David:

Thank you for taking the time to answer our questions.

In reading Seriously Silly I found that many of the methods you use would not work for my character. My character is more of a traditional magician who takes the children on a voyage of exploration. As such, much of my character is based on prestige.

I saw how those methods would work wonderfully for Silly Billy or a similar character, but I knew I couldn't use the same methods. As I began to think about why this was, I think I came to a realization that your methods seem to be applications of principles rather than and explanation of principles.

Let's take "look-don't-see" which is a powerful principle. Your methods using that principle often portrait the magician as oblivious or clueless. For Silly Billy, that works -- extremely well. For my character that doesn't work. I apply look don't see in a different way - I make an actual mistake (grabbing the red silk rather than a black silk in a routine where we are trying to "build" a Zebra) and by the time the kids point it out it is too late (the red and white silks are already in the change bag and the volunteer has said the magic words). I realize that I made a mistake (the black silk is still on the table) and then ask the kids what they think happened (a red and white striped silk is pulled out of the bag by the volunteer). Another application I use is David Ginn's sheepdog puppet which keeps making sponge balls appear in it's mouth. Emerson (the dog) purposefully makes the spongeballs appear when I'm not looking. Again, the kids notice but there is a reason consistent with my character that I don't notice.

Another principle is the interaction with the children. The methods of interaction you explain in your book tend to empower the children by having them correct the magician -- the prestige of the children increases and the prestige of the magician decreases. For your character, I see how that makes your shows fun for the kids. For my character, it doesn't work. Thinking about it, I came up with other ways of interaction that would fit my character.

One way I use interaction is to have the children remember things. I tell them what we are going to do and after each step I ask them what is next. I also have them apply simple logic. For example, in my mismade Zebra routine, the first mistake that happens is the black and white silks turn into a spotted silk after we say the magic words "Zebra Zebra" so to reverse it we say Zebra backwards which is "Arbez Arbez." When we try to get make the silk striped we say "Zebra Stripes Zebra Stripes." I ask them how we would reverse it and of course we have to say Zebra Stripes backwards or "Sepirts Arbez."

So my question is, how do you recommend people read your book? Is Silly Billy THE formula or is it an EXAMPLE of a formula? It sometimes seems that magicians adopt your methods (and routines for that matter) without considering whether it makes sense for their character and performing style. I tell people to read you book and to think how it applies to them -- and then to take away anything that is helpful. That is what I've done (and I've found many things in the book to be helpful) but I'd like your thoughts.


P.S. I love your street magic levitation - is that for sale somewhere?

That is all very interesting.

I would say that everyone should always sift the info they read and use what works for them. For my book I think if your character is similar to mine you can take most of the info and apply it directly. You can do the routines exactly as I have written them.

If your character is dissimilar, then choose what works for your character.

You are right, much of what I teach is about empowering the kids. But there are several items in the book that you can use for your character who is not a dummy like Silly Billy. Here is a list:
Laughing
Saying the Magic Word
Physical Actions with the Magic Words
Physical Actions with the Specific Routine
Silly Words
Funny props
Repetition