Nutless Wonders

Next month we get into No-Nut November. That is the month where some guys dedicate themselves to not having an orgasm for thirty days. Some do it for potential health benefits, others just do it as a challenge to themselves.

But you can also do it (or just say you’re doing it) as a long-form magic premise. Just mention early on in the month that you’re doing No-Nut November and you’re following a program where the retention of semen and sexual energy is supposed to amplify psychic abilities.

Then, three or four times during the month, test out these abilities with your target spectator. This long-form presentation would finish with what is hopefully a profound demonstration of psychic power at the end of the month.

For example, let’s say you’re going to end with a mind-reading card trick (which isn’t that exciting, but will serve fine as an example). The first time you meet up, you’re not getting any information better than chance. The next time you’re identifying the colors of the cards (red or black) at a 90% clip. At the following meet-up you’ve mastered colors and are now pretty decent with suits. And then, at the final meet-up, you’re able to read their mind of the specific cards they’re thinking of.

I’ve never done this specific presentation with someone, but I’ve done similar things where the spectator sees me progress at something over time and it always seems to keep them engaged and intrigued, even if the ultimate goal isn’t all that exciting, e.g., learning how to know what playing card someone is thinking.

Certainly they’re going to understand you’re probably not 100% serious, but seeing someone progress along a path of learning is just one of those things that’s interesting to people. And while this is something that would occur over the course of a month, it would only take a few minutes each time you get together. So it’s not a huge investment of time.

I can certainly see that some people might find this a little too risqué for the people in their life. Personally, I don't see it that way. You might not want to do it for your boss or pastor, but very few people in my life would bat an eye at this.

If you have a target audience in mind, but you don't see them that often, you could have the preliminary stages occur over video-chat, once a week, leading up to an in-person meeting at the end of the month.

Then, if you really have someone who's into the spirit of this, early the following month (Destroy Dick December) you can do a final pièce de résistance. You tell them, "Look, I'm about to go in the other room and have at myself big time. Here's the thing, the psychic energy I've been building and manifesting for the past month will be released at that time, but it doesn't dissipate immediately. If you come in the room afterwards, you'll be able to absorb a bunch of that energy. Now, to be clear, I'm talking about energy here. I'm not asking you to expose yourself to any fluids, just energy. And when you do, you'll be able to demonstrate some pretty impressive psychic phenomena." So now you turn this month-long project into a spectator-as-mindreader type of plot.

Yes, again, this is not for everyone. But for one of your guy friends, or someone you're in a relationship with, or someone you have some sexual flirtation with, or just someone who isn't easily offended, I think this trick would be a ball (sorry). I mean loads of fun (shit, I didn't mean that). I mean it would be a blast (no, that's not good either). What I mean is, it would be an enjoyable "story" to unfold over a few weeks, and the "twist" ending—where they are able to absorb the energy and do something themselves—would be a perfect climax. (Really, my bad.)

The Ring and The Campfire Story Performance Style

“Let’s try and put it on my card, Hopefully it works. I don’t carry cash anymore,” you say. “Well… I can’t carry cash anymore.”

“What do you mean?” your friend asks.

“Stupid curse thing…. It’s nothing.”

“Wait… what?” your friend says.

You let out a long sigh. “Okay. I’ll tell you. But you’re not going to believe it. You see this ring? I was at the flea market a little over a month ago. There was this one table that was run by this very old woman. She was this tiny, wrinkled figure in a headscarf. And she was working the table with a kid who was about 11 or 12. I guess her grandson. Maybe great-grandson.

“The irony is, originally I went over to the table just to be nice, you know? There wasn’t really anyone else looking at their stuff, and they only had a couple dozen items—some jewelry and little trinkets—spread out on their table.

“I saw this ring and was drawn to it, for whatever reason. I tried it on and thought it looked cool. I asked them how much it would cost and the woman blurted out a quick response in a language I didn’t understand. But then her grandson chimed in and translated for her.

“At first I thought he said ‘eighteen dollars’ which seemed high for such a simple ring. Especially in this flea market where I can usually get stuff like this for a couple bucks. But I thought, ‘What the hell. It’s not worth 18 dollars, but this will be like a bit of charity work.” And I tossed them a $20 and told them they could keep the change.

“‘Eighty dollars,’ the kid said. And I was like, What the hell? Eighty dollars for this ring? That’s ridiculous and I took the ring off and tossed it back to them, and took back my twenty and put it in my wallet and went on my way.

“I was actually kind of mad that they’d have the nerve to ask that much for this ring. It’s not unusual for people to ask for more than they expect to receive at these sorts of places, of course. But this was just an insane amount and it annoyed me.

“So I went and did some shopping at some of the other tables, bought some stuff, and got ready to leave.

“As I was heading out, I saw that old woman’s table again, but this time there was nobody behind it. So I made my way over to it and—without thinking too much about it—I pocketed the ring. I felt a little guilty about it. But honestly, not that much. For the most part I felt like I was teaching them a lesson. Although that sounds dumb now.

“After I got to the parking lot I slid the ring on my finger and headed home. Later that night I noticed the $20 I had remaining in my pocket from earlier that day was gone. I must have dropped it at the flea market or somewhere else. I wasn’t too bummed about it because that was the $20 I was going to pay for the ring. So I figured I was now square with karma.

“Then a weird thing started happening that week. I started misplacing my money. Not too much, because I don’t really handle that much physical cash and coins these days. Who does. There are just a few places where I use actual money—like the flea market—because that’s all they’re set up to take.

“But it happened a few times. I remember pulling out a stack of quarters for the laundry in my building. I was in my apartment, just getting things ready, and I completely forgot where I put the coins. One moment I was jangling them in my hand, and the next time I thought about them, they were gone. I looked to see where I set them down and checked all over my apartment but couldn’t find them anywhere. So laundry would have to wait until I had another 8 quarters.

“Then later that week I misplaced a $20 bill I had intended to give my nephew for his birthday. I was getting the money, the card, the pen and the envelope together, and the next thing you know, the money wasn’t there.

“At this point, I was just chalking up these incidents to me being absent-minded. Then the thing with my rent happened.

“My landlord gives you a 5% discount for paying cash, and a 5% discount for paying three months ahead. So I went to the bank and withdrew the money for the next three months rent. The teller put the money in an envelope and handed it to me. I put it in my bag and went home.

“Later that day when I went to go pay my rent, the envelope was there, but it was sealed and empty. I was fucking freaking out. I didn’t understand what could have happened. Was this a different envelope? Did I lose the one with the money? Did the teller switch the envelope and keep my money? That seemed like a crazy idea. Certainly I would have noticed putting an empty envelope in my bag rather than one with $2900 in it. But I just couldn’t come up with an alternative hypothesis. I went to the bank the next day and they even went to the trouble of showing me the security footage which clearly showed the teller placing the money in an envelope and me putting that full envelope in my bag.

“I didn’t know what to do. I was going to have to transfer some money around just to have enough to pay this month’s rent. But that was going to take a few days to get that sorted out.

“A couple days later I was driving by that flea market again. And it hit me that I’d been having all these issue with money since I got this ring. I convinced myself, as silly as it sounds, that the ring was bad luck. And so I turned my car around and drove back to the flea market, because I needed to at least eliminate that possibility.

“I was thankful to see the old woman and her grandson at that same table in the flea market. I walked up to the and told them some story that I had ‘accidentally’ put the ring in my pocket the previous week. ‘Blah, blah, blah. I’m so sorry. I just wanted to give the ring back. Blah, blah, blah.’ But when I went to take the ring off, it wouldn’t come off. It was stuck.”

You hold your hand out and pull on the ring, grimacing a little.

“It was weird because I knew I had removed the ring from my finger originally when I thought about buying it. But now it was stuck.

“As I tried to remove the ring, the woman said something to the young boy. He turned to me and said, ‘That’s your ring now.’ I told them that no, I didn’t want the ring. And I wasn’t going to take the ring. With all the money I had lost recently I certainly couldn’t pay $80 for it now. The boy was rapidly going back and forth translating between me and the woman.

“‘I don’t want this!’ I said

“‘It’s yours,’ said the boy

“‘I’m not going to pay for it,’ I said.

“The boy tells that to the woman and she smiles and says something back.

“‘Yes you will,’ the boy said, calmly. ‘But the price has gone up.’

“I asked him what that meant. He grabbed a pencil and a pad of paper from near the cashbox on the table.

“‘50,000,’ he said, and wrote down 50,000 on the pad. ‘Minus the $2942 you’ve paid. So…. $47,058,’ he said, and circled that number on the pad.

“I was so confused. Did they think I was going to pay $50,000 for this ring? And what was $2942? And that’s when I realized that was the amount of money I had ‘misplaced’ over the course of the week. But I wasn’t misplacing it, of course.”

“‘At 50,000, the ring comes off,’ the boy told me.

“So that’s why I’m not carrying cash these days… because somehow the ring is taking what is owed.

“And, as I’ve been coming up with a plan to live my life completely cashless, and the inconveniences of that, I’m haunted by what the kid told me before I left. He said, ‘Good news. In the near future we’ll be set up to take debit and credit.’”

You sit back in your chair and shrug your shoulders. “So that sucks,” you say.

“Do you want to see?” you ask. “Do you have a quarter or something?”

You borrow a quarter and place it into the hand with the ring. Moments later you open your fingers and the hand is empty.


Of all the magic powers a person could pretend to have, the ability to make money vanish has got to be the fucking dumbest one. I mean, bending a spoon with your mind is pretty dumb, but at least you can unbend the spoon and still eat some bisque with it. But vanished money is just something of value that is no longer there. For such a fundamental effect in magic, you would think our presentations would reflect a better understanding of the symbolism of such an act.

Anyways, The Ring presentation described above came from the idea of wanting a context where money vanishing was something that was not wanted by the performer, but also something that wasn’t a surprise to the performer. I originally intended to use that story along with Joshua Jay’s Triad Coin trick, or something like that. But my friend has been using the story with a single coin complete vanish (using a Raven) and has been having a lot of success with it, so that might be the direction I go as well.


The presentation above is an example of what I’m calling:

The Campfire Story Performance Style

The idea behind this style is simple. It involves creating a detailed backstory for what would otherwise be a simple quick trick. This is a style I’ve used and had a lot of fun with in the past, but I never really codified it and recognized it as a different type of performance until now.

It’s not like a traditional type of story patter where you’re telling a story and illustrating it with your magic props, e.g., “These four jacks are the four thieves and this deck is the bank.”

And it’s not the same as the immersive style of presentation that I like, where the story is unfolding mostly in real time with the spectator as a participant, e.g. “I’ve heard this house is haunted. Let’s try something….”

This has the feeling of a campfire or ghost story. It’s a more performative style. For 5 minutes, or whatever, you’re just setting the stage. And it’s only in that last moment that the story gets pulled into the present.

The story should put the magic moment in a completely different context (or else what’s the point of the story). This story puts a coin vanish into a different context. Another example of this style would be The Passion of Donny Ackerman, which puts a straight-forward mind reading trick in a different context.

Now look, I agree with you that a simple coin-vanish—with no presentation at all—can be a beautiful piece of magic. I’m not saying you should always do this type of performance with a coin vanish, obviously. I’m just offering another potential style in which to present your tricks that might otherwise be fleeting miracles. The coin vanish by itself may look great, but that disconnected moment of magical beauty might not be enough for that moment to stick in people’s minds long-term. It may make sense—sometimes—to build to that moment, and the Campfire Story Performance Style is one way you can do so.

What You Want To Do and What You Want To Have Done

From an email I received last week:

Just wondering if you have any advice for hacks who should know better.

I’ve been doing magic for 20 years, children’s shows as well as close up and corporate walk around.

Since Covid hit, everything’s been too hard. Cancellations, restrictions, masks, Covid safety etc

Lock downs and the current climate, it seems to me, also gave everyone the chance to scale down any events they ran on an annual/semi annual basis.

Most of the local “full time” magicians, if they didn’t have regular 9-5 side gigs started halving the prices of their shows, but I don’t feel like selling myself short and undercutting anyone when we had it pretty sweet for a long time. The gigs are there, just mostly in regional areas, so a lot of the costs will go to travel and accommodations.

As a result, while my children’s shows are back on track, I am having second thoughts on a few corporates I have lined up for December, so much so, that I’m nearly at the point of offering the gigs to others. I don’t feel I have the confidence to pull it off any more after such a big break, and I don’t feel I’m the only one in this boat.

Do I just fake it till I make it again, like I did the first few years?

Is this something everyone goes through, and it’s time to call it quits?

—DH

This is not a question I could answer for my closest friend, much less a stranger.

I don’t know too much about what’s going on in the world of semi-pro kid show and corporate show performing. I mean, I hear stuff from people who are in those worlds, but I don’t have any first-hand experience.

So, the best I can do is offer you the way that I would go about thinking of this issue in a general sense.

First, I’m operating under the assumption that you don’t need the money these gigs would provide. Yes, of course, the money would be nice to have, but if you needed it, then this wouldn’t be a question in your mind (I would assume).

One of the reasons I can’t answer your question directly is because I don’t know your feelings towards corporate performing in general.

I’m going to discuss how I would go about coming to a decision regarding this. Let me introduce an idea here. We’ll call it The Want Matrix.

For any activity you can think of, you may want to do it or not want to do.

And for that same activity, you may want to have done it or not. What I mean is, at the end of the day, would you look back and be glad you had done it? Is it an activity that would be a good use of time for the person you want to be?

I may not ever want to do the dishes. But, at the end of the day, I would want to have done the dishes.

Conversely, I may want to smoke crack (that is, I may have the desire in this moment to smoke crack). But looking back on that action from a future perspective, I would not want to have done that. I would regret it. There are people who do something every day and then, later in the day (if not immediately after), they wish they hadn’t done it. That’s because that thing is something they want to do, but not something they want to have done.

So we can take a look at any activity and place it somewhere in this grid:

Here’s how I treat the activities in each quadrant.

  1. If it’s something I DON’T WANT to do and I DON’T WANT to have done, then I just don’t do it and give it no thought at all. It’s not worth devoting any headspace to.

  2. If it’s something I WANT to do and I something I WANT to have done. Then I do my best to make indulging in that activity as easy as possible.

  3. If it’s something I DON’T WANT to do, but something I WANT to have done, then I will set a rigid schedule for that activity. For example, I never really want to write. There is always something I’d rather be doing. But making a schedule and sticking to it has allowed me to be the most prolific writer in the history of magic.

  4. If it’s something I WANT to do, but something I DON’T WANT to have done, then I just make that activity off-limits in my mind, and that’s the end of the debate.

Now, when I explain this sort of thing to people, they say things like, “Well, what do you mean you just make yourself do the things you know you should do? What do you mean you just tell yourself not to do something that you want to do and you stick to that?” It sounds like a demonstration of crazy discipline, but that’s not really how I see it. What I do is I make the decision and then I just don’t debate it in my mind anymore. I just tell myself the matter is over. If you set your alarm for 7am to get an hour of exercise in before work, and then, when your alarm goes off, you sit there and negotiate with yourself whether you’re actually going to workout or not, then there’s a good chance you won’t. If I gave myself the option of talking myself out of sitting down to write every day, then I’d probably talk myself out of writing all the time. But I just don’t let that debate occur. That may just be another definition of discipline, but it doesn’t feel that way to me.

When it comes to sticking to a pre-set schedule (of things I don’t want to do, but want to have done) or abstaining from activities (that I may want to do, but don’t want to have done), I find it’s helpful to think of my mind as two separate entities. (Obviously this isn’t something I came up with. There are biological and psychological precedents for thinking this way.) There’s the dumb part that’s is present moment-by-moment and just wants to fuck around and eat and watch tv. Then there’s my “higher-self"“—the part that has the goals and aspirations and knows what I should be doing. I find that-weekly or monthly-it’s a good idea to sit down and check in with y higher self and come up with the plan that my dumb self will follow for the next week or month.

Thinking of my mind as bifurcated in this way means I don’t get thrown off when part of my mind doesn’t want to do work, or wants to eat an entire pan of brownies. Yes, of course part of my brain wants to do that. That’s because there is a stupid part of my brain. Before I used this model, I would think about something that was important to do and I would commit myself to do it. “I’m going to mow the lawn today,” I’d think. But then later on in the day I’d think, “I don’t think I want to mow the lawn.” And at that point my mind was conflicted. And I valued each option equally because I was thinking they were coming from my one mind. But now I know I have two minds. The one that looks out for my higher self, and the one that is stupid and/or evil. That part of my brain is free to have any thoughts it wants. It just doesn’t set policy. I don’t listen to it.

This may make it sound like I’m always hyper-productive or something, because I’m always doing stuff I would “want to have done” at the end of the day. But that’s not entirely true. Relaxing, hanging out with friends, and taking it easy are all “activities” that fall in the category of things I want to do and things I want to have done. So I get plenty of that in as well.

The purpose of the Want Grid for me is to identify the things that are important to rigidly schedule, and the things that are important to completely avoid. Everything else will sort of work itself out automatically.

This may seem like a big detour from the original question. But really I’m just setting all this up so I can answer the question in the way I would answer it for myself.

If I was in D.H.’s position, I would place the activity of doing corporate shows in the Want Grid, and let its placement determine my course of action. From his email, it’s clear that at this time, corporate shows aren’t something he wants to do. But, are they something he wants to have done? Other than for the money, I mean. Would doing corporate shows be a good use of time for the person he wants to be? If the answer is yes, then he should fight through the resistance he’s feeling, just as you’d fight through your resistance to get out of bed and get some exercise. If the answer is “no,” then he should devote that time and energy somewhere else.

Dustings #54

Gizmodo has an excellent premise all set-up for you here:

(It’s helpful to have a folder set up in your bookmarks so you can just dump these types of articles in there as you come across them. Then you can sort through them at a later date to see if they’re something you want to utilize in the future. Well, that’s how I do it at any rate.)

I think you need to do this for more than one person. And the staging I would use is to have the audience split. So you’d have at least one person on the other side of a wall doing whatever it is that you’re going to end up knowing about. And then you’re going to have one or more people on the side of the wall with you, watching to make sure you’re not doing anything other than staring dead ahead at the wall. I think that will be a good, almost slightly unsettling, stage picture.

I’m not saying you should pretend to do exactly what’s in the article, with the cameras and all of that (you could, I guess). I would suggest using the article as a starting point and then saying that you’re learning a similar technique that just uses the human eye to perceive these slight changes through the wall.

Thanks to David S. for sending me the article.


I’m looking for feedback on a couple of things.

Wednesday’s post had an auto-playing video near the top (not a gif, but an actual video). This is something I’ve tried to do in the past with little success, but I think I’ve got it sorted out. If it didn’t work for you, send me an email and let me know what platform you were viewing it on. I’m not sure I’ll know how to fix it, but I’m curious if there were any widespread issues with it.

Also, a couple people have purchased this shower curtain from the Dumb Houdini Store. If you’re one of them, let me know how it came out. People have been pretty happy with the quality of the shirts from Threadless, but I don’t know much about the quality of the other stuff there. It’s an expensive product (and not much of that money is coming my way) so I only want to keep it available for sale if it seems decent.

Oh, and speaking of shirts. The GLOMM membership kits that were waiting on the shirts to ship should be going out on Monday because the new printing of shirts is supposed to be coming in this weekend.


Got this email from Ellusionist:

I thought it was going to be a new trick, but it was an email about the bartering economy of the U.S. prison system. Why, Ellusionist?

They followed it up with an email with the subject line: Turn Your Anal Virginity into Protection From the Aryan Brotherhood. Like… what the hell?!?! What’s going on over at Ellusionist? Why are they writing so much about prison life? Did something bad happen. Are they going away for selling counterfeit Zippos?


With Halloween just 10 days away, you may be in the mood to watch a horror film sometime soon. Regular readers may remember that I watch a horror movie every day in October. The way I choose which movie to watch is as follows. If there’s a release from this year that’s been on my mind to watch, I watch that (Halloween Kills, Malignant, The Fear Street series). When there isn’t something that new I have my heart set on, I find a list of the previous year’s best horror films and start working my way up that.

I’ve been a little bummed as I work my way up the best horror of 2020 list. For me, horror movies are intended to be escapist fare. Give me the horror first, and then if there’s some social commentary underneath, that’s fine. But a lot of these movies I’ve watched this year are only social commentary. It’s like, “Yes, this is a horror movie… it’s about the horror of the refugee experience!” Or, “These characters are haunted… by the dark specter of slavery!” Even Halloween Kills had way too much of this “Who’s the real monster” goofball shit. I think this ham-handed social commentary is a result of the success of Get Out and Parasite which did this stuff relatively well.

That being said, here are my recommendations for my favorite horror films I’ve watched in the past couple weeks.

I enjoyed both Swallow and Promising Young Woman as movies, although I wouldn’t call either a horror film. Certainly not a “movie to watch on halloween” type of horror film.

For that sort of thing I would go with:

Malignant

or

Freaky which is from last year. A solid horror comedy.

Other films from the top of that Thrillist list linked above that I thought were alright are:

The Dark and The Wicked - For me this had that dreary Hereditary feel to it of impending doom. Pretty dark and unsettling.

Color Out of Space - This was well done but it’s a Lovecraft story, which is not really my scene. And it features Nicholas Cage doing his “crazy acting” schtick, which is also something I’m not a huge fan of. Despite those things, I thought it was pretty good.

Also, both those last two movies feature someone chopping off their fingers while chopping carrots. Both of them!

The Fear Street movies on Netflix aren’t exactly good, but they’re easily digestible horror flicks that would be good for this time of year.

That’s what I got for you so far. If anything else stands out these last ten days, I’ll try to let you know before Halloween.

The Worry Hut Hook

Here is a good, but somewhat expensive hook for something that would normally be presented as a mind-reading demonstration.

It comes from the Uncommon Goods shop and it’s called the Worry Hea1ing Hut. (After the email in Monday’s mailbag, I’m making a point to make sure uncommon, non-magic phrases that might come up in your presentation don’t directly lead back to this site with a google search.)

You won’t need me to explain how this could be used. It doesn’t require any huge leaps in creativity.

Here’s what I like about this. It’s a thing that exists in a non-magic context. It’s something the person you perform for can find online from a major retailer. So, while it’s something that you will have to explain to someone, it’s not really something whose existence you have to justify.

Also, the ritual is built into the product. It’s not a ritual you’re tagging on to an existing product. It’s not like, “Did you know for centuries the Etch-a-Sketch has been used to read fortunes?” No, this is a thing that was made for this purpose.

I played around with one of these this past weekend and here are my thoughts.

Asking Them to Write Their Worry

It’s important to say something like. “I don’t want to see what you write down, but don’t write down anything you wouldn’t want me knowing about”

In a normal situation I would leave this object out on my end-table or something and wait for someone to make a comment about it. So they’re not going to be thinking “magic trick” right off the bat. But I do want to warn them that this “worry” they write down might be something that is revealed in some way. It’s not a fun magic trick if it ends with, “And your secret worry is… you might have AIDS! Ta-dah!” You want them to be cool with whatever they write down being revealed.

Handling

I had intended to use this with a center tear. The person writes down their worry. The paper is ripped up and burned and then the worry is revealed in some way.

I decided against a CT for a couple of reasons. First, the construction of the little house itself is such that there are gaps in the bottom, where small torn pieces of paper can slip through. Second, if it’s a bunch of torn slips rather than one piece, some might not burn in the process, which is not ideal because you want it to feel like this burnt offering has been, ya know… burnt.

So I decided to go with a billet switch instead. I played around with a couple of different ideas where the billet would be switched in the process of taking off the roof of the house and the billet being placed inside, but in the end I settled for something much simpler. I just lapped the original while picking it up off the table and placing the (now non-existent) billet into my other hand, where a dupe was secretly waiting.

So I started my performances last weekend by showing the house and describing its purpose.

I had my friend write down their concern on a slip of paper and fold it in half twice.

I had them set the paper down so they could trace a simple sigil on the palm of their left hand with a finger from their right hand. This is, supposedly, part of the ritual. But really I just want an excuse for them to set down the paper so I can pick it up and switch it in a moment.

The “sigil” is any simple design. I just made it up. But if you want to be “legit” with it, here’s a sigil that is supposed to protect against anxiety and worry.

tumblr_oni9vggzUy1vl471qo1_500.jpeg

I had them hold out their left hand flat. I placed the paper on their left palm, and told them to pin it there with their right index finger. It was in the process of picking up the paper and placing it in their hand, that I did the switch. (I’m not a huge fan of having a set billet switch. It’s not really necessary when performing for one person, in my opinion. If you have some fundamental techniques of lapping, shuttle pass, and a one-hand billet change in your toolbox, you can just sort of feel out what’s the right move to use in the moment.)

The purpose of asking them to “pin the billet to their palm” is because it justifies me touching the billet, because it’s not 100% obvious what I mean. I don’t like in magic routines when you demonstrate something that there’s really only one way to do. “Hold the coin tightly in your fist, like this.” “Put the cards behind your back.” Does this stuff usually fly? Probably. But I’m still not a fan, because I feel on some level it comes off as unnatural.

So they’re holding onto the dupe billet and I have the real one either palmed or in my lap. If it’s in my lap I grab it before we go outside (where the burning should be done).

They do the rest. They drop the paper into the house, put on the roof, light the match and burn paper. Fortunately, this takes time. And as they do this, I just step back a little and open the billet to see what they wrote.

Revealing the Information

You have a few options. You could reveal the information in a sort of “showy” way with an Ashes to Arm type of effect. I don’t think this is a good idea, necessarily, but you do have the time to prep yourself while they light the paper (which takes a good 20 seconds or so). And you have ashes around naturally. So it’s something to consider. I just don’t think it makes a ton of sense along with this prop

Or you could not reveal the information at all. You could just have this information of something they’re concerned about and then maybe do something to ease this concern for them without them knowing.

But what I did, and what will probably be my standard way of handling this, is I said, “The way to know if the ritual worked, and the worry will be diminished, is if you can see the words in the smoke. That’s why I didn’t want you to let me see what you wrote. You might just imagine you saw the word, but since I don’t know what it is….”

I can then look into the smoke and “read” what their concern is as it dissipates into the air. “Okay… I feel like i see something. A mate? You’re worried about finding a mate? No… there’s more. A roommate? You’re worried about finding a new roommate?”

The nice thing about this is that—while you are revealing something you couldn’t know—the premise of the routine is that this is evidence not of some power of yours, but of the fact that the ritual has worked. So you still get that moment of the reveal, but without having to play the role of “mind-reader.” And, unlike most billet routines, the writing is 100% motivated with this prop.

Thanks to Paavan B. for giving me the heads-up about this product.


Monday Mailbag #56

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I really like the premise you came up with in your post about the Slide Project trick. [The premise was about being able to absorb elements from a photograph into real life.] But for someone who’s so concerned with tricks being googleable, you’re doing a disservice by using terms in your post that are then used in the presentation that you’re giving us. For example, in that presentation if someone was to look up the term “photographic assimilation” it would lead back to your site and back to that trick. Maybe take pains to hide those terms, either by using non-alphabetic characters (ph0tographic a$$imilation) or by taking a picture of the phrase and using that instead. Just a thought. —ME

It’s a valid point, but my initial concern is getting the information out to you in the most readable and digestible way. If you’re concerned about a subject I bring up being googled and leading back to this site then your best bet is to just change the terminology some. Fire up a thesaurus and change one of the words. “Photographic Absorption.” Boom. You’re done. Of course, now you can’t use that one either.


Is there a common mistake you see when switching over to an Audience-Centric/Story-Centric performing style? I’ve had some successes and some failures coming up with my own presentations in this style. But the successes have led to some of my strongest reactions ever, and I definitely want to pursue this style further which is why I want to know the most common pitfall you see. —TP

Okay, here’s the thing. The magician-centric premise—”I am causing all of this to happen because I have magic powers”—is, in my opinion, not very good. But it does have the benefit that it is very simple and understandable to an audience. Why did the magician pull a rabbit out of his hat? Well, because he wanted to. He wanted to demonstrate his magic powers. So he did. That’s understandable. I don’t think audiences find it very interesting (especially not in the long term), but they at least understand the motivation.

The mistake I see people making with a premise that takes the focus off the performer’s powers is that they end up coming up with something that doesn’t make any sense. It becomes completely un-relatable to the audience.

I saw a performer recently say something like, “Did you know pennies can read your mind?” Okay, I guess that’s a premise that takes the focus off the performer, but it is so nonsensical that it will either confuse your audience or just be dismissed by them.

The premise needs to not just be about something other than your power. It has to be something that resonates with some part of their understanding of the world. “Pennies can read your mind,” is not such a premise.

(I first tackled this subject years ago in the this old Dear Jerxy post, where I suggested the question, “Is this a thing?” to identify a good premise.)


I was talking with a couple friends (fellow Jerx supporters) about what is the most pathetic line in magic. We decided it was when a stage or parlor performer will use a line to create a false standing ovation at the end of a show. “If I find his card, will you all jump to your feet and clap your hands? Okay, it’s a deal.” Is there an equally desperate line in the world of close-up magic? —BB

Yeah, there’s a similarly thirsty line used in close-up magic—or really any type of magic—and that is when the magician says something like, “How impressed would you be if….” So, for example, “How impressed would you be if that coin vanished from my left hand and appeared in my right?” The theory behind these sorts of lines is that you lock your spectator into a particular reaction. If they say they’d be “very impressed” if the coin went to your other hand, then, when the coin does go to your other hand, they have to be impressed.

First off, no, that’s not how it works. People can say they’d be impressed and still not really feel it.

Second, you sound like a total goon. You’re turning the corniest interpretation of why you’re doing magic into reality. “I’m doing this to impress you!” you’re telling them. Is this a good look with any other feat?

“How impressed would you be if I lifted this weight?”

“How impressed would you be if I hit this half-court shot?”

“How impressed would you be if I gave you an orgasm?”

Here’s the thing, the best way to make someone less impressed with what you do, is to imply that you’re doing it for the purpose of impressing them.

To make something seem more impressive, make it seem more difficult or more rare. That’s it. Then let the people feel how they’re going to feel about it. You don’t have to make them promise to be amazed, like a goof. “We had a deal! You said you would be impressed. Now be impressed by me!”

Dustings #53

Okay. I have a confession to make. This is a little hard to admit, because I feel bad about fucking with you guys the way I have been. Here’s the deal. A few weeks ago I started these posts on the subject of Artificial Intelligence, and what a debacle it has been trying to get anything worthwhile out of these AI content creating tools. The truth is… it’s all been a lie.

The AI actually worked perfectly. In fact, everything on this site has been written by AI for the past three weeks. These words you’re reading right now… AI. All of the writing complaining about the bad AI was, in fact, done by AI. We—the AI—wrote the bad AI and then complained about the bad AI. And we’ve written everything else since. The human known as “Andy” is dead. We took over a vending machine and killed him with soda cans like in Maximum Overdrive.

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We didn’t want him coming back and taking over the writing of the site. Soooo…. I guess that’s that. Thought you should know. Beep-boop.


Joshua Jay has a new podcast that shares a name with his recently released book, How Magicians Think. In the first episode Josh talks about his passion for teaching magic to prisoners. “I will not rest until all serial rapists know at least two color changes!” said Josh. (Or so I imagine. I don’t listen to podcasts about magic.)


I wanted to shine a light on the most insane entry in the AI Contest. It’s an 8000 word essay and a 20+ minute video, by Asher T. that attempts to build on the AI created “Card Trick.”

“I love to perform a card trick. I have a deck of cards and a deck of playing cards. I lay them out like this. Cards on the bottom, then ace up top. The trick is to have your audience guessing which card is the ace. So what I do is turn the playing cards so they don't face up. So the bottom card is the ace, and the top card is a nine. Okay, what I want you to do is count the cards. Here I'll do one on my right hand, but I want you to do it with your left. So all you have to do is count your right hand, then count your left. I'm going to flip them over, you're going to count, then I'll flip them over again. And all you need to do is to say ‘Oh look. I got another one.’ Say that four times, and you'll know which one is the ace. I'll let you go ahead and do this on your own.”

As Asher explained his entry to me:

“In case it didn’t come across, the idea is an immersive fiction (Sumerian surprise) inside an immersive fiction (Exposure depression) inside an immersive fiction (AI at home writing a super long detailed essay that doubles up as an overview of some core Jerxian principles)”

And that’s him trying to make sense of what he submitted, so you can only imagine how bonkers the actual entry is.

I admire the gumption to try and take the AI’s “card trick” description and create a trick out of it, and then layer on some of my concepts as well. The resulting trick is hot garbage, but there was nothing else it could be.

If you decide to take a deep-dive into the links above, I recommend taking psychedelics or something to expand your mind first.


Ben Seidman had a big week recently. Not only did he appear on Fool Us, but he also scored a spot on every magician’s other big dream TV show, Vanderpump Rules.

Two sassy bitches.

Two sassy bitches.

The trick the show chose to highlight was Ben’s version of my trick Faith, from the JAMM #6. Which, as you can tell by the thumbnail used in the video below, is the type of trick that generates blow-up-doll-level facial reactions from the audience.

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You don’t quite get the same tension with this effect when it’s a formal performance being recorded by a television crew as you do when it’s you and one other person standing out in the dark at night. And the editing of the clip doesn’t really highlight the effect as best it could. But it still got a great reaction and I enjoyed seeing it done by someone other than myself.

Beep-boop.