Good evening everyone.

I have always struggled with writing routines and patter for my effects. I have the well known, awful habit of `descriptive patter`
("Now, we'll take your card..and place it in the deck..and it comes to the top.")

I mostly perform in a bar or restaurant environment, however most footage that I find of other well-routined magicians tends to on a stage or more formal setting, making it hard to draw inspiration from, as I'm sure similar patter would be out-of-place in the kind of venues I perform. While most footage (that I've seen) of bar/restaurant/street magicians tends to lack well written patter all together.

As fellow performers in this area, how do you go about structuring your routines?, did you develop a character, or do you perform as an exaggerated version of yourself? and how do you like to communicate during performance?

I believe what holds me back from writing patter and routines is that I know about what not to do. I know to stay away from obvious descriptive patter, cheesy renditions such as "Oil and water do not mix...so like..here's a trick about that." but I don't know what TO do. how do you set of in the right direction when it comes to scripting your act?

Any inspirational materials or ideas which might aid me to brainstorm?

Thank you all for your time,
- Daniel.

I'm so glad I didn't "know" any of that when I began. I just winged it and probably broke every one of the rules.

Advice from other magicians can certainly help but concern about what magicians think of your act can be a great hinderance too.

There is nothing wrong with descriptive patter. The more you perform the more your personality will shine through. A cheesy gag here and there might be the perfect thing.

"Oil and Water don't mix" in the context of a card trick is ONLY old to magicians. If you perform to real audiences the chances that someone saw another magician use that are almost zero. It is a useful way to make what is happening clear. If you think of a better one by all means use it.

I start with a basic script and with time it gets funnier and more intelligent (many times I improvise something during a show and than decide to add it to the script).

it is not limited to ¨words¨, after performing a routine time after time you will probably find many ways how to improve the technique, audience management, props handling, etc...

I like watching the pros that have been doing it for awhile. Doc Eason, pop Haydn, and Tom Mullica are personal favorites. When possible, I like to watch several different versions of the same effect. I've noticed a lot of those I admire use descriptive patter interlaced with humor, bits of business, and fun. There's nothing that says you have to rush through an effect... Have fun with it and interact with your audience. That's the real magic!

I'd recommend "Scripting Magic" by Pete McCabe. It covers the topic well and will give you lot's of ideas about how to improve your existing scripts.

HTH, markus

I would also recommend taking a peek at some of Eugene Burger's material. While his presentations may not fit your persona, the majority of his work was created for the bar.

The basic idea he presents is simple... Start with a premise (he gives a BUNCH in his recent Penguin Live Lecture), just know what you are going to say throughout the effect (eliminate "fluff." Stuff like describing what you are doing etc.), and have a closing line which wraps things up.

I learned a lot by seeing how he writes in his books and watching his performances though his DVDs and Live Lectures. Because he is very composed, well rehearsed and unhurried it's simple to see the structure in action.

I usually have a basic script and as mentioned earlier over time it improves and for me personally I'll have the main part sorted usually within a week as I tend to pick effects that have premises/emotional hook that I can work with.

I then find that when working sometimes a spectator will come out with a funny line and if that's the case I'll either start using it myself or steer the patter so that the new spectators will come out with roughly the same line if that makes sense.

This is by far my one of my favorite parts of performing magic. Besides amazing people, of course.

As an entertainer I like to tell stories. People want to be entertained, not just tricked and storytelling is about as old as mankind itself. People will listen to a story. Sometimes I tell stories that draw people in so they can have fun and share in the amazement. Sometimes I tell stories that let them sit there and watch as I explain what a fool I am, that way they don't feel like they're being made a fool of.

With other tricks it may be as simple as, "Want to see something really cool?" and no story is necessary.

I like to take a prop and think about a story behind it. Sponge balls for example: I ask people what they are and after a brief exchange tell them that it is a little nerf ball. "Nowadays all the kids have electronic everything, when I was a child this is the only cheap crap my parents could afford for me, so I had to get creative with them. I learned I could make them into 2..." and the routine goes from there- with me often "not knowing" what the balls are doing.

Many times with an opening premise line you are setting a stage to open a door to allow you to tell a story, but once the routine starts it becomes about the magic and not the story.

Gag lines will write themselves over time as you become more spontaneous and decide to add those bits to your routine. Example- I have taken Virginia City Shuffle and made it my own with a story about taking my grandparents into a bike rally in Tombstone, AZ and meeting a magician while we were there. (Actually a true story, but the magic part is all made up) Once when I was telling the story I came up with a line about going up to the, "biggest, meanest, stinkiest biker I could find and asking them, ' "Excuse me ........ma'am... would you like to play a game?" ' Gets a great laugh every time and I kept it.

As another example I use a story about a hot rod being a gem stick that a jeweler uses to allow people to choose stones for their rings. There is no force involved and it becomes a story that entertains people.

And so on.

So yeah, what story might your props be telling already?

Is a story even necessary or can it merely be "something neat" to see?

Do you want to write a comedy or something more dramatic? Who are you?

Is it cards? Can you come up with gambler patter?

Sorry for the long winded reply, but I love this topic and could talk about it for quite some time.

Best!

Theodore-

Daniel,

First, I must commend you on realizing you need to do more than descriptive patter. Being aware of that as a problem gives you a head start. I strongly second Smullins recommendation of looking at Eugene Burger. Burger talks about how to frame an effect. His book The Experience of Magic has always been one of my favorites. In the book he talks a lot about the generic magician. One thing Eugene will push you to figure out is who you are, as your script should reflect you and your personality. Mr. Lawton has just given some great examples of how he uses things from his own life to personalize his routines.

I think it is very important, and professional, that you do have a written script, not just an idea of what you are going to say. This script may evolve over time, but a written script that is memorized is critical. That doesn't mean you have to say a lot however. If you look at Eugene perform, at times he can be a man of few words. That fits his personality and it is very powerful. Is that you? I don't know, only you do.

You provided the example of an ambitious card routine in your posting. What could that be about? It depends on you. If you are performing in a very serious setting maybe buried secrets that keep coming back, if in a more adult setting it might be about an old lover that keeps popping back up in your life, or maybe it is about some white elephant gift that keeps coming back to you no matter how hard you try to get rid of it? Just brainstorming here, all three sound a little goofy to me as I write them but that is part of brainstorming.

Another performer that in my opinion writes incredible scripts is Michael Close, as evidenced by the modern classic his Frog Prince has become.

Great topic!

Theodore Lawton, Wabojeg...great advice! As for myself, I spend A LOT of time thinking about patter when it comes to the effects that I perform. And it doesn't even have to be a "story" sometimes, although having some sort of emotional hook that makes the presentation shine doesn't hurt either.
I do agree that having a memorized script for each effect is crucial. That doesn't always mean that you have to stick to the script...leave room to ad-lib. The script should be there to keep you pointed in the right direction. I've seen magicians who were so bent on sticking to their script...they had no clue what to do when a spectator interrupts them during the performance with a question or funny line. The magician paid them no attention and just kept right on going with the script. This type of memorized, "rote" delivery really can come across as...well...it just feels really memorized to the audience...they can sense it.
Which brings me to the delivery of said script. Once you've written down what you'd like to say and then memorized. You've got to time those words with the actions of your trick. I'm not sure how you practice...but I literally go through the entire routine as if I'm performing it, script and all. I keep rehearsing to my imaginary audience for as long as it takes to get the words and actions down. This is where I edit my script and actions further. Insert a word here, take out a phrase there. Once that's taken care of...I move to the next phase. The actual "delivery" of the words and body movement..including facial expressions.
For me..timing is crucial. Whether it be with words or body movement. When I speak during an effect...I strive to make the performance as fresh as it possibly can be. Meaning, even though I may have said the exact same words hundreds or thousands of times...it still should be delivered as if it were the very first time. Does that make sense? I even have magician friends who sometimes poke fun at me and recite my patter for certain tricks...word for word because they've seen me perform this effect hundreds of times. They also comment that each and every time they see me perform it...it always "feels" as if I'm performing it for the first time. I'll take that any day of the week.
I say...you've got your head pointed in the right direction. Write down what you'd like to say in regards to the effect. Make up a story...or not...just keep it interesting and concise. Sometimes less is more. Other times...its fine to have a very long, descriptive patter line. It all depends. The main thing is that you keep working on it. Write, edit and rewrite. Another thing is listen to your audience. Like others have said before...some of my best lines have come from my audience. I always write them down after a performance.
wow...I seem to be rambling..and I have other magic related work to do. So, I'll leave you with this. I'm very happy that you are putting some thought into making your magic the best it can be...instead of a lot of magicians who just don't care about what they say when performing magic...or just don't have anything to say but, "Look"..."watch as I put this card into the middle of the deck."..."And now, it's back on top."

If you have Facebook...here's a link to an older video that I posted for my S.A.M. Assembly #89 Club page. It's my sponge ball routine. You'll notice that I ad-lib quite a bit...though it may seem. Almost everything I say...has been said before...many, many, many times. Enjoy, and don't steal my routine..ha..ha!
https://www.facebook.com/hawaiimagicclub......&theater
Keep us updated on your progress! ALOHA!

I guess he really wasn't that interested in the a answer.

Yeah Danny!

I'm noticing more and more that someone, USUALLY, someone new, will post a question, and, people will spend time offering suggestions, giving references, etc. Then, the OP NEVER RETURNS! In this case, NINE have responded with (IMO) some worthwhile suggestions.

This OP asked a question, SIX WEEKS AGO, and has not responded. I believe that you are correct!

I come from a theatrical background before I was a magician. I love magic with a great story or script. But when working strolling, most of my scripts are as Eugene says, "The adventures of the props." I do script everything out as an outline so there is room to improvise or cut out early if needed. I find that when working strolling a more formal script or story is often too long and I hate to get interrupted by a server or whatever. If I'm performing for a more attentive audience after dinner or at formal show and I know I won't be interrupted, I go into a scripted story piece. Or in other words, sometimes a card trick is just a card trick.

Hello again. I wanted to clarify the idea of a memorized script (which the people reading this, since the original poster doesn't seem to be, already probably know) is not to know it by rote. In theatre when you know your script cold, it allows you to transcend the script. The reason, I surmise, that Kekoa1's friends say that every time they see him perform something he has done many times, it feels as if it is "the first time", is because that not only does he have his sleights down cold, but his script also. Now, since his mind is not preoccupied worrying about getting the card under the spread correctly for the force or what he is going to say during it, he can laugh with the audience, respond to audience questions or jokes, and have no problem finding his way back to where he was. I think they also call that naturalness.

This is almost 100% how I started out too. I just went out there and "winged it" and to this day when I am "going off script" and winging it, it is still entertaining even for myself. Gregory Wilson mentions a lot, to listen to your audience, they will give you the best lines. Man, is that ever true... Also, if you go by a "script" and they don't answer correctly at some point or you skip by a part by accident... You are suddenly lost or off your game. If you come at it ready to roll with the flow, you should have a good time as well as those you perform for.

Obviously magic is a big tent with room for a wide range of opinions and styles. There is certainly a lot of room for self-referential magic and "descriptive patter", but that doesn't preclude having a script. And again, only in my humble opinion, a script down cold does nothing to prevent being able to roll with the punches or mix things up real time, if anything it makes it easier. I know that sounds counter-intuitive, but those who have done a lot of acting should be able to relate to it.

As for Oil and Water, all power to you. As for me, just speaking for me here, my mother always said I was very obstinate. This stubborn streak is not always a good thing, but I wouldn't trade it. It does make it such that the idea of presenting an effect just like everyone else does it, well, would freak me out. But again, that is just old stubborn individualist me.

Ahhh the ubiquitous script discussion. I shall probably abstain.

An interesting way to go about it is to define first if are deriving a full time income from the performance of magic or if it is a hobb or somewhere in between.

Interestingly enough some pros claim not to use a script.

Most just don't understand the term. For example if you always do whatever to cover a move that is part of a script. All be it a loose one. So perhaps before delving into if one is used or not defining the term might be helpful to all so everyone is not talking at cross purposes while saying the same thing.

These routines use scripts that are designed to work in both formal close-up, bar and in walk around. They are meant to hold the attention of drunk and distracted spectators. Without a script, it is very difficult to manage a loud and disruptive group:

Speaking to Danny's original point; I too dislike "descriptive patter" with a possible exception when the effect (both process and climax) is so strong holds attention and is entertaining throughout. I also think "scripting" is valuable, but this is totally separate from the content of the patter... there is a value in knowing your lines so you can deal with interruptions and timing changes whether your patter is a story or pure expositon.

I think this is particularly applicable to card tricks, where I (loosely) see 2 general types... (1) you pick one, I find it or reveal it (2) demonstratations (i.e. assemblies, oil & water, etc).

All that said, I too and challanged with the creative side of story development. I have 2 "pick a card" effects where I have developed a story and they go over pretty well. Spectators tend to recall the story (when I have one) far better than they recall the effect or proceedure of an effect with expository patter. In my (novice) opinion, pick-a-card effects come off as contrived proceedures to get to a single climax.... "I, the spectator, picked a card, and you, the performer, went throguh all kinds of gyrations to reveal it back to me."

I guess, in the end, if you only do 1 or 2 pick-a-card effects expositiory patter would work, but for me, Ill keep trying to develop interesting stories that are accompanied by the effect. If only I had that kind of talent !!!

My patter is scripted, but based on what I would normally say. I just punched it up with some humor or a somber explanation depending on the effect. Once you learn the patter you can stray from it a bit as the moment suits you. It's just a nice baseline. I would just say to keep it natural and friendly (if that's your style). It's easiest to start with something close to your own personality that is just heightened a bit for performance sake. From there, you can explore and find a character trait you might want to really lean on to make your performances more unique. Overall, I say start with what feels natural.