Q&A Week: Day 2

Do you have any clever uses for those gimmicked envelopes that allow you to make stuff appear in the spectator's hands?

I’m not 100% sure what you’re talking about. So I guess no.

What's the best magic wallet for the casual performer?

It depends what you want to do with it. The only thing I do regularly with a wallet is peek with it. I wouldn’t say I’m 100% happy with any peek wallet I’ve used. In general I find the ones with simpler peeks to be better than the ones with more clever methodologies. Any wallet that requires you to go back into it to get the peek is not good, in my opinion. When we tested peeks years ago, that action of going back into the wallet was the point where suspicion flew off the charts (this was back when we used an app that allowed people to gauge suspicion in real time—something I want to get back to at some point). It didn’t matter how quick you were or what your motivation was to go back in. I’m not saying those methods are total garbage. Obviously people use these types of wallets and have some measure of success with them. But I don’t like anything that piques suspicion at the moment you’re actually doing the dirty work.

The wallet I use most regularly is the Jaks Wallet from Secret Tannery. I’ve published a couple different peeks with it in various places. (the most recent book and in a newsletter last year). My only issue with it is that it doesn’t hold cash.

When a trick is over, do you let the spectator dwell on it and eventually change the subject, or do you change the subject yourself?

Hmm. I’m not sure. I’ll pay more attention and let you know if I find I have a particular technique. I have a feeling it depends on the people I’m performing for, the nature of the trick, how they react, etc. I don’t think there’s one satisfying pat answer. I certainly don’t immediately move on to something else. But I also don’t just sit there like a goon staring at them until they’re bored. I would say most often I let the moment resonate for a while, then we talk about it for a little bit, then we transition to some other activity, and ideally they’ll come back to the trick throughout our time together as they think more about it in the back of their mind.

Having a Rep (repercussion) to the effect, as I’ve written about on the site, is my favorite way to transition out of an effect because it reinforces the trick while also moving you past it.

How did you first get into magic? Whats your origin story?

Here.

You seem to present only one effect at a time. How would you best present multiple and not have them blur together into one memory?

It’s very simple, just use different objects. Not all card tricks. Not all coin tricks.

But, ideally (for social magic) don’t do multiple tricks. Make each trick its own unique interaction. That’s how you’ll make it memorable.

Any presentational ideas for SNAPS?

Not yet.

How can I find the right time to perform a longer trick?

Prep people for it ahead of time. “I’ve been working on something that I really want to try with you. Are you around this weekend?” Set it up like a date. Anticipation can add greatly to the experience.

We often talk about how powerful it is to be able to perform things seemingly impromptu. And that’s undoubtedly a good thing. But there is also a power in performing things that seem planned, if the spectator gets the feeling this is an experience you’ve crafted with them in mind.

What impromptu trick have you performed more than any other?

I don’t use it much now, but for a long time I did Mr. Clean's Coin Across by Jay Sankey pretty frequently.

There is nothing I do that regularly these days because I’m usually trying out new stuff for the site.

Do you think your style and philosophies can apply to formal theater shows? Would you write articles about professional show in the future?

I think some of the specifics about what I write could be adopted, but not the general esthetic. To me, the key to social/amateur magic is getting away from the formality of a professional show and making the interaction feel more natural/genuine. But what feels natural/genuine in real life would feel awkward and disingenuous in a formal show.

At this point, I have no experience performing a professional magic show, so I wouldn’t have anything to write about it. I do have something I’m working on, but I don’t know if I’ll end up talking about it here.

Why is my weenie so small and stinky?

Jokes.

What would be your presentation for CineMental by Nikolas Mavresis?

I don’t know. I don’t own it and haven’t given it any thought.

What's your least favorite trend in modern magic?

The influx of charisma-less guys “reviewing” magic on Youtube while managing to offer essentially no insight into the product at all other than what could be gathered within approximately six minutes of opening the box the trick came in.