Looking forward to a video, Hudson! I'm a big fan of the trick, though it isn't something I've ever really worked on myself. It has a lot of moving parts so I applaud you for taking it on!

I've been working more on Explosion lately and I'm happy with how smooth it's looking. I shot a couple of video versions last week for a contest where I had to do the whole routine in under 90 seconds. An interesting challenge but it forced me to work on my pacing. I won't always do it quite that quickly but it was a great lesson in removing some of the filler which I found to be unnecessary, and focusing on the actual routine.

I hope everyone is doing well!

I believe Andrew is on the right track. We are all challenged when preparing to perform to eliminate extraneous movements and words which do not further the plot. We must balance between “too much” and “too little”. Not enough “bits of business”, the piece becomes boring. Too much patter, extraneous actions, etc. obscures and weakens the plot.

Maskelyne put it this way:

“Let each magical act represent a complete, distinct, and separate entity; compromising of nothing beyond one continuous chain of essential details, leading to one definite effect.”

Maskelyne had a number of profound thoughts on this subject. Each thought in this quote has far reaching implications. The phrase “essential details” inspires the axioms: “When in doubt, leave it out.” And “Because you can do it, doesn’t mean you should do it.”

Cheers,
Gerald

The Matrix is coming along. I have re-written the script and am working to get comfortable with it.

Here is my latest practice session Click Here

Well said. I find myself going on tangents sometimes, causing me to lose the timing and dialogue I've worked to create. This exercise helped me to work on the physical act of performing the trick, and then adding the filler where necessary.

Doing a stand up gig next Tuesday so I shall spend the weekend perfecting my signed card to orange routine, which I haven't had the chance to do in awhile. Should be fun!

I agree Andrew. Gerald has many good thoughts on making a real magical experience for an audience. Hudson and Andy have convinced me that I need to record my routines and review them for exactly the purpose of reducing what I say and do on only what furthers the routine. Going out to look for a good (cheap) video cam.

Speaking of Andy, the progress evident on the recent matrix vid is phenom, Andy! That routine is really good. Congrats!

And, Andrew, come to Columbus but don't just watch- help me PERFORM! First weekend in June...

Keep up the practice all, and record routines for critique and "Geraldizing"...


Regards,

Jim

Count me in, Jim!

I record my sessions on a Flip camera - do they still make those? If I'm in the mood to watch myself as I perform I'll use the camera on my iMac, so I have the video on my computer as soon as I'm done. I've even used my iPhone or iPad camera on occasion if I'm traveling but want to capture something while it's fresh in my mind.

Count me in, Jim!

I record my sessions on a Flip camera - do they still make those? If I'm in the mood to watch myself as I perform I'll use the camera on my iMac, so I have the video on my computer as soon as I'm done. I've even used my iPhone or iPad camera on occasion if I'm traveling but want to capture something while it's fresh in my mind.

Jim,
Almost any camera today has adequate video capability for review of your routine. All I had to do was buy a tripod and attach my camera to it. I don't do enough of the video taping,; I am at the point where I will start taping my cylinder and coin routine. After a couple of runs will share and look for your comments.
Hudson

Jim:

Thanks. I like the routine too. Vlad suggested a method for the King's production I am working on, and I am thinking of reversing the matrix at the end to have the dragonets run away again.

I use a Panasonic on a tripod at home for my sessions. I have a flip camera I found on Amazon for $40.00 I use on my motorcycle. Great camera for the money.

Thanks for the tips, guys. I will keep an eye out.

I had a reasonable cam that I used on some of my routines- matter of fact that is how I did my act for my Magic Castle try-out, since I live in Ohio. I am now most interested in seeing and hearing my presentations, as I am trying to add various accents to my speech.

Jim

I did Explosion at the Magic Castle on Sunday and decided I need to do this every chance I get...not because it went well but because it DIDN'T go well. I was told by a good friend later that he noticed a few problems, whereas the clients I was performing for said they were amazed. That said *I* know where the problems were, so this is one of those cases where I'm totally fine on my own with a routine, but I need to work this for real audiences more to be okay in that situation. I did about 20 minutes of material and the coins are the only thing that suffered, so I'll be spending a good portion of my time working on that in front of real people. Anyone else have similar experiences?

Yes, there is no real way to gauge an Effect with out real people because it has no real effect with out real people.

I certainly have had that experience. Lots of times, what I say suddenly sounds really canned (or there is too much of it) but sometimes it is the handling as well.

You've done all you can in a vacuum and now you're starting on the last and most important part.

The first (and probably worst) performance for real people is over so now you will start to relax and look for the fixes.

Personally I admire you for even attempting Explosion. In future I would look for some other proving ground than the Castle though. LOL Talk about pressure.

-Mary Mowder

Oddly enough I'm quite comfortable working at the Castle! Maybe I've become jaded by the amount of talent walking around there, which actually forces me to become a better performer. I'm less comfortable working in my living room, even though I'm with friends. I like being in a spot that really feels suited for magic, rather than a casual spot where people might only be half-watching.

I spent a lot of time this weekend going over the routine again, as well as talking with Dean about it. I think I've discovered where the flaws were.

Currently working on my parlor act that I will do at the Magic Castle at the end of June. I've taken the plunge and will be doing the linking finger rings (I'm using Joe Porper's set.) I've always found this to be one of the most magical things I've ever seen when done right, so I guess I want my piece of the pie.

What's everyone else working on?

Hi

At the moment I am practising Eddie Fechters "I've got a surprise for you". I want to have it ready for presentation at a workshop at the end of May. I think it is a great opener for strolling.

Best, markus

Hi Markus,

How did it go with 5 Red and 5 Black, The Power of Dreaming and Triumph?

I get great use out of an in hand Triumph.

I'm guessing that "I've got a surprise for you" is a card effect. What makes it appealing as an opener?

-Mary Mowder

I do an in the hands Triumph more than anything else. I could do that one in my sleep.
I need some more effects like that in my repertoire - I ordered an Kohler U3F which should be arriving today. I'm looking forward to working with that!

Hi Mary

I'm quite happy with "Triumph" and "5 Red and 5 Black". With "The Power of Dreaming" I have mixed feelings: I came up with the idea of combining the method with a mem-deck, which led to a completely different effect. I will need to experiment further with that.

You are right, "I've got a Surprise for You" is a card effect. I think it is a great opener for multiple reasons:
It is short, direct and powerful, indicating that the effects the spectators are about to witness are different from what they may have seen from their uncle Bob. On the other hand, it is not mind-blowing, leaving room for progressively stronger effects later on.
It allows for spectator interaction and reassures them that they will not end up as the butt of the jokes (o.k. the latter is not so much a quality of the effect, but of the magician performing the effect).
I also like like the dramatic structure: It is basically a "magician makes good" kind of effect. However, the magician rights his mistake in such a way, that the mistake never happend in the first place.
Finally, it leaves the spectator with an "not quite right" feeling. A feeling that there is something more to it. I believe that this can enhance the magic of an effect. (I hope this makes some sense).

Best,
markus

Wow! I am reading all these exciting things and feeling that what I am doing is rather pedestrian.

Currently, though, I have to turn my attention to the Columbus Arts Festival June 7, 8 & 9. Will be performing along with Mickey Figgs from 11 - 5 each day. This has morphed to become a very family-oriented gig, which we handle much like busking. I usually bring a lot of different effects, so that I can feed my mood. This year, however, I am trying to see how little I need in order to do a good show.

Growing up, I always had a "junk box" into which I put the widest variety of odd stuff you could imagine. I am going to try to recreate that using a metal pail, except that it will have rope, coins, cards, wand, etc. and will be pulling things out, much as I used to do with my buddies, and doing magical things with it. Ending, of course, with Miser's Dream. Might try a large coffee can if I can reduce my "stuff" sufficiently. Ideas?

This is going to be fun...

Regards,

Jim