Telegraphing Motivation

P^...Uthen the expiation is „feW" ^¡on M it ex-"m"d" ^^ it closely.' ^ W'^and, no one is sufficiently inHenning Nelnts,

Showmanship

John Carney, Carneycopia

■ - the most suspicious reason for doing something is no return '"{The audience doesn't detcct a reason for an action they'll search " ulterior motive. This search brings with it the two things we're most 6r'1 to avoid: attention and suspicion.

Whenever possible, the motivation for an action should be apparent to at rhc time of the action. Ideally, it should be apparent a mo-""before the action. Itas, the audience is psychologically prepared ,0

the action even before you've performed it

Z ldience dismisses an action a, the moment that they understand the L it not a second before. If the motivation for thc action becomes nmVf a m„™fter you've performed it, they may well dismiss the lady taken note of that action, It's gone ideal goal is for them m ® takenote of die ««.^L^i ence notice an action and then dismiss it is good, Itang*» the action because they dismissed it even as you were starting better, . _ i ¡..l „ mimed object. You

Suppose you have to go to your pocket ro d P> ^

may motivate this action by openly the -andpoin, of by openly amUIng something from your P ^ somctMng away is psychological invisibility, something out. When you,.*

better than going ro your pocket to t before your hand has something in your - ^^

even reached the pocket. W W F> i[h the 0b,ect. _

only becomes apparent as your hand a [rip m the pocket is

When thc only practical ,he action in removing an object, it's a y-d*^^ . pen fort is^ You might, for example, say, Were g B ^ ^^„„„ds. even the lining of the fod^ ^TJ the lining <0 show it empty, the lining I have i p»*^™, ;r;:.Tbe nmng«. show K <«npty.

the pockct an lining hanging out as I continue the effect. My jacket covers the reversed pocket, so the audience forgets the condition of the pocket and so, appar. ently, do 1.

Later (after I've palmed a card) I pull back my jacket, glance down, and notice that the pocket is still inside out. The audience, of course, notices the same thing at the same moment. Even as my hand swings down to pU5h the lining back in, the audience has already registered that I'm simply go. ing to do what I forgot to do before. Even before I finish the action, I turn my attention to the assisting spectator and start to give him instructions. Even before I finish the action, the audience turns their attention to what I'm saying to the spectator. Neither my audience nor I have tune to dwell on unimportant matters. (What I instruct the spectator to do is to shuffle the deck. I make this seem important. In fact, its unimportant since the selected card is no longer in the deck. It's in my pocket, placed there by an important action made to seem unimportant.)

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