Mailbag #163

I’m writing in relation to your recent post about John Bannon’s 51 Fat Chances. Like you, I also ran into issues with the final Australian count elimination. Much of my audience has a background in science, and they quickly realize that the process is entirely deterministic (although, admittedly, one probably doesn’t need a science degree to notice that).

For this reason, I very much welcomed your proposed alternative using prime number principles combined with a Flavio Josephus–style elimination procedure. I just wanted to draw your attention to the fact that this type of elimination significantly expands the options and flexibility regarding the final number of cards in the remaining pile.

Specifically, in addition to 7, nearby prime numbers such as 11 and 13 (and even 5, though it may be a bit low) work just as well. With 11 or 13, the procedure functions in the same way and arguably looks even more impossible. Numbers one above or below those primes can also be handled using the same solutions you already propose for cases around 7.—MO

Yup, this is a good point. You’ll have to handle the original discards slightly differently (perhaps only doing it twice if you’re going with 5, or having them discard “3 or 4” cards each time if you’re going with 11), but this would definitely work.

I may end up shifting to one of these options. When asking for a “magic word” to use with the effect, I feel you often get something in the 6-8 letter range, which isn’t ideal as far as looking fully random. So doing it with 11 cards may be a better option. Although that does extend the final selection portion somewhat, it might be worth it.


As the #1 Jerx Points…haver… guy, I think it’s fair to say I’m your #1 fan. So maybe that makes me overly-defensive when it comes to your work, but I was wondering if it drives you crazy when you see your concepts shared without any recognition of your role in creating or popularizing the ideas. It makes me nuts. Like seeing someone cover your favorite band and not call it a cover song.

I read an article online about extending your magic tricks so they don’t conclude until hours or days later and your site wasn’t mentioned at all. As if this was just a common technique regularly used by magicians before you started writing about it. I see it all the time with various ideas you’ve written about. Even just the concept of “social magic” was something I never heard codified or talked about before you.

I told you before to start a Jerx Did It First series to deal with these guys. Don’t let your legacy be diluted! —EV

First, I appreciate your passion, but chill.

Second, no, it doesn't drive me crazy. If attribution was super important to me, I would have written this site under my own name.

A couple times a week people send me articles or posts that are reiterating concepts I've written about on this site without any reference back to it. It’s sometimes strange, but not at all upsetting. (It's weirder when they're charging people for their reiteration of something I wrote here for free.)

As dumb as this site can be, I also know that it changed the way people think about amateur/social magic, because it wasn't something people considered much as its own distinct thing before I started. The problem, I think, for anyone writing about the subject after me is that it wasn't like there were a bunch of people talking about this branch of magic and they're just adding their voice to the chorus of people writing about it. Instead, it was a subject that was hardly ever talked about. Then I came along and blitzkrieged the subject for years. And then other people came to it later. So it’s difficult for them to seem like they’re doing anything other than repeating ideas I already covered.

I genuinely don’t care one way or the other about credit. But if you’re writing about a niche subject that’s been covered extensively by a well-known writer in that area, then—for your own sake—you should credit them. Not as a courtesy to them, but because it helps you. It shows people what you’re building on, which lets them see what your unique contribution actually is. Without that context, your ideas just get absorbed into work people already associate with someone else, and your own work becomes invisible.


When is the Zero Carry issue of Keepers planned for? —AMD

It probably won’t be a single issue. It will probably be a recurring feature in the magazine going forward. More details on this in a post later this week.


Any advice for someone starting a magic blog in 2026? (Other than “don’t waste your time.”) —CR

Yes. Do not use AI to do the writing for you. When people read a blog, it’s not just for information. The best blogs allow you to feel connected to the person writing them. You get acquainted with their style, sense of humor, thought patterns, personality. And then, on some level at least, you feel: “Oh, I know this person.” And that satisfies a biological need for connection.

You may see your writing as this imperfectly jagged crystal and think, “I’m going to use AI to polish this up.” AI will polish it to a smooth sphere. It polishes everything into a smooth sphere. It will polish you to blandness.

We thought AI would help everyone express their ideas by turning them into “good” writers. Instead, it made “good” writing so commonplace it’s meaningless. And now individuality and personality matter more than ever. So make sure your writing expresses that and sounds like you.

Also, don’t waste your time.

Dustings #140

There is nothing quite like the gentle beauty of hand shadow puppetry.

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When I'm done with this site, I'm going to do a large-format, Taschen-style coffee table book of emails from people offering to send me their product for free if I'll talk about it on the site.

And then you’ll see my response where I say, "I don't really do that, but if you want, you can send it to me and if I like it and end up using it, I’ll write it up for my review magazine. Or if you want it on the site, you can send ti to me for my What's the Worst Thing About series.”

And then I never hear from them again.

Now, I don't mind. I don't need more stuff to write about. But it's somewhat telling how much "I'm going to tell people the worst thing about your product" scares people away. Is that not exactly what you expect someone reviewing your product to do?



Craig Petty has made a habit of "exposing" his tricks on his YouTube channel (for example, this video that he put up just hours ago) so you know what you're getting when you buy it. That's a pretty bold thing to do, especially because I know Craig came up in the same era that I did, where we were told the secret is what you were buying.

In an email earlier today, Ellusionist tried a similar thing.

The Jungle Book Test - Method Revealed

A stupidly simple book test anyone can learn in like 10 seconds. There are 2 words to remember - and 1 of those words is 'remember' to make it even easier. The pages repeat the real story with the first word on each page changed to either the word MOON or the word REMEMBER. They open the book to any page. No force.

They remember the first word from that random page
You ask them 1 question "could you easily draw a picture of this word? And then NAIL their freely chosen word - because nobody can draw the word 'remember' BOOM. Mind freaking read!

Here's a bit of marketing help for Ellusionist, or anyone taking a similar route in their marketing.

DON'T EXPOSE THE SECRET IF THE SECRET IS THE ONE THING EVERYONE IS HOPING IT ISN'T.

Inelegantly jamming the same two words at the start of every page of the Jungle Book is not a selling point.

The fact that you have to use your own book is already a weakness. The fact that they can only look at the first word is a weakness. The fact that it's fully unexaminable is a weakness. And now you're saying, "It also uses the first method a reasonably intelligent spectator might assume." You should have kept that part to yourself.

Here's what your selling point should have been: "It's bad, but that's why it's $15."


Please Don’t Kiss Someone Using a Trick You Read on This Site

I know you said in Monday's mailbag post that you should only doing the kissing version of the candy heart trick if you're performing for someone you're *already* kissing in your real life. But I was thinking maybe it could be used to cross that kiss barrier with someone you've been flirting with. I'm 16 and the girl I'm interested in likes magic so I was thinking of showing her that trick to sort of break the ice between us. I would ask her first to make sure it's okay. What do you think? Besides that I'm a pussy for being scared lol —DF

Noooooooooooooo dawg.

[Sorry everyone. Most of you don’t need this post. As someone writing a blog about a subject some young people have an interest in, I feel compelled to step in here.]

I have a general rule about not telling 16-year-olds how to kiss. But I promise you that you don't want your first kiss with someone to be brought on by a trick you learned on The Jerx.

I get it. You're nervous. You maybe don't have much experience. And asking someone if they'll kiss you "for a trick" feels like a less risky approach. But I promise you, it will come off poorly. Even if she's into the idea of kissing you, she'll be bummed that you resorted to this as a way to make that connection.

Kissing is simple. Find an excuse to sit next to her and have a conversation. At some point scoot in a bit closer to her. Let your knees or arms touch. When the conversation lulls, lean in a little closer, your head towards hers. Pause here and say something simple and complimentary. "I have so much fun with you." Whatever. You're still just talking, but now your faces are much closer. After a moment lean most of the way in. Pause right before you get to her lips, make eye contact a final time then close your eyes, and go in for the kiss. Easy.

"At what point am I going to ask her permission to kiss her?" You're not. "Yes, but consent—" Ah-buh-buh-buh. Yes. You're getting consent every step along the way. When you sat close, did she shift back? When your knees touched, did she pull away? When you leaned in, did she move back? When you told her you liked spending time with her, did she smile or did she go into some long soliloquy designed to slow your roll? Is she making eye contact or averting her gaze?

I'm assuming you can interpret social cues. If you move close to her and she moves back, you have the information you need. She's not into you or not comfortable moving to the next step. Let it go.

You don’t have to follow the exact step-by-step thing I wrote above. The point is that you’re scared of making the move because you’re thinking of it as one thing. “I want to kiss her!” Like you’re going to sprint at her from 50 yards away and just pounce on her with a kiss. But that’s not how it works. What you want to do is make a series of small overtures, giving her time to react and respond. If she’s into you and not pulling back, there will be a point where you are so close that it will be awkward to not kiss her at that point. And that’s your moment.

If you must rely on a magic trick to help you on your journey, you can use the conversation heart trick, but don't ask her to kiss you.

Tell her to chew one up and then spit into your mouth and you'll tell her what the heart said.

If she refuses, she doesn't even want to get within spitting distance of your mouth. She's not into you.

If she gets close and gives a dainty little "twah" and just sends a little spittle your way, she might be interested because she's playing along in a cute manner.

If she hawks a brown, chewy loogey down the back of your throat, she despises you.

The Two Ways I Vanish Coins and Why

A couple months ago, I wrote about an inherent flaw I see when false transfers are used for a vanish, which is that people just sort of figure them out. Whether you're doing a basic French Drop or a more beautiful, refined coin vanish, the reaction is usually the same. The hand opens to reveal the coin is gone > brief surprise > then their eyes go to the other hand.

You might think, "Ah, I need to ditch the coin before I reveal it has vanished. That way, when they look to the other hand, it's empty."

That's the right instinct, but it's not enough. You can't just false transfer then ditch the coin in your pocket while you focus is on your other hand.

I mean, you can do that, and it will work, just so long as you're performing for the guy from Flowers for Algernon right as he's beginning to turn into a moron again.

This is something I see magicians do a lot. They give their spectators credit for having half a brain, but never a full one.

If we agree that a person might assume the coin never went in the hand, then it's also not a huge stretch to think that you might have done something with the coin while they weren't focusing on the wrong hand. Ditching it in your pocket isn't the master deception you imagine it to be.

After the previous post, a few people emailed to ask what I would use to vanish a coin.

Well, ideally, you need a vanish with a ditch that happens before the coin disappears and without the dirty hand going out of "frame." Without it being dropped by your side.

For that reason, here are what I consider to be the two strongest coin vanishes in real-world performing situations. Others may look more magical to the eyes, but I've found these to be the strongest when it comes to preventing the spectator from thinking, "Well, he must have never put it in the hand in the first place and then he got rid of it somehow."

First, there's the one where the coin is false-transferred via a thumb clip and then secretly ditched into the breast pocket while the dirty hand waves over the hand "holding the coin."

[GIFs below are just to illustrate what I’m talking about. I think these vanishes work best in the real world, not on video.]

Does this have a name? Is there someone who should be credited with this?

Everything here feels fairly natural. The wave is justified as a "magical gesture." But if you don't like that, you can find some other excuse to bring your hand toward your body briefly (you can bring the dirty hand up to scratch your chin, for example—I like to leave some scrambled eggs on my face from breakfast to dry throughout the day, that way I always have a fully justified reason to bring my hand toward my face: I'm a disgusting slob).

My second favorite vanish is what I called the "best coin vanish" years ago. Although at that time I didn't fully know why it was so good.

In that post there are GIFs used to point out the naturalness of this vanish as opposed to most vanishes. But in making that point, I didn't do what I do in real life, which is to lap the coin while I pick it up, and then pretend to place the coin into the other hand before vanishing it. (I'm not suggesting I came up with this. I think it's how most people do it.)

This transfer of nothing from one hand to the other really strengthens the vanish. It gives people an extra step they need to go backwards in order to unravel what happened, and I've found people are shockingly bad at going more than one step backwards with what they saw. It's like when you're listening to someone drone on and they say, "Are you listening to me?" And you say, "Yes." And they say, "What did I just say then?" And you say, "You said the grocery store wasn't stocking the brand of pecans you like anymore." Now, if the person asked you what they said before that, you'd have no idea. The fact is, you weren't listening. But we're good at reiterating something that just happened. But going two steps backwards is something we have to be prepared to do.

With this vanish, I feel spectators "remember" you placing the coin from your right hand into your left. But they don't really remember never seeing the coin in the right hand. And that's because the way the coin is picked up is so natural that it raises zero suspicion.

These two coin vanishes give me two options: one I can do standing (so long as I have a breast pocket) and one I can do seated at a table. These cover most circumstances that I find myself in.


A final option:

A few people wrote in after the previous post to recommend a steal instead of a false transfer, and they all pointed to Ben Earl’s work on this as the place to learn it. I haven’t looked into this myself, but everything Ben does looks great and I’m sure this is an excellent option.

Quinta Crib

Quinta, the forcing procedure popularized by Phill Smith, has always been one of the go-to tools in my toolbox. Pick up Phill's ebook if you haven't already to explore all the ways this can be used.

After I posted the Paper Gameboard idea, Oliver Meech sent along this email regarding Quinta…

Try as I might, I find recalling the rules for where to start and how to move tricky to do under pressure. So, a while back, I came up with an idea for a crib sheet. While it didn't feel very organic, in the context of playing a game with sheets of paper, it could fit quite well.

The idea is to disguise the crib as a 'random number picker' - a page covered with different numbers, so they can close their eyes, drop their finger onto the page, and see what number they are pointing at. It's a bit like the ones in some classic choose-your-own-adventure-style game books.

This is good to see. Many people would be too busy hanging their heads in shame if they hadn't mastered the elementary school-level math Quinta requires by middle age, but rather than let it hold him back, Oliver came up with a way around it.

I'm just busting his beans. While I use Quinta a lot, I still have to build in some sort of natural pause in my presentation to go through the process in my head. It's not fully automatic.

However, with this crib, it will be. The numbers themselves tell you everything you need to know.

Here's how it works.

It looks like just a jumble of numbers (I made this with all two-digit numbers under 50, but you could do more or less), but it allows you to do Quinta with no thinking.

If they choose a number on the left-hand side of the Random Number Generator, you will start from the left-hand side of your row of objects. If it's on the right-hand side, you will start on the right.

(Or you may think of it as starting from the Force Side or Opposite Side. Or, if you prefer to do Quinta as I do where I always tell them where we're going to start, then if they choose a number on the right side, that means you need to switch the orientation of your selections.)

If the number is straight up and down, you'll be doing the Move Count. If it's tilted, then you'll be doing the Object Count. This should feel intuitive. The orientation of the number tells you if your finger (or game piece or whatever) is starting straight down on the first object or off to the side.

(If any of this feels underexplained, it's because I'm expecting you to have learned Quinta somewhere to fully understand it.)

Ways to Utilize It

As Oliver says in his email, you can have someone point blindly to the page and go with whatever number they think they're closest to.

You could have them pierce through the page from behind with a pencil and go with the closest number to the hole.

They could throw a dart at it.

If you have two people, one could point around the page at random until the other person (whose eyes are closed) tells them to stop.

Or the second person could be whistling or playing a song on their phone, and whenever they stop the music, the other person stops moving their finger, like Hot Potato.

The idea being that this is a way to choose a truly random number between two people. The first doesn't know when the second will say stop and the second doesn't know where the first is moving their finger to.

If you're only using one person, then your justification for using this is that just asking for a number is never truly random. "People tend to go for the same number," blah, blah, blah.

Thanks to Oliver for sharing the idea. You can download the version I put together here. Although you may want to put together something nicer looking. I'm fairly certain I got all the numbers in the right position/orientation, but I've been confidently wrong about simpler things, so you may want to double-check.

Mailbag #162

So, I'm considering doing some small, informal testing of different variations of the same trick for a few people, to find out which they prefer. But, like Natalie Imbruglia, I'm torn:

On the one hand, it'd be logistically easier to show them all the variations together, as a group. 

On the other hand, to eliminate the possible primacy effect of people favouring whichever variation they see first, I should ideally do the test several times, with the variations in a different order each time.

Since you've done a bunch of focus group testing, I'd love to know whether you've generally found the primacy effect to be strong (in which case I should definitely do it multiple times), weak (in which case I could just do it once), or variable depending on the trick (e.g. if it contains a surprise)?—OM

In testing, you have to worry about both the primacy effect (which one they see first) and the recency effect (which one they see last). Both of these can affect the results and not addressing them would be, as Natalie Imbruglia said, a big mistake.

In our testing, we would let the variables we were testing determine if we could show them to the same person (or group) or if we needed different people for each variable.

So, for example, let's say the question was, "What do people like best? Card tricks, coin tricks, or mentalism?" These are different enough variables that we can show each person one of each, and just rotate the tricks with each person so no one trick is always first, middle, or last.

But if you're testing similar ideas/tricks, then you need to separate them completely. For example, "Is it more impossible if we frame this card trick as me reading their mind or them reading my mind?" You can't just do both tricks and then ask which they prefer. I mean, you can, but like Natalie Imbruglia said, you'd get the wrong impression.

That being said, we were trying to do testing on a broad scale with dozens or even hundreds of respondents. But I think a lot of these things you can test in very casual ways by just talking them out with a few friends and get decent enough information from that without even performing the trick. You can just talk through the variables—"Would you think it was more impossible if I picked a card and you guessed what it was? Or you freely named any card and it was the one card in my wallet?" This works as long as the differences are easily verbalized, not some subtle physical thing like a variation in a double turnover.

Testing out ideas is great, but the time and money it takes to do it “the right way” can be prohibitive. Talking through tricks with people is a worthwhile alternative to testing. And you don't have to concern yourself like we always tried to with things like primacy bias, recency bias, demand characteristics, fluency bias, contrast effect and other things that would make your head spin, like the titular character in the Neil Finn song, by way of Natalie Imbruglia, Pineapple Head.


I’m curious whether propless techniques such as hanging statements, making a statement and gauging reactions, and similar approaches work reliably in social environments. These techniques are often used in propless mentalism when the choices are narrowed down to two. —MG

In my experience, these techniques don't work great in social situations. At least not in ones where you know the other person.

Why? Because they're predicated on people acting in a generic way toward you. That's how people might act if they're audience members in a show or if they're strangers you've never spoken to. But that's not how people react when interacting with friends or even acquaintances.

For example, here's my conversation walking into a new cafe for the first time.

Me: Hello.
Counter-person: Hello. How are you today?
Me: Good. And you?
Counter-person: I'm good.
Me: I'll have a cold brew.
Counter-person: $5.19.
Me: Thanks.
Counter-person: Thank you.

It's a standard, generic interaction. And you could predict what each person will say next or how they'll react along the way.

But when I walked into this cafe a few moments ago, it went like this:

Me: Hello.
Sarah (barista): Oh god. What now.
Me: [hopping forward, step by step and making a farting sound each time my foot hits the ground] pfft, pfft, pfft.
Sarah: Actually, I was hoping you would come. I have a story for you. I had to call the cops on someone this morning.

If you tried to predict this interaction, you would be screwed.

Similarly, saying something like, "I want you to repeat your card over and over in your mind, like, 'Four of Spades. Four of Spades,'" and looking for the way they react can work when you're dealing with a stranger who reacts generically.

But friends and acquaintances might smile or be straight-faced or give a look that's contrary to what mentalism techniques would suggest, because they have a whole history and style of interaction with you that doesn't follow the rules of performer/audience.

That's why I prefer very concrete techniques that don't require me to pick up on a subtle look or reaction.


Your force bag conversation hearts trick is a great idea. I'll try it out with one change. Instead of them tossing it in your mouth, they will put the candy in their mouth, and you will determine the message by French kissing them. That could lead to a great Valentine's Day.—GT

Yes, this was the initial idea, but I don’t trust magicians to know when this is appropriate or not. Here’s the deal, if you’re already kissing this person outside of this trick, then feel free to perform it like this.

Until February...

This is the final post for January.

Keepers #2 will be sent to supporters on Sunday, February 1st.

Regular posting will resume here Monday, February 2nd.


There's been renewed interest in the Alphablocks concept after I wrote about it earlier this month.

I'm not sure if I ever stated this explicitly, but the best generic framing for this process is "casting" Boggle dice or Scrabble tiles. Similar to "casting" runes, this is framed as a more modern process using these game pieces.

I do it over the phone as I test out this weird technique I read about. They're thinking of a word from their favorite song or poem or whatever. I "cast" a handful of Scrabble tiles and tell them which ones are face up. And they tell me if any letters are accurate. (They don't actually tell me what those letters are.) We try again and see how accurate the letters are.

We try one last time: "Wait, that's wild. They're all face up. Okay, so we have a B… wait… hold on. This actually spells something." I then take a picture of the "random" letters that just came up, and they spell the exact word they're thinking of.

Of course, I'm just finding the letters to spell their word once I know what it is. But the sound of Scrabble tiles or Boggle dice being shaken up is so distinctive that it paints the scene in their mind. And if I find the letters to spell their word before shaking and dropping a different group of letters, they strongly associate the picture I send with the sound they just heard—creating the illusion that the letters in the picture are the ones that just hit the table.


Vanishing Inc. features a Community Questions section on their product pages, which is a helpful way for people to ask and answer questions about individual products.

For example, on the product page for "Coincidenc3," Dexter Yin has a question and Barry chimes in with this helpful information.

Now, just so you understand, Josh and Andi don't come to your house at gunpoint and make you answer questions on the product page. This was Barry going out of his way to answer the question.

It's a weird way to go through life—feeling compelled to contribute your two cents when your account balance is literally zero.

Priest: If anyone here knows of any reason why these two should not be joined in marriage, speak now or forever hold your peace.

Barry: [Slowly stands.] Yeah, so I just want to say I don't know any reason they shouldn't be married. [Sits, then stands quickly.] To be clear, I don't know Steve and… Angela? I thought I was coming into a real estate seminar.


See you all back here in February, my little Valentines.