known that she was a "10"? How did her own intuition cause her to choose that which is "within the sacred group"?

Wherever she stops, be sure and point out that one design more or one design less would have placed her in different positions on the larger chart. This is an easy thing to do as the cards before and after the target cards are indifferent ones. But it is a subtle convincer if you treat it that way. The entire layout on the single sheet further aids in the confusion when compared with the numerous diagrams appearing on the single cards.

Perhaps you would like to take a few more risks and allow the spectator to shuffle and cut the cards to their hearts' content. By adding in just one more card, your odds are better than 50/50. So you may be completely wild, and still have a very good chance of the spectator cutting or stopping at a target card. Check and see what card she has on the bottom or top of the deck. Your attention to these positions allows for two chances of a direct hit under apparently impossible circumstances.

You might prefer to mark the backs of the cards. In this case, have the spectator continue to shuffle and cut until you know she has stopped or cut to a target card. If you back the cards with black paper or board, a pencil line will do wonders as a secret marking device. It could not be much simpler. Add the extra card above for better "luck".

Make a copy of the card and paste this to your proper card stock. Now you have even greater odds in your favor! Above all keep in mind though, you are NOT doing a trick or "an effect". You are sharing with your audiences something you find interesting, which is at times revealing and quite often rather amazing.

Note that three of the area force cards have the number "10" on them and three of these have no number on them at all. This further eliminates any notion of duplicates other than would be understandable. It is understandable to have a few when the reason for some duplication is how one design relates to other crop designs, for instance. Since this is the case in the diagrams on the cards, it makes sense once this is pointed out. Some will feel no need to say any such thing of course. As always, such matters are personal choices.

You might make the stack of smaller diagram cards as the deck for which to do your own unique readings. You might use the chart(s) only. You may use them in combination. You can surely read the separate cards as simply as you do the larger diagrams... The very same concepts apply, as these are the very same diagrams in truth! You might use the forcing method with some people and not others (I would hope). You may laminate the cards or the charts or everything. You may incorporate any or all of this into any or all of what you already do. If you have done nothing in the readings genre, now you can.

I do hope that releasing these will have inspired you and found new ways for you to do unusual and unique readings with real impact. I have certainly found it to be, "WEERD ENOUGH".

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