Eddie's Magic Notes

I wrote these notes so that you can refer to them easily during the early stages of your development as a
sleight-of-hand Magician. Most of the information is basic common sense but I have seen some
magicians who call themselves "professionals" perform very substandard magic. These notes are my
way of ensuring that you do not make the mistakes they do. Please read these notes and really let
the information sink in. Keep them handy and re-read them every now and then. One question you
should always ask yourself when you are practicing is: “Does what I am doing elevate the art of
Magic? “ I hope that your answer will always be “Yep! It sure does.”

The Four Rules of Magic

1: Never reveal the secret.

Magic relies on secrets. If you tell people the secrets behind your magic, you betray the rest
of your fellow Magicians. Also; more importantly, you demonstrate that you can't keep a secret
and cannot be trusted with confidential information. Enough secrets are inadvertently revealed
by inept magicians with bad technique — please don't be one of them.

The usual advice given about what to say when someone asks, "How did you do that?" is to say
something humorous like, "Very well thank you" and move on. If this enquirer is persistent, you
could ask them conspiringly, "Can you keep a secret?"; when they eagerly say "Yes", you respond
by saying, "So can I".

I believe these types of responses can come across as a bit arrogant. The enquirer thinks they
want to know the secret, but they really don't. Once they know how it is done, the Magic is
gone. Often the secret is rather simple and even the most advanced sleight-of-hand is not very
difficult; it is much easier to learn than playing a musical instrument for example. The Magic is
not in the secret — it is in the presentation: It is in the meaning of the words you say and the
emotional connection you make with your audience; it is in the subtle nuances of your actions
and the message you manage to communicate with Magic as your tool of expression. Take music
for an example: Music is not in the notes written on manuscript paper — it is in the musician's
dedicated practice and artistic interpretation of those notes.

When a person watches a movie, that person knows what they see on screen is fake. The viewer
is aware that the characters are really actors, the scenery is not always real and most of the
sounds are created in a studio. The viewer is willing to suspend disbelief in order to enjoy the
story and experience the movie. Many magicians fumble through their performance and simply
offer their magic as a trivial amusement. That's why many people think that Magic is just a
puzzle to be solved — an intellectual challenge proposed by the magician. Very few magicians
have the understanding and skills to elicit a feeling of wonder/astonishment in their audiences;
consequently, most adults are not aware that such a rare experience can be attained through
watching a thoughtful presentation of Magic.

If someone asks, "How did you do that?" tell them the truth... "You don't want to know. You may
think you do; but trust me, you don't".

©Eddie Sikorski 2014

2: Do not repeat the same effect using the same method in front of the same people.

The first time you do an effect, your spectators don't know what to expect and are easily
misdirected. If you repeat the same effect using the same method, they'll know where to
look and will be more likely to catch you out.

If someone insist that you "Do that again!" — show them a different effect that is even stronger.

There is an exception to this rule: Some routines are repetitious in their very nature: "The
Chinese Linking Rings", "The Miser's Dream" and "The Ambitious Card" for example. The
strength of these effects is in their inherent repetition. The Magician varies the method each
time the effect is repeated, making the effect progressively more impossible. The spectator
thinks, "Wow, I saw him do it once, next time I will be ready to catch him doing something
sneaky and ... Oh crap! He did it again. This time I'll catch him, I think I know how it's done. Oh
no, not again. How could I have missed the secret move. There's no point trying to work it out
any longer, I'll just sit back and enjoy the Magic."

3: Practice, practice, practice, rehearse, rehearse, rehearse.

Make sure you are thoroughly prepared before you show a new effect to anyone. This means
that you have practiced it to the point where you don't have to think about the method
anymore and concentrate on the actual effect you are creating. You must have developed a
routine you are comfortable with; composed and memorised a suitable script; and rehearsed
your performance until you can do it in your sleep.

4: Don't state what you are going to do before you do it.

If your audience knows what to expect, there will be no surprise. Also, your announcement may
be perceived as a challenge. The spectators will be more vigilant and they'll be able to think
ahead, having a better chance of figuring out the method.

More so, if you make a mistake: you could alter the effect, still achieve a magical outcome and
no-one would be the wiser.

An effective technique (often used by comedy Magicians) is to declare that you are about to do
one thing; then, after a bit of funny-business, the outcome turns out to be quite different
(usually exceeding your stated intent).

Here's an example:
The Magician displays a 20 cent piece and apparently places it into the participants hand saying,
"Please hold onto this coin. On the count of three, I will make it vanish. One, two , three! The coin
has vanished." — The participant looks at the Magician doubtfully. — "What's the matter? —
The participant says that the coin is still in their hand. — "That's impossible. Open your hand
and let's have a look." — The participant opens their hand and discovers a chocolate coin.

©Eddie Sikorski 2014

Some Sage Advice
1: Pick the right situation

Only perform Magic when you are asked to. Resist the temptation to perform when it is not
requested. When you are having a conversation with someone, let them know you are a
Magician: If that person is interested, they will ask you to do a "trick". If you are prepared (as all
good Magicians are) show them something relevant to the conversation or situation. Do an
effect utilising a borrowed object (ring, coins, banknotes) or use something that is in the
immediate environment (pens, napkins, drinking straws, sugar packets, etc.) and make it
meaningful.

External elements such as wind, rain, excessive noise, fire restrictions and social context must
be considered before you present an effect. Sight-lines are one of the most crucial elements that
will affect your choice of effect (more about this in the Terminology section).

If you treat your Magic as important — that's the way it will be perceived. On the other hand; if
you treat your Magic as a trivial amusement — that's all it will be. There's a big difference
between saying, "Here's a cute little trick."; and saying, "Here's a piece I've been working on for
the past few weeks." Treat your performance not as a demonstration of how clever you are, but as a
shared magical experience; a rare moment of wonder.

Australia is probably the most multicultural country in the world, so in some situations it is
important to consider whether Magic is appropriate at all. As hard as it is to believe: not
everyone likes Magic. Magic (especially Mentalism, which is gaining in popularity) can actually
arouse fear and resentment in certain people. If you do an ESP effect for someone who is
sensitive or prone to anxiety, that person could actually feel violated if they believe the effect
was real. They may worry that you purloined their account details, passwords and deepest
secrets while you entered their mind to find out what playing-card they were thinking of. Some
people may be very religious and consider Magic to be taboo because they consider it to be the
work of the Devil. Some people are very gullible and will believe that you have supernatural
powers. Even if you insist that you have no such powers, they will still be convinced that you do.
Sadly your Magic will only reinforce their delusion. Please do not humour them by agreeing with
their strange beliefs. Firmly and politely state that you are an entertainer — nothing more and
nothing less. Fortune tellers, psychics, spirit mediums, clairvoyants, faith healers, shaman
(witchdoctors), religious cults, etc. have been exploiting (and profiting from) these sorts of
people since the beginning of humanity.

2: Master a few really good effects.

This is very important. Every Magician goes through a learning stage when they want to learn
the secret to every effect ever invented.

You can waste a lot of time dabbling with weak effects and questionable methods. Many
Magicians have cupboards full of silly little TRICKS they bought and never use; they have shelves
full of third-rate magic books written by people who really shouldn't have bothered to write
them; and consequently, their heads are full of junk and their wallets are empty (except for the
rich hobbyists). These Magicians call themselves collectors (they are affectionately known as

©Eddie Sikorski 2014

 accumulators but most people would call them hoarders); they find pleasure in owning secrets
and showing the stuff to people who visit their home.

Choose a few strong effects that you enjoy doing which suit your style and personality. Practice
and rehearse these effects until they are perfect. These effects will evolve and you will make
adjustments to improve their strength as you try them out on various people.

3: Have a few "drop words":

The term "drop words" comes from Jugglers' parlance. It is a clever excuse used to justify a
dropped ball. For example, "Woa! That was a strong gust of gravity". It is advisable to think up a
few of these just in case something goes wrong during your performance. If you are shuffling a
deck of playing-cards and accidentally drop a couple of cards, don't panic, just say something
like, "Oh, they just don't want to play".

Remember this: The way a performer recovers from a mishap demonstrates their expertise.
Musicians are a classic example: Beginners, when they hit a wrong note, tend to panic. They
often stop, go back a few bars, correct their mistake then rush through the rest of the piece so
they can get it over and done with. Most people in the audience would not have noticed the
mistake if the musician didn't bring their attention to it in such an obvious way. On the other
hand; a professional musician ignores the mistake, never interrupts the flow of the music and
plays the rest of the piece perfectly. Consequently most of the people in the audience aren't
aware that a mistake was made. So if you make a mistake, get over it and keep going; most of
the spectators wouldn't have notice it. If you can't recover from the mistake, use your drop
words. Here are a few I just made up: "Oh that trick never works"; "You would have loved this
trick if it worked"; "Serves me right for trying to imitate David Copperfield"; "I don't understand...
I did this a thousand times at home and my goldfish was impressed every time."

Terminology
Act/Program: Three routines that have been sequenced into a dramatic and entertaining
presentation.

Actual: The real situation or object.

For example: a) Actually retain the coin in your right hand.
b) Retain the actual coin in your right hand.

Apparent: The pretended situation or object.

For example: a) Apparently place the coin into your left hand.
b) Place the apparent coin in your left hand.

Audience: The people listening to you (hopefully your spectators).

Convincer: Something you say or do to convince the spectators of the apparent situation.
For example: When you pretend to be holding a coin in your closed hand, you
can say, "I have in my hand a 20 cent piece minted in ..." — open your hand
slightly, then with your other hand, pretend to turn the apparent coin over and
look at it. Close your hand and finish your statement, saying — "... 1986".

©Eddie Sikorski 2014

 Ditch (verb): To secretly dispose an object.

Effect: What your spectators see.

Flash: To inadvertently expose a hidden or palmed object.

Feint: An action used to disguise a secret move.

For example: a) Ditching a palmed coin into your jacket pocket as you take
out a pinch of "woofle dust".

b) Visibly pocketing a real coin whilst secretly palming out a

chocolate coin.

Lap (verb): This is done when seated at a table.

a) To secretly hide an object in your lap before you begin an effect.
b) To secretly drop an object into your lap during the course of an effect.

Laymen: Non-Magicians. (see Muggles)

Magus: A really old word for Magician. (Plural is "Magi")

Method: The secret behind an effect. (See "Procedure")

Misdirection: Exploiting the brains natural tendency to be curious, distracted, presumptive,

and conditioned through repetition. Magicians use various techniques to direct
the spectator's attention away from the secret method. Misdirection should not
to be confused with distraction, where the audience are aware that they were
forced/tricked into looking at the wrong place.

Muggles: People who are not Magicians. (This term has been popular among modern
magicians since the book/movie "Harry Potter" came onto the scene.)

Palm (verb): To secretly conceal an object in your hand.

Paraphernalia: The items used in an Effect.

Participant: A volunteer who is assisting you with an effect.

Patter: (See "Script" below) This is an old-fashioned term which you will find in older
Magic books. The word trivialises the importance of what you are saying so
avoid using it.

Pocket (verb): To ditch an object into your pocket.

Practice: The thoughtful and considered repetition of an action, be it a sleight-of-hand

move; facial expression; a script you are learning; even the way you walk onto a
stage, take a bow and introduce yourself.

Preparation: The secret things you need to do before you start an effect. This may have to be
done in advance far ahead of time or a few minutes before you begin.

©Eddie Sikorski 2014

 For Example: a) Fold one napkin into quarters and glue it to the other napkin.
b) Memorise the serial number of a five dollar note.

(Not to be confused with "Setup").

Procedure: The step-by-step details of the Method.

Rehearsal: This is what you do after you have practiced your moves, etc. You rehearse
when you go through your entire routine from beginning to end without
stopping (even if you make a mistake). This will reveal problem areas that need
more work. It will also teach you to "think on your feet" and how to recover
from your mistakes.

During your rehearsal, it is important to wear the clothes you plan to wear
during the actual performance. This will ensure that you will feel comfortable in
them and get used to where the pockets are. Also try to recreate the expected
performance area (table or stage). It is necessary to have someone you trust to
play the role of a spectator/participant to give you useful feedback about dodgy
sight-lines, clarity of effect, audibility of your voice and, effectiveness of the
instructions you give them. Participants need to understand the instructions you
tell them without any confusion or ambiguity.

Routine: a) The order of steps within an effect. (Always think: Beginning - Middle - End).
b) The order of effects within an Act. Routining is all about having a smooth and
logical transition between effects. (Again, think: Beginning - Middle - End).

Script: The words you use to communicate with your audience. (Your script has to be
written and memorised so that you won't have to think about what to say when
you are performing.) It is important that you speak with a strong, clear voice so
that everyone can hear and understand what you are saying.

Setup: a) The arrangement of the objects that you will be using in an effect.
For example: Put one ball in each cup, pocket the three loads in your left jacket
pocket and conceal the extra ball in right hand finger-palm.

b) In Card Magic, "setup" refers to the prearranged order of cards.

For example: With the deck held face-down; position the Ace of Hearts (AH)
face-down on top of the deck, the Ace of Clubs (AC) face-down third from the
top. Place the remaining two Aces (AD and AS) face-up on the bottom of the
deck and an indifferent card face-down beneath the bottom Aces.

Sight-lines: Imaginary lines between the spectator's eyes and you. Some effects are angle-
proof which means they can be done when you are surrounded by spectators.
Other effects can be "angly" and sight-lines must be taken into account. Many
stage effects should only be done with the spectators seated in front of you. If
they were to be seated beside you, above you (balcony seats in a theatre), or
below you (a family show where the children sit on the floor) you must consider

©Eddie Sikorski 2014

 the sight-lines and either rearrange the audience (get the kids to sit in chairs
and suggest that the people sitting beside the stage move to the front to get "a
better view") or perform angle-proof effects. Sight-lines can be reflected mirrors
or other reflective surfaces such as windows and glass tables. Avoid performing
near these surfaces.

A related topic to sight-lines is visibility. You must have enough light shining
on you to make sure you can be seen; but not so bright that you can't see what
you are doing. When performing Stage Magic, the house-lights (the lights above
the spectators) should not be switched off completely: they should be dimmed
half way so that you can see the spectator's faces and judge how they are
reacting to your performance. It's a lot more fun if they can see each other
responding (laughing, surprised, shocked, gasping in amazement, etc.) because
it validates their experience and reinforces their reactions.

If you are performing a floor-show at someone's house, make sure that no

bright light is behind you (such as sunlight coming through a window). There are
two reasons to avoid this: 1) The light will be glaring in their eyes (causing
painful eye-strain) and they'd have to squint to see you properly, and 2) The
light may shine through translucent materials such as silks, paper, your sleeves,
etc. and expose a hidden gimmick or object.

Sleeve (verb): This can be done when you are wearing a long sleeved shirt or jacket.
a) Secretly concealing an object in your sleeve before you begin an effect.
b) Secretly disposing an object into your sleeve.

Spectators: The people watching you.

Subtlety: A small (almost insignificant) movement that is used to convince the spectators
of the apparent situation.

For example: When you pretend to be holding a small object like a coin, you can
subtly move your fingers as if you were repositioning it to get a better hold of it.

Table (verb): To place an object on a table.

Volunteer: A spectator willing to become a participant.

©Eddie Sikorski 2014

Parts of the Hand:
1st finger 2nd finger
3rd finger
or Forefinger or Middle-finger
or Ring-finger
or Index-finger
4th finger
Thumb
crotch or Little-finger

or Pinkie-finger
Base of the
fingers
Thumb
Palm
The V shaped space between
two fingers (at their base) is
Heel or base of Heel of the Palm
called the crotch. eg: "The
the Thumb
sponge is concealed at
Wrist 4th finger
the crotch of the 2nd
or Little-finger
and 3rd fingers." or Pinkie-finger

Groups of neighbouring fingers are referred to in the following way:

 1st and 2nd finger = First two fingers; 1st, 2nd and 3rd fingers = First three fingers.

 2nd and 3rd fingers = Middle fingers.

 2nd, 3rd and 4th fingers = Last three fingers; 3rd and 4th fingers = Last two fingers.

Parts of the Finger:

Pad Tip

Outer phalanx
End joint
Middle phalanx
Middle joint

Inner phalanx Knuckle

The plural of Phalanx

is Phalanges.

Handcare:
To keep the skin of your hands in good condition:

1. If your hands are dirty, wash them with glycerine soap (Pears® Pure & Gentle Soap is available at
supermarkets).

©Eddie Sikorski 2014

 2. At other times wash your hands with Sorbolene lotion (which is formulated to trap moisture in
your skin). Wet your hands, massage the lotion into hands and wipe off without rinsing.

3. At night, Neutrogena Norwegian Formula® (fragrance free) is a very effective hand moisturiser. It
can leave a greasy film on your skin; just wash it off in the morning.

4. Vaseline® Total Moisture — 24 hr nourishing lotion; pure oat extract + stratys 3® can be used
during the day (without any greasy residue). It is inexpensive and available at supermarkets.

5. Remember to wash your hands before handling your props. Cards absorb oil from your skin and
quickly deteriorate as a result.

6. SORTKWIK® Fingertip Moistener can be purchased online. This stuff is amazing: Formulated to
provide a non-toxic, non-staining grip enhancer for people who count money and handle lots of
paper; it is the modern alternative to rubber thimbles. A cardician's secret weapon.

7. If you suffer from sweaty hands (this may occur when you get nervous), No More Sweat® Hands
and Feet "Extra Strength" can be purchased from one of those large discount chemist stores
(there's one below David Jones on Rundle Mall) or online at www.nosweataustralia.net Phone
1300 85 12 40. Strictly follow the directions provided and you will never again be troubled by
sweaty hands (hyperhydrosis).

Geography of the Stage:

Remember:
Your LEFT is the spectator's RIGHT.
Your RIGHT is the spectator's LEFT.

©Eddie Sikorski 2014

When you are watching a Magician Performing Live:
As a fellow Magus, you would want the performing Magician to put on the best show possible. Some
people in the audience may have never seen a Magic show before and won't be sure about when or how
to react. Your presence and positive reactions will cue other positive reactions within the audience. If the
spectators enjoy the show, it elevates the art of Magic and makes people want to see more of it. Mind
you, if the magician really sucks; walk away — you don't want to be guilty by association.

Here are some guidelines on how to behave when watching Magic being performed live:

1: Common courtesy and respect should be given to all people.

2: Pay attention to the magician and do not interrupt or disrupt the performance in any way.
(Do not distract the spectators around you by playing with a deck of cards or whispering to your
friend that you know how the “trick” is done).

3: Do not react if you spot a secret move; pretend you didn’t notice it.

4: Act like a “Muggle”. Pretend that you don’t know anything about Magic. Even if you’ve seen
the effect before and know how it’s done — pretend that you haven’t got a clue.

5: Be enthusiastic about what you are watching: Laugh at the jokes; act surprised and
delighted when the “Magic” happens; clap and cheer at the end of the show.

7: If the Magician asks for a volunteer, DON’T volunteer. Let a Muggle have some fun and allow
them to experience the “Magic”.

8: After the show, if you want to meet the Magician, wait until they have finished packing up
and introduce yourself. Tell them that you enjoyed the show and that you are a Magician too.
Ask them if they have some time to chat. Most Magi love to meet other Magicians.

9: If you are away from Muggles, you can politely offer some constructive criticism. Tell the
Magician what you liked about the performance. Then, more importantly, let the Magician
know if you spotted any flashes (secret moves). Use the right terms if you know what the moves
are called (this will help you build rapport). Never discussed this sort of thing in the presence of
other people who can hear what you are saying.

©Eddie Sikorski 2014

Essays

P r o p e r P r a c t i c e
Te c h n i q u e
Practice sessions: Frequency, duration and planning.
Practice Magic EVERY DAY: Make it a habit. Schedule twenty to forty minutes of concentrated
undisturbed practice as a regular part of your daily schedule.
The optimum duration for a practice session is twenty to forty minutes. Your efforts become
counterproductive if you practice longer than forty minutes without taking a break. There are two reasons
for this: Firstly, the human mind can concentrate continuously for an average of only thirty minutes. If
you are not concentrating on the task at hand, you risk letting your technique get sloppy, or you may end
up learning a new move incorrectly. Secondly, practice should not be a burden or a chore. Stop before you
get bored, or frustrated, so that you will look forward to practicing again. If you lose your concentration
and start making mistakes, you must stop and take a break. Do not stubbornly “soldier on” and expect
anything good to come out of it. When you complete a practice session, you should feel like you want to
continue; eager to practice again. A fond memory of your last session rewards you with a sense of
accomplishment, and it makes you approach your next session with zeal.
Before you start your practice session, plan what you intend to do. Think of two or three specific
objectives you want to achieve from your practice. Divide your session time to accommodate your
objectives. Here are four examples:
1. Practice a difficult new sleight for ten minutes, then spend ten minutes practicing an effect that
employs that sleight (duration: 20 minutes).
2. Spend ten minutes learning a newly written script; next, spend ten minutes combining your script
with the effect for which it was written; then, spend ten minutes practicing with your trusted
friend who can provide feedback and an honest appraisal (duration: 30 minutes).
3. Spend ten minutes learning the technical details of a new effect; next, spend ten minutes writing
an original script for this new effect; then, spend twenty minutes rehearsing a short routine from
your repertoire which you intent to present tomorrow at a dinner party (duration: 40 minutes).
4. Rehearse a routine for an upcoming performance: Start by doing a run-through of the routine,
exactly as you would present it in front of an audience. Make a mental note of any flaws or
difficulties that occur during the routine. Next, repeat the routine, from start to finish, paying
particular attention to these weak spots. Spend ten minutes practicing just the weak spots. Then
finish by performing the routine one more time (duration: 40 minutes).
The practice you do during the day, gets assimilated by your sub-conscious as you sleep at night. That is
why the difficult move that you practiced yesterday, is much easier to do today.
Your practice area:
Consider devoting a special area in your home for practicing Magic. Make sure that the space has
adequate lighting and affords you some privacy.
Close-up magic requires a clean flat performance surface and comfortable seating. A suitable table of
desk and an armless office chair fit the task perfectly. A three sectional practice mirror and close-up mat
should always furnish your performance surface. A notepad and pen will also be needed. One or two extra
chairs could be set aside for invited guests. If possible, avoid using this practice area for other purposes.
For stand-up magic you need a flat stable floor with enough area to represent a small stage (8’x 4’). This
area should be large enough to accommodate your table with enough space to walk around it without any

©Eddie Sikorski 2014

obstructions. Hang a large mirror (at least 3’ x 3’) with its top edge level with the top of your head.
Standing six feet in front of a mirror this size, with your arms held wide apart, you should be able to see
yourself reflected from the knees up, including your outstretched fingertips.
Store your magical equipment neatly and organised in a cupboard or rack of draws. Organise all your
equipment so that you will not have to leave the room to rummage around looking for stuff. Set up all the
items that you will need for your practice session, and put away everything that is unrelated to the task at
hand. Let nothing interrupt your concentration by having no television or radio competing for your
attention — leave them switched off. Switch your phone to silent mode and hang a Do Not Disturb sign
on the outside door handle.
You may have a spare room to convert into a Magic den. This lockable room would have a close-up area
and a stand-up area. You could set up a video camera on a tripod so that it can be utilised at any time. It is
a good idea to practice using an ordinary microphone on a stand (even if it is not plugged in). There will
be times when you have to use this type of microphone in front of an audience, so you would be well
advised to get familiar with using one before such a time arises. You will need a reliable music playback
system if you plan to use musical accompaniment. Other important elements are a book shelf that
accommodates all your magic books; a comfortable armchair to sit in while you read and take notes;
comfortable seating for invited guests; a well lit desk with stationery for writing and drawing; a draw
containing scissors, glue, sticky tape, etc. for constructing simple gaffs and gimmicks; and the ubiquitous
“Junk Draw” — a draw that contains a small fortune worth of well advertised gimmicks, accumulated
over the years, which turned out to be almost completely useless. They are kept as a reminder of how not
to spend your money. The beauty of having a Magic den is that you can leave things set up for your next
practice session.

Using a mirror:
Practicing in front of a mirror is the most effective way to learn magical techniques. The mirror allows
you to see what a spectator would see. You can spot bad angles, assess the naturalness of your
movements, and determine the effectiveness of a new sleight, feint or subtlety.
A single mirror limits you to one view at a time. Close-up magic is often viewed from several angles by
several spectators, so a three-sectional mirror provides you with three perspectives from three different
angles. It would be prudent to have one ready for the next time you practice your close-up magic. The
construction details are as follows: You will need three mirrors — a central mirror (16”x 14”) and two
side mirrors (16”x 8”). You will also need timber boards that have been cut to the same dimensions, four
good quality hinges, some wood glue, and a screwdriver to screw in the hinges. Glue the mirrors to their
corresponding timber boards. With the mirrors all facing in the same direction, attach the side boards to
the central board with the hinges, so that the side mirrors can swing inward towards the central mirror.
You now have a 16-inch tall three-sectional mirror that can be stationed in front of your close-up mat.
Position the side mirrors at an angle that keeps the mirror standing upright, and adjust their position to
reflect the angles you want to see.

Learning a new move:

Every move that you make should look natural. Sleights and feints must be indistinguishable from the
ordinary actions they emulate. Here is an effective way to approach a new sleight:
1. Execute the sleight a few times until you can do it without referring to the instructions.
2. Perform the ordinary (sleightless) version of the action, observing how your hands move.
3. Alternate between the sleight and the non-sleight action in a continuous cycle, striving to make
them look identical to each other. This repetitive cycle is called a “Practice Drill”.
4. Alter the practice drill by varying the number of sleights and non-sleight actions.
5. After you have learned to do the sleight right-handed, it is time to practice it left-handed. Your
hands seem to teach each other what to do at this stage.

©Eddie Sikorski 2014

 Here’s how you would approach the false transfer of a coin:
Stand or sit in front of your practice mirror so that you can watch the reflection of your hands.
1. Hold a coin in your right hand, place it into your left hand and close your left fingers around it.
Observe how your left hand takes the coin, and pay particular attention to how your right hand
behaves after the coin has been taken. Notice the subtle transfer of muscular tension from your
right hand (when it holds the coin) to your left hand (which receives the coin). Notice the way
your right hand relaxes after it has placed the coin into your left hand. Notice the way your left
hand dips down slightly as it receives the coin.
2. Execute a false transfer, aiming to reproduce the exact same motion as the actual transfer in step
1.
2. Observe your hands in the mirror as you execute the sleight.
3. Perform the same action without executing the sleight.
4. Your mission is to make the sleight look exactly like the non-sleight action. Alternate between the
actual false transfer and the sleightless version in a continuous cycle.
5. Change hands and practice the sleight left-handed. Do the practice drill, alternating between left
and right handed false transfers and their sleightless versions.
Be consistent with your actions. If you place a coin into your left hand in one manner and execute a false
transfer in a different manner, you will arouse suspicion.
Get familiar with your angles. Every move has good and bad angles. Determine what the bad angles are,
and take steps to avoid exposing them to the spectators. A trusted friend can help you work out your
angles.
Plan and manage your sleights so that they are a secondary action (off beat). This means that they seem to
be incidental to the procedure you are carrying out. Using our false transfer as an example: Do not
emphasise the action of placing the coin into your left hand. Have a more important motivation for doing
so. You may need to transfer the coin to free your right hand to do something else like pick up a magic
wand which is lying on the table to your right. You may need to transfer the coin in order to gesture with
your right hand as you say something. Perhaps you need to scratch your right ear or slide your left sleeve
up your forearm to negate any suspicion that you are using your sleeve. Incidentally, you could actually
deposit the retained coin under your sleeve as you slide it up your forearm (oh the irony).

How a trusted friend can help you practice:

Recruit one close friend who you can trust with your magical secrets. Choose someone who has an eye
for detail and enjoys Magic. After practicing an effect for a while, present it privately to your friend. Your
friend should assess your presentation, participate if necessary, and give you an honest critique. Pay
particular attention to your friend’s non-verbal reactions — they can speak volumes. Ask your friend (and
yourself) the following questions:
 Was the effect clearly understood?
 Did you evoke the type of reaction you expected?
 Were your spoken directions easy to follow?
 Were any secret moves detected?
Take note of any unforeseen problems that may arise.
Discuss the effect with your friend, and consider any useful suggestions that could improve your
presentation.
Your friend can give you instant feedback during the effect. Repeat the effect and have your friend
instantly alert you when they can see any discrepancies or flaws. They can help you further by letting you
know in which direction to adjust your angles. When practicing stand-up magic, repeat a problematic

©Eddie Sikorski 2014

move in a continuous cycle as your friend walks in front of your stage area, from left to right, pointing out
troublesome angles. Adjust your angles with your friend’s guidance, so that you can accommodate the
sightlines of a larger audience.
It would be ideal if your trusted friend came over for a regular weekly practice session. That would give
you a weekly deadline to prepare something. Be nice to your friend, do not subject them to too much
repetition, and reward them for their precious time and valuable assistance (Pizza and beer are my friend's
favourite rewards).

Variations to shake things up a bit:

Once you have mastered an effect, you can play around with it. Exercise your acting skills by trying some
of the following variations:
 Have your trusted friend behave like a difficult spectator.
 Perform a scripted effect without talking (aim to make the effect understood without
words).
 Mime an effect without using any props (concentrate on making your movements graceful
and expressive).
 Swap hands, and do everything the other way around.
 Speak your lines with a foreign accent.
 Perform as a different character: an eccentric wizard, a sad clown, a mad scientist, a visitor
from another planet, a stern schoolmaster, etc.
 Perform an effect with an exaggerated emotional state: Angry, bored, frightened, jubilant,
besotted by your charming participant, annoyed by a pesky fly that keeps bothering you,
etc.
 If you use pre-recorded music, sing, whistle or hum the tune instead.
 Perform an effect to completely different music.
These variations are lots of fun and they help you hone your performance skills. Invent more variations of
your own.

Video practice:
Although mirrors provide you with real-time feedback, they force you to split your attention between
your actions and their reflection. Video technology gives you another way to assess your presentation. If
you film your actions from front-middle, front-left and front-right, you will be able to view the footage
without having to perform the actions. As you view the footage, observe your actions critically and
identify any moves that require more attention. Video footage can reveal aspects of your performance that
a mirror cannot.
Have your video camera mounted on a tripod, focused, so that it is ready to use whenever the need arises.
Keep copies of your better work on file. If you plan to upload any of your video footage to the internet ,
please make sure it is your best work. You can privately send and receive video files of works in progress
to distant colleagues, without broadcasting them publicly. Always ask yourself, “Does this elevate
people’s perception of Magic?”

Getting the timing of your sleights right:

Every sleight has an intrinsic pace and rhythm. Let’s take a look at a simple retention-vanish of a coin.
A retention vanish has four distinct steps: 1) SHOW the coin in your right hand, 2) PUT the coin into your
left hand, 3) GESTURE (click or wiggle your fingers) with your right hand, and 4) OPEN your left hand
to show that the coin has vanished.

©Eddie Sikorski 2014

Assign a monosyllabic (or disyllabic) name to each step: 1) SHOW, 2) PUT, 3) GESTURE, 4) GONE.
Next, start your inner metronome tick-tocking at a steady, moderate Waltz tempo: TICK – 2 – 3 – TOCK –
2 – 3 – TICK – 2 – 3 – TOCK – 2 – 3, etc. Now perform the retention-vanish in time to your inner
metronome, as your inner voice narrates the steps using the assigned words: “SHOW it and PUT it and
GES-TURE it’s GONE”. The rhythm should be: ONE and a TWO and a THREE and a FOUR. (Think of
the song “My Favourite Things” from Rodgers and Hammerstein’s “The Sound of Music”—“Rain-drops
on ro-ses and whis-kers on kit-tens, Bright cop-per ket-tles and warm wool-len mit-tens…”).
You can change the phrasing of a sleight by altering its timing. Add some suspense by pausing for one
beat before opening your empty hand: “SHOW it and PUT it and GES-TURE and WAIT now it’s GONE”.
Pause for two beats and notice the increased suspense “SHOW it and PUT it and GES-TURE and WAIT for
a bit now it’s GONE”. Pause before your magical GESTURE instead: “SHOW it and PUT it and WAIT
and then GES-TURE and wait now it's GONE”. These timing changes create an appreciable difference to
the way an action is perceived; like emphasising selected words in a sentence like “WHAT is that? What
IS that? What is THAT?” Settle on a phrasing you like and make a practice drill by cycling through its
steps, narrating as you go. Keep strict timing, and gradually accelerate the tempo until you reach your
desired speed. Once you can do the sleight perfectly, drop the narration. Your inner voice will be needed
for your inner script.1
This technique gives you fine control of a sleight’s individual elements, and makes your movements flow
gracefully.
Remember, you’ve got to find time to practice every day. Use a mirror for instant visual feedback, video
to view difficult angles, and practice with your trusted friend about once a week. Explore the timing and
customise the phrasing of your sleights to suit your natural style.

* * *

O v e r c o m i n g S t a g e
f r i g h t
Preparation is the key:
Preparation involves thorough practice and minimising show-time contingencies. Thorough practice
empowers you with the confidence of knowing exactly what you will say and do during your
performance. Minimising show-time contingencies involves ensuring that you bring everything you need
to the show, and position each item in its proper place before you begin your act. Such precautions avert
unnecessary last-minute stress that could exacerbate your stage fright.
Prepare a checklist of all the items you require for your act, and use it diligently. Use labelled diagrams to
map out the placement of every item. A diagrammatic template of your table top, magician’s case and
pockets can be filled in and labelled to map out all the items in your act. A photograph of your stage set
and lighting scheme is a useful reference for a lighting designer. Bring backups and extra supplies to the
show, just in case anything breaks or goes missing. Make sure your costume is ready, and, if you have to
touch dirty stage equipment, wear gloves to keep your hands clean. If you use pre-recorded music that
consists of more than one track, check that the tracks are in correct order, and their volume levels are
evenly balanced. Prepare a cue-list (including the duration of each track, and clearly defined music and
lighting cues). Bring backup copies of your recorded music, and cue-list, just in case the originals get
misplaced.

1
See “Scripting”

©Eddie Sikorski 2014

Understanding Stage fright:
Everyone feels a certain degree of arousal before walking on stage. Our body secretes more adrenalin,
priming us for physical exertion—a process commonly known as “the fight or flight reaction”. Symptoms
include: an accelerated heart beat; raised blood pressure; shallow breathing; a dry mouth; increased
perspiration (especially sweaty palms); shaky hands; and in extreme cases, stuttering and stammering.
Entertainers, athletes, public speakers, job applicants, students sitting for exams, and people going out on
a first date—all feel the same sense of arousal. Our thoughts, situation and circumstances tell us the type
of arousal we are experiencing.
Here are three effective remedies for temporarily reducing the symptoms of stage fright:
1. Controlled breathing—breathe slower and deeper to calm yourself down.
2. Drink clean water (or pineapple juice2) to alleviate a dry mouth.
3. Wipe your sweaty hands with a clean cotton handkerchief before, and possibly during,
your performance.
The causes of stage fright must also be addressed. A fear of impending failure would be quite
understandable if you were unprepared. However, if you have thoroughly practiced and rehearsed your
act to near perfection, and stage fright persists, your brain (which tends to have a mind of its own) has
misconstrued your excitement and enthusiasm as fear and apprehension (aka: stage fright). This irrational
fear may be an artefact from a past experience in which you felt publicly humiliated. To protect your
feelings, your subconsciousness mind has convinced you that public scrutiny leads to unpleasantness. A
little voice inside your head screams, “Warning! Impending failure ahead.” This is an emotional relic
from an old problem that does not exist anymore. Like every performer, you steadily improve as you gain
more experience. You are far more able to entertain an audience today than you were back then. Being
aware of this allows you to associate your heightened pre-show emotions with fond memories of previous
successful shows. Instead of panicking, your inner voice will say, “Yippee! I can’t wait to share my Magic
with this wonderful audience.” Next time you perform, take a mental snapshot of the audience as they
applaud your achievement. Soak in the exhilaration and triumph that you feel. After the show, when you
get home, relive the splendour of the moment in your head and tell yourself, “It’s worth getting nervous
for what you get out of it.” Next time, should you feel anxious before a show, remind yourself that you
are fully prepared and keen to enjoy the same wonderful feelings that you felt at your last show. If
something does not go to plan, instead of beating yourself up about it, be grateful that that is one mistake
you will never make again.
Another good way to minimise stage fright is to build rapport with the audience as soon as possible. Your
purpose is to entertain each one of them. Let the audience see that you are enjoying yourself and wanting
to share the fun with them. Keep it fresh. No matter how many times you have rehearsed and performed
your act, your enthusiasm should make the audience feel like they are the first people to see it. Do this,
and any apprehensions you may have had quickly melt away.

* * *

S t a g e c r a f t
2
Pineapple juice is recommended by professional singers. It dissolves mucous and phlegm from your throat,
and lubricates your vocal cords.

©Eddie Sikorski 2014

 Be seen,

Be heard

Be interesting

Be Seen:
1. Ensure that you are well lit.
2. Avoid turning your back to the audience.
3. When you are standing in one spot: Stand still. Do not shift your weight from foot to foot.
4. Avoid distracting your audience with behaviour such as fidgeting, scratching your nose and
other nervous movements.
5. Look like you are enjoying yourself.
6. Believe the Magic, and your audience will believe too.
7. “See” the Magic from your spectator’s perspective.
8. When you perform Magic, think of the EFFECT and forget about the method.
9. Separate actions from words. Do not talk when you are moving: conversely, avoid moving
when you are saying something important.
10. Establish eye contact with individual spectators, one at a time. Keep re-establishing eye
contact regularly throughout your performance.

Framing:
When performing stand-up magic, imagine a picture-frame floating two feet in front of you. The top and
bottom of the frame are level with your crown and waist respectively, and its sides are as wide as your
torso. By presenting everything you want your audience to see within this imaginary frame, you condition
them to focus their attention on that area.
Conversely—and this is handy to know—your audience will pay less attention to the area outside your
imaginary picture-frame.
Close-up magic should be framed within an area measuring approximately sixteen by twelve inches (the
size of a standard close-up mat) on your performance surface.

Sight Lines and Angles:

Sight lines are imaginary lines extending from the spectators’ eyes to the stage. Purpose-built theatres
provide excellent sight lines with tiered seating and, in the larger ones, balcony seats. Some venues have
problematic sight lines. Temporary stages erected at outdoor events can be viewed from a much wider
angle than a traditional theatre stage. Magicians must ensure that no vulnerable angles are exposed to the
sight lines of the audience. Ideally, you should position yourself so that your spectators are in front of
you. Try to have your back near a wall so that people cannot stand behind you. Encourage spectators who
are standing beside you to get a better view from the front. When table hopping at a restaurant or
performing walk-around magic at a corporate picnic, you have many sight lines to deal with, and they
change from one moment to the next. Close-up magicians are often expected to perform surrounded. You
must know the sight lines of a venue, well in advance, and rehearse your act accordingly.
If you have to work surrounded, choose effects that are “angle-proof” so they can be viewed from any
angle without exposing any secret moves.
Be Heard:

©Eddie Sikorski 2014

 1. Learn to project your voice properly.
2. The spectators have to be able to hear you.
3. Memorize your script and practice how you will say it.
4. Take deep breaths and speak clearly.
5. Don’t speak too fast. There is a tendency among inexperienced performers to rush through
their act in a live situation. Rehearse your act at a slower pace than you expect to perform it.
(Music cues are exempt.)
6. Avoid talking to the floor. Hold your head up straight and speak clearly to the hearing-
impaired person at the back of the room.
7. Learn to use a microphone properly.
8. Ensure that your microphone and music levels are balanced properly and set at a suitable
volume level.
Be Interesting:
Ok. Your spectators can see your Magic and hear what you are saying. How interested will they be?
That’s up to you. Originality and simplicity are what make an act interesting. Convey a clear simple
message that can be easily understood, perform Magic that is unique, and think up an eye-catching
presentation with a clever script. Remember this formula: ORIGINAL + SIMPLE = INTERESTING.
Choose original material that few audiences have seen. Select effects that are unique, and rarely
performed by other magicians today. Write a clever script with a clear, meaningful message. If I ask you
what you are trying to communicate with your act, you should be able to answer me with one simple
sentence. Here are a few examples: “My act asks the audience if seeing is believing.”, “My act explores
Love, luck and money.”, “My act espouses the importance of recycling and conserving energy.”, “My act
uses music, mime and Magic to portray the archetypal story of the Sorcerer’s apprentice who has bitten
off more than he can chew.” Come up with an interesting sentence of your own, and focus your efforts on
making your message clear.
Your dress, deportment, manner of speech and personality are the very first thing that audiences judge.
Rehearse your entrance and exit, for they are the first and last impressions that you make on the audience.
Stride onto the stage confidently, making eye contact with, and nodding at, two or three people in the
front two rows. Wave at someone in the audience as if you have spotted a friend. Tip: Before you walk
onto the stage, take two strides back from the edge of the stage. When you are cued to make your
entrance, start walking with your upstage foot, towards the stage. You will have already taken two steps
before the audience sees you. Walking on stage mid-stride immediately draws the spectator's attention
towards you. It is the key to a strong entrance.
A mystery object or outcome that will be revealed at the end of your act can be effective at retaining
interest. You can refer to it occasionally, throughout your act, to build suspense.
Blocking:
When planning your stage performance it is important to map out the positions you will be taking and
movements you will be making on stage. If you can provide definitive "blocking notes" to the stage
manager they can arrange proper lighting and logistics for your act.

* * *

©Eddie Sikorski 2014

 I m p r o m p t u M a g i c i n
D a y - t o - D a y L i f e :
Two questions:
 What happens when you ask someone if they would like to see a trick?
 How do you respond when someone asks you to do a trick?
One answer:
 Whatever you do; it is not impromptu Magic.
Impromptu Magic does not interrupt the natural course of events. Whether you are conversing with a
stranger or spending time with a friend, by incorporating your effect within the context of the situation;
you are doing the “real work” — creating MAGIC.
Now imagine this…
After paying for your companion’s lunch, you pick out a coin from among the change you received and
say, “Wow! This is one of those rare edible coins. The mint produces a few of these each International
Day of Chocolate.”
Your friend looks at you as if you’ve gone mad, at which point you secretly exchange the coin for a foil
covered chocolate coin.
You say, “I’m not crazy. I have a certificate to prove it. But that’s not important right now... ”, peel the
foil off and share the chocolate with your friend.
You could say that the coin is a rare “nano-coin” that exhibits unusual quantum behaviour. Then proceed
with almost any coin effect you like.
These additional story elements are what elevate tricks to Magic.
Aim to create a magical experience for someone every day. Keep your eye out for suitable moments, but
do not foist your magic upon people willy-nilly.

Your Magical “Calling Card”:

As a prudent magician you should have a thoroughly rehearsed “impromptu” routine that is ready to be
performed anywhere; anytime. This routine is your “calling card”. When conversing with a prospective
client, you can impress them with a baffling interactive coin or rubber band routine; a little miracle with a
borrowed finger ring; or some mentalism. If you have a business card, incorporate it into your
presentation. The strongest “calling card” routine is highly interactive and empowers the spectator. Let
the magic happen in their hands and credit them for having special powers. A brief effect that ends up
with your business card in their hand should convince any prospective client to seriously consider hiring
you.

* * *

©Eddie Sikorski 2014

 S c r i p t i n g
An interesting, clever and original script which logically leads to the climax of your act is vital to creating
an entertaining Magic act. Your script provides a reason for the audience to watch your performance. It
gives motivation, meaning and structure to your act.
A script consists of three things:
1 Spoken lines

2 Physical actions, and

3 Inner thoughts.
These provide the structure for your presentation.
The first step is to find a subject that is relevant to your expected audience. Let’s consider a floorshow at a
wedding reception. This is a celebration of Love, hope, trust, unity, and family. Let’s make the subject:
“The power of Love”.
Next, we need a plot—a basic outline of what will happen. Here’s an example:
Part 1. The Magician introduces himself then proceeds to display a large sealed envelope, claiming it
contains the identity of the first girl he ever had a crush on. The bride and groom are asked for a girl’s
first and surname respectively (Mary Ellis). The Magician writes the name on a pad and sets it aside. He
rips open the envelope and pulls out a photo of a baby girl. He boldly claims that her name is Mary Ellis.
The audience groans. The Magician turns the photo around and a message is found written on the back.
The bride reads the message out aloud:

Dear Eddie,
Here’s a photo that Mum took of
me, circa 1966.
Love always,
Mary Ellis.

Part 2. The bride’s Mother selects a card, remembers it, signs it’s face and returns it to the deck. The
Father selects a card, remembers it, signs its back and returns it to the deck. The magician finds both
cards and transfers the father’s signature to the back of the Mother’s card. He gives them the card as a
keep-sake.
Part 3. The Magician cuts a rope in half and ties the two pieces together as he talks about two people
uniting together by “tying the knot”. He wraps the rope around his hand, then unwinds it restored, saying,
“Two become one.”
The Magician concludes by toasting the bride and groom and wishing them a beautiful life together.
— End of act —
Write down everything you plan to say during your act. The wedding floor show example requires 1) a
suitable introduction; 2) a story about the first crush we had as teenagers; 3) the dialogue we will use
when interacting with participants; 4) a heart-warming speech to accompany the cut and restored rope
routine; and 5) concluding remarks.
Although you probably have the technical actions for each effect already practiced and perfected, you will
need to work out the actions necessary for smooth transitions between effects. Plan the placement of your

©Eddie Sikorski 2014

props so that you can access them easily. Also plan how you will dispose of each prop after it has been
used. Consider where you will be standing when you perform each effect.
Scripting your inner thoughts is always a good idea. Focus on the effect and not the method. Take a
double-lift as an example: Instead of thinking, “Turn over a two cards as one, turn them face down and
deal off the top card.”, think, “Show the face of the top card, and put it, face-down, on the table.” After
having forced the 6H onto a spectator, don’t think, “Now I’ll find the 6H, face down, in a face-up
spread.”— instead — think, “Hmm, there’s a face-down card in this face-up spread. I wonder what card
it is.” Keeping your mind on the effect makes your magic much more believable because your inner
thoughts are congruent with your actions.
All spoken lines, actions and inner thoughts should be written down so that you can refer to your notes
whenever necessary. The script may need to be edited a few times during the initial planning stages, but a
final draft should be conceived as soon as possible so that you can begin rehearsing the act.
Learn your script thoroughly. A script that has not been adequately memorised sounds stilted and
uncertain (much like a nervous child reading in front of their class). Your spoken lines should not sound
scripted. Two things to be aware of when using your script are: (1) If you get a few scripted words wrong,
do not go back and correct the line (it’s a dead giveaway that you are using a script); and (2) Always think
about the words as you say them. A memorised script recited without much conscious thought sounds
monotone, lifeless and, usually, much too fast.
You may choose to drift from your script during the show, this usually happens when you respond to a
comment made by someone in the audience (not to respond would be rude) but, because you have a
script, you can always resume course and proceed from where you left off.

Scripting Impromptu Magic:

Imagine this scenario: You meet a prospective client and tell them that you are a professional Magician.
The potential client asks if you have a business card. You bring out a "blank" business card, show both
sides and place it on the potential client's palm. Place your hand over the card and, when they turn the
card over, your details have been magically "printed" on it.
Your script could contain a subtle sales pitch; something like:
“…Now turn the card over, slowly.” The potential client does so, and discovers that the blank card has
magically been printed with all your contact details. “You see, (Client’s name), there is a little bit of
Magic in everyone. Call me tonight and I’ll tell you about my show.”

Premise:
Every effect should have a clear premise — a reason (or cause) for the magic to happen. It is also
important to emphasise the distinct moment that the magic happens. The premise may be subverting the
laws of nature, superhuman strength, ESP, unusual properties of ordinary objects, secret scientific
principles, special chemical formulas, time travel, quantum entanglement, animism, a new invention,
alien technology, etc. The distinct magical moment is traditionally indicated by a snap of the fingers, the
wave of a magic wand, wiggling your fingers, sprinkling woofle dust, the utterance of special words, etc.
Unless you intend to give the impression that the magic is happening spontaneously to you, you must be
clear as to when the magic occurs.

Adlibbing:
Sometimes a unique opportunity presents itself and you feel compelled to do a small effect to spice up
the moment. Think up a suitable script, that supports the effect you have in mind. An adlibbed script
should be kept as simple as possible.
For example:
“Wow! A 1999 fifty cent piece. I collect these. It’s a bit grubby…” Breathe on the coin and polish it on
your sleeve. “…Hey, where’d it go?!”

©Eddie Sikorski 2014

Counter-example:
“Here’s a coin. I’ll give it a bit of a rub and it’s gone.”
The first script provides a logical reason for the effect; the second script adds nothing of interest at all.

The Host’s (MC's) Introductory Script:

Compose a simple (and concise) introductory script, for the host of the show to read before you enter the
stage. Print it out using a large font, making it easy to read under difficult lighting conditions. The
following script is a simple example:

Ladies and gentlemen. Please put your

hands together for our special guest tonight,
Master Magician...
EDDIE EDWARDS

Print several copies of this introductory script, keep them handy and remember to give one to the host
before the show begins.

* * *

©Eddie Sikorski 2014

 R o u t i n i n g
Routining is the process of combining a series of effects to create a routine. It is also the process of
combining a series of routines to create an act.
A normal act is a logical sequence of three effects that help you to communicate the beginning, middle
and end of one complete message to your audience.
A stage act requires a smooth and logical progression through the following six parts:
1 Entrance

2 Introduction

3 First routine

4 Second routine

5 Third routine

6 Closure

7 Exit

Entrance:
Immediately after the MC introduces your act, enter from the wings and walk purposefully to your point
at front-centre stage. Shake the MC’s hand (if possible), smile and take a bow.

Introduction:
Thank the MC. (For example: “Thanks for that wonderful introduction Harry.”)

Greet your audience, introduce yourself, and say what you are going to do and why everyone should pay
attention. (For example: “Good evening ladies and gentlemen, my name is Eddie: I’m going to do some
Magic and I hope you like it.”)

First routine:
Your first routine should immediate capture your audience’s attention; astonish them within the first thirty
seconds; sustain each spectator’s interest; and remain compelling until its remarkable climax and
satisfying conclusion.
Start with an effect that is not too technically challenging and that you know will build rapid rapport with
your audience. An easy start helps you to quickly relax and connect with your audience who relax along
with you.

Second effect:
Your second effect should be interactive, utilising a suitable volunteer from the audience. The way you
treat your volunteer gives the audience some insight into your character.
Alternatively, if you do not want to use a volunteer, perform an effect that tells an interesting story. The
story should convey a personal anecdote or a meaningful lesson to your audience.

Third effect:

©Eddie Sikorski 2014

The third effect must be your biggest and most spectacular effect with a definite climax.
Before beginning your last routine, announce to your audience that you are about to perform your finale.
Tell the audience that you hope that they enjoyed your Magic as much as you enjoyed performing for
them.

Closure:
Remind your audience who you are and thank them for watching your Magic. (For example: “I’m Eddie
Edwards, thanks for being such a great audience.”)

Exit:
Walk off the stage, grateful for your audience’s applause and triumphant in your successful performance.

Things to consider when routining:

 As far in advance as possible: contact all the Magicians who are scheduled to perform on
the same show as you, to confirm which effects they plan to perform. Avoid effect
duplication, by negotiating who gets to do what tricks. If you are the only Magician
performing at the show, effect duplication should not be an issue.
 Use one simple theme and distinct style as a common thread throughout your routine.
 Develop a meaningful theme that is relevant to the occasion. (Christmas, Halloween,
birthday, etc.)
 Connect all your effects smoothly and logically.
 Pre-arrange your props on stage so that you can access them easily without fumbling.
 Be flexible enough to stray from your script if circumstances make this necessary.

* * *

©Eddie Sikorski 2014

 C r e a t i v i t y
When seeking new ideas it helps to explore the things you already know. Creating an "object" and
"subject" lists can yield original ideas.
On a sheet of paper, create a table with two columns. In the left column, list all the objects (potential
props) you could use. In the right column, list the subjects you wish to share with your audience.
See the table below:

This process gains momentum as more and more ideas emerge from your mind. Subjects can branch out
into subtopics. The table above took me about ten minutes to. I had to force myself to stop at “History” in
the subjects list.
Now you can discover and explore new connections between your lists.
Here is an example:
Object: “Coin”, Subject: Science (Subtopic: “physics”.)
Coins could be used to demonstrate some scientific principles. Coins are made of
metal, they have mass, size, shape and value.
Hmmm… Galileo’s “Law of Falling Bodies” could be used as a subject for a new
effect using any of the objects listed in the first column.

©Eddie Sikorski 2014

 Here is another example:
Object: “Fruit”, Subject: Art (Subtopic: “paint”.)
Fruit can be painted. It can be either dipped in paint or depicted in paint, the former
could get messy; the latter – not as messy.
Hmmm... You could unveil a blank canvas on an artist’s easel, paint a banana on it;
then pull it off (transformed into a real banana), peel it and eat it.

Brainstorming:
This technique involves writing down ALL the answers you can imagine to a relevant question. Then you
proceed to explore those answers by asking more questions. Once you have a page full of answers you
can find a suitable thread and eliminate the rest.
Question: What Magic could I do with a pencil?
Answers: I could make it vanish, reappear, relocate, multiply, change colour, bend, stretch, shrink,
levitate; I could break and restore it; or, Heaven forbid, turn it into a rubber pencil by wobbling it
in front of an unimpressed spectator.
Question arising from the answers: How will I make the pencil vanish?
Answers: You could make the pencil vanish using sleight-of-hand: a flip-stick move or one of
several cigarette sleights to accomplish this.
You could use a secret device such as a pull, toppit or thumb-tip.
You could utilise a gimmicked prop such as a small drawer-box, Devil's Hank or change- bag.
The next question arising from the original answers: How will you make the pencil reappear?
Answers: Using sleight-of-hand, you could either grab the pencil out of thin air, reproduce it
behind your knee or a spectator’s knee. This could be accomplished with a suitable cigarette
sleight.
You could use a gimmick such as a hold-out.
You could utilise one of the gimmicked props mentioned earlier.
Solution: Vanish the pencil using a flip-stick move and reproduce it behind a spectator's ear using
a "cigarette production" technique.
There are quite a few books and articles covering the topic of creativity, and it may be an avenue worth
exploring.

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©Eddie Sikorski 2014