This is just something I talked to Jamy Ian Swiss about once, and reiterated during his lecture, about the importance of scripting. I myself have always scripted because I never liked using another person's words in my magic, mainly because all of us are unique and one person's words are not universal. I just wanted to know how many people actually write down a script of what to say in conjunction with the moves while they perform. I post this because if everyone did this then I would never hear "ummmmm" during a performance. It's that sound that I hear too often and was wondering who here could agree and who actually takes the time to write down the scripts.

I agree. Scripting is as important as the moves.

As it says in one of my favorite books on Scripting for magic:

"If you are a nervous performer a well written, rewritten, and rehearsed script can be very calming."

Nothing makes you look less like a magician than hemming and uuuuming while you are performing...

What other performing art would balk at writing scripts? Musicians write down scores for music, plays are scripted, of course scripting is good.

I'm a scripter as I like to alter handlings and patter to fit my presentation and persona. When I write out the script, I also document the specific actions, handling, etc. to capture all aspects of the routine. It helps me evaluate the entire sequence and work out the timing and nuances of what I'm going to present.

Most of the time when I've scripted routines, I get better ideas and improve the effect.

I tightly script every routine I perform professionally. Working without a script is like trying to reach an unknown destination without a map.

I never script anything. eveything I do is impromptu. I do walk around so it is different every time I go with the flow of the people,,,
As Larry said I am one of those going to a Unknown destimation. This is just my style, and it is not for eveyone.
vinny

Without an outline, at the very least, you are doomed to uneven responses. Often these responses are blamed on the audience. Wrong! I am NOT saying that the make-up of the audience has NO effect on the performance, but I AM saying that the response can be controlled, IF you script.

I have seen excellent performers do the same trick for different audiences and get completely different results. With no script to follow, this is easily understood. I had this problem for years. When I finally settled down to scripting, and did it for EVERY effect, I began to see consistent results. I could pin-point the changes I'd made, and attribute the responses to the right action(s). If you do a trick one night and get a "Standing O", then do it the next night to mediocre response, you can check your script and see where you deviated. Now you know what to fix. How valuable is THAT? Yes, scripting is important. I have barely scratched the surface here, but I wanted to at least acknowledge the problem posed...

Best, PSC

Most of the routines I do are carefully scripted. I personally find that the more complex the routine is, the more important it is to have a prepared script. Examples would include the Linking Rings, Cups and Balls, Comedy Rope Routine, and my Coins From Vegas Routine. You don't have to recite the script word for word. In some routines I work from an outline and key lines are sort of mile markers in the performance of the effect. These would include lines that may be funny or make a certain point that is essential for the effectiveness of the trick. Many people like Vinny have performed their routines so many times that they have the ability to ad lib and adjust on the fly to the venue and audience. He probably uses some similar lines that are not written down but are part of his "internal script". Even if you are great at ad libbing, having an outline of what you want to say may improve the pace and smoothness of your performance.

Scripting your physical nature is equally important. I just posted earlier on a Gary Kurtz question and it applies here as well.

"Leading With Your Head: psychological and directional keys to the amplification of the magic effect" is a wonderfullly concise and well written manuscript on the importance of scripting your body and actions to your routine.

Well worth your immediate consideration.

Every effect that I perform has a written script. Does this mean that there's no spontaneity in my magic? Of course not! Because I have a script, I'm able to improvise, based on the audience reaction. This isn't a scary thing to do because my script provides an underlying structure to my effects that I can return to at any point.

If you're not convinced that you should be writing scripts, try the following exercise. The next time that you perform, wear a small recording device (tape recorder, digital recorder) and record your performance. Then, pick one effect and transcribe your script verbatim, including all the flaws. Read through the resulting script, and edit it. Get rid of your mistakes. (These could include awkward phrases, confusing instructions to the spectator, grammatical errors, etc.) Then, rehearse the improved version of the effect. The next time that you perform, see if the improved effect has a greater impact.

I predict that if you actually do this exercise, you'll set a goal to have a performing script for every effect that you do. Eventually, your script will expand to include stage directions, blocking (how you move your body through space), and internal script (what you're thinking when you're not speaking.)

I think it's important to know where you are going, as Larry alluded to. The script is usually dictated by the effect; that is to say, if the same things always happen, then the script will always be fairly consistent. Tricks that seem like magical gymnastics ("Then the card goes over here, and back to the top, and over to my pocket") probably don't need to be scripted, because the script is hardly compelling. However, story type tricks will likely follow a common script that will get tighter over time. You certainly need to be able to deal with distractions, but it is nice to have something to go back to if you stray off the path.

Mike Squires

I do the same thing, except that almost all of my adlibs are prepared. Because that probably sounds counfusing, I'll explain.

If someone says or does something at a particular point in my routine, I'll respond instead of staying on script and ignoring the comment, but my response is usually something that I've said or done before because I've run into the same or a simliar situation in the past and I'm prepared! When the situation happened the first time and if I felt like I didn't have a satisfactory response, afterwards I thought about how I might respond if the situation occurred again (one of the big advantages of performing a lot). I get credit for being "fast on my feet" when in reality my response is just part of my arsenal.

Here's are some specific example of prepared ad libs I might use. If I'm in the middle of performing an effect and someone asks, "Can I hold that?", I might respond, "Sorry, I don't take requests," said with tongue in cheek and a smile. If I pull out a deck of cards and a kid says, "I've seen that one before," I might say, "That makes two of us." If at the end of a set at a restaurant, someone asks, "Do you perform here regularly?", I might say, "This is the only night I'm here, but I asked management and it sounds like they want me back. I'm not sure when, though...do you know when hell freezes over?" These are all just examples.

Larry D.

Somewhat like Vinny, I don't usually write down scripts and do a lot of impromptu. There is a basic script is in my fading memory but a lot of what I say depends on how people are reacting.

I do however believe that a solid script can make for better magic and that if you're performing regularly and professionally it should involve some scripting.

I'm am working on some basic scripts using key phrases and jokes at certain times during an effect.

For a formal performance I always start out with a script and after many performances tend to change it based on audience response. I will often use a tape recorder and go over the show the day after. Many of my best lines have come from audience members. I always allow spontanuity but my script keeps me on track. My goal is to continuously improve my script until it is almost perfect.

As far as walkaround and informal performances I will also initially write a script but do not always stick tightly to it. I try to use my script only as a guide and allow my performance to go with the flow.

F

I outline, but never tightly script. I am a really bad actor, so if I script, it shows. An outline is great. Know what you're going to do and in what order, just go with the flow of who ever you are performing to. I think it personalizes my magic more

As I have matured in magic I've taken up the practice of scripting each trick. Although I do much ad-lib during my banquet routine with volunteers, the scripting actually helps me think up bits of business I might be able to use during the routines. To me, scripting is one way to elevate your performance to the next level. To those who might claim scripting takes away their ability to ad lib, it actually adds to mine because I can focus on the situation and audience reaction and not think about what I should be saying.

Oh yes, I script.

Regan

Wow lots of good information in here. I never really scripted my shows but used more of an outline. After reading here I think I am going to start scripting. I guess you can say that if you do script out your show and decide not to use it, at least you have it there when you do want to script. Hope that made sense.

Steven

http://www.themagiccafe.com/forums/searc......=4393055
That pretty much contains my thoughts on the subject.