V's Blog on The Magic Network

Here's the first magic contest announcement you've all been waiting for!

We're gonna kick our Fall 2012 contest series off with a bang and give away one of our biggest prizes right off the bat.

That's right, Jamie D. Grant's "Industrial Revelation" is up for grabs, along with Jamie's latest: "The Vault" with a deck of the sold out Limited Edition Red JAQKs from Theory 11 thrown in (Note: the Vault and Red JAQKs contest is now closed.) Industrial Revelation is still up for grabs!

Great news everyone - points are back (as many of you have noticed), with new ways to get points. The threshold levels and names of the levels are also new, as many people didn't like the old names and thought they were too "divisive." Hope you all like these better.

I am still looking into ways that I can give even more recognition and rewards to our top contributors, and am open to your suggestions. Will keep updating the program as I work on it.

The details are here:

http://themagicnetwork.com/points-program

I was excited to see Bryn Reynolds' new ebook release, "The Logar Scrolls," as I am a big fan of his first ebook, "The Safwan Papers." I picked up a copy and reviewed it in detail. You can read the full review here.

Let me know what you think!

With so many options and tools available for magicians to market themselves on the web, choosing the right tools to focus on can be difficult. Which tools will give you the most value for your time and efforts?

One tool I highly recommend to all magicians marketing themselves on the web is Facebook. Facebook has become the world's largest social network and it is highly likely, for magicians in most geographies where Facebook is popular, that your potential clients and target audiences are spending a lot of their time on Facebook.

What is the best way for you to engage and reach your target audience on Facebook?

Rather than using Facebook with a regular profile, which you may want to limit to your friends and other magicians (since your personal posts may not be relevant for your target audience, and they may include content that you do not want your target audience to see, such as posts about magic products), I recommend setting up a Facebook "Page" for your magic performing business.

Your page should carry the name of your stage/performing persona, as you want your target audience/potential clients to see it. When you post as your "Page" on Facebook, your posts should be valuable for and engaging to your potential clients. Ask a question, for example, "What is one of the most memorable magic tricks you have seen?"

In the spirit of writing more blog posts here on The Magic Network about web marketing for magicians, and helping magicians to make money by getting more gigs and improving their magic, I decided to start this off by telling you about a new project from my friend Paul Romhany, who is offering magicians like you a free regular magic magazine.

It is called "Vanish International Magic Magazine" and it is absolutely free!

The magazine covers a lot of useful bases for magicians, and is definitely worth reading. The first issue (Edition 01) which came out a couple of months ago, featured interviews, a few close up effects, tips on improving your act and connecting with clients, and more.

Here is the table of contents of Edition 01:

How is the Value of a Commercial Magician
Measured?..................................................... 10-12
A series of professional magic by JC Sum
Chipper Lowell Interview............................. 13-24
In-depth look at a comedy giant by Paul Romhany
Evolve Your Magic........................................ 25-28
Magic Babe Ning brings magic up to date
Bamboozlers................................................. 29-30
Diamond Jim Tyler shares a great bar trick
It’s Child’s Play.............................................. 31-34
Tony Chris aka Zany Zak on kids magic
Magic Tricks Review..................................... 35-39
Harry Monk reviews books and applications
The Magic of Mentoring............................... 41-42
Nick Lewin looks at his favorite mentor
Winning Numbers........................................ 43-44
Wayne Rogers shares a stand-up mentalism routine
The Success Series....................................... 45-46
Cris Johnson looks in to connecting with clients
Magic Face-lift.............................................. 47-49
Illusion designer Mark Parker explains his quick change routine

Welcome to the new TMN.

Many of you have asked me what has been going on with TMN the last couple of months. Allow me to quickly explain:

Around the end of September, the company that hosts The Magic Network was hacked. It was not a direct attack on TMN, it was an attack on TMN's webhosting company's servers. Unfortunately, TMN was affected by the hack and many of you were faced with a message saying that TMN was hacked when you tried to access the site.

The webhosting company made their best efforts to restore the site, but unfortunately some things got messed up in the process. I also did my best to bring it back to normal, but it still remained fairly unstable.

As a result, many of you noticed some bugs, and the site went down several times in October.

**Note: This contest is now closed - the winner will be announced very soon!**

The Magic Network and world-famous magician Justin Miller have teamed up to bring you a chance to win some awesome Justin Miller magic this week, and pick the brains of the man himself.

In what is becoming a regular tradition here at TMN, you'll have all week to ask Justin anything you want in our special contest forum thread, which you will find here:

Enter to win at this forum thread here

Justin will answer all your questions, and at the end of the week, we'll pick one member who asked a question at random as the lucky winner of Justin Miller's latest release, "The Lost Material of JM - 2007."

Hey all,

Some PR folks contacted me to ask me to share this video with you, and I am happy to share it, because it is a cool video, it is relevant for you, I think you will be interested in it, and, ahem, TMN is making some money from showing it to you here. (yay!)

Anyway, that hasn't obscured my opinion of this video... it really looks like it will be a cool show to watch. Kinda reminds me of the old David Blaine specials. The coin through table effect that they show in the trailer looks amazing.

I'm not sure what he put in the bottle in the bottle penetration effect at the beginning of the trailer, but it also looked pretty impossible.

I hope some or all of you get a chance to watch it and share some of your thoughts about it here.

I've been getting some questions (both openly and privately) about "Groups" on The Magic Network lately, so I wanted to publicly clarify some things about groups, and set some ground rules for them as well, in hopes to put everyone at ease.

I'll start by saying, TMN has always had groups, both public and private, including the "Silver" and "Gold" groups as well. It seems not many people noticed them before, so never really cared - but now that they are displayed more prominently on the front page of TMN, they have garnered some attention (both positive and negative).

Why did I choose to make "Groups" on TMN?

The Magic Network is conducive to groups, in my opinion, for several reasons:

1. There are some things that magicians want to be able to discuss in private, given the profession is largely based on "secrets" and the keeping of secrets.

Hey everyone! Since Mike is out this week and won't be writing a "What happened this week" post, I wanted to share what's been happening with me, and what's in the works here on The Magic Network.

Topic 1: Performing

I was in North Carolina last week for a few days and on the airplane ride from Seattle to Vancouver I was practicing some shuffles with a deck of Sentinels. The lady beside me (a sweet old Chinese lady) started asking me about the cards and if they were magic cards.

This was a great way to get into a routine. I showed her a few things with the cards, and then went into some mentalism. She was truly floored. I think she had never seen magic or mentalism up close before, and she loved it.

It is experiences like that that make all the reading, studying, and practice worthwhile. She needed someone to help her with her bags, so I helped her out, and it turns out she lived close to me, so we split a cab too. I showed did a bit more mentalism in the cab, and the cab driver was also getting into it. She kept saying, "that's impossible, that's amazing."

What is that one degree that will take your performance from "hot" to "boiling?"

In this week's Magic Theory Blog Series, we visit this point, as inspired by John Guastaferro's Book, "One Degree."

The extraordinary may only be one degree away...

Read Liderc's original forum post here.

For our ninth installment of our "Magic Theory Blog Series" we revisit some great tips and thoughts from Liderc in on the topics of "Blocking" and "Staging." Essential reading!

Find the original forum thread here: Blocking and Staging.

Blocking
I Don't Feel proper importance is put on 'Blocking.' 'Blocking' can be utilized as a great technique for covering sleights as well as suspicious moments.
'Blocking' shouldn't be seen as 'Blocking;' it should have just as much motivation as everything else you do in magic.
If you're doing a routine where you need to get something in your Right Pocket, then you should have the spectator on your far right 'Assist' you as you can then focus your attention on him/her, which blocks your 'Right Side.'
So it wouldn't look like you're 'Blocking' or 'Covering,' because you're just paying attention to your 'helper.'
Compare that to having 'anyone' assist you, and then turning to the 'Far Right' to block without any motivation for doing so.

Natural Blockers
Sometimes you can use your environment to aid in your 'Blocking.' If you're sitting at a table you can use the 'Table' as a blocker to do a 'half pass' or some other 'Sleight.'
With Proper motivation of course, as you don't want to seem 'Suspicious' putting the deck lower than the table.
There are other 'Situational Blockers' that you can find by just being aware of your environment.
Staging
'Staging' is just as important for 'Close Up and Parlor' as it is for actual 'Stage Work.'
Know your routine. Know the 'Angles.' Know what needs to be 'Blocked.' Know which way you have to 'Face.' Know the best 'Angles' to accomplish something so  it won't seem 'suspicious' or where you might flash. Know the best 'Direction' for each routine.
Then when it comes to 'Performance Time' it becomes 'Fluid In Motion.' As you already 'Know' what needs to happen, it becomes 'Smoother.'
The more 'Natural' you can make it look, and less like a 'Staged Routine,' then the 'Higher Experience' it will be for everyone.
Having this knowledge also makes it easier to adapt to any situation.

In our 8th installment of our "Magic Theory Blog Series" we visit Liderc's post about the importance of being able to perform an effect using various methods.

The original forum thread is here - The Importance of Variational Methods.

The Importance Of Variational Methods
Spectators don't or shouldn't be savvy on what 'Method' we use to achieve the 'Result' be it .. Osterlinds or Banacheks.. so does the method we actually utilize in performances matter?
For that matter, if you had a 'Nail Writer,' could you not make a living off of that? Would you need other 'Methods' to achieve a 'Prediction' or 'Mind Reading'?
If your 'Retention Vanish' is spot on.. would you need to purchase 'Alchemy'?
I believe you are following the path now and where I am leading you.
'Methods' are 'Situational' and also 'Character Based' and that is how you should approach all 'Magic/Mentalism.'
One should be well versed in many 'Methods' and ways to 'Achieve' a desired result for any situation.

Ponder this..
You are a 'Mentalist' and all you use is a 'Nail Writer' - you are in a situation where there is no 'Paper' and you have none on you. What do you do?
Maybe that new 'Effect' is the most visual, but will you honestly ever utilize it? Would you ever be in that 'Situation,' and does it truly fit your character? One must be completely honest with oneself.
Sure one might look 'Cool' blowing smoke out of one's mouth, or stopping one's pulse.. but at what cost?
So indeed.. 'Methods' are important up to a certain point - some are 'cleaner' then others, and some are more 'motivated' by ones personal 'Character' then others. Just because one method is seemingly 'Superior' to another doesn't mean your 'Character' will motivate its actions - in which case it becomes 'Inferior.'
Now On The Other Side Of A Double Faced Coin...
One should never get 'Hung Up' on acquiring every 'Method' in the literature. Whilst we all search for the 'One' method, we should still be focusing on the ones we utilize to perfection.
"If One Want To Be Known For Something... Take That And Make It Perfect.. Make It Superior To Anyone Else. Only Then Will You Be 'KNOWN' For Something."

In our 7th installment of our Magic Theory Blog series, we visit Liderc's thoughts on time... namely, Timing, Pacing, and Time Misdirection. You'll find the original forum post and thread here.

Let us talk about Time...
I don't know if many magicians really understand the importance of Timing, Pacing, and Time Misdirection.
Timing
How do you time your routine? Trivial as it may sound it has great impact.
How do you time your words? Your actions? How do you time your movement?
Have you ever seen a performance that felt choppy? With no flow? Some things were done fast, some slow?
You want to have an even "timing" to start with so you can use speeding up and slowing down as a dynamic thing. to create mood and tension.
Does everything have a beat? How many beats do you hold? How is your voice rhythm? How can you judge a slow... intense... reading... versus... a fast one, when your timing is all over the place? You need even ground upon which to build a solid structure.
Pacing
How do you pace your routines? One after another? Do you have a lull in between? Do you do one effect, then have a chat with the audience, then go into another one? Do you jump from an ACR to mentalism, to a coin trick?
Pacing is important. It's creating an easy to follow line for the spectators to be able to follow and understand. Whats the motivation and why? Why would you go from mentalism, into a sandwich, do a 3 fly, and then another piece of mentalism?
Do you give your audience enough time to react? Do you even let them react? Do you know your not giving them enough time to react?
Most people are afraid of not doing something. Some people are afraid to let them react... let them get in everything and take it all in.. and then lead them on another path.
That's why you see some magicians always talking.. always trying to make them laugh or something, but making them uncomfortable is good at times, as long as "you" are in control of the situation and you know where and what you're doing.
Time Misdirection
I don't believe a lot of people fully understand time misdirection, and use it to their advantage.
It is not "Misdirection" in the sense of directing attention from a "move." Rather, it is directing them away from an action through the passing of time. You want to disconnect their mind from an action to a move by giving them time to focus on something else, and then when you go to do your "move" the focus is now on that, and it disconnects the two actions.
Now this is something I detest...
Getting a break from the back of the deck with your thumb pulling up two cards, and then turning it over right away..
*Off Topic*
If you're serious about cards learn a Pinky Count, from the top and bottom.
*On Topic*
Not trying to take the Piss out of anyone.. in fact Harry Lorayne gets his breaks like that. Many magicians do get their break like that. But most of the time it has no motivation... why do you fiddle with the pack right before you turn it over, why do you lift up some cards and then turn over right away?
See the questions it raises?
Lets say you do get your break like that (please with some kind of motivation), then, using "Time Misdirection" let them focus on something else, i.e. another thought.

Then, when you turn over the cards, the two actions have no connection. Now they focus on the card they're seeing and forget about the fiddling you did a earlier.
That's a small example, lets try another...
You have someone write something down for a peek, you take the piece back for a second, hand it back, and then reveal... you can see where that one is going...
You need Time Misdirection to get the their focus away from what you did.
Have them write something down. Take it.. now this paper is not see through.. you can't see through it right? Right, okay good.. I don't even want to touch it, keep it safe. Then, go into a reading, or something.. get the mood away from you holding the paper... there are even key-words you could say to remind them they have been holding it the entire time. Then, eventually, slowly, get to the reveal.

In our 6th installment of our "Magic Theory Blog Series" we re-visit a forum post from Liderc about Voice Control, Energy Control, and Choice of Words.

Your participants' reactions to your effects will depend a great deal on how you master these, so even if you read this before, give it another read for good measure.

The original forum post is here (Voice Control, Energy Control, Choice of Words in Magic).

Voice Control

In our fifth installment of our Magic Theory Blog Series, we re-visit Liderc's excellent post about the need for motivation in your routines. Take heed!

See the original forum thread here.

Motivation

Without proper motivation, your effects and routines become a mix of "moves" for the spectator to follow and raises questions in their minds.

In part four of our Magic Theory Blog Series, we re-visit Liderc's thoughts on the perils of "over-proving,"  or "over-selling," and look at ways to avoid the trap of over-proving yourself to your participants.

Find the original forum thread here.

Avoid the "Overproving Trap"

Many magicians, from professionals to hobbyists, fall into the trap of over-selling/over-proving.

For Part 3 of our Magic Theory Blog Series, we will take a look at Liderc's thoughts on "Conditioning Your Audience." This is very valuable advice, so even if you read the forum post, please re-read it here.

The original forum post is here.

It is important to think about how you condition your audience.
Think of it like this:
Before every effect you freely hand out the deck to be shuffled... you say, "shuffle it as much as you like; I want you to make sure you're happy it's mixed well.."
Then, for your next effect, you bring in a Stack. All of a sudden no one can touch the deck, you don't let them shuffle nor mix it... just a straight cut.
Right off the bat something different has happened. Now they're wondering why you let them shuffle before, but not now.
Not saying you should never let your spectators shuffle the deck, but sometimes I think we play into the spectator's hands too much, and we give them a little more control over the situation then we should.
If you seem suspicious, they will suspect.
You should: 1) not feel guilty, and 2) not seem any more "different," while doing a shuffle or a false shuffle. As far as they and you are concerned it's the same thing, so why should they suspect anything different?
And it goes beyond letting them shuffle.
You let them inspect everything, and then for one "thing" you can't let them touch it.
Or, you're always talking with bigger gestures, and then all of a sudden your arm is dead at your side.
Let's say before you even start effects your hands are in your pocket when you talk. Now the audience is conditioned that this is your "normal." So then, while doing an effect and talking, and your hand goes into your pocket, it's not a "Foreign" Movement .
Something to keep in mind for your performances.

On today's installment of our Magic Theory Blog Series, Liderc talks to us about "Creating Imagery with Words."

You'll find the original forum thread Liderc started on this topic here:

Creating Imagery With Words

Now I draw a great bit of Inspiration from Old Poets and Writers: Lewis Carroll, Edgar Allan Poe, Shakespeare, J.R.R Tolkien, Stephen King, etc.
The way they can craft so much imagery and emotion, so much connection with just words is beautiful.
Have you ever read a book or a poem, and were transported into that world? Making connections with characters, seeing the world they have created on paper. just completely drawn in, even putting yourself into it, putting your own emotions into the story. Imagining you were in it and that part written was for you.
The choice of words we use in performances play a big part. It's huge in fact. Obviously you don't want to bore your participants and audiences with long drawn out stories, or boring presentations. But just think what changing a couple words could do to your performances. Just giving it a bit of thought and care.
It has to coincide with your "Persona."
Words are a fascinating thing, think of the ways you could enhance effects, and create connections and emotions.
Words can be used to Intrigue, create tension, create emotion, make things dramatic. Vocabulary is a strength.. you shouldn't act "above or superior" to people, but using certain words in ways can create all new worlds and open doors.

With Liderc's permission, we are running a "Magic Theory Blog Series" here on The Magic Network, showcasing some of Liderc's past forum posts about Magic Theory, Character, and Presentation.

We feel this will be useful to share those posts with new members, and to have the posts available with links to the original forum posts, through the community blog here. It will also give you all a chance to re-read the posts, which is always a worthwhile exercise.

So here we go with our first installment of our Magic Theory Blog Series: Organic Magic.

This first appeared in our forums here:

Has your magic gone "Green"?