WOW!!!! That has to be the best post I have read here on a subject that I am intrested in. Have you thought about putting a little more with it and haveing it published? You have shown me something that is very important in our business. I now can say that I will no longer just outline but I will be scripting. That is what I like about the Café', an unbeleivable amount of information that is a help to us all. I thank you JackScratch...

Steven

Thank you. Yes I've thought about publishing, however, I lack focus. I come up with this kindd of thing every once in a while, but never enough of them to make a book or anything. BTW, you'll note that the original thread has been largely ignored.

Very insightful Jack.

Regan

I must admit, while I am quite proud of that piece, it is standing on the shoulders of giants. I have been part of the cast of the Texas Renaissance Festival for the past 14 years. Much of what I put ion that article was learned there. I would be remis were I not to mention the work of Elen Hore(sp?) in particular.

You didn't cross paths with Mr. Bill Palmer there did you?

Regan

In fact I am proud to say I have known Bill Palmer for many years. I have even helped him schlep props.

When you mentioned Texas Renaissance Festival and seeing that you are from Houston, I was almost certain would know Mr. Palmer. He is a good guy.

Regan

Thanks for Sharing-

Really informative & well said

Not only do I script every effect, but I put a prop list at the beginning so I can check it years later if I decide to put it back in the rotation.

I'm only voicing my opinion here, but (ahem), if you don't think scripting is important, watch some of Lance Burton's early appearances on T.V..........blech! Off-tempo, clumsy..........stumbling............and those are the nice words.

I am a firm believer in scripting.

What I do in most cases is this. I will, word for word, type out the patter that may be suggested with the routine. Then, I rehearse it, out loud, word for word. After getting comfortable with that script, I do a rewrite (actually, many rewrites), to suit my style, without losing the intent of the original patter. I do go as far as inserting in italics the movements I use therein.

"I think it's important to know where you are going, as Larry alluded to."

Mike, I could not agree more. If you get off course, you can jump back in. A script provides that.

I script EVERYTHING even my jokes. I do this with close-up magic, my comedy club routines, and my hypnsis shows. Sure flexibility is required, and I can change a script if needed, but it is as important as anything in all that I do. You can tell a scripted or an unscripted performance. Next time a headliner at the comedy club makes an "improve" joke that's pretty good, relaize you are probaly going to hear it tomorrow also.... for magic scripting has worked for me.

I've shared my thoughts on scripting not only earlier in this thread but in my 2-DVD set whose title alone, Scripted Insanity, suggests how critical I believe scripting is. I script not only my patter but everything associated with my performance...body movements, facial expressions, tone of voice, eye contact, etc.

I want to punch myself in the face every time I hear myself say:

"ummm....."


AAArrrgh!

I remember as a teenager working a gig as a banquet waiter at a dinner theater. The first week Kenny Rogers was the performer. The first night, after he and his crew ate, as we cleaned up ( we were alowed to say stay and watch the show from the wings) he had an opening comic. Don't remember who, but he was funny. Then Kenny took the stage. He was very charismatic, VERRRRY funny, etc.

Second night, same thing. BUT..I couldn't beleive it. The comic told the same jokes, with the same delivery. Then Kenny took the stage. BAM-same jokes, same everything. This went on for 4 nights.

Scripting is what professionals all over the world do.

Chris

I strongly believe in scripting; I would never do a show with it,i would not flow without it,i feel more at ease with it and more confident about my show.


Mano.

Honestly, I feel so strongly about this issue, I can actually offend people with my opinion: proper patter delivery is critical, and delivering it properly is difficult to do if you don't script.

That's why I'd rather take a knife in the throat than watch most gospel magicians........everyone I've ever seen, their patter is trite and ill-formed.....thrown (rather, slopped together).........painful, absolutely painful to watch.

Magicians talk of scripting an effect, an entire act. Many say: 'Oh yeah... I
script everything myself'. They may do and it may work out fine in their eyes and
possibly to their audience but, how many actually take the trouble, and are prepared to put pride aside (and take the criticism) by enlisting the services of a respected professional script-writer. What gives a magician, for example, the right to believe that he/she has an innate ability to write a professional script? Many seem to think that they know their act better than anyone else so, only they have the right to script it. The idea of enlisting a professional in this field doesn't enter into the equasion. I believe this egocentric approach is a BIG mistake!
I constantly hear magicians mention that they took drama lessons, deportment
lessons, voice projection and diction lessons etc. Rarely, if ever, with any serious student of magic do you hear anyone say:
'I took professional advice and help about scripting my act'. Why is that? Sure it will cost you... probably REALLY cost you but, in the final analysis, it's a small price to pay to the discerning professional who cares passionately about his craft, and how he/she is perceived by their audience. Scripting IS important,of course,
however, it is MORE important to have it scripted by a respected PROFESSIONAL. It is then you will more notice it becoming honed, indeed 'morphed', into your performance persona. Only then can you learn to improvise correctly. Something to consider?

Steve, I think you have an extreme position on this subject. I don't disagree. No one does it like a professional. Certainly any magician would benefit from a professionally written script. If anything I am about to say sounds like I disagree with you, then you are misreading it.

That being said. Professional scriptwriters are rare in my neck of the woods. Magic scriptwriters doubly so. Were I to find one, as you have very clearly stated, they would most likely be well outside the range of my budget. Assuming those two issues were resolved, I would then want a script writer who's work was compatible with my style. Even with that, there is the issue of letting go of the reins for even a moment. It is nerve wracking.

There are many reasons why people do not use professional script writers. At the end of the day, it's just like anything else in our business. You weigh the expense, both liquid and effort, not only against the reward, but to an extreme such as this one, against even practicality. In most cases, mine included, it's just not really possible.

A friend and I have discussed it. We decided the only way to learn to write, once you have covered all the basics, is to do it. Do it a whole lot.

As an actress, I am definitely a firm believer in scripting. It's one thing if you are a great improvisational actor, but I think you need SOMETHING to at least go by when performing a set professional show. There is a time and place for improv and hoping for the best. During an important show is not one of them. One of the magicians I did a show with was just going to go onstage and bs his way through the show. Instead, I sat him down and we wrote a script. He stuck to it for the most part. It made the show run smoother, quicker, and kept the audience's attention. Of course there were problem which he had to improv his way through...but if he hadn't have had that initial background, he couldn't have made it thorugh the show successfully without being more stressed than he already was.