Get Paid to Write at Home
When contemplating the use of a Swami Gimmick, the first essential is to discover the type of writer that suits you best. You should examine each variety and test it for your own requirements assess the value of any particular model according to the ease with which you can use it that is the governing factor. Then concern yourself with the other important considerations does it fit comfortably does it write legibly can you get it on and off inconspicuously is it firmly held when on the nail or in position can the lead be replaced will the lead break in use and so on. The only really satisfactory way to find out is to try each model, and for what it costs to buy one of each type at the start is nothing compared with the value of what you get for your pains. The following list gives examples of all the major types of writers any that have been omitted are regarded as 44 special models that have been the particular fancy of a single performer and not accepted as a standard item This...
Also keep in mind that any of the various desks I have outlined for you, or that are in other references, as well as other writers will affect your perfonnance. Practice with them as well. Eventually you will find yourself writing with ease on just about any surface with any writer. That's the goal
We have known of this experiment being tried on people thousands of miles away from the writer, and also in cases in which the other person had not been heard of for many years. There is a field open for experiment along these lines which some of our students might investigate with profit and satisfaction.
Broad You know the twentieth century writer, Martin Gardner In Martin's book, Whys and Wherefores (University of Chicago Press, 1989), is reprinted a scathing review of his The Whys of a Philosophical Scrivener by a writer named George Groth. The review ends with the sentence George Groth, by the way, is one of Gardner's pseudonyms.
Many magicians and mentalists have tried to jump on the bandwagon. Many far-fetched ideas have been touted and are not too practical in real life. That is because these writers didn't know the real secret. In some previous writings, the authors have suggested using heat sources to form clouds (perhaps the heat from a chimney). At a pre-determined time the heat source would be cut off and the cloud would vanish.
Good borderless card brand choices include Steamboats, Bee or Gemaco (used by most casinos). Many writers on this subject recommend using narrower bridge-size versus standard, poker-size cards when learning the Three Card Monte. However, most magicians will not experience a problem learning and performing the Three Card Monte with poker-size cards.
In avoiding or allaying suspicion, or in the particular manner of carrying out each detail or in leading up to, or executing, each artifice. Therefore the writer has expended much time and care in illustrating many manoeuvres that at first may seem unimportant, but all of which are essential to the curriculum of artistic card handling.
Want to hear something funny A gentleman whose name unfortunately escapes me does a mind-reading act which uses very little other than perhaps a nail-writer, a pencil, a pad and a few envelopes. He arrives in a nice car, dresses well and walks in with nothing and does his act. And usually, when he comes, the client at first gets a little worried because she doesn't see any equipment and she expects performers to have something and of course he doesn't have anything. So recently he has been arriving with a small expensive executive type brief-case which he places on the floor as he meets the client and has a chat. Eventually he goes on and does his act as normal, (leaving the case exactly where it is), finishes, picks the case up, collects his fee and leaves.
Having secured the advance information from the board, and tying in the identity and location of the writers, the leader apparently picks various spectators at random. This is a worthy addition to the musical thought projection number. The object will be for the performer to divine the contents of these sealed envelopes, and advise the writers accordingly. The seemingly impossibility of such a feat is stressed, yet the performer does succeed in his effort
The spectators are requested to write their questions on slips of paper and to let no one see what they have written. These slips are then folded by the writers so the writing is concealed on the inside. Envelopes may be furnished and the questions sealed within, if desired. This is a fair sized audience where some write questions and some do not. The performer can stop at any time but if he desires to read all of the questions, he leaves the M. Clark envelope till last, and after it is torn open to apparently confirm the last test, it is tossed among the others, and they may all be returned to the writers.
When you consider the Exclusive News, Photographs, Articles and Tricks by famous Writers, that you get each month, to say nothing of the beautifully produced advertising matter which ensures that our readers are the most knowledgeable people in up-to-date magic surely you must wonder how we can send you ail this for the paltry sum of about fourpence a week Quite frankly we rely on your support in buying our Vampire Magic, either from us or from our stockists. We know you will be doing yourself a good turn as well as us, if you keep that in mind.
Okay, if you have been doing some research into marketing prior to now, you know about USPs. A marketer, by the name of Dan Kennedy, is one of the most well known writers to discuss USPs. He covers the subject beautifully with great examples in almost all of his courses and books. The concept has been around in one form or another for at least a century and it is a key concept to marketing.
When the participant hands you the empty clipboard and returns to his seat, take a moment to write (using the non-ink end of the pen) a brief description of that person, such as bald, green shirt or necklace w blue stones and so forth. When you read and memorize each question, associate it with the writer's appearance so you can pick that person out of the audience.
Five cards each bearing an E.S.P. sign i.e. Circle, Cross, Wavy Lines, Square and Star. For close work the cards could be about the size of a playing card and for stage or platform large enough for the spectators to distinguish the different symbols. Five envelopes of a size to take the cards, one of which is marked with a pencil dot. A pencil in an inside jacket pocket, and in the same pocket a wallet to which a 'BOON' writer using Blu-tak for its adhesive is stuck near the top in a position from where it can easily be stolen when returning the pencil to the pocket.
The short pen is alongside the writer in the pocket a small container, such as a coffee cup, is also handy. Having simulated writing a number, refold the billet and drop it in the cup. You pick up the notebook, and as you ask the spectator if he has any idea what you wrote, you put the notebook in your pocket behind the pocket-writer and pick up the short pen. 1 have never had anyone notice this but if it bothers you, it is possible to develop a handling where the original half is concealed in the notebook and switched out, so tliat the- spectator gets the bottom half that goes with the piece set in your pocket-writer. There are two or three possible approaches to this, and I leave it to you to come up with the ones you like the best. Please note, however, that such niceties are really not necessary if itbodiers you that much, then as soon as the effect has been absorbed and appreciated, tear up both slips and relax Tbar out the top half of a leaf from the notebook, leaving the bottom...
The writer has always felt very strongly that mental effects should be accomplished without the aid of apparatus of any kind, and that they should be presented in a very direct and simple manner. Ih other words, the performer should act in exactly the same way as a genuine mind-reader would. The following effect, I believe, meets with these qualifications so far as it is humanly possible.
Artists, writers, producers and actors work to produce the ideal. In the theatrical world all is illusion. There, people live through the troubles and experiences of the characters and find that in the end there is harmony. The lovers fall into each other's arms and live happily ever after. All difficulties are adjusted and everything has a pleasant outcome. The audience is pleased and happy that all is well. Each one has forgotten his own troubles and feels that his affairs will also have an agreeable ending.
The above trick of the author's is in all seriousness described in a certain Serio-Comic Coin-Trick book as being simple enough if you do this and do that, &c. No greater mistake was ever made, dear reader, and to conclusively prove this to you the writer may tell you that innumerable imitators for the purpose of performing this feat have a wire, a to 2 1 2 inches in length, soldered in a perpendicular position to the middle of a half-dollar. This lies with thirty to forty half-dollars on the table. These latter coins have in each case a small hole drilled through the centre, and in gathering them up they are each threaded on the wire attached to the trick coin. It is then, of course, an exceedingly easy matter to palm them as none of the coins can slip owing to the wire.
In this age of desktop publishing, email, and magic bulletin boards, the ability to write clearly and concisely has become a critical skill. You cannot establish credibility if you handle the language poorly. I have watched as flame wars arose on the internet simply because the writers did not express themselves clearly.
So as not to worry about an assistant's sleight-of-hand ability, we build a tray upon which he or she first collects the written thoughts and later returns them to their writers one by one. This tray's peculiar property is that it can change a dropped on envelope for another, and immediately change the next one dropped on for the one secreted before.
Before becoming a real estate entrepreneur, I got my master's degree in computer science and worked as a software engineer for a Fortune 500 company. And all the time I was doing it, I wondered, How will doing this work serve me in being a real estate investor, public speaker and a writer Although I did not know it at the time, I've discovered that the job helped me develop advanced problem solving skills that are applicable anywhere. By working in a successful corporation, I got a close-up look at how things are done. This is useful to me in creating my own corporations. The only way I make money now is by solving problems and thankfully I got good at solving problems in my previous job. Real estate investing and engineering software are completely different yet some of the overriding skills transfer very well.
For some reason, local mASF dooshbag mmasters thinks he's being smart by outting the identity of the writer for the NYT article, like it's some big discovery or conspiracy theory or something. This guy must have some odd homosexual obsession with Style, due to the sheer ammount of time he spends trying to expose the dude. You can find his rather stupid thread here.
The writer on more than one occasion could have sworn that he saw a quiet chuckle on Eddie's face as some of his subtleties passed right over our heads. P.S. The writer reminded all those present that they could meet Eddie Joseph every month, through the medium of the Magic Magazine. I hope they do. Reprinted from the Times
Take a white handkerchief and hold it between your fingers in the center, allowing the ends to hand down. Put the hanky into your pocket, ends first. Put the four cards next to the hanky in your pocket. By partially pulling out the Writer of the hank from your pocket, it looks as if your pocket is turned inside out Do this as needed in the routine with a handkerchief in each pocket, and you're home free.
With the Swami gimmick in place, pick up the mirror and envelope, holding them in front of the body, facing the audience. Tell the spectator to think of his card and gaze into the mirror. This gives you ample cover to write the name of the chosen card on the visiting-card by means of the nail-writer. Obviously this mirror device need not be used in connection with cards at all. You could merely ask someone to mention a word or a name and then, after doing the needful with the nail-writer, _you could show that you predicted in advance what the word would be. But to my mind this is not so artistic . One's effects can be TOO straightforward and lose something in their impact as a result. If the spectators see that you know the word they are more likely to look for some method of writing it on the prediction card AFTER it has been announced. But in the card
This method follows the general procedure as given in Faked Pile of Magazines. No fake stack of books was used, and the cards and envelopes were not returned to the writers until all had been answered. The writers' names were put on the sealed envelopes as in the one ahead method just described. The opportunity to get the last name on an envelope was created through a stunt whereby some member of the audience displays his power as a mind reader.
From here I make use of the old idea of using a thumb writer to fill in a thought of number as a force rather than an effect. I simply thumb write the number thought of by my pre-showed spectator. This has the added advantage that the spectator thinks they too were chosen at random by somehow thinking of the same number as the performer. This is my current favourite dodge to use in combination with pre-show work.
A Rolling Stone writer has been ''quietly gathering material'' for an article, spending time with the gurus and interviewing a few aspiring PUAs. Our founding brother RJ was profiled by Rolling Stone and Playboy back in 1998, but he, and not the community, was the centerpiece. RJ probably received a lot more business from the free advertising, and more brothers found their way into the community. Six years later, the mainstream has returned, our community has grown and a new generation of charismatic gurus has arisen.
Bridget (Virgo) On reflection I suppose I have to think a lot of it, take the bits which he read me which I and put them to use as to how I want to do them. It was more involved a reading to what I've perhaps had before, in that I expected him to say 'you. should be a writer, you have a domineering personality'. Whereas he didn't. He intimated what he thought I was rather than saying exactly which is better in a way cos it doesn't mind you, as he did point out at one point that you go off and become that person or that thing, because that's what you've been told.
When I appeared in Hauntings A Shakespearean Seance, in Los Angeles in 1998, the show's writer, Peter Howard, Max Maven, and I wrote a third script for the effect that would bring it into the theme of the show the spirits in the works of Shakespeare. I have since revised that script around the theme of broken human relationship and sometimes perform it for both magician and non-magician audiences.
Now take the tray into the audience, and also pencil. Approach one of the writers and take sealed envelope and ask his name. Apparently write this on his envelope. Actually, you write nothing. Now take another sealed envelope, ask the writer's name, and scribble on the envelope, NOT his name, but the name you got previously. Repeat this with all the 20 cards. Thus, B's question is in an envelope marked A and C's question is in an envelope marked B. The last (20th) envelope will bear the name of the 19th writer, so that you have not used the 20th's name, Remember this name, however. He, of course, finds the envelope bearing that name, and hands it to you. You open it and withdrawing the card you read it aloud, of course, you read the question you have just answered. But the card you hold bears another question. When you have read it, with card in .right hand and envelope in left, glance at the envelope as you say, Am I correct Mrs. Smith and allow the right hand to momentarily fall...
Arguably this is the easiest of all second deals to learn. The cover action of the hand turning over gives enormous shade to the dealer. It has been adapted by a number of magical writers to switch a card as it is placed onto a working surface. Here we'll be looking at the 'move' as a dealing tool. The actions are similar to the magicians move but careful attention to detail is required to make it look like a dealing action.
The confederate, of course, knows the selected card, and being unsuspected by the crowd, need not fear detection with this simple but clever effect. As the performer's hand passes over the selected card, the confederate merely SNIFFS a trifle This signal tells the performer the card, though he does not immediately select it, but passes on and later finds it. An improvement on this old trick is for the confederate NOT to sniff at the time the hand is over the selected card, but wait until the hand has passed over three more cards. With this pre-arrangement, the performer needs only count back to the fourth card to get the correct one. That relieves any possibility of the sniff being detected as the signal. The writer has performed this stunt hundreds of times, and have never been caught to my knowledge.
94 The utmost that can fairly be said of the tricks in question is that the performer makes use of the spiritualistic theory to serve as a framework for them. The tricks themselves, with one or two trifling exceptions, have not the remotest resemblance to the stock manifestations of the spirit medium. Any reader who is interested in the modus operandi of some, at least, of the spiritualistic manifestations will find information on the subject in the writer's notes to Robert-Houdin's Secrets of Stage Conjuring (G. Routledge & Sons), pp. 213 et seq.-TRANS.
Hand him a slip of paper with the request that he write down the name of his thought-of card. Then he is to fold the paper once each way. You take it from him, holding the closed corner of the doubly folded paper to the upper left and tear the paper through center the long way. Put the outside or right-hand section in front of the other piece and tear these in half. Put the right hand pieces in front and the left thumb draws back with the folded middle of the slip still untorn. The right fingertips take the loose pieces in view, and deposit them on an ashtray, as the left goes to coat pocket, leaves the torn-out center and brings out a match. The match is given to the writer to bum the pieces.
You have an envelope (size 6-3 4 ) in your pocket, ready for the occasion, unsealed but containing a folded blank billet. The skeptic is requested to fold his slip, and while this is being done, the performer gets his envelope out, and secretly gets the finger tip on the index finger. This finger dives into the envelope to open it up, leaving the tip behind, as with the thumb tip in a previous effect. You boldly take the skeptic's question, put it into the envelope (in tip, of course) finger comes out with tip on and billet inside, the envelope is sealed and handed to skeptic who can feel the slip inside. At the first opportunity the performer secures a glimpse of the question, he approaches the skeptic again and asks him to rise and hold up the envelope and after a little showmanship, the answer is given. Then without a word of warning, the performer reaches out quickly for the sealed envelope and tears it open, pretends to remove the question for verification but actually produces...
Before dealing with the specifics of magic in the hope of answering the question of whether or not it can be art, I think we have arrived at a point where we can offer a safe model for deciding what is or is not an artwork. Unlike previous writers on the subject, I do not have the faith in any definitional theory of art to lay out a simple theorem in a few lines before talking about Great Conjuring and Profound Styles.
The writer assumes in the first place that the reader will be performing one or more sleights or combinations described in the foregoing pages. This being so, the author advises the performer not to present the trick in detail as hereinbefore described. He should take the idea of a certain trick as his foundation, so to speak, upon which to build up his illusion. This will not be found at all difficult of accomplishment, but will, on the The Author was present a few weeks since at one of the most popular places of entertainment in London, where a certain greatest one that ever lived, &c., was doing The Miser's Dream, with some of the additional effects described in this book, and for each particular experiment the performer spoke the exact patter as used by the writer during his extensive Palace Theatre engagement. Aspiring coin manipulators and conjurors have the writer's best wishes for their success, and should one ever do him the pleasure of Horace Golden is one of the most...
Of course, the readings are continued in the same manner, and all of the billets can be returned to the writers, if desired, but it becomes a bit tiresome to the balance of the audience, and it is much more dramatic to vary the final disposition, as suggested. The performer we witnessed, repeatedly thrust his right hand into his trouser's pocket, leaving the billet there so he could show his right hand empty but he had to dive into the pocket again to get the billet so he could make the final switch, and this pocket procedure did not look so good.
It's amazing to discover that a writer can sound just like his books. Other than in the world of magic, I am not personally acquainted with anyone who's written a book. But many of my magic acquaintances have written books, and I have found that over the years I return again and again to those books in which the author's written voice has captured his true voice. Reading these books is like a visit, and although the conversation is one-sided, the experience is pleasurable.
The writer did not actually see the Official Opening (due to being one amongst the many in the Dealer's Room) but the programme tells us that the Ceremony was to be performed by Raymond Maynard, the President of the Circle, and it is to be assumed that this Ceremony duly took place, for things were soon going with a swing, a swing which kept steady pace right throughout the day. The programme announced that Light snacks would be available on the premises , a great asset indeed, and though the service was not quite adequate enough, this may be accounted for by the fact that no-one could give any guarantee or even guess, just how many would turn up. It could be 30, it could be 300, but the latter figure itself turned out to be on the modest side, for there were nearer 400 at the height of the Convention. The phrase Light Snacks savoured of modesty too, for the writer, and many others managed to get a really hot meal at mid-day. The show was well worth waiting for. This is not just the...
The pendulum I use is commonly known as Witness Pendulum . It's a hollow pendulum into which you put a small sample of the substance (witness) you are dowsing for, in order to better attune the pendulum to receive the vibrations emitted by that substance. According to various writers in the field, the witness can also be a symbolic representation of the substance thing person place you are dowsing for. Another recurring theme in a lot of magic forums is the best nail-writer routine . I want to offer you, not one of the best routines with that little gizmo but, one of my old favorites. It's the combo of two nail-writer effects that together play very, very strong First part of the effect, which we could call the lead-in , is Corinda's 7 chairs. You can find it in Corinda's 13 Steps To Mentalism book (where else could have it been ) under the chapter dealing with the Swami gimmick. I really think that effect is underestimated because, even when performed alone and for a small group of...
The writer of this book in his introduction writes There, therefore, the reader has the basic theme, and whilst a number of effects are described, the main task of the writer is to deal with certain angles that are important to a children's act as a whole. In particular he deals with the important task of opening and closing a typical children's show. In the latter, he assumes that a production should finish the show and we think all other things being equal that this is as it should be. One chapter deals particularly with the presentation of standard effects and we particularly liked his version of the rainbow plumes which he entitled Hussar. Other chapters cover comedy plots and a by-play.
This effect is the result of my reflection on an intriguing bit of metaphysics Where does imagination stop and perception begin You require a high quality marked deck and a quick attaching thumb writer. Set Up Place a business card and pen in your left jacket pocket and the blue-backed marked deck into your right jacket pocket. Place the thumb writer into the ticket pocket (which is usually on the inside of the right jacket pocket). After she has acted out memorizing and placing the imaginary card onto the table, mime picking it up, noting its value and placing it back onto the table. Ask your participant to put the imaginary cards back into the box while you pick up a pen and mime writing on the back of the business card. Place the card blank side down on the table near the edge, where you can easily pick it up again while you are wearing your thumb writer. Retrieve the imaginary deck from the participant while you reach into your ticket pocket and attach your thumb writer. Pick up...
The base of the pocket writer is made from a 3.5 inch by 2.5 inch piece of stiff cardboard. This supports the paper for writing on in your pocket. The finger guides are made of one quarter inch strips of the same material glued in place. These serve to direct your writing into the centre of the onion skin paper. The paper is held in place for writing by a nickel-sized application of Scotch Restickable Adhesive. This comes in a stick form and is similar to the adhesive on Post-It notes. The adhesive is applied to the cardboard base, not the paper. You will have to practice writing card initials on your pocket writer in order to pull this off. It requires a significant amount of practice but it is well worth it
This routine makes use of your pocket writer and the gimmicked envelope inside the Balducci Wallet. The idea of performing a book test without a book stems from concepts explored by Al Mann and Docc Hilford. Docc's routine appears in my book PW The Mentalist's Secret Weapon, which contains many cool PW routines. In its most basic form, the pocket writer setup consists of a piece of cardboard, with a folded business card held in place on it with a rubber band. See Figure One for the model I use for this routine. With a one inch stub of pencil, and after some practice, you can write words, numbers,
This new trade paperback is remarkable on several counts (1) It was planned, organized, and written by a fourteen-year-old (2) Its publisher approached and enjoined its writer, not the other way around (3) It is aimed at the public and sold in main-stream book stores (4) Instead of getting consensus praise from the magic community, we heard many rants about publicity-seeking upstarts and flagrant exposure of magic secrets. So, what gives to be entertained by it This, of course, is not likely to happen (despite the efforts of Marshall Brodien and Magic Masters.) This gray area will remain. Secrets will continue to be sold and tipped. Mainstream books, like Lasher's, will periodically be published. The recycling process will continue. The hue and cry that surrounds each new book eventually dies. The sad fact is that most mainstream magic books end up remaindered. Unsold copies are dumped in sale bins. Lasher's book is a admirable product. He confided that seeing the finished book was a...
David is the author of a number of books on magic including Phantoms of the Card Table, Chan Canasta - A Remarkable Man and The Mind and Magic of David Berglas. He is a writer and consultant producer on many of the UK's television magic shows including Derren Brown's Trick of the Mind, Dirty Tricks, Death Wish Live, Secret World of Magic, Magick and The Real Hustle. He has a blog at www.davidbritland.com and promises to update it more frequently now that he's advertised it
The sealed envelopes are deposited in a fair glass bowl, which is left in the keeping of some disinterested spectator. Performer returns to stage, calls a name, requests the party to acknowledge same by raising the right hand, then answers the question. The spectator holding the glass bowl is then directed to search among the billets and locate the envelope bearing the party's name just called. This envelope is opened by the performer who verifies the question and name AFTER it has beec answered I Another name is called, and question answered, same removed from the bowl by the disinterested spectator, and again verified. At the conclusion, the envelopes and cards are returned to the original writers. operation as clear as possible, xre will assume that twenty cards and envelopes are distributed to twenty different spectators who write a question on the cilrds and seal them in the envelopes. Any nurr.ber of billets may thus be prepared. The cards and envelopes are distributed and...
Note that all cards and envelopes are paired together with the exception of the card and envelope on the top and bottom of the packet. Now by taking the top card and placing it in the bottom of the pile, EVERY card and envelope will be in perfect sequence and properly paired. You are now ready to distribute them back to the original writers. This explanation should make the modus operandi understandable. Variations After you have grasped the mode of operation, you will readily appreciate these variations and wrinkles which go to strengthen the routine if you care to use them. As previously explained, any number of questions can be used, but you are to return the cards and envelopes to ever writer you answer. It is then necessary that you answer every billet in order to secure the card that was supposedly in the first envelope answered. Here is a well-balanced routine. Distribute say fifty cards and fifty envelopes and plan to answer twelve or fifteen which will make a sufficiently...
On the pretext of showing him what is to be done, take his face down card, insert it in the remaining envelope (the gimmicked one) and seal it in full view, showing it on both sides as you explain, not only to him, but the other writers as well, the procedure to be followed. As you hold the envelope aloft, remark that it should look like this . Tell the first spectator, before who you stand, that he is number 1 and that you will so mark his envelope for later identification. Lay the envelope on your left palm (flap side up) with the open (slit) end nearest you, and WRITE 10 WHILE APPARENTLY WRITING 1 along the left edge (lower corner Fig. 3). Cover the small figure with your left thumb and gather the other sealed envelopes and number them always writing the numbers one behind thus
Endeavor to have each writer acknowledge his question. Unless you continually do - your audience will assume you are using plants. When using mechanical devices that cannot safely be taken into the audience, approach the runaway asserting that you will find the writer and notice his hand just before leaving the stage. A clever piece of misdirection and very effective. In some instances it is possible for the assistants to make a memo or description of wearing apparel of a writer. This description previous to calling the name is dumbfounding to the spectators.
In this method the envelopes can be sewn and sealed in any manner. Get a half ounce, round, tin box, from the druggist, and crowd into this a small sponge that is throughly soaked in Colonial Spirits or wood alcohol. The spong protrudes from the box like an envelope moistener. Put on the lid to prevent evaporation until ready to use it. The envelopes containing the messages are collected and laid down on the table. The performer seats himself behind this table, and has the uncovered tin box palmed in his right hand. He now partly closes his eyes, whilst in reality he can see the envelopes distinctly. He now passes the hand containing the moistened sponge slowly over the envelopes, one at a time, which causes the writing to become clearly visible, as the alcohol makes the envelopes temporarily transparent. In this manner the messages can be successfully read. Passing the hand over the envelopes conveys the impression that the performer is getting en rapport with the writer mentally....
Effect Small cards and envelopes are passed out to spectators with the request that they write question on these blank cards, place them in the envelopes and securely seal them. When this has been done, assistant passes among .the audience and gathers the Sealed Messages in a Glass Bowl. This may be a Fish Bowl or any Glass article, the Idea being to allow free view of the Messages from the moment they leave the hands of the writers until same are read by the Medium or Performer. When all sealed Billets are in the Bowl,r assistant carries it in full view to a light undraped table and deposits same there so all may see Bowl and its contents. frehead- and f-ter appeaxing to be qu te_jdistiurbed.-and uz.zJ-ed_ remarks-, r have requested you to write something on these small cards and seal them in the envelopes provided for that purpose but the fact I am only able to read these Sealed Billets thru concentration of the Minds of the Writer and Myself, and as I cannot very well concentrate...
Simon describes we like best, The Transposition (an effect with dice as well as cards), the Four Packet Shuffle which is a very straightforward version of Vernon's Triumph, and the Vital Prediction. This last named is based on an idea of Curry's and a number of versions with variations appeared in the previous volume of this bulletin. The Miscellaneons section covers a sponge ball routine, a version of the ring on wand (or pencil) and a silver and copper transposition. All the effects show that the writer is a lover of good magic. We have always found that any individualist leaves his fingerprints on any effect he touches. Mr. Simon's is that of what some might think is the unnecessary replacing cards back on top of the pack and then either turning them over or taking them off. Well printed and with adequate illustrations we consider the book excellent value. magicians towards a professional magical stage performance is most peculiar. This came to mind...
Another clever fake is to paint a disk the size of a half dollar with Chinese White water colors, such as are used by show card writers and artists, on the inside of a white envelope. Inside of envelope may be shown with nothing in it, but when envelope is held to light, the disk shows opaque and appears to be the coin. Paint disk so that it looks like coin is lying at bottom of envelope. With a manila envelope, use a paint to match made by mixing white, red, yellow, and a touch of black.
There are a couple reasons why the other standard writers just don't work too well for pocket writing. The main reason is that they all attach or stick to your finger or thumb in some way. Not a good situation when it comes time to either attach or dump the thing when you're done writing. A utensil that you simply hold is far (FAR) better for this. Pick it up to use it, drop it and you're done. Depending on what type of writer you are using, you may want to devise some kind of a holder that goes at the bottom of your pocket that would protect your clothing. It can also protect the tip of the writer itself Chalk and some types of pens are good candidates because of potential mess to your clothing. Usto writers can have somewhat fragile tips and may break off if they are new and a bit too long. There are other potential considerations as well. If there are other items in the pocket, having a container for your writers may make things less of a hassle. It would certainly help in locating...
The lare Max Holden was, I think, the first writer to explain the basic principle. See the July (1925) issue of Bags-hawe's Magical Monthly . (No. 18, Vol. 2). Well, the much-looked-forward-to Brir-ish Ring Convention at Edinburgh is over, and comments have been rife as to what should have been and what should not have been done on this and that occasion. Whatever one's views on the collective merits of the Convention, one thing stands out very clearly. Everyone, at least everyone I spoke with on the subject, freely volunteered that they had thoroughly enjoyed themselves. Other writers have commented similarly, so I am not alone in saying this.
I remember sending away for an effect where newspaper reproductions of famous events in history were shown. One was freely chosen and, when your prediction was checked, it matched When it arrived, I was upset at first. The method was a nail writer Then I realized that I had been taught a valuable lesson. There is nothing you can't predict with a nail writer and do it effectively Besides, the newspapers really were worth the price of the effect.
That would have been critical when we were evolving on the savannah in Africa, says science writer Daniel McNeill, author of the book The Face. Smiles essentially bind us together. If we were out there alone, we were going to get killed. If we were together, we survived and prospered. The smile is a critical device of cohesion that we tend to take for granted. If somebody smiles at you, you tend to smile back, you feel better toward them. It's an innate response.
I am reminded of a posting on one of the Internet magic bulletin boards where a writer explained he had purchased a specific (large) book and asked whether anyone would be interested in splitting the reading of it with hi--so they could tell each other the best card tricks.
THE MODERN MINDREADER This effect alone sells for more than the price of the new book, and is one of the finest one-man question answering acts conceived. Spectators jot down personal data, questions, etc. on cards, which they seal in envelopes. The envelopes are collected and immediately the performer tells what has been written or answers the questions. Each is verified and both card and envelope are handed back to the writer before the next question is dealt with. No clumsy dummy questions or similar devices. No chemicals or liquids, no lights or window envelopes.
Beginning without a Preface, Foreword or an Introduction much like Houdini making a bridge jump, Silverman plunges right into the story. A Pulitzer Prize winner, Silverman's narrative style follows Houdini's life chronologically. Chapters are separated into defined blocks of time in Houdini's life. This, to me is the preferred way of writing a biography. Many writers who juxtapose times and places by constantly jumping forward and back make it difficult for the reader to understand what things motivated an individual to make certain choices and decisions in their life. Silverman simply lets the story unroll and by doing so, the reader better understands Houdini and Ehrich Weiss. The most sensational new revelation in the book is that Houdini carried on a love affair with Charmian London, widow of writer, Jack London. Silverman offers ample documentation of this cautious fling through first-hand entries in London's diaries. This is but one example of Silverman's outstanding scholarship...
Woodbury is a pretty bad writer. Now I'm fully aware of the fact that I'm not a genius when it comes to shaping sentences, but that doesn't mean that I don't notice when someone else flubs it up. But, again, I liked this book. I found a couple of ideas I thought were really worthwhile and stimulating.
The co-writer of the course, Andrew Lock has been in and around entertainment magic virtually all his life. He now manages one of the most successful online magic stores on the Internet, and will be sharing his extensive marketing and business experience to help you avoid many common mistakes.
Anyway, the great thing about this blog is that Carly, the woman who runs it, is also a very good writer and quite intelligent to boot. She has an entry up on there where she's visiting the set of a porno shoot, and she talks to the director of the piece about some of the girl's he's dated in the industry. Below is the passage I found interesting
Writers of soap operas understand the psychology of chick testing quite well. So, your homework for this week is to watch a night time soap, such as The O.C., and note every time a girl on the show chick test's a boy. Now remember this can range from intentional tests to unintentional tests to her judging something about the boy. After some practice, you will start to notice women telegraphing chick tests before they even happen. This is great because it
What makes this appear identical with the question Answering Acts which require that questions and names of writers be written down (and need clip boards and Switches and Gimmicks and steals ) to get possession of information, plus names of questioners in audience Why you do the same sort of thing in BOTH acts. You call out initials of persons in . audience who have never seen or met you before. When they acknowledge such as their initials you ask them to Think of their first name. In BOTH acts you then spell out or reveal the name THEY ARE THINKING OF . You later give the last name in your talk, apparently by reading their thoughts. Next you ask them to concentrate their thoughts on their business, home, family ---- Subjects that concern you personally . In the old Written Question Act you give the information from the written question itself, plus the Initials and Name of Writer. Then you parcel all this back to them. In .this No Questions Written Act YOU ALREADY KNOW the initials,...
You have come thi far through the subject of Swami Gimmicks or trickery at writing and must therefore be interested. It is now my intention to give you a very brief idea of what can be done in the field of trick writing (TO GIVE YOU ENCOURAGEMENT) and to tell what others have achieved (TO KEEP YOU MODEST). Whenever you feel you are the world's greatest trick-writer come back to this paragraph and see how you compare with KEELER Described as the Greatest Living King of Slate Writers. Wrote legibly on a slate or with pencil on paper held behind his back with his hands tied. Wrote messages backwards for mirror reading and did them in the dark and last but not least, CHUNG LING SOO who used a Swami extensively and mentions it in his book 44 Slate Writing and Kindred Phenomena Published in 1898.
If the 26-card stack was generated from the Si Stebbins set-up, an additional climax can be performed where you can apparently predict the freely chosen card. This is possible because the card which is turned over in spelling the color indicate selection, thus gives you plenty of time to use an index, nail writer, or other means to supply the prediction. Briefly, using a scale of one to thirteen, (J ll, Q 12, K 13)
Frank Garcia is the best writer in Magic today. I wish him continued success and to keep writing more on the subject he knows so well Frank Garcia, brilliant performer, great writer. The best writer in Magic today. Great technician, great performer, great writer. Keep up the good work.
The remaining part of the trick follows on the lines of the original Take Three, one card being miscalled as the three of diamonds, and later the card upon which this name has been written is forced on the spectator. After the cards have been picked up and their names given to the writer on the cards, they are replaced on the table in a row so that when the time comes for the initialling on the back, the conjurer doesn't have
The first chapter of the book takes us to the North of England and we are brought back memories of the Argyle Theatre at Birkenhead. Later we have anecdotes regarding the greats of those days, Devant De Bier, of Carlton, the Human Hairpin, Van Hoven, and many more* We read of Medrinton and Hammond, both of - whom, with the writer, were responsible for one of the best books on conjuring, The Magic of Tomorrow (published in 1919, there are many items in this book that could well be revived). We read of shows given during the First World War, in hospitals, in ships. The author then switches back to the nineties and there is more reminiscence. Particularly interesting did we find the writer's references to the time when as a Bank Manager he was quartered in Hinckley, Leicestershire. Barwell, Burbage, and Earl Shelton were familiar names for we spent the early part of our Army training in these places. (We feel that Bank Managers in this part of England must have a special talent for...
All you have to remember are the first two cards selected. Now collect the folded papers in a borrowed hat, watching them as they are dropped in so you know which is the first, second, and third. Reach in with the right hand and, finger-palming the first slip with the second finger, bring out the third billet openly at fingertips. Look at the first person and little by little name his card. Just as it is acknowledged, open the visible slip, the third one, nod your head as you refold it and apparently return it to the writer. However, you have now found out the identity of the last, or mentally thought-of card and after refolding the slip, switch it for the first paper you have finger-palmed and return that. (For those who can't master a finger switch the following method is very simple. Do it as above to the point where the third slip is refolded. Holding it in sight at left fingertips, start towards the writer and put it apparently in your right palm. Actually, however, finger-palm...
This is an effect created by the writer more than twenty-five years ago, and until the last few years the secret was carefully guarded by the few who had paid a substantial amount for it. It has appeared in print from time to time, but always with the essential details lacking. During the past winter this trick was performed at a Parent Assembly gathering of the S. A. M. by one of the members and his wife, and made a very favorable impression. A number of slips are passed out by the performer, and members of the audience are each requested to draw some symbol or design on the paper. It is then folded and initialed by the writer, after which they are all dropped into a borrowed hat. The magician thoroughly mixes them, removes one at random, reads the initials aloud, and hands it to the writer, who acknowledges it, with the request that he hold it in his hand and visualize the design on it. The assistant, seated with her back to the audience, proceeds to draw something on a large...
I have assumed that readers are familiar with Kenton's original manuscript and Larry Becker's Arson method of magician's choice. I have never written up a version of an effect, so I am not sure of the correct way to do so. I will just write the same way that I speak, and hope for the best. (I'm leaving Sid's writing just as it is - he's a very entertaining writer -K.)
Some spectator looks after the collection envelope and brings it to the stage, and is directed to dump the billets out on the table. In the meantime, performer has gotten thumb tip with stolen question in it on his right thumb, and he has also secretly gotten from his left coat pocket, the blank sample billet that he first folded down in the audience, and this blank billet is secretly put on the edge of the pile and used as in previous methods. The one ahead principle is employed, but the use of the thumb tip provides an easy and most natural switch whereby the question just answered may be returned at that moment to the writer. apparent. The stolen billet is now returned to its writer by an usher, or voluntary assistant. No. 2 billet is brought into view at the same instant, being grasped between fingers and thumbs of both hands for a second, and may then be returned to its writer. You are again prepared with one ahead for the next reading.
From now on the performer says nothing. The medium divines everything that has taken place during her absence. When adding numbers on slate, the medium asks a committeeman to hold the glass of colored chalks near her. She picks out the chosen color and writes the total of the numbers on the back of the slate. She then locates and names the five cards chosen at the start, which are displayed with backs out on the board. Finally the person with the envelopes in the hat is asked to step forward and stand at the medium's left. With chalk in right hand she reaches into the hat, withdraws an envelope and throws it aside. This is repeated several times until finally she grows tense and instantly writes a name on the blackboard. The committee opens the envelope and the writer acknowledges it as the dead name. This makes a perfect climax to the act.
It is assumed that the reader possesses a certain amount of elementary knowledge, which is indicated, rather than actually conveyed, in the preliminary chapter. Where such knowledge is wanting, the student desirous of complete instruction will find it in the writer's work on Modern Magic, 1 of which a sixth Edition has recently been issued, and to which references, where appropriate, have been given. So far, however, as space has permitted I have endeavoured, by explanatory footnotes, to render the text fully intelligible, without the necessity of recourse to any extraneous source of information.
In January of 1988 I started to think of who on L & L's staff could write this important project. Ron Bauer had recommended Stephen Minch, and this was my choice as well. I feel that Stephen is one of the best writers of magical literature today. In addition, he is a pleasure to work with. When I contacted him, he was quite excited at the prospect of writing a book on Alex Elmsley's magic, and he immediately began to gather material. Lariy Jennings had already contacted Gordon Bruce in Scotland, who was a long-standing admirer of Elmsley's work as well as a friend. Mr. Bruce kindly agreed to photocopy his large collection of published Elmsley material and sent it to Stephen. Then, throughout the following year, he posted a series of handwritten letters, detailing various unpublished Elmsley items. Until this time, none of us at L & L had any idea what a wealth of material existed.
Personally, I cannot see that the practicing magician would benefit by all this for one thing he is always too busy to bother. The dealer does not need it for he knows it all by heart, it is our stock in trade. I feel that the writer falls into the remaining two categories of historian and collector, and I cannot imagine anyone doing all this work for that exclusive band of individuals. From what I can see the cost of recording and publishing would be fantastic, but if Mr. Hutton Scobie stiil feels that there would be a good market for such a work, I suggest he would be the best man to deal with it.
During this interval you finger palm the dummy billet from your trouser pocket. The spectator folds his written billet, being guided by the creases of the original fold, and you take the paper from him. Hand it directly to another person to be initialled, and this person hands it back to the first person (the writer) to hold up over his head so that everyone may keep their eyes on it. However, when you took it from the writer you switched it for the dummy, and it was the dummy that was initialled and handed back to the writer.
I have been doing this trick with several variations for six years. The presentation and method explained here seems to be the most direct. You will require a nail writer and a wallet. I use a hip pocket wallet, however, the breast pocket type works even better. The wallet is slit with a razor (see illustration). The card which is to be discovered in the pile of cards is pushed halfway through the slit from the inside. The slit should not be much wider than the card. You will find the wallet makes an excellent base for nail-writing. The writing need not be too neat. This is covered by the patter. I suggest you use a nail writer that leaves a dark pencil mark. Personally I use a small pencil stub glued to a metal band. The 'Boon' type also leaves a dark line.
Professor Byrd No I've heard of it, and of course I've heard of Martin Gardner. He was a very famous science writer of the last century. Why do you ask Byrd But now something else puzzles me Martin Gardner was no fool he was surely one of the most interesting writers of the last century. Now, how could someone of Gardner's caliber ever entertain the silly notion that Doyle never wrote the Holmes stories
The 'My true reason' method is used by a top trainer and motivational writer for a multi-million pound British plc. The results achieved in that business have spoken for themselves - all of the trainees who clearly laid out their reason for wanting to succeed have gone on to perform far better than those who did not bother. So it is imperative that you complete this certificate before you do anything else with this course.
He hopes he hasn't bothered the person called and thank him for his cooperation. The performer then hangs up the receiver and takes the paper from under the phone and returns it to the writer. Eight times out of ten, the person called will call back to find out what it is all about, and naturally learns about you being an unusual person, which is an ad in itself.
One of the real joys of creating and marketing effects to the magic fraternity is the mail that I receive. Most are very complimentary. Practically all refer to how many Larry Becker products the writer has collected. But, once in awhile, I receive a letter that describes a different presentational slant to one of my commercial offerings. The following letter is a prime example. It was received from Roger L. Omanson of the Louisville, KY Magic Club.
The right thumb and forefinger (finger on top) grasp the inner end of the card and hold the card and handkerchief bundle vertically, while the left hand reaches down and twists the hanging ends of the handkerchief. At this time, the card will be on the back of the folded handkerchief with the message looking right at you (Hold the bundle in front of you at about chin level.) This bundle is then tucked into the breast pocket, leaving the corners of the handkerchief sticking out. Take hold of the writer's hand and answer the question any way you see fit, or reveal the contents of the card. At the finish, reach up with the right hand, grasp a corner of the handkerchief and pull it quickly from your pocket, when the card will drop to the floor.
If you do not consider that a different and effective bit of business, I've been sadly fooled by the number of people before whom I've done it. When torn apart it is nothing but a card spelling trick in a weird dress. Some may prefer doing it with blank playing cards because of the ease in manipulation, but I don't agree with this because cards of this type immediately give the impression of a card trick. My safe and sure method has two variations depending upon the performer's desire for cleanness. After the selection of a card I take back the rest and hand the spectator a pencil. Turning my back while he wrote, I'd cross my arms and exchange the packet for one trimmed a little narrower. Don't make them shorter as they are shuffled at the ends. Have the name card returned and mixed by the spectators themselves. Now take them for a further bit of mixing (being careful to have the packet kept right side up throughout). Then cut them several times, bringing the wide card to the top. Cut...
Effect Use five or six blank cards and a drug envelope. Four people write the names of living persons and the fifth writes the name of someone who has passed on. The cards are collected by one of the spectators, and mixed. Taking them with the writing sides down, the performer also mixes them a little more and puts the entire packet into the envelope. He now holds the envelope to his head and slowly and correctly reveals the dead name Opening the envelope, the cards are removed and spread out with the writing side downward. The performer finishes by waving his hand over them and correctly picks out the dead name card and hands it to the writer. Toss the envelope aside or to the spectators and holding the cards, with the writing downward, mix them a little and spread on the table. Waving your hand over them finally pick up the correct card and return it to the writer.
Effects in which elastic bands encircle a pack of cards are not too numerous. This effect is as follows A card is selected, returned to the pack which is freely cut by a spectator. After being encircled with a number of elastic bands, the performer places it behind his back momentarily. Bringing it forward almost instantlv, the performer shows that the card selected has taken the place of the card that was previously on the face. The effect embraces a couple of principles that will be new to most. The writer gives two other versions and also a method where the selected card escapes from the pack whilst banded. The effects are fully practicable and call for little more than good showmanship to extract the maximum of mystery. In a neatly printed and illustrated book, together with a specimen gimmick, this represents a useful addition to the worker who wants a somewhat different type of card effect.
I have made it a habit of often going into my pockets for different articles and also just to adjust the flaps and the way the jacket is hanging. Putting my hands into my pockets has become a normal tendency for me now and I always do it whether or not I am performing. It is an entirely natural motion and it has become my standard method for getting and ditching such things as thumb tips, nail writers, etc. Since the movement means nothing to me, it means nothing to the audience.
Popular thumb writers sold by all dealers. The numbers are handed spectator 'B' and cards to 'A*. As performer hands cards to 'A'for mixing, he gives them a little overhand shuffle which serves to 'force' spectator to mix them that way, and which does not disarrange the backs. During this mixing, the performer writes the prediction as given In the effeot, but leaves out the number. He throws pencil on table and stands at a little distance where he can see the backs of the cards as 'A' holds them up to look at faces. 'B' calls the numbers each time, and the performer watches for the reversed card to show. The moment it pops up, performer says, STOP , at the same time filling in the number just called. At this point he hands the card to a third person and has the prophecy read aloud. 'A' then shows the card he is holding, and it is found that the prophecy is correct. The cleanness of working makes this an astounding effect.
One of our young subscribers has sent a courteous letter to Victor Farelli to the effect that he (the writer) does not understand what is meant by the term Grandmother's Necklace Attachment referred to in column 1, page 146, in the above-named article, and we hope that the accompanying sketch will make matters clear.
To use this bit of knowledge, place an adhesive backed, circular white Avery label on the back of the card box housing the stacked deck. With a marking pen, place a cent mark on the right side of the label. The deck is placed, label side down on the table. Have a nail writer in your right hand jacket pocket (unless you're using this as an opening effect). When you have determined the location of the spectator's card, access the nail writer and pick up the boxed deck of cards. State that you recently picked up this deck at a yard sale. As you're speaking, nail write the numerical value of the selected card's location adjacent to the cent mark. In our example, that would be 30 .
This was a great stroke of luck for occult thriller writers and horror film directors and Baphomet has retained pride of place as the most imaginative image of evil ever invented. The other great service King Philippe did for modern occultists was that he burnt all the Templars before they could blurt out what their secret really was. This leaves it up for grabs to anyone looking for a pedigree. It also fills in a rather vague bit of history from the 12th to the 14th centuries.
In his May 1981 New Releases list, in the course of a descriptive review of his pubis nation Mentalism For Magicians (by Larry Becker), Jeff Busby saw fit to disparage ' the usual diy-as-dust presenttitions with slates, nail writers, billets, and the aid 'one-ahead' principle. And later 'Larry Becker feels that EVERY magician can slot fast-pticed and Colorful magic with a psychic touch sic into their acts., .1 agree.'
Your attribution of the invention of the terms THUMB GRIP, GRIP, PINCH, HOLD, BACK GRIP, BACK PINCH, etc., to a writer who was deploring that PALM was erroneous in the case of a cigarette, is unbecoming and spurious. This lack of terms has been deplored for the last 50 years in various books about coins, thimbles, cigars, and lastly cigarette tricks. Why, then, did your originator wait until he had read my book to claim the invention of some of the new terms contained in it and that - strangely enough - he never invented for his own books, as I have assured myself by going through his compilations -absit omen - in which he used prosaically and conformably the term PALM for everything. Re the term FRENCH DROP that you ascribe to the same writer, I mention it in the ENCYCLOPEDIA OF CIGARETTE TRICKS only incidentally, and between parenthesis, in connection with a sleight to which Pr. Hofftoan has given this name FRENCH DROP in MODERN MAGIC (1878). For my sleights I did not use FRENCH...
The writer always felt that in order to build castles in earnest, one must first build them in the air. It may be admitted thar whilst Casties-of-the-air do nor all finally take shape in real life, the ones I am writing about were actually built in the air before emerging inro reality. The first Magic Convention was conceived by Bill Durbin after he took over the reins of the I.B.M. from Len Vintus, one of the original three founders Ar the little town Kenton in Ohio, U.S.A.,a few hundred magicians met for the first time in 1926 and the occasion thus carved a pattern for magic societies the world over to copy. Magicians everywhere waited with great expectancy fhe news of this first gathering. Even as I type, at this distant date that description as I read it still seems vividly fresh in my mind's eye. To rhe magicians living in these parts, it would naturally now appear strange that the writer should attach, what may seem, undue importance to this first convention of magicians. When...
Items that you can prove after the fact that you knew is an additional technique that can be easily applied to this presentation. Here's just one possible illustration you request that one of the people think of a number between 1 and 100. Is it a number in the 20's , you pump as if stating it as a fact. (A large percentage will be in the 20's. It's very common.) If they say yes, you continue to try and guess it, but if they say no, you ask them to change their mind and pick a different number, as you pull out a pencil and a pad of paper, and write down your next guess . A minute or so later, when you come back to them, you put your nail writer to use, and are home free. In other words, the use of noil writers, indexes, and impression devices can all come to play in this concept.