Ironically, magicians tend to admire the opposite approach. They often shower the greatest praise on the version with the most cluttered critical interval. There are at least two reasons for this. First, often a lousy method will fool magicians better than a good method because magicians already know the good method.
For example, the classic approach to the ace assembly plot is to switch out the aces at the beginning. When the aces now start traveling to the leader packet, people are astonished because they can see that you don't do anything that could secretly convey cards from one packet to another. With each ace they watch more closely, but there is nothing to see. They don't know that the aces were in the leader packet to begin with. That's the beauty of the classic approach. By introducing the trickery so early in the effect, you can "do nothing" during the critical interval.
Some time back I saw a video of a legendary card magician, now deceased. He performed a version in which the aces really were placed in the four different packets. The magician then palmed each ace in turn out of its follower packet and transferred it to the leader packet. This was touted as an "expert" version. The delusion that this was a superior approach could only have resulted from the magician getting great reactions when he performed it for other magicians. Magicians know that the standard approach involves switching out the aces at the start. They would be thrown for a loop when there was no initial switch-out.
But the fact is that the magician was doing exactly what laypeople would be looking for: palming each ace across. And he was doing it exactly when laypeople would be looking for it: during the critical interval. This obvious approach would have little chance of getting by a lay audience three times in a row, no matter how flawless one's technique.
CCC.). Ideally, you should avoid such actions because they Can teW that you're getting ready to "do something." Unfortunately, this ¡de^' always attainable. In a particular effect, for example, you may have J**' adjust your grip on the deck before palming a card. The action you nee/" perform before the palm may simply require a different grip froiI1 tJje needed for the palm.
In such cases, you can eliminate most of the harm of readjusting b using time misdirection. Interject a brief time delay between rhe read!/ menc and the sleight. After you alter your grip, patter for a few second Then execute the palm. The brief delay is usually enough to prevent t|, audience from making a connection between the readjustment and the subsequent actions of the secret sleight. It will no longer look like y0u're "gerring set" to do something.
Hie concept of time misdirection is so simple rhat its easy to underes timate its strength. If, however, you understand how people's instincts can lead them to make the correct connections you can appreciate how power ful a tool a few moments' pause can be in derailing those instincts.
"A card was named while Bert toyed with the deck, cutting the desired pasteboard of course to the top. As though all at once paying attention and summoning bis forces, Bert laid the deck on the table and asked someone to place a salt cellar on top of the deck. Then turning to the person who had made the request, he asked: 'What was that card?' Upon having named it, the spectator was asked to raise the cellar, and beneath it, as though in response to his thought, lay the correct card."
The above passage from The Close-Up Magician describes one of Bert Allerton's reputation-making memorized-stack effects. I had the opportunity to discuss this effect with a friend of Allerton's who saw him perform it many times. He stressed that the audience always felt that the effect started when Allerton instructed the spectator to place the saltcellar on the deck, fence the performer did nothing once the saltcellar was placed on the deck, this perception made the trick a miracle. The method happened before the saltcellar was placed but, psychologically, the effect happened after.
How did Allerton pull off this neat perceptual swindle? The secret is in the earlier description: "As though all at once paying attention and summoning lus forces..." It was all a matter of acting. Initially, Allerton acted the trick hadn t yet started. Once the dirty work was over, he acted like about to begin. His question, "What was that card?" was the signal that he was Like time m about to get down to business isdirection, this is another psychological, rather than tech-
| method for creating a temporal separation between method and ef-n'Ca Again the principle is easy to state: Act like the trick hasn't started even feet. 'Mr
'"^luan Tamariz is a master of this technique. He will ask a spectator to a card. Just as he replies, Juan absentmindedly turns away and starts "^ne; to the rest of the audience. While doing so, lie will cull the named 1 , t0 the top of the deck. Just then he will "remember" what he was about Ca do He will again ask the spectator to name a card. When the spectator t0 ats the name, Juan proceeds as if he has just heard it for the first time. Indeed, the audience believes that he has. For them, this is when the effect starts although most of the method is already over. (This approach works particularly well for Juan because it plays off the scatterbrained persona that he cultivates.)
If you ever see a good Blindfold Vision Act, you'll probably be repeatedly fooled even if you know exactly how the blindfold works. You'll find yourself thinking, "How can he know what object the spectator is holding? He's not even looking in that direction."
Someone skilled at this type of act never glimpses the object as he identifies it. He does so beforehand as he patters. Once he knows what it is, he instructs the spectator to hold the object up. He deliberately turns his head aside as he extends his hands over it. Like Berr Allerton, all at once he pays attenuon and summons his forces. He exerts all his super-human powers. Slowly, uncertainly at first, he begins to describe the object, all the time keeping his head averted. The illusion is compelling that the effect happens now. The method, of course, happened earlier, making for a powerful mystery. The technical device of the gaffed blindfold is only half the secret. The other half is the time displacement produced by the performer's acting.
Speaking of mentalism, for some great examples of time displacement through acting, study spoon and key bending as performed by the best mentalists. Since the methods used for actually putting in the bends are often very straightforward, time displacement through acting is often the prime factor in making these effects deceptive.
Admittedly, time displacement through acting is not something that you can apply to all or even most effects. But you should always be on the lookout for situations where you can.
Closely allied to creating time displacement Through actin ■ of the magical gesture. A magic gesture provides a focus f„r " tllc it*. Whether it's a wave of the hand, a tap of the wand, a snap of th^ 3Ctin£ or just a moment of intense concentration, if you do ir wjth sj e conviction, ir will influence the spectators. '::r::/ and
Of course, they won't actually believe that the magic gesryr the effect. Bur they'll find it hard to resist the feeling that this is ^i™"1®' magic happens. And that counts for a lor. [fir force of the ma -is psychological rather than logical, hut thar makes it no less ^estlJrr indeed, it may make it mare powerful. P°^erfuj
In art essay circulated to his customers, Denny Haney reco beautiful example of creating rime displacement simply by convi ■ ' acting a magic gesture. He was describing a vanish used by Fred K™'«8'' would apparently place the object in the left hand and yet retain ir h" right hand. When he wanted to cause the objeer ro vanish, he would'hl on his left hand, then open it just enough for him to see inside his h 7 Then he would blow again, finally showing rhat the object had vanish d Can you see what he was doing? Hl- was creating the impression that tV oh,en was .„ill in the left hand. It was very subtle. It seemed rhat rhe £« b ow d,dn r do the job so he repeated the blowing ar the band and MOW the object vanished. The audience is led to think thar the object vanisU at ,ust thar moment rather than at the beginning when the object placed tnto the hand.
There is a circular logic thar works to the magician's advantage wheait omes to mag,c g Ww S££n thjt chc a ^ 8
atd nee SC; Urs 3 ™r„, reinforces the he edd 1 mbe"CVC thM lhe ^d happen during earlier. ^ * 2 S°°J if ™thod actual' happened
he shakes rhe b„ttle He rCa 1 alKm"eS lh= redS and ***
p-t he Sho„s dizsrw runtii ,hc iiquids Kpa,aK-Ar cards have also separated. This makes sense 54 ' ^»pter 4: Temporal Distance
0f sympathetic magic, something we all grasp intuitively. When haDpe«5 aBa'n and a8ail1' !t rdl,f°rccs cht motion that there is a link In the two events. Consequently, it reinforces the false notion that bC lor separation happens after the cards were alternated. thC Ac this example shows, the use of a magic gesture is particula rticularly powcr-
hs this examples--------------D-- „------- r,ULUliU
I in muh'-Phase ciFecti" is becausc il Iakes advantage of one of the nstinctive clues to causality, that of correlation. Because the magic gesture instinctive "u«"--- ' - — — "«fi«- gesture present every single time thar the magic happens, the spectator's instincts 15¡|] tell him ^at it is why the magic happens. This, in turn, reinforces the f lse impression that this is when the magic happens. If the spectator is vJrong about when, he'll never figure out how.
Here again, because of its simplicity, many magicians will tend to underestimate the power of the magical gesture as a tool for time displacement and, therefore, for enhancing the deception. I hope you won't be one of them.
In Strong Magic, I defined a convincer as, "Any minor action that serves to strengthen rhe audience's belief that all is as it should be." For purposes of our present discussion, we might rephrase that as: any minor action that serves to strengthen the audience's belief that nothing has changed yet. In other words, virtually all convincers arc time displaces. Ihey are designed to falsely extend the initial condition in the mind of the spectator.
In The Ring on Wand, the initial condition is that the performer holds the borrowed ring in one hand and the wand in the other. The final condition is that the ring is threaded on the wand. A standard subtlety is for the performer to mentally note some unique feature of the ring the moment he borrows it. (He may, for example, note that it has a red stone.) He does not, however, comment on this feature. Instead, he proceeds with the handling, He performs a false transfer with the ring and secretly threads it onto the wand. From a method standpoint, the effect is over.
Now comes the convincer. The performer glances down at the cupped lingers of the hand thar supposedly holds the ring. He says, "That's a beautiful stone. Is it a ruby or a garnet?" Since he has just noticed the color ol the stone while looking in his right hand, the ring must be in that hand while the wand is in the other. This subtlety reinforces the audience's belief that the initial condition still prevails even after the final condition has secretly been achieved.
In Fastest Gun Alive from Scams & Fantasies with Cards ,h point where I turn over the top card of the deck and have a sp, ' ** s it. I then turn the card face down and place it aside. In reality, ] perform a double turnover. After the spectator signs, I turn the dou'bU • down. The card I place aside is a dummy. The signed card rcmains of the deck. °nt0P
To "sell" the switch I use a convinces After the spectator signs the
I blow on it to dry the ink. After I turn the double face down and ded^ the top card, I blow on its face before placing it aside. Since I'm still srned with the wet ink, it must still be the same card. Blowing on the^
before and after the switch creates z false continuity, linking the scl«,^
with its substitute.
One of the most popular convincers is Daryl s cutting display for umph. In Triumph, you secretly separate the face-up and facedown cards almost as soon as you've shuffled them together. Daryl s display shows fa«-up cards and facedown cards mixed together long after they've actually been separated, falsely extending the initial condition.
These examples illustrate the three elements that distinguish convincers from other time displacers. The first is a matter of degree. Where most time displacers are overt, convincers are covert. Where most time displacers compel, convincers seduce. Secondly, convincers have an incidental/accidental quality. You prove things seemingly without intending to. Thirdly, convincers are often more psychological than logical. If offered as proof, they might not stand up to close scrutiny. Fortunately, however, they operate below the spectator's logical radar; they are stealth devices. (On pp.75-83 of Strong Magic I delve into these points in greater depth.)
"People do not remember by retracing. They remember by jumping back to an earlier point and moving forward to figure out what happened. Your task, as a magician, is to get them to jump to a point after you did the dirty work."
A1 Schneider, The Theory of Magic
This technique is as simple in dieory as it is potent in practice. You show the initial condition. You then secretly changc the condition. You now employ some technique that allows you to apparently show that the initial condition has not changed. That technique is the time displacement device. When you later reveal the final condition, there is no possible explanation because nothing happened between the time displacement de-
and the effect climax that could account for the change in condition. V,CC , displacement device is anything that allows you to simw that the initial A '"'J ion has not changed although it actually has. "'" ''perfect example is the classic double-hype sequence in three-card „The audience knows that you have two black cards and one red (|hc winning card). You apparently toss the red one to the table but ally loss one of the blacks by means of the hype. This is the moment i the method occurs: you've switched the winning red card for a losing b'3(The moment that makes the cffect a miracle, however, comes next. With the remaining black and the winning red in your hands, you do the 1 pe move again to show both of these cards as black. If both these cards ' black, then the one on the table must be red. When you later show it to be a losing black card, it's not just a surprise; it's also an impossibility.
The first hype achieves the effect. The second hype covers your tracks. It does norhing to advance the method, but does a great deal to advance the mystery. It is a rime displacement device that proves that things are still the same. As with any time displacement device, its purpose is to reassure the audience. It says, in effect, "Don't worry; nothing has happened yet?
A time displacement device creates a time barrier between the effect and the method. The method lies on one side. The audience focuses its attention on the other side. They never look back past that barrier in search of an explanation. Since that's where the explanation lies, the audience is forced to conclude that there is no explanation. In the monte example, the spectator must conclude that whatever happened to cause the result must have happened after the three cards hit the table. Yet nothing that happened after the cards hit the table could possibly account for the red card changing to a black card.
A time displacement device can be as simple as holding a break. Consider this pseudo-estimation demonstration shown to my by Gary Plants. Ike following description assumes that the performer is left-handed (which, by coincidence, I am). The deck is in a memorized stack. You ask the spectator to name a number from one to fifty-two. Of course, you know the card at that number. Holding the deck upright, you riffle down the upper right comer with your thumb until you spot that card. You then cut off all the cards at that point and hand them to the spectator to count. It proves, of course, to be the requested number.
If this effect has any flaw it's only that the performer must look at the indices of the cards. This could provide a clue to the method. Here is how Chapter 4: Temporal Distance I 57
Forward Time Displacement Methodology
The use of the fourth-finger break in the pseudo-esiimatj0 above illustrates that, in the right context, almost any method ca" r^' tion as a time displacement device. However, certain mcthodologic , particulariy lend themselves to the job. As we look at these, 1 hop* ^ notice that effects that appear very different may be very similar * V°" " odological design.
Any method of physical disguise has time displacement potential. |n card magic, false display counts work particularly well. The point of 5Uch counts is to disguise the composition of a packet (the number of cards, tfo identity of the cards, or the face-up/face-down orientation of the cards). Ihis means that you can legitimately show the composition of a packet of cards, secretly change that composition, and then do a false count to con-ceal the change. When you later reveal the change, you have a miracle.
Consider how Vernon handled the last ace in Twisting the Aces. You start with all the aces face down. You secretly reverse one. You then Elms-lev count to show that they're all still face down. When you now reveal that one has turned face up, ir's inexplicable because there was no handling of any kind between the audience's last view of all the aces face down and their first view of one ace face up. That's why the last ace is the strongest.
I make frequent use of this concept in my card magic. For example, in The Color of Money, my version of Follow the Leader (Scams & Fantasies with Cards), I show that one packet consists of ten red cards and the other of ten black cards. These displays are convincing because the two packets really do consist of ten reds and ten blacks respectively. 1 then secretly transfer some black cards to the red packet and some red cards to the black packet.
A moment later, however, 1 use the Hamman count to show that the red packet still contains only red cards and the black packet only black cards. When, immediately thereafter, the colors start transposing there seems no possible explanation. The false count in effect erased the previous handling that achieved the secret transfers. It brought the initial legitimate showings forward in time. The audience will search for a solution sometime after the Hamman counts occurred. They provide a time barrier. The effect occurs after the counts but the method occurs before the counts.
physical disguise isnt hm.ted only to cards. Consider Ray GrUmer's ? oLof-Cord move. You thread a finger ring on a cord and then se-K remove it- The Grismer move allows you to then show the ring still fled on the cord although its not. A moment later, when you release lh , from the cord, the audience will seek the solution somewhere af-tlK hr Grismer false show occurred. Hie feet that Grismers move, which tef< Uv accomplishes nothing (in terms of the inner reality), has justly ^ionized the Ring-ofj-Cord plot is ample proof of the value of time
Gaffs can also provide physical disguise. Ron Wilsons handling of her Hamman's Micro Macro is exceptionally deceptive because he rc-U starts with a miniature deck. The spectators can handle or even shuffle Only after a card has been selected from it, docs he switch the minia-1 deck for a normal one. He then immediately ribbonsprcads the cards. Thanks to Brother Hamman's ingenious gaff lying on top, the deck ap-cars to still be miniature. When the performer later scoops up the deck and re-spreads it to make it grow, the audience believes that the switch must have happened at that moment. Yet, they also know that it couldn't have. The cards never went out of sight and the performer's hands were otherwise empty. They would never suspcct how much earlier the switch really occurred. The micro macro gaff functions as a time displacement device, allowing a wide temporal gap between method and effect.
A second category of methods well suited to time displacement is the principle of the dummy. By this I mean an object that temporarily stands in for the real one. The audience watches the dummy while you manipulate the genuine article. In effect, the dummy principle allows an object to be in two places at once. The dummy locates the object in one place in the outer reality of the effect while you manipulate the real object elsewhere in the inner reality of the method.
This concept is so common in stage illusions that any time an illusionist dons a mask, helmet, or anything else that obscures his face you can expect the dummy principle to come in to play. A dummy in the form of an identically dressed stand-in will be substituted for the illusionist to achieve a time displacement, usually for some translocation effect.
A good close-up example is the classic Coin in Matchbox. A spectator initials a coin which you then cover with a handkerchief and give him to hold. He can feel the coin through rhe handkerchief! In r. i-a dummy coin sewn into the handkerchief. The dum my a||^ty' is f«e|j effect, to be in two places at once. This gives you all the cii^ ? to Joad the initialed coin into the rubber-banded matchbox ^
You now whisk the handkerchief away from the so show thar the coin has vanished. Immediately you produ ^ ^rasP to matchbox. There appears to be no time for the coin to have " 'rU|11 'lie one place to the other. This is because rhe audience will on! fir as the vanish of die coin from under the handkerchief In .ac,5[ri'cl: as rhars when rhe critical interval began. r lr,ir.cJ.
The coin vanish in rhe Coin in Matchbox illustrates a co fatly useful in rime displacement, what we might cerm thc^JLPilrtiq'' dummy. Hie dummy, in effect, vanishes automatically ,t „ ' tl""<1 longer need it. 7 °° as youn„
One of the oddest and most ingenious of vanishing dummu, ■ . glass d,sc used in the Wtsenheimer Coin Trick. This is the old trick • "l a coin vanishes when dropped in a glass of warer. In fact TOU 'u 'f substitute this method for rhe handkerchief vanish in 7h, Coin ^ iT" r hold , through a handkerchief over a glass of water. Load rhe S
- thc <<* nrn of boxes or whatever) and hand i^oI
spectator to hold. a,1°ll,cr
Tell the first spectator to drop the coin into the glass of water Lift th, «-p!a"s at - - -
anv card " « ^ ^^/rc face down. Ttaefore. down. AnTr Imm 7 "7 "rd a» He as it remains fate coalesce withofeS * * "™ish" «"»*' <V " »
fact, a dummy card Z, I A * "rd the able. 11 is> in
1 'hen display the two " d 't r™ains on °f'he deck,
«lection between rhem E ™r<k In rhe Pr°cess, I secretly load the ■ 'en as I m doing this> the audiencc bdicves that
Chapter 4: Temporal Distance
, cttd card is in full view on the table. Ik, card is in two places a, the «Jc t|ie t.lt,|e ¡n the outer reality and between the sandwich cuds in reality- I the" have a spectator push rhe "selection" into the deck ,hC 'T my dissolves the instant it squares with rhe other cards ^■iteeare no better examples of adutnmy cl[d "disappearing" the mole coalesces with the deck than the classic tent vanish and rub-a-dub "^h An indifferent card acts as a dummy for the important card. You """SMtiish the dummy just by secretly pulling it square with the deck. 'Ihe it hits the top of the deck, it's gone. Indeed, showing the (ice of r'Tp card P'cm thaI the CarJ haS vaIlishecl desP're the fircr that the card
're'displaying was a moment ago the dummy. y011-nii5 P1")' is Possihle bc,;ause a" the cards in deck look the same ,he back. Of course, laypeople realise that all cards look alike when facedown. Therefore, to get the mosr impact out of the dummy principle . ^ magic you need a thoroughly convincing switch of one card for the
0,11 yoll can also increase conviction by altering the card in some way that appears to identify ir even when it's face down. This is what makes the popup card sequence from Expert Card Technique such an effective climax for the Ambitions Card. The performer puts a strong bend in the card, and then buries ir in the deck. A moment later rhe audience sees the bent card pop up on top of the deck. The sequence is strong partly because the bend allows the audicnce to "see" the card arrive on top while also allowing rhe performer to delay the revelation rhar rhe card is on top. But another reason why it's so effective is that the bend enhances the dummy principle. Bending the card seems to make it unique. Substituting one bent card for another gives you an especially convincing dummy. 'Ihe audience is more convinced rhat rhe ambitious card is really being buried in rhe middle and more amazed when it arrives on top.
There are many other possibilities along these lines. You might sign the back of a card in the course of a trick. Later you switch it for a dummy card you signed before the performance. Or you m ight tear a corner off the card and later swicch in a dummy with a similarly missing corner. (I use both ideas in The Marker from Cardshark.) Or you might place a stamp or sticker of some kind on the back of the card. Of course, you've previously prepared the dummy the same way.
What all rhese examples have in common is chat the spectator will look for the method somewhere after che dummy has disappeared. In tact, the method is on the other side of that time barrier.
A special type of disappearing dummy is the/*™, somcthi0(Jf. aces a shape simulating the stolen object In the /W, illusion ^ c, is stolen away inside the couch at virtually the outset of the effcc, -a><i suspccted because a dummy is substituted consisting of a wire f*'^ the sheet. When the magician later wh.ps away the sheet to rcvcal ,h 7 appearance, it seems that the woman vanished at that instant. Thej J* allows the effect of the vanish to happen much later than the method '
A smaller version of the same thing is The Vanishing Radio. A old-fashioned radio lies on a table. The performer covers it with a cloth U carries it down stage and whisks the cloth away. Ihe radio has disappe^J In fact, the radio collapsed into the table the moment the performer coy ered it with the cloth. Hie cloth, however, contains a form simulating^ outline of the radio.
A still smaller version is the Glass through Table. 'The newspaper used to cover the glass creates the form. The papers natural stiffness causes ¡, to hold the shape of the glass even after it's gone. The form vanishes when the magician slaps the newspaper flat. As far as the audience is concerned, that's when the glass vanishes, which is long after it was actually lapped.
A shell can also function as a vanishing dummy. This is why Coins Across using a shell coin beats any version relying solely on sleight of hand. The shell constitutes a dummy coin that can disappear whenever you want it to (simply by nesting ova a real coin). The shell allows you to show a coin in the left hand long after you've actually transported it to the right hand. There is no need to show what you've got in the other hand since the audience knows the coin can't be in two places at once. (Thanks to the dummy principle, it can.) When you vanish the shell by nesting it, the audience believes the transportation must have happened at that moment.
Today the Downs rattle gimmick on the arm is associated with David Roth's Tuning Fork routine. But its original purpose was simply to make the audience think that you had coins in your hand after they were already gone. In other words, its purpose was time displacement.
Coin magicians often use sound to make the audience believe that the coin is where it's supposed to be rather than where it really is. A convincing ploy in Coins Tlnough the Table is to tap the last coin on the tabletop and scrape it along the surface before making it penetrate. In fact, the empty able goes through the motions of tapping anil scraping as ,,d above the ta ^ ^ ^ creaKS the sound with the coin, which is already ^ e hand below * ^ ^ a,so many examples where the sound of clinking ' "cleftl,t- Cal -lt I iroduced from a hand that doesn't contain those coins. "oi"5 is ^a^ounds needn't be limited to coin effects. Tommy Downs L jvliinickeo for Qfas Through Table. He taped a coin inside the l,ad a br'"'aJlC SJC uscd to cover the glass. After lapping the glass, he would e\vsp3Pcr 1 form with his wand. The coin would create a sound lap the lKVVSl "'cHnk of the glass. As in the previous example, sound is uscd mitn'cking ^ Initial condition (object above the table) even after you've <° conTu final condition (object under the table). lChieved the ' j^d an effect in which he held a three-card sandwich Paul HarrlsP^ audibly. In fact, one of the three cards had already and snapp^ eac ^ the sound by snapping one of the remaining been stolen then vanished the sandwiched card, the audience cards twice. happened after the snapping while the method had
The most useful type of gimmick for time displacement is what I term ¿Janus gaff This is any prop gimmicked so that you can, at will, show it to be either of two different objects (copper or silver, red or blue, ace or spot card, one-dollar bill or twenty-dollar bill), or to be in either of two conditions (empty or full, blank or printed). Examples include copper/silver coins, the two copper/one silver gaff, color-changing knives, double-faced cards, double-ended cards, Hofzinser's transparent card, gaffed bills, the Himber wallet, the Svengali deck, and the Mental Photography deck.
Using a Janus gaff for time displacement can be seen in its purest form in Hofzinser's own use of his transparent card. This card, when held back outward against a light source, will show a silhouette of a different card. Hofzinser would show a three of spades and top change it for a gaffed queen. He would then hold the card up to a candle so that everyone could see that it was still the three of spades. He now performed a magical gesture and turned the card around to show that it had changed to a queen. The only thing the audience knew for sure was that the change happened after the card was held up to the candle. Of course, the switch occurred before the card was held up to the candle. The performer did nothing after he held
This is a fairly elementary example of the conccpt of double placement. With a little imagination, some very subtle and d di*-combinations can he worked out. My earlier suggestion of using To'"'3"^ let for Wimhurst's The Full Monte gives some idea of the passibilj,^*511'
My focus here is using time displacement to raise the impossibili tient of an effect. It's worth noting, however, that another benefit of rating method and effect in time is the great opportunities it offers lb*'*" sentation. The inrerval between the end of the method and the revclaf^ of the effect is the best time for "selling" the effect. This is somethin k becomes far riskier when the method is happening in "real time "
You'll recall the classic piece of magic advice: "Never telJ the audie what is going to happen in advance." Yet, some of rhe most powerful and suspenseful presentations in magic involve telling rhe audience what you're going to do before you do it. The key to understanding this paradox is time separation. It's true that you should never tell rhe audience what the effect is going to be before the method happens. Bur you can—and sometimes should—tell them before the effect happens. This is only possible when there is time separation so that the method is not running concurrently with the effect.
The time after the method has happened but before the effect has hap-pened is a powerful one. One of the strongest situations in magic is when you tell the audience what you intend to do and they respond, "No way!" little realizing that you've already done it.
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Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.