Spreading Negativity

In March, I suggested the idea of doing a tournament to discover the worst trick of all time and solicited your nominations. After playing things out in my head, I realized a tournament wouldn’t quite work out the way I had intended. And yet here I was with a few dozen nominations for the worst trick of all time. What to do with them?

So I conducted a poll in the last post of April asking if I should post the nominees or not. Does magic have enough negativity, or does it need more?

Well, 89.8% of you thought it could do with just a little more. Okay, you monsters, you asked for this. I’m not going to stand in your way.

I will happily do a rebuttal post to this. If you use or have used one of these tricks and you love it, feel free to write me and I’ll post your input as well. These tricks were nominated as The Worst All Time. But I’m happy to share the opposite opinions. “That TWAT doesn’t stink!”

I got many more nominees than this, but not everyone provided their rationale, so I’m just posting the ones that give some sort of argument.

Here are the TWAT nominees alphabetically, along with the nominator’s rationale, and an occasional note from me in [bold].

Akronym

It’s a clever method that I’ve only gotten to work on my LEAST INTERESTED spectators. Anyone who is actually interested in what I’m showing them realizes that the words that they are choosing have nothing to do with the wikipedia page they’re on. I can keep them from reading through the page but how am I supposed to get people to ignore that the word they picked on the page for Abraham Lincoln was ‘jujitsu’? Or that “smartphone” appears in the first couple of sentences of the page for the Titanic? These words can’t be ignored because they are the focus of the effect, and the same potential weakness comes up over and over with the trick. When you get lucky and the words aren’t THAT ludicrous it gets a great response. But I haven’t had it work at all on anyone who is paying attention.

[I don’t own this. But I’ve watched two people who raved about the trick fail with it for this exact reason. I like the thinking behind the trick, but I don’t think I could ever perform it because there’s no talking your way out of it if someone notices the words are strange. And anything I ever do with my phone for that person in the future would be totally suspect. Cool idea though.]

Applause Applause

I haven't bought the gimmick, but if you listen carefully, you can tell how it works. Actually, you don't even have to listen that carefully. You can clearly hear him click a button, and then the applause sound that plays sounds wildly different from the one that came from their phone. And I'd have to imagine that, when done in person, you could also just tell that the sound is coming from a different place, let alone a different speaker. All of that, plus a deck that cannot be examined, plus (I'm assuming) some basic sleight of hand, all for a worse version of the stop trick.

Aquarium

I’m not sure if the trick is bad or just pointless. Or maybe my opinion of it has been skewed by the trailer, which contains bizarre lines like, ‘Incredibly, the magician finds the fish,’ and, ‘it’s not the only fish in the deck.’

Maybe all omni deck routines suffer from this a bit, but it just seems like such a non-sequitur: “And now the deck is a fish tank!”

Wait. The deck is a what?

[I agree that the omni deck is kind of stupid. The kind of trick that seduces magicians because it can get a strong initial reaction, but also highlights the meaninglessness of most magic. That being said, while I have no dobut the presentation included with Aquarium is terrible, I think it can be used in service of some more surreal premises. See here.]

Arrival

Check the video, to see how he seems to have totally misunderstood black art. It's as if he is thinking “They can't tell for sure this isn't just a black sheet near the front. To the audience there is a possibility that the black sheet actually is further back.”

Especially notice the part from a real show which seems to be performed in black light.

The Chinese Teapot

What is the effect?

Where do you do this, why, for whom?

If you find someone to show this, the ‘method’ should be clear to anyone over 2  years old.

Chinese Sticks

Never liked that trick. Even before I was into magic.

It's obviously a gadget. And the person running the gadget knows the trick. And it's not even that interesting of a trick.

“What? Those tubes have some sort of weird wheels inside. That's magic?”

Boring. Not mysterious. And not even Chinese. Geez.

Dancer’s Dancers Thumbs

The trailer's music rips, but there's no way this is fooling anyone. If someone showed up halfway through, they'd be able to guess the secret. If you described the effect to a blind kid, they'd be able to guess the secret.

[I don’t know if this fools anyone or not. And I wouldn’t do it myself. But I kind of love it.]

Dead Famous Deck by iNFiNiTi

A deck with AI-generated portraits of dead celebrities.  Way to keep it classy.  Especially with recent deaths like Kobe Bryant and Queen Elizabeth.  I have nothing against dark humor (I'm pretty morbid myself) but there's no joke here; it's just ghoulish.”

The link is for the Celebrity Deck because I can't find the Dead Famous deck for sale anywhere.  Perhaps they realized it's so bad they canceled its release, even though it is still mentioned in the Celebrity Deck advertising.

Dean’s Box

Magicians love it and there are certainly some clever principles going on, which are utilized well in other tricks. But this, I've only ever seen bomb with real crowds.

[This is a bold choice, given how most magicians feel about this trick. But I like the nominator going out on a limb. And look, if you’re someone who has a trick on this list, you can console yourself by saying, “Dean’s Box is on that list. And that’s a classic. My trick is probably a classic too!”]

Downfall

The fact that this is available for one cent at Penguin should be a tipoff.  I got it as a free bonus in an order, and it's so bad that I'm glad I didn't pay that full cent.  While there is a kind of gimmick mechanism involved, it is mostly exactly what it looks like to a spectator: placing an object precariously on the edge of a table and waiting for it to fall on its own.

Double Miracle

Why it’s bad…

In addition to being overly procedural (which may be fixed with patter)...

Spectator picks a card. But they never look at the face (so they don't know what card it is). 

Place unknown card in between two face up mates. Then cut the three card packet into the middle of deck.

Then magician takes deck under table and spreads through cards and names the chosen card (which the spectator can't confirm since they never looked at the card).

So as proof, magician shows there's no longer a card in-between the two mates.

That's a really convoluted way to show you know what the spectator's card is. Also...

I think it would occur to most people (non-magicians) there may be a way to get to the three card packet since cards are back-to-back/face-to-face. Plus...

Magician keeps cards under the table a loooong time.

[I don’t know if I’d call this the worst trick, but it is a tremendously oblique effect in both method and premise. I can’t imagine choosing to perform this for a layperson with all the more direct card tricks you could show them.]

EDCeipt

The only thing that comes to mind here is that trick using receipts that Craig Petty put out. It is so boring. It amazed me that such a boring trick could have created such controversy at the time.

Given the controversy - it is only fair that Craig Petty and Michael Weber share the honour of releasing the worst trick of all time.

Fast Fingers

The presentation offered with the trick is insane. It also demands the use of an incredibly weird prop, but the prop can't be examined (I assume??). And the routine diverts away from the only interesting thing (the weird prop) at a sharp angle, only to end up in the most boring place possible.

Flakes Box

Looks Fake. Abuses a mediocre method.

Hole in the Head

Hole in the Head was hyped up around when I first got into magic. It's weird because Ben Harris actually has great ideas, i.e. floating match. The trick was that you would make a hole appear in your shadow's head. The audience can't look at you, and you have to be wearing glasses. What layman would see this and not want to look at you? Oh, and also, if you do the convincer taught of waving your hand over the hole, then your fingers move backwards, just in case anyone wasn't clear on the method.

HOT

While it may be a recent release it has been such a clusterfuck on multiple levels: the prop itself, presentation, handling, method, and then an addendum that adds problems. Even if you do get through Alexander's handling without anyone pointing out the issues, turning the coin over, dropping, grabbing, etc. It is still pretty lack lustre. I don't think I've had a release where I've felt as entitled to an apology as this one. I came away from this feeling like I needed to offer them a beginner guide to making magic. It is has however made me feel like I could release a best seller as this managed a few super positive reviews, though they haven't outweighed the negative reviews.

Hug

This is easy. The worst shit ever is obviously HUG by Nefesch.

Everything about it is so bad it's funny. The method will be obvious even to a blind person. Priced at $45 -- a total robbery. And the quotes. Oh my.

[This one was trashed when it first came out. But I like this Blake Vogt performance of it. At least as a quick, visual moment of weirdness.]

Level Up

The ad says “classic coin magic with game cartridges.” Matthew Wright’s quote says, “With less and less people carrying coins and cash it’s great to see classic plots and moves given a new lease of life.” As if carrying game cartridges around (with no game system) is somehow more common than coins these days.

More importantly, anyone who is familiar with Nintendo cartridges won’t recognize any of these games as being legitimate, and anyone who isn’t familiar with Nintendo cartridges will be watching a trick with completely unusual, meaningless objects. And while a coin that is a dime on one side and a penny on the other might be hard to conceive of, a piece of plastic that has one sticker on one side and another on the other is a pretty obvious method.

Light of God

I would like to nominate Light of God (self-lighting bulb). It’s an impressive gimmick, and it works well enough for an initial surprise, especially when you put it in someone else’s hand. But the novelty wears off quickly and I’m sure just about everyone can figure out it’s being activated remotely. Anyway, that’s my pick.

Middle Seat

I’m pretty sure a lot of people ended up getting this trick for free during Penguin’s Black Friday sale last year for good reason, they needed to get rid of these stupid things. I would apply the term uncanny valley magic props to this. Had this trick been a Tenyo trick, I probably wouldn’t be so hard on it because Tenyo stuff is so out of left field anyway. But it’s not. Maybe if on the prediction it was a small circular sticker on the chosen seat instead of it being a permanently highlighted seat I’d feel different. That way people think you change which seat it is with each performance. I don’t know. This thing just gave me more questions than answers.

The Pom Pom Stick

It never fails to bore me to death. On top of that there is seemingly no point in it or at least not one that I would describe as "magical". Plus every time I've seen it performed it's always a grown ass man saying the word "pom-pom" too many times, which seems just kind of weird.

Rainmaker

Rainmaker was basically a squirt gun strapped to your back so you could make it rain whenever you wanted. I can't think of anything more obvious or stupid.

Rumble

A thimble routine, but done with a rubber band wrapped around your finger.  Joe says this makes it “relevant” as if thimbles don't belong on fingers and rubber bands do.  I suppose for him thimbles are only for Monopoly boards and rubber bands are a natural extension of the body.  More likely, though, he turns ideas into rubber bands tricks the same way a lot of magicians look at a new idea and think “yes, but what if I did that with playing cards?”

The Skynet Project

The reason it’s bad is because of the ridiculous method. To make a freely named card appear in your palm, you have to wear a belt with all 52 cards inside these stupid little metal clips that are stuck by magnets around your waist.

A card is named, then you feel for the correct one of the 13 clips, each of which has 4 folded cards, which you then surreptitiously put into your pocket. THEN you have to pull out the one card of four that corresponds to the chosen card.

The idea that someone is going to walk around in life wearing a fucking belt full of playing cards is what makes this one of the worst trick releases ever. I was lucky to find another sucker to buy it from me.

The Wizard’s Flipbook

Like a classic Magician's Coloring Book, this is cut in such a way that you can flip through it and see different sets of pages, but unlike the classic, this one has eight separate sequences, making the gimmick obvious to a spectator and very visible even when not in use. One review notes: “The secret is to perform this bit of magic under dim light and several good feet away from the audience.”

Mailbag #116

I just came across your post on the Hoy book test and I was wondering how you justify the need for a specific page from a second book in a [traditional Hoy situation]? (Incidentally your ‘Take me to a random blog post’ feature is brilliant, and has led to me reading so many posts that would otherwise either be buried in my memories or never even have read otherwise.)—YG

Personally, I don’t try and “justify” the need for a specific page from a second book.

Justification is a double-edged sword. On the one hand, you’re giving people a rationale as to why you’re doing the thing you’re doing. On the other hand, you’re drawing attention to the thing you’re doing, which might otherwise fly by people.

I generally don’t pre-justify unless I know it’s going to come off as weird in the moment (which I don’t think the Hoy test does). Like if I have you think of a three-digit number then reverse the digits, then subtract the smaller number from the larger, then reverse the result and add it to the result. Etc., etc. That needs justification. That needs some kind of rationale because it’s so beyond what you would do to have someone think of a “random” number.

It seems I’ve already addressed this, specifically in relation to the Hoy Book Test in this post, Justification in Social Magic. (Don’t worry, I didn’t remember it either.)

To give you a short version, I would say that flipping the pages in one book to randomly select a page number, and then looking at a word at that page number in that book on the other side of the room, actually feels like a relatively fair way to identify an unknown “random” word.

If I was going to justify it, it would happen afterward and only if someone was openly questioning it.

But I don’t get people asking why we used the second book. I will occasionally get people who question things like this.

“So you can just read my mind of any word?”

“Like just by thinking of it? No, not really. You really need to see it in print. Your occipital lobe is the part of the brain that identify symbols when you read, and that’s the part that is also capable of projecting thoughts.”

“So if I look at any word in this book, you’ll be able to tell me what it is.”

“If you read through and consciously pick a word? Hmm… possibly, but probably not. That involves you specifically choosing a word that appeals to you or one you find challenging. That’s a whole different thought process and area of the brain. That’s why we just do it with a random word like we did. But we can try it if you want. If you think you can focus your mind in that way.”


I have a question about an upcoming gig, but could be just as well applied to any magicians' gigs.

I have agreed to do walk-around magic at a couple of school proms, and I wanted to expand my repertoire beyond card tricks. I was looking into chop cups and linking rings, but want to avoid the 'series of meaningless impossibilities' that you have written about before. Also, while those tricks are visually fun, they definitely have a certain...aesthetic.

I know that your blog is mostly about a unique blend of immersive, social magic, but is there any way that some of the qualities of good magic as you describe it can be applied in a professional, walk-around setting? How do you make 'instant-reset' tricks performed in a professional capacity look anything other than 'look at this thing I was paid to do'? Is it possible to give even a glimpse into the kind of Jerxian, reality-bending experience you write about? Or is it a fool's errand to try and adapt the principles on your blog into a paid gig, like walking into a bar and showing everyone a video of a shooting star you and your girlfriend saw after you first kissed and then asking for money? Is it about having that one or two unrepeatable, seemingly experimental tricks that will leave a couple of particular groups with something truly special?—JB

Two or three times a year, I will hear from a professional magician who tells me that I’m underestimating the potential to which some of the ideas I write about here could be used in a professional performing situation. I don’t know that it’s a matter of me “underestimating” something as much as it is a matter of me giving it no thought whatsoever.

How do you make 'instant-reset' tricks performed in a professional capacity look anything other than 'look at this thing I was paid to do'?”

I think that’s a losing battle. Your last sentence is probably your best bet. Have a couple of items in your bag or briefcase that you can go grab and perform that you supposedly hadn’t intended to show anyone. Don’t carry them in your pockets. Make it a little awkward for you to excuse yourself and get something. Maybe you have to run out to your car. You hadn’t planned for this. But this couple or this group happens to have the “right energy” or for whatever reason is “perfect for this thing [you’ve] been working on.” That’s the best case scenario of making a moment or two feel “special.”

Beyond that, I don’t know what to tell you. I personally would lean into having some non-magical “bit” to do with the groups. Like I’d say to the group, “So, my manager really wants me to get some performance footage while I’m out on this gig, but he really likes those big, over-the-top reactions. So can I record you reacting like I just showed you the world’s greatest trick? Before I leave tonight, I’m going to find whoever gave the best fake reaction and give them $50.” Then give your phone to someone else in the group and have them record as you say, “Is that your card?” And the group goes wild. With the biggest ham in the group screaming and pulling his hair and jumping all around, “Oh my god!!!!!” Then as you go from group to group, people will be waiting to hear you exclaim, “Is that your card?!” And see how their friends go absolutely bonkers. It could be a fun running bit throughout the night. (And you could then edit these obviously fake reactions together for your youtube or your website. “Here are some real, genuine,, reactions to my magic.”)

I don’t know if that’s the best idea I’d come up with. It’s just a first thought. My point being, I don’t think in that situation you can get the magic to feel fully spontaneous and personal. But you could introduce some other type of interaction with the groups that is genuinely out of your control and unrehearsed.

Until May...

This is the final post for April. Catch you all back here on Monday, May 6th.

The next issue of the newsletter comes out on Sunday, May 5th.

Hey, supporters. Remember that thing I wrote you about in last issue of the newsletter? The thing at the end? You have until the end of this month to pick that up if you’re interested.


I had someone mail me something recently and it ended up getting sent back because it was never picked up on our end.

The process to mail me something is to use the address found here. And then to inform me that you’ve sent me something. I don’t handle the PO Box myself (because I don’t live in the immediate area) and I don’t send the guy who does out to check it unless I know something is coming.


So, remember that post I wrote about doing a tournament to determine the worst trick of all time?

Well, I’ve reconsidered for a few reasons.

First, the reason I was considering it in the first place was to prove the maxim “there are no bad tricks, only bad magicians” right or wrong. But the thing is, I think those of us with at least a glimmer of a neuron still firing in our brain already know that that’s bullshit. So it would sort of be a series of wasted posts.

It might still be interesting to determine what the worst trick of all time is. But people’s criteria varies so widely that it would be difficult to really narrow it down in any meaningful way.

But I did collect a number of submissions, and it was sort of interesting to read the reasoning behind those submissions.

So, just for the hell of it, should I post those submissions? Please vote:

I’ll collect the votes over the break and then make a no decision next month. In the meantime, you can still give some submissions. (Without a rationale, I’ll most likely not print them regardless.)


Craig Petty is a polarizing individual in magic. I personally think, whether you like him and his style of magic or not, he provides a valuable service by demonstrating newly released tricks on his youtube channel.

But I also think he might be working himself too hard, or maybe the negativity he receives is getting to him a little. Did you see his latest video? I don’t know how noticeable it is, but it feels like the quality of the content is slipping a little.


See you back here in May.

Short Sheeting - A One-Ahead Subtlety *

I have a new item I’ve been carrying around in my computer bag recently that might interest some of you.

Yes, let’s get it out of the way, a computer bag is really no different from a purse. It’s a purse which holds a laptop. But don’t look down on that. Be grateful we have an excuse to carry around a little bag with us. For years, only women had this luxury. They needed something to hold their pocket mirror, rouge, and a box of tampons.

In those days, women weren’t allowed in the Magic Circle and the International Brotherhood of Magicians. It was commonly understood that pretending to move sponge balls with your magical powers was a thing men did. A woman’s brain wasn’t quite yet evolved to handle these things. Their role in magic was to sew the toothpick in the hem of the handkerchief for the gentleman conjurer in their family.

So the sex that had the most ability to carry around little magic props was the one that was barred from performing.

But with the advent of laptops (and computer bags), all of that changed. Now men too had a tiny bag to carry around their little tricks.

Why did the concept of EDC only develop in the last five years or so?

Because, until very recently, carrying anything other than a pack of cigarettes or a pistol was customarily understood to be a sign of homosexuality.

But now, like women and kangaroos, we can take advantage of having a little pouch with us when we go out.

Something I’ve been keeping in my computer bag is this notebook from Field Notes.

The paper is thick. (Relative to other paper, at least. It’s not like Texas Toast thick.) It has lines on one side and a little grid on the other.

In the spiral of the notebook I keep this pen. Which was either designed to go in a notebook like this, or just happens to fit perfectly.

When you carry around something like this, you’ll find a lot of uses for it, even if you don’t imagine using it often. Getting or giving a phone number. Making quick notes. Tearing out a sheet to make an impromptu bookmark.

It’s easy to assume the smartphone has removed the need for physical notebooks, but for a lot of purposes, I prefer just pulling this out and jotting something down. Not because I’m anti-technology in any way. But just because I generally find it easier.

But, like a variety pack of tropically flavored condoms, this isn’t just something that’s functional, it’s also fun.

Impromptu “billets,” one-ahead routines, writing down words or drawings, predicting tic-tac-toe games, and so on.

Here’s a subtle one-ahead convincer that I’ve been using recently with one of the tricks I wrote about in the last newsletter. But it can be used for any one-head routine (probably with at most three “hits”). I’ll describe it here with two, because that’s how I normally use it.

I tear a page out of the back of the notebook and tear it in half across its width. I discard the bottom half and tuck the top half in the back of the notebook. It just sits there until I need it.

Now, when I’m performing the one-ahead routine, I open the notebook to write down my first guess.

I actually write down my force (or otherwise already known) object on the half piece of paper.

I then rip the page below it in half.

I pin that half against the notebook with my thumb and crumple up the other half. Hiding the ripped spiral things at the top as best as possible.

This is put on the table or in a cup or in the spectator’s pocket or whatever.

I now collect the first piece of information from them in whatever way the routine affords me to.

Now I act as if I’m writing down part two, but I write down what I just learned on the bottom piece of already-ripped-off paper.

Then I rip off the top half of the connected page. My friend hears the “plip-plip-plip” of the paper being torn from the notebook.

I once again pin the just ripped off piece of paper to the notebook while I crumple up the other piece and toss it with the first piece of paper I removed and crumpled.

I can now put the notebook away, and it has the half-sheet already removed and ready to go for another performance.

This is an interesting, subtle audible convincer. They hear a rip after the first prediction, and that is, in fact, the prediction that has a ripped top. They hear the tearing of the page off the spiral after the second prediction, and that’s the prediction that has the spiral-torn top.

How much does this add to the deception? I’m not completely sure. But I believe it does help. I was originally doing something similar that also involved marking the sheets with a 1 and a 2. But I realized that was somewhat redundant, as the sound and the condition of the page already “marks” each sheet.

The handling of this is somewhat sloppy, and you’ll have to be a little cozy with your hands. You can’t really have people looking at you while you do it. But that’s okay, you can just say, “I don’t want you to see what I’m writing just yet.” And hold the notebook to yourself.

You can do it with a 3-phase one-ahead routine as well. Although it’s more complicated than I feel like writing out at the moment. You’ll start with the top 2/3rds of a page ripped off already. You can figure out the rest.

Update: Turns out there is a similar idea called Triposte in Mind, Myth and Magick by TA Waters. His uses a notebook with a spiral on the side. So you miss out on the audio aspect of the deception, and the visual aspect is much more subtle (the difference between the margin at the top and bottom of a page). Still worth looking at if you’re interested in playing around with the idea more. Had I originally purchased a notebook with a spiral on the side, I probably would have come to the same idea he did.

What's the Worst Thing About: The MultiNotes App

For just the fourth time since I made the offer four years ago that someone has taken me up on the offer to discuss the worst thing about a product they’re releasing.

This time it’s the MultiNotes app from Antonio Ferrara.

What Is It?

It’s an app that mimics the iPhone notes app and allows you to use it for up to eight multiple-outs.

For example (for shitty example), I show you a note in my phone called “The number you’ll name.”

I say: “Name a number between 1 and 8.”

You say two and I open the note and it says:

Then, you begin to worship me as a god.

No, again, that was a simple (and bad) example simply to explain the concept.

The way it works is the note preview is broken up into different sections. Depending on where you tap to open the note, it opens that out for you.

The Good

  • To my eyes, it looks pretty much just like the real Notes app. (I’ll admit, that I often don’t pick up on it when people say an app looks out of date.)

  • It’s a true utility app, with endless potential uses.

  • It’s pretty straightforward to set up new notes/outs, and you can set up an unlimited amount.

  • You’ll be able to do a number of routines without needing to carry anything else that you don’t usually have with you,

The Bad

  • It’s iPhone only. (But if you’re an Android user and complaining about this still, move on. Or get an iPhone.)

  • With 8 outs, it requires a little bit of effort to make sure you’re tapping the preview in the right spot. It’s not difficult. And I haven’t actually ever screwed it up in practice. But you can’t just reach over while they’re holding the phone and tap the note open for them (at least not with 8 outs).

  • Adding pictures to your notes is (not yet?) possible with the app.

The Worst

Here are two things that could be considered the “worst” thing about MultiNotes.

  1. Everything else being equal, a prediction that’s on your phone is just inherently weaker than the same prediction in hard copy.

  2. While I described the app as having “endless potential uses,” those uses are limited to a 1 in 8 (at most) routine, when this app is used in isolation. It will take some good planning to create a routine that uses this for the sole methodology and has a significant impact on the spectator.

That being said, for me the good far outweighs the bad and I would recommend this to anyone who thinks they might ever have a need for it.

Yes, in my utopia, a prediction trick would end with a physical prediction. But, physical predictions and multiple outs means multiple physical outs. I have to weigh that against the fact that this allows you to do multiple-out effects without having multiple physical predictions. (In fact, it allows you to do multiple multiple-out effects without carrying gimmicked wallets and slips of paper.)

And while I think it’s rare for one-in-a-few effects to be super-powerful by themselves, I think using this as a part of an effect will prove to be very useful. For example, you know I like doing tricks that are supposedly based on instructions for old games and rituals. Being able to change the instructions I need based on something the spectator has said or done can be very useful.

As I play with this some more, I’ll keep you updated on what prove to be the best uses for this. If this app grows a wide user base, like DFB, I think you’ll find a lot of good ideas coming out for it.

More details can be found here.

No Sidetracking

Here’s a video of Craig Petty performing some shitty key prediction trick. (It’s not his trick.)

The trick itself is wildly flawed. Unless you have late-stage Parkinson’s disease, there would never be that much pen movement involved with writing down a number.

And you end up with the goofiest reveal in the history of magic. A digital read out sticker (with clearly markered-out lines) on the back of a wooden key tag.

This trick has TWAT nomination all over it.

While the trick is obviously room-temperature dog vomit, I want to talk about his presentation, because he does something I see magicians do a lot. I have no idea if Craig would perform it like this in real life. Probably not. But it’s illustrative of something I have seen people do in real life, and I think it goes against what you’re striving for with magic.

Well, I can’t really say that, can I? I can only say that it goes against what I’M shooting for with my magic.

So Craig starts off the trick and then 45 seconds in, he veers off into a three-minute story about some shitty place he stayed at once and kid’s underwear. (I think? I didn’t quite follow it.)

He tries to bring it back around to the trick at the end by saying, “The reason I'm telling you that is because this place actually used um these old-fashioned style keys.”

That’s a very tenuous (some would say nonexistent) connection between the trick and the story.

You might think, “Well, it’s a funny story. So who cares if it has anything to do with the trick. People like funny stories.”

Yes, okay. And if you’ve been hired to be “The Entertainer,” then mixing your tricks with stories and jokes may be the way to go.

But social performing is not about being an entertainer. It’s about the experience, the mystery, the interaction, the interesting or fascinating object or idea. When it becomes about you, that’s when it starts to feel a little desperate. (Whereas in a professional performing environment it is about you.)

I think some people think that since it’s meant to be casual, then of course you might go off on a tangential story, or tell a joke, or dig deep into their opinions about things.

But what I’ve found is that if you want people to feel like what you’re showing them is fascinating, then you need to present it like you’re showing them something fascinated.

Think of it like this… If I had video evidence of a ghost on my phone, and I started showing it to you, and I was making jokes and commenting on the wallpaper in the video and pausing and saying, “What about you? Have you ever seen a ghost?” It would be difficult to get you truly enthralled in THE THING I’M SHOWING YOU.

But if I was quiet and focused and treated it like it was something that I found legitimately creepy, then you would find yourself feeling that way too. You can’t help it.

I’m certainly not always serious when I perform. I rarely am. But I’m never sidetracked (unless it’s a situation where the magic moment is coming as a total surprise to me as well).

Be as focused on the trick as you want them to be. The moment you start doing shtick is the moment they feel, “Oh, I guess whatever he has to show me isn’t that interesting.”

Mailbag #115

I liked [the post Keep Feeling Fascination] and it made me remember the words I heard from Michael Weber once, how we consider people we are performing magic for :

1- Audi ence  ( From Latin for, to listen )
2- Spec tator ( From Latin Spectare, to look at)

3- PARTICIPANT ( From Latin Participatio, to share ) ( helpers)

I try to keep this words in minds and go for the latter and I believe that your post was also sharing the same thing.—KQ

Yeah, I think I was hitting on a similar idea.

Although in practice I tend to use all of these in my write-ups. “Audience” for when I’m talking about performing for a larger group, “Spectator” when their role is more passive, and “Participant” when it’s more active. Although, that’s not always the case. Sometimes I mix it up just for the sake of adding some variety to the language used in the write-ups.

I like to think I pioneered the descriptor I use most of all to characterize the person you’re performing for:

FRIEND (From German, meaning “someone you’re not just desperate to fool because you’re craving attention and validation you didn’t get in high school”)

A friendship is a mutually beneficial relationship with someone whose company you enjoy.

I think social magic is best when it fits into this framework.

If they sense you’re showing them something for your own benefit, then you seem needy and desperate for approval.

If they feel like you’re showing them something solely for their “entertainment,” then it becomes a weird dynamic for a social interaction.

But if it feels like you’re doing this thing became it’s both something that fascinates you and something you think will be of interest to them—then you have something that will feel like it belongs in the context of a casual interaction. Even if it’s something completely bonkers.


Was hoping you'd be willing to weigh-in. When it comes to card to impossible location, I've come around to the idea that the card being signed would make the effect weaker, not stronger.

This is for one reason: if the card is signed, and there's no such thing as real magic, then the only explanation that your participants would be able to come up with -- that you secretly moved the card without them seeing -- is the actual, correct method. In fact, if the card is unique, then that is the ONLY explanation.

It's guessable.

Conversely, if you plant a duplicate (and have a /decent/ card force), then you have a HUGE number of options. Show the destination empty, and you literally never go anywhere near it. Planting duplicates on the spectator before the performance begins ("putpocketing"), etc.

The method shouldn't be the effect, and if you use a signed card for your signed card to impossible location, then the method is the effect... and it's the exact method your audience would be able to guess on their own... and they'd be right.

Thoughts?—CS

The good news is, I agree with you.

The bad news is, you’re 100% wrong.

The part you’re wrong about is that the same trick performed either with a signed or unsigned card is always more impossible when the card is signed.

That’s true whether the card appears in your pocket, or if the card appears on the dark side of the moon. It doesn’t matter.

So this statement: “When it comes to card to impossible location, I've come around to the idea that the card being signed makes the effect weaker, not stronger” is not accurate, all things being equal.

The point I think you’re making, and where I agree with you, is that we as magicians (especially as amateur magicians without secret helpers or performing in a formal environment) can likely create stronger card-to-impossible-location effects with a duplicate rather than signed card.

As a solo performer, the most impossible location the signed-card can appear still has to be somewhere within my reach.

But if I use a duplicate, it can appear anywhere. Of course, using a duplicate on its own isn’t enough of a deception. But you can pile on the deceptions. You can use a force that is very clean and allows for free choices. You can allow them to determine where the card appears (by using DFB or something similar). And so on.

And don’t sleep on the torn corner. The torn corner gives you the best of a duplicate, along with much of what you can get with a signed card.

To recap, in theory, any individual card-to-impossible-location effect is made stronger and more impossible with a signed card. But all card-to-impossible-location effects are on a spectrum. And of the effects that are actually doable by magicians, I would say the methodologies and deceptions we can use with a duplicate are generally stronger than the ones we can use with a signed card.

Since my goal is to do the strongest magic, I would always choose to have the card signed, if that was an option. But since my goal is to do the strongest magic, I wouldn’t limit myself to only tricks where the card is signed.