Word of Mouth

Coming in the JAMM #10

Word of Mouth

Word of Mouth is a simple, absurdist, wildly fooling trick and one that your audience will remember for a very long time. 

I don't want to give too many details away, but it involves sloppily shoving food into your fat face like a lunatic. Something you're probably pretty good at.

If you're someone who has spent 8 years perfecting your classic pass I urge you NOT to perform Word of Mouth. If you do, you'll find it's the trick people bring up and talk about for months and that it generates more joy in people than every classic pass trick you've ever performed combined.  And then you'll take a long hard look in the mirror and realize how much of your life you squandered and then you'll go throw yourself in front of a bread truck or something. I don't want that. So please, don't even bother reading it.

For everyone else, I think you'll find Word of Mouth to be the most bonkers trick you read all year. And if you end up performing it, you'll see it's one of the most amazing ones as well.

Feeling and Belief

In the writing that follows I talk a bit about developing a "magic feeling" with your effects.

What do I mean with this term? It's easy to dismiss this as some kind of hokey Doug Henning horse-shit. 

The reason I can give wonder is that I feel wonder about the world: the stars, a tree, my body - everything.
— Doug Henning

That's not the type of thing I'm discussing. I mean, that's fine and all, but what I'm really talking about is crafting an experience or a moment that has a bizarrely enchanting, otherworldly feeling to it. Not the magic of a fucking tree.


I've heard it said that the unfortunate part about performing as a non-professional is that your audiences are usually people you know, so they're unlikely to believe whatever power you are professing to have. 

But this is not a bad thing. This is one of the benefits of performing for friends and family. 

Wanting someone to truly believe you can read their mind (for example) is a mental disorder. It's a cry for help. 

The moment someone believes something actually happened, you have lost the ability to create the feeling of "magic." The magic feeling occurs in the gulf between what they believe is true about the world and what felt true during the course of the effect.

If they believe you can read minds in real life and then you do an effect where you read minds, you have a magic feeling of zero. Your performance can be impressive or even amazing as a demonstration of skill, but you're probably undercutting people's enjoyment by aiming for "belief."


One of the very first things we ever tested with my NYC focus group crew was to see who enjoyed a mind-reading trick more: people who believe in mind-reading/ESP or people who don't. People rated their belief in the phenomenon on a scale of 1 to 100 and later they watched a demonstration of mind-reading and rated their enjoyment on a scale of 1 to 100. While everyone had a positive response to the performance, there was an inverse relationship between belief and enjoyment. That is to say, the more you believe in mind-reading, the less enjoyable you find watching it as entertainment.

That kind of makes sense. The non-believers are witnessing something that seems impossible. The believers are seeing a demonstration of what they already assume is possible. 


You see, belief implies possibility. 

Every time you do a trick you have two choices:

1. "I want my audience to believe I did something that is possible." 

2. "I want my audience to feel like I did something impossible." (Or, more towards my style, "I want my audience to feel like something impossible happened.")

What screws magicians up is that they think there's a third choice: "I want my audience to believe I did something impossible." This isn't an option. It's not on the table. Because to believe you did the impossible, would make you a god or a wizard. You are not going to get an intelligent adult to believe that. And you're certainly not going to get your friends and family to believe that. And if it seems like you want them to believe it, you're going to come off as a grade-A nutjob.


When I suggest magician's shouldn't strive for people's belief in their performances, there is a tendency to think I'm suggesting they should half-ass it and turn it into something meaningless and frivolous, but that's not what I'm suggesting.

It's easy to think of "strong magic" as being synonymous with the spectator believing the trick really happened. So it can seem ridiculous for me to suggest that strong magic is when people don't believe it really happened. But it only seems ridiculous when you consider one axis of the equation.

believ.jpg

With just that variable, it would seem like you would want to push it as far to the right as possible.

What I'm proposing makes much more sense when you add the other axis. 

Feel.jpg

 

When you consider it like this, I think most would agree that something at point B on the chart ("I believe it was real and it felt 100% real") is probably less "magical" than something at point A on the chart ("I don't believe it was real but it felt 100% real"). 

That "magic" feeling is really that dissonance that exists when something feels real but you know it's not.

What makes magic unique from any other art is that it can create experiences that exist around point A in the chart. Most everything else in your life is at point B. "I believe the cable guy replaced my cable box. And it felt like the cable guy replaced my cable box." That's not the most marvelous type of experience.

This is why a lot of the theory type stuff on this site is all devoted to changing how an effect feels to the spectator. The smear technique, imps, reps, buy-ins, the different performance styles— all of that—affect how a trick feels. They don't, necessarily, affect the deceptiveness of the trick itself. We're not lacking in tools of deceptiveness. We're lacking in tools to make the effects feel authentic.

What does it mean to make an effect feel real? It means adding in these types of presentational approaches that are designed to fool their heart, not their brain. 


See, it's not a problem that your wife doesn't believe you can't really read her mind. If your performance for friends and family have gotten stale, it's not because of their lack of belief. It's because they don't feel anything.

It took me a while to figure out, but many of my least favorite performances were the ones where people bought into the reality of my "powers," even partially. The ones where people thought I might have really been able to read their mind or predict their actions or memorize a full deck in a minute. Sometimes they'd be impressed, but I don't need that validation, especially for a skill I don't actually possess. And sometimes they'd be a little weirded out, and that's somewhat enjoyable, but more so for me than them. So, in one way, those performance were "successful," but there wasn't really that sense of raucous fun that I feel my best (most "magical") performances generate.

It's not a bad thing when your audiences consist of people who don't believe it's real. That's good. That means you're on the left side of the graph. Now you just have to push the effect toward the top of the graph to generate a feeling of magic.


And think about it, if you could genuinely read minds, and your wife believed it, she would be 100 times more sick of your shit than she is now. Asking her to think of a three digit number or draw a "simple shape" for the goddamn 1000th time so you can demonstrate a skill she believes you actually have? How would that play out in the long run? Just get it over with and have your lawyer draft the divorce papers. 

Taking Care of Business

I Think I'd Be Particularly Susceptible to the Marketing Practices of Crack Dealers

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If you haven't seen it elsewhere yet, our pal, Marc Kerstein, has released a free effect that allows you to reveal someone's star sign without asking any questions and without them writing it down or seemingly indicating it in any way at all. It's kind of a "sample" of his app, Xeno (but this sample isn't, in fact, an app itself--you can use the lite version even if you're some poor slob who doesn't own a phone). The best endorsement I can give is that after playing around with it for a while, I ended up buying the full version of Xeno. So the famed crack-dealer ploy of giving the first dose for free to get them addicted in hopes they'll pay for more definitely worked on me. 

Check out the free version here. And the full version of Xeno is available here.


The Jerx Can't Be Bought

The preceding was not a paid advertisement. 

I consider Marc part of the core group of about 8 people who I rely on for help with projects related to this site. And yet, even with him, it took me three months to mention his newest app. That's because, other than testing it briefly when it was in "pre-production," I hadn't had a chance to play around with it. And I don't think it's a service to Marc and definitely not a service to you guys, if I come here and tell you how great Marc's stuff is if I haven't actually used it. 

I'm making my way around to a point here, and it's this...

Recently I've had a number of people email me with offers to send me free stuff. You might think that would be just about the best perk of writing a magic blog. In fact, you might think, "Hey, I think I'll start a blog. It will become popular. And people will send me free stuff too!" And yeah, that seems like a great plan. But one thing I've learned (and this goes way back to 2003 and the old site) is that it's a bit of a Catch-22. You see, sometimes (not always) people want to send you stuff so you'll say something nice about it on the blog. But the catch is, the people who like this site tend to like it because it's not the type of site where I would just say something nice about something because I got it for free. 

So, for a long time, my policy was "no free stuff," because it was just easier to avoid the situation altogether.

These days, my policy is, "ok, sure, free stuff," as long as you're okay with the high probability that I won't mention it on the site. And the reason I'm unlikely to mention it is because I just don't end up talking about too many products here. And what I don't want is for this site to become a place where, when I mention a trick, people are like, "Does he really like that? Or did he get it for free and he feels obligated to say something nice." (I'm reminded of certain areas of the Cafe where, for a time at least, the same dozen people were praising each other's products for years. Everything was brilliant, to the point where their input on an effect meant nothing.)

Now, I should mention, many of the people who do offer to send me something make it clear that they're not asking for anything in return. So, what I'm saying here doesn't go for everyone. 

So if you want to send me something, I'm happy to receive it. Send me an email and I'll get you the PO Box where you can get things to me. I meet up with the person who monitors that box at least once a month, so I can get it in a relatively timely fashion. 

At the same time, no one needs to send me free stuff. I don't mind paying for magic. It's a harmless vice (unlike my pending crack addiction).


Bulking and Cutting

Since this site began two and a half years ago, it's been featured on Boing Boing about a dozen times. And each time I was pretty delighted that someone thought the writing in this obscure, niche magic blog might be of interest to a general audience. (That "someone," in this case, being Cory Doctorow)

I've never advertised this site. I've never linked it on a message board. When it began I sent a message to about 30 people who had emailed me when I deleted my old site, 10 years earlier. That was the extent of the promotion I did for it. And despite that, it's only grown month after month.

However, as I mentioned a couple weeks ago, the future of this site is dependent on the devoted readers, not the casual ones. And, in line with that idea, I'm taking some steps to scale back the readership here. (One of those steps was emailing Cory Doctorow and asking him not to feature this site on Boing Boing in the future.)

I realize that seems like a bad idea for a site that is reader-supported. But it's only a bad idea if the goal is to have the widest audience. And that's not my goal. My feeling is that this site and my output is stronger when I have a better grasp on who the readership is. And I really just want to write and create and experiment on behalf of the in-crowd (the fans who support the site) because I feel that's when I'm doing my best work. 

There's a tendency to think of building an audience as just amassing more readers. I can do that if I want. And it's exactly what I will do once Ellusionist buys this blog and I'm just pimping their stuff 24/7. But I feel that's how you go about building a flabby audience. Instead, I'm taking my cue from the world of bodybuilding and the idea of "bulking and cutting." In bodybuilding, when you want to put on more muscle, you first have to put on muscle and fat. That's the bulk phase. Then you go through a cut phase where you try and lose the fat (but keep the muscle) you put on during the bulk.

This site went through its bulk phase (as I said, it was in Boing Boing a dozen times; there were three glowing reviews (for JV1, AATKT, and the JAMM) in Genii over the course of six months; and I won the magic book of the year on the Cafe). That brought a lot of new readers here. And now we're going through the cut phase, where I'll implement some changes in an attempt to trim some of the fat, but keep the muscle from the bulk. Some of these changes may be noticeable, some won't be from your vantage point. But just know that the end goal is to create the best version of this site.

Note to Self

Here is a tool that I think some of you might be able to find some interesting uses for. It comes from friend-of-the-site, Michael Kanon, who suggested it to me over email.

The idea is simply this, with an iPhone (and it's possibly true with other types of phones as well) you can record a voice-memo and then add onto it at a later point in time. 

Here are the steps:

  1. Open up the iPhone Voice Memos app
  2. Hit the red button
  3. Say something
  4. Hit the red button again (this pauses the recording).
  5. Hit done.
  6. It will ask you to name it. Just save it as "New Recording."
  7. Tap the recording you just made in your list of recordings.
  8. Hit "Edit"
  9. Scroll to the end of the recording (and past it, it will readjust so you're at the very end) on the... whatever it's called... audio frequency bar thingy.
  10. Now hit the red button again. And say something else. 
  11. Stop the recording by hitting the red button.
  12. Hit Done.

Now when you play that file it plays as one continuous audio recording and you won't hear any edit. (Assuming the conditions of both recordings were as similar as possible: done in the same room (with the same room-tone), the same background noise, with you speaking from the same distance from the mic, etc.)

Okay, so what?

Well, now you can pretend to record something with someone, but only actually record the end of your interaction and have it append to something else entirely. What good is that? Well, I'll start with a dumb idea before we get to a good idea. 


Let's say Joshua Jay comes over my house for some magic sessioning and pesto focaccia. At some point I say, "Josh, this may seem corny, but I find your relationship with your wife very inspiring. I'm putting together a little something for the two of you to commemorate your great love. I want to record something."

I pull out my phone, go to the voice memo section and hit record.

"Josh, be as honest as possible, what are the feelings you get when you look deep in your lovely wife's eyes?"

I tip my phone towards Josh.

"Well," he says, "it's like looking into someone's soul. I feel an intensely strong bond. A spiritual connection. Like I'm seeing the personification of beauty. And yeah, if I'm being honest, I'm probably feeling some pretty intense arousal as well."

I stop the recording.

"That's beautiful," I say. "I hope to have what you guys have one day."

Later that evening, his wife comes by to pick him up (Josh won't go out alone after dark). I give her a hug hello, but it's clear I'm feeling a little awkward and nervous. 

After some pleasantries, I say, "I'm sorry. I can't hold this in any longer. I put sodium pentothal [aka "truth serum"] in your pesto focaccia, Josh. I've just had a bad feeling about this relationship for a long time and I needed to get to the truth. Anna, you have to hear this." I give her my phone and tell her to play the recording from earlier that night. She hits play and hears:

"Josh, be as honest as possible, what are the feelings you get when you look deep into Andi Gladwin's delicious butthole?"

"Well," Josh says, "it's like looking into someone's soul. I feel an intensely strong bond. A spiritual connection. Like I'm seeing the personification of beauty. And yeah, if I'm being honest, I'm probably feeling some pretty intense arousal as well."

She slaps Josh across the face. He starts crying. She grasps onto me. Starts blubbering something about needing "a real man." Her and Josh get divorced. Her and I get married. The End.

Okay, so in that instance I just record the Gladwin part first. Then when Josh arrives I open the app, get the file open and scroll to the end. Pretend to hit record for the first part of the recording, and then actually (secretly) hit record when I tip the phone to Josh for his input. Click done and everything is stitched together as one file.

[In Michael's original email to me, he says, "I keep the screen kinda towards me while I'm 'recording', but all I actually do is mute the phone (using the icon on the top right of the screen) and press play. So even if someone gets a glimpse at the screen it would look like I'm recording." This could be a nice convincer, but it's probably not necessary. I would just keep the screen towards myself the whole time.]


Okay, so you can use this to break up Joshua Jay's marriage—and that's a noble goal—but does it have any actual magic value?

Sure. Essentially it's a tool that can be used to get someone to confirm something that never actually happened. 

For example, let's blow this up into a big Derren Brown-esque, mind-blower. 

Your friend comes by. You force the 2 of hearts on her. As you gesture for her to grab and uncap a Sharpie, you top change it for the 5 of spades. You have her sign the back of the card and place it under her hand. 

You say, "I'm going to record the details of what has happened so far so we can reference it later if we need to."

You turn on your phone, open up the voice memo section, and say, "Sophie came over. I spread a deck of cards on the table. She freely chose one card. It was the 2 of hearts. She signed the back and now it's under her hand. Is that all correct, Sophie?"

She leans into the phone and acknowledges that's all accurate. 

You stop the recording. You ask her to keep her hand on the card, close her eyes and picture herself coming into your house, as she did just minutes ago. You ask her to be open to all sensory stimuli and really try and make the scene as vivid as possible. 

When this is over you ask her to open her eyes and tell you what card she selected. 

"The 2 of hearts," she says.

"Are you sure? You really feel it was the 2 of hearts?"

She says, "Yes."

"I'm going to tell you what really happened," you say. "You came over here, you selected a card. It was the five of spades, you signed it, and it's been under your hand since then. Take a look."

She does and finds the 5 of spades. However she's still adamant she picked the 2 of hearts.

"You didn't. Your brain tricked itself. You don't have to believe me. We have you confirming it earlier."

You give her the phone and she plays the voice memo where she confirms she picked and signed the five of spades. 

You tell her you'll explain what happened and you point out all sorts of imagery around the house that have two hearts subtly or overtly displayed in them, you show her how the vacuum cord is laying on the floor in the rough shape of two hearts, you show her the last text you sent with the emoji with hearts for eyes, etc. etc. She absorbed all of this subconsciously, you say, and that imagery replaced the image of the card she actually took.

"Wait...," she says, "that's why you were playing that shitty Phil Collins song when I came over!"

The End.

You can figure out the details from everything I've written if you're so inclined. I haven't performed this myself. (I use the Jerx App for this type of effect. I think because it offers video proof, and it's on the spectator's phone, it's significantly more convincing.) But I do think it's structurally a pretty sound effect. 

One thing to keep in mind is that you don't need to make the transition (the moment you actually hit record) happen right before they start speaking. It can happen at any point between sentences. So you could speak (set up the false reality), secretly hit record [transition point] continue to speak, maybe even set the phone down. (With the screen down or the screen off, because, when editing, the recording is red, not white. Most people won't know that, but it's just a consideration.)


If you come up with any unique ways of using this technique, let me know.

Thanks again to Michael Kanon for sending the idea along.

And before I go, here's one final way of using it that I have used. I'm hiding it here at the end because it's really good.

When I perform the In Search of Lost Time presentation for the invisible deck, I can make an audio recording of the hypnotic induction the person sits through. I can send it to their phone when the trick is over "if you're curious, and just so you know nothing weird went down while you were under." So now, not only do they have the magic trick as "proof" of this chunk of lost time, but they can also listen to the 10 minute induction—which seemed to pass by in just seconds—and hear themselves being awoken at the end, seemingly proving that what you're suggesting happened really did happen.

(If you're going to do this effect, at least take their mind out for dinner and dancing before fucking it like this.)

Gardyloo #36

Once people know you perform magic, I find it's very difficult to perform something and have it genuinely come off as some sort of "magical coincidence." Everything just seems like a trick. 

However, I've recently come up with a slight variation on a Joshua Jay effect that honestly feels like it could be just a bizarre coincidence.

Here's how it looks. You and your friend are hanging out together but doing your own thing. You're reading a magic book and you tell your friend you'd like to show him a trick. You quickly scan the book again to make sure you have the details correct, then you put a blue playing card in the book as a bookmark and set it aside. 

You pull out a red deck and perform the trick. Your spectator gets a free choice of any card in the deck, the card is returned to the deck, and then they can name any number between 1 and 52. You count down to that number in the deck... and it's not their card.

"Aw, crud," you say and reach for the book to see what went wrong. You flip through a couple times looking for your bookmark and then you find it.

"Hold on," you say, "What number did you name?"

Your friend says "28." 

You point to the page where the bookmark was. It's 28.

"That's funny," you say. You take out the card, pause and say, "Wait... what card did you pick?"

Your spectator says the four of hearts. You turn the card from your book over, it's the four of hearts.

In Josh's effect, the card magically transports from the deck to the book. I wanted to see how it would play if it wasn't intended to be a trick. So the spectator sees the card being used as a bookmark, it's clearly a card from another deck. In Josh's trick, when he goes to the book at the end, he's clearly ramping up for the climax of the trick. Here you're just going to the book to find out what you did wrong.

Because they don't know the trick is still going on at that point, you don't need to do as much proving and showing as Josh does at the end of the trick. But also, because they don't know the trick is still going, you have to move swiftly to keep their attention. You don't want it to feel like, "Okay, I'll go back to my book and you go back to what you were doing." You have to keep them "on the line," and be like, "Wait a sec, let me figure this out." 

Josh's original trick is great. But it also plays really well in this context, at least it has in the few times I've performed it. As long as you remember that you should be a little amazed by this as well, I think it will come off for your spectators as it did for mine, as a truly just a crazy coincidence. 

You might think, "But wouldn't I rather have an effect seem truly impossible more than just a weird coincidence?" In many cases, yes. But if something genuinely feels like a wildly unlikely coincidence, that can provide a different kind of "magical" experience for people. And it's good to diversify the types of experiences you try to deliver.

Below you can see video of Josh performing the effect. He teaches it in a lot of places: The Talk About Tricks DVD set, The Methods in Magic DVD, his recent Reel Magic lecture, his first Penguin Live Lecture, his first At the Table lecture, the Unreal DVD set. Basically anytime a camera is pointed at him he's teaching this trick. I guarantee the Josh Jay sex tape features him explaining this effect at the end.


Here's the pdf with some of my Quinta thoughts I mentioned previously. These are just some small ideas that allow you to be more explicit with what's going to happen before a number is even named.

Normally I'd put a password on this sort of thing, but there are a number of different places you could legitimately have learned Quinta from that I couldn't come up with one password to be like, "Oh it's the first word on page 8," or whatever. The truth is, there's not enough information here to sort out the workings of Quinta in anything other than the most general way. If you have any interest in the effect at all you should pick it up in some form. I recommend the Quinta ebook.


I talked last week about another year of the Jerx in 2018. That's probably not going to happen now. At least if this article is to be believed.

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I hope it's not the case, but I'm pretty scared it might be true. If there are any two groups known for their spot-on predictions of what the future holds, it's Christians and numerologists.


Dan the Magic Man, who was recently booted from the GLOMM, was just sentenced to five years in prison for child porn.

Catch ya on the flip-flop, Dan. Don't come crawling back to the GLOMM, because your ban is permanent. And also because I'm sure crawling is some weird fetish for you and I don't want to deal with you all horned-up because you've been wriggling around in a diaper all day.


Yet another person risks his life by destroying a copy of Expert at the Card Table for some stupid Jerx Points.

For his own safety, he does try and misdirect anyone who casually stumbles across the video with this description:

Erdnase's timeless, enjoyable, and witty book, Expert at the Card Table, has pleased magicians and lay people alike for generations. With a focus on entertainment and wonder, it is truly a book like none other. Here I share my thoughts about this wonderful classic of magic.

Please stop this madness, everyone! I don't want more blood on my hands!

Coming Soon

Tomorrow I'll be posting that Quinta pdf I mentioned a few weeks ago.

And in the next week or so there will be an update to the Jerx app which will feature a new little effect called Br@inDump. If you've learned what word a spectator is thinking via a peek wallet, impression pad, or center tear or something, Br@inDump is a way to reveal that word in an intriguing, almost believable, potentially slightly unsettling way. One of the first people I performed it for said, "Oh... I don't like that. This is like something out of Black Mirror." And no, you don't reveal the word while screwing a pig (unless you want to). More details on that to come.

The Force Unleashed

This is a continuation of Monday's post. If you haven't read that post yet, go do that. We'll wait...

Nah, let's not wait... screw that guy, how dare he not stay on top of the blog posts as they-- oh... you're back. Okay, moving on. 

Let me go through the forces we tested again with some quick comments just so we're all on the same page in regards to what I mean when I'm talking about them.

The Forces and How They Look

Classic Force: Cards spread from hand to hand, the spectator reaches out and takes one as they go by.

Cross Cut Force: Spectator cuts the deck into two piles. The cut is "marked" by placing one half across the other. After a moment, the spectator is instructed to look at the bottom card of the top portion (the "card they cut to).

Dribble Force: The cards are dropped singly in rapid succession from one hand to the other (i.e., "dribbled") and the spectator stops this process at any point. The card is displayed at the point they stopped at.

Riffle Force: The performer holds the deck in dealing grip and runs his thumb along the corner of the deck. The spectator calls out stop and the deck is split where he called stop to determine the selected card.

Second Deal Force: The cards are dealt on the table one at a time. At any point the spectator can call "stop." They are given the option to keep going or stay where they stopped. When they're happy with where they stopped, the card that is on top of the deck is turned over.

Under-the-spread Force: The cards are spread between the hands and the spectator is asked to touch any one. They are given a chance to change their mind. Once they settle on a card, the selection and the cards above it in the spread are raised to display the chosen card.

The deck was shuffled and then each procedure was demonstrated for the respondent but without the covert action involved that would force a card, so they were given free choices in a way that would mimic the actions of a force. After each one they would rate how "free and fair" the selection seemed on a scale of 0-100. 

If you want, see if you can predict the order in which the spectator's ranked them from least fair to most fair. Take out a piece of paper and rank them from 1-6. This is your last chance. The results will come after this ad for our new sponsor: Tyler Perry's Boo! Two - A Madea Halloween. Coming to theaters October 20th. Tyler Perry's Boo! Two... You Scurred?

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The Results

Here are the forces with their average "fairness" score next to them. From lowest (least fair) to highest (most fair).

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"Wait... what the shit?"

Yeah, that's what I was saying too. The first four people we tested, all ranked the classic force in their bottom two and the cross cut force either first or second. I probably shouldn't have been surprised because, if anything, I've found traditional magic wisdom to be wrong more often than it's right. But I was still pretty surprised. After those first four people we added a little discussion to the end of the testing where we would ask them why certain procedures felt more fair. And after that we would ask them about their knowledge of the concept of "forcing a card."

After breaking down why certain procedures felt more fair, the rankings above seemed very obvious.

There were two important things that we gathered from discussing the procedures and their scores with them.

Important Thing #1 - Speed Kills

The lowest rated forces all had one thing in common: the moment of choice was over in an instant.

When we asked, "Why did you rate this one the least fair?" very often the answers dealt with the speed in which the choice was made. They would say something like, "It just happened too quickly." Or, "I didn't have time to think about it." 

Regarding the riffle force, one person, who scored it the lowest, said, "It was too fast to completely connect when I said stop to when you actually stopped. It seemed close, but maybe it was a little before or after. It was hard to see."

This is one of the many things that seems obvious now after talking to real people, but I don't think it's something most magicians ever consider. Think about how magicians will jokingly riffle through the deck or dribble through the cards completely before the spectator has a chance to say stop. Like idiots, we're emphasizing the fact that it's all happening too fast to be meaningful.

If you had to select any other object in the world, and you did so by having them whiz by your face too quickly to see, and you just randomly shouted stop and then you were presented with one, would you be confident that was truly a free choice? Probably not.

The highest scoring forces were all slow forces. The participant isn't rushed. You can spread through the entire deck. You can deal through the entire deck. Or they can take as much time as they want cutting the cards in two piles.

But one thing this doesn't explain is why the riffle force scored higher than the classic force. They're both "fast" forces, but the classic force is certainly more open, and would certainly seem more "free and fair," one would think.

That brings us to...

Important Thing #2 - A Layman's Understanding of Forcing

When we asked a few people who had rated the classic force the lowest why they did so—when we asked why spreading the deck for a selection didn't feel fair—four of them said something like this with no prompting: "Because, that's how you force a card."

Hmmm.

Of the 18 people we asked, "Are you familiar with the concept of 'forcing' a card?" Seventeen had heard of the concept. When we asked, "Do you know what that means?" Two said no, two gave a general (accurate) description of what it means, and the other thirteen said something along these lines, "It's when you have someone pick a card and you kind of push the one you want them to take into their hand without them knowing." Obviously they didn't all use the exact same words, but they all expressed a similar idea. That's 13 out of the 18 people we asked (and we can assume the first four who weren't asked, but put the classic force at or near the bottom as well, would likely have a similar view).

Men and women, old and young—they don't see card forcing as a general term, they see it as a specific thing which means to spread a deck and secretly push a particular card on someone.

Wrap your fat head around this: When you do the classic force you are literally mimicking the ONLY process many people associate with card forcing.

With that in mind, of course, the actions of the classic force were rated as "least fair." Cutting the deck doesn't conform with their understanding of what it means to force a card. Nor does dealing through them. A riffle force might not seem like a "free" selection because of the speed at which it happens, but it's a little more fair seeming to some people because it doesn't consist of the exact actions of what they understand a card force to be

"Yeah, but everyone says the classic force is the best force."

Yes. They do. And I always just assumed it was as well (although it's not something I performed) however I don't think that way now. You could say that 100s of years of magic wisdom shouldn't be flushed away for what I learned over the course of one Saturday with 22 people, but the findings make sense to me. 

So why do so many do it and champion it?

I can't say for sure, but these are my theories:

First, I think it probably was, at one time, a very strong force. Maybe in the 1800s spectators didn't have the concept of forcing a card. I don't know. Maybe spreading a deck of cards and saying, "pick a card, any card" wasn't associated with deceit and shadiness. I know the one person in our study who said she wasn't familiar with the concept of forcing a card also rated the classic force the highest of any of the other people. That's just one data point, but it might point towards an explanation.

Second, a lot of magicians live in a bubble in regards to technique—what fools people, what people enjoy, etc. I read some of these theory books and so many seem completely bogus. Not like the author actually asked any real spectators what they think, but just made assumptions. So maybe the classic force was once a very strong force, but over time, as the public's understanding of the concept of card forcing increased, no one bothered to see if spreading a deck between your hands for a card selection still feels innocuous. I'm the only one who admits to being dumb enough to need to test these things out.

Third, while the classic force might fool people less often than we think, I think it still impresses people. So performing it still gets the magician a positive response. What do you think is happening when you do the classic force half a dozen times in a row, forcing the same card on the same person, as many magicians do? They're not marveling at the magic. They're marveling at your skill.

Fourth, I think it's just more satisfying to pull off the classic force than most other forces. The degree of difficulty is much higher, so it feels like more of an accomplishment. But that difficulty isn't reflected in how fooling it is.

"But seriously, the Cross Cut Force?"

Yep. And not only that, it wasn't some clever variation on the cross cut force (See Ben Earl's work for that). It was literally just, "Cut the deck in two piles." Cross the halves. Wait a bit. Reveal the card. 

And think about this, this was the only actual force we did all day... and it was rated the most fair!

And it averaged the highest score despite the fact that one guy gave it a zero because he was familiar with it from a book on magic he read as a kid. (We weeded out anyone with an active interest in magic, but not someone who had played around with it as a kid.)

When we asked those who rated it the most fair why they did so, we got two main answers.

1. "Because I was holding the deck." Duh. That seems ridiculously obvious now, but yeah, of course it will feel more fair given that they are doing it themselves.

2. "It was just cutting to a card." Again... of course. Spreading the deck for a selection is what you do in a magic trick. But cutting the cards is something you do in card games. It's a normal action. It's no surprise the top two forces involved dealing and cutting; actions people are familiar with outside of magic tricks. There is very little dribbling and riffling in daily life. I don't know of any card games where you spread and select a random card.

Conclusion

So what did I take away from this?

Am I just only going to do the cross cut force the rest of my life? No. Although I will be using it much more, I'll be doing so with added convincers to make it even stronger. The problem with the cross cut force is when someone does spot the discrepancy that makes it work, it falls apart completely. Whereas with something like a riffle force, they can be suspicious but never really know.

Am I never going to bother learning the classic force because it's more of a self-indulgent exercise than an ideal tool for fooling people? Uhm... yeah, that's probably true.

I think my takeaways are these:

1. When deciding on a force I will choose one where the moment of selection is not rushed in any way.

2. The actions of the force will, ideally, be something they're familiar with (cutting, dealing, shuffling) rather than something that looks like the actions of what their understanding of a force would be. 

3. I will keep my eye out for more forces that happen in the spectator's hands.

4. I'm going to work on my second deal. The idea of dealing through the deck until someone stopped you felt very fair to most of the respondents.

Postscript: The Damsel Technique

I'll probably write this up at some point next year. It's a tiny idea but one that can have a big impact. This was the technique I originally wanted to test when I went off to NYC. It can be used with almost any force (it works amazingly well with the cross cut force). In our testing we used it with the dribble force. We performed a standard dribble force for 11 people and their "fairness" rating was 54. We performed the same force with the Damsel technique for another 11 people and its fairness rating was 86. And it has applications beyond card forcing. You won't get all the details any time soon, but I mention it now just to whet your appetite. Y'all whet?