Hi all,

I just wanted to share this habit I have formed when I practice card magic. Basically when I mess up while practicing, I try to fix it up the most best way also.
Why I came to this habit is because, I noticed that no matter what, I still do mistakes while I perform, maybe hands get sticky, maybe few cards gets accidentally on top of the selection when doing overhand shuffle control, etc, and many others.
If I would only practice perfect or nothing, I would be in trouble if something happens and I wouldnt have formed collection of ways to fix all kinds of situations. So when I keep seeing all types off mess ups while I pracice everything and I try to find solutions too, I also have formed small "subconscious" reaction to these unexpected situations

I hope it helps
Bye!

That's interesting, I haven't done such a thing yet. How would you fix a situation like you described where you accidentally completely lose the card during overhand shuffle control? Just start another trick?

I don't do exactly the same thing. When I'm trying to learn a new move, my practice is focused just on that. But I certainly do practice my backups and my outs. I just do it separately. Not right or wrong, just how I do it.

As for what to do when completely losing the card, that's a real challenge. You can either spread through the deck and secretly regain control of it and come up with some excuse for doing so. Or, one thing I do is I always keep an Invisible Deck in my back pocket. I don't always perform it, but if I've lost a card, I can use it as my out. Or, if you haven't completely lost it but just accidentally got it in the wrong place (but you still know where it is), you can do some clever shuffles or cuts to get it back where it needs to be.

That's a good idea for any magic from sleight of hand to "self working" effects of all kinds. I've heard it said that you don't really know effect until you have made every mistake possible with that effect. Regarding "self working" magic--with the exception of things like automated effects such as those that seem to be the norm with bizarre performers--you still have to know how to locate and control the mechanism. Karrol Fox had a specific phrase he used for magicians who haven't practiced enough with their mechanical effects. Something along the lines of "gaffus mislocatus" or some such. I never met the man, but we all know this look when something has gone wrong or is missing in another magicians performance. That same look can happen with sleight of hand as well. As long as you have an out or can get back to where you need to be you're OK. So looking for possible mistakes and finding them in practice is an excellent way. Going on to develop fails safes for those situations is better. And you can never tell, you might have a "happy accident" leading to a creative moment of epiphany.

If you are practicing a sleight, focus on the move and only that. If you are practicing a routine, as if you were in front of someone, this is a good way to be aware of potential mistakes and how to recover.

I don't recall where I first came across the following practice methodology. I hope I'm representing it accurately.

1. Practice Each Elemental Technique or Sleight. With each session, strive for greater naturalness and invisibility. Here, minimization of movement is more important than speed and/or misdirection. The goal: consistent precision and accuracy becomes second nature.
   
2. Progressively Practice Steps. Progressively practice steps: e.g., step 1, then steps 1 and 2, then steps 1, 2, and 3, etc.. With each session, strive for greater fluidity, with each step leading naturally to the next. The goal: the steps and their transitions become second nature.
   
3. Practice the Routine. With each session, strive for greater smoothness and consistency, from beginning to end. The goal: consistent continuity, with seamless recovery from or disregard of mistakes.
   
4. Rehearse the Routine. With each rehearsal, strive to consistently perform towards culminating points and revelations. The goal: consistently induce escalating interest in audiences.

If anyone recalls a source for this method, please let me know.

Andrew