Lots of good tips above but the most important thing is to just relax. There very rarely any need to get the peek straight away. Take your time, pick a moment when the audiences's attention is on something else. A nice little excuse I use to get a peek is to jot something down in my notebook, handing the notebook give me the perfect chance to get a peek.

I too have felt self-concious when getting peeks. On one occasion in front of an audience I rushed the process and never got the peek.

I learnt my lesson.

As has been mentioned, Switchcraft, is a wonderful resource but my two favourite devices for getting information are The Tommy Pad, especially for pre show work, and the Parapad. With this the info is pretty well staring you in the face!

I hope these thoughts are helpful.

Neil

All of the above and Richard Busch: Peek Performances and Peek Encores. Good solid advice on presentation and justification.

What about forcing so you have an out without the peek?

One assumes that he is aware of that alternative, but his question related to how to handle it when you HAVE to peek.

Just reread your initial post:

If the billet is in your palm, you might try picking up something with that hand and showing the audience. How many reasons can you come up with to hold your hand up and in position to easily read the billet?

1. Get a large clear marble and use it as a crystal ball. Hold it at the tips of your thumb and finger as you gaze at your palm.

2. Pick up another piece of paper and, using that as an example, reiterate whats happened.

3. Use an item in your other hand to draw attention to that as you peek the other hand.

4. Learn a peek/tear so the problem is taken care of automatically. If you're tearing the slip, it's natural to look at what you are doing.

Wow so many replies!
Thanks so much for your tips they are really helpful, I've heard a lot about switch craft sounds like that should be me next purchase, rather then spending any more money on gimmicked pads like psyfer again!
I'm am basiclly going back to basics and non gimmick methods, I have learnt the hard way! But maybe in the long run that's been usefull in it's self!
Bill I have problems pm'ing as I can't figure it out on my iPhone. How can I please find your essays?
Thanks again everyone!

Elliot's Switchcraft link

Cheers
Frank

I like those lines.

Thanks Frank, I'm on it!

LOOK OVER THERE, A WEREWOLF

<peek>

NOT REALLY. ANYWAY...

<reveal thought>

Top Tip: To avoid being caught out with this try changing the Werewolf to something else occasionally and where appropriate make it seasonal i.e. Easter Bunny, Santa to keep the whole routine congruent - shouting out LOOK OVER THERE, SPAGHETTI for instance may break people's state (unless of course you're in an Italian restaurant in which case this will fly by the spectators)

I once peeked an eighty foot mural that someone had scrawled on the side of the Statue Of Liberty by simply calling out 'LOOK OVER THERE, BATTERY PARK'. Some well known mentalists berated me at the time for not using a centre tear, but to be honest I had found this a bit hard for my hands during a practice session when I simply could get the billet to tear properly.

I used a peek whale for a couple of years, but I always felt a bit self conscious getting a whale out of my pocket, it always felt a bit gimmicky.

I strongly agree with both recommendations for Elliot's and Bill's ebooks. They are both excellent resources. I would highly suggest Bev's work as well (not the werewolf one, though ).

I have a peek that is completely, self-justified and all of the misdirection is built into the structure (in other words, no external ruses need be applied). This full business card/billet peek which is done under absolutely no heat...zero. It is called the "Panacea Process".

Panacea Process

Woops, supposed to be a search...

Where can we find out more about this peek Sean?

Thanks
Michael

Michael,

Thanks for the interest. This "Panacea Process" (peek) is a combination of existing things, used in a lateral way. This peek is described in my forthcoming project "Wonders".

I actually kind of stumbled onto it while working through an improvement on an existing routine (which did work). It was two "Eureka Moment"s (shout-out) at one time. I have used some wonderful peek methods before, but this one allows for maximum freedom while making the peek. Your on-lookers will believe there is no way that you could have ever looked at it.

While nearly any methods, used without guilt, can be effective, this process separates the performer from the billet. There is no switch, folding, tearing, etc. There is a "ruse" that sets up the perfectly clean view.

I used my innate remote viewing powers to circumvent the problem. You don't really have to peek when you're really psychic you see.

The most natural for my style has always been to start a sentence, seemingly search for the words in my head, at the same time drop my gaze for a split second, get the peek, and then continue as if I have organised out what I wanted to say. Then I talk a whole load so as to put some time and distance between the peek and the reveal.

I'm a bumbling sort of mentalist. Probably because I can read everyone's thoughts that my own gets buried underneath all that chatter in my head.

Bushido, Boydy, Gabelson, Neil and Frank – Thank you so much for your recommendation.

Sean, your peek sounds excellent. I look forward to purchasing your forthcoming work.

Timski523, thank you very much for your purchase. I hope you are enjoying the book.

Switchcraft is a big book, so I sent Timski523 some recommended starting points for easy close up peeking (as well as some other easy close-up material.)

As I type, it occurs to me that a lot of people will be in a close-up environment this Thanksgiving. So, I figure I might as well paste the list below:

A Very Incomplete Index to Easy Close-Up Peeking in Switchcraft (and some other stuff):


Pages 392 – 408
Pages 381-391
Pages 436-500
Pages 448-460
Pages 469-471
Pages 488-491
Pages 492-495
Pages 496-500
Page 359
Pages 93-94
Pages 171 -177
Pages 263- 270
Pages 306-307 (It is a good joke that comes in handy sometimes.)
Pages 420-426
Pages 416-417
Pages 312 – 325
Pages 162 – 170
Pages 152-156
Pages 300-305
Pages 8-14
Page 17
Pages 72-76
Page 48 (no need for the special overlap)
Pages 94-97 (use path one, option 2)
Pages 80-82
Pages 87-88


Elliott

Thanks again Elliott..your generosity in sharing your wealth of knowledge never ceases to amaze me..appreciate it buddy...Steve

Hi Elliott
I had a chance to go through it at the weekend, I will know go through it at a slower pace and start to pratice! Ive been hearing about your book for a while now and glad I have finaly got it.
I must say you were very helpfull and thanks for your time sending me the mail with recomended pages.
While I'm on that point, I am still overwelmed by the helpfullness of everyone here, such a kind Bunch! so thanks to everyone for your posts and tips!