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The Magic Cafe Forum Index » » Food for thought » » Directing, Planning, and Scripting/ Routining (2 Likes) Printer Friendly Version

Bryan Gilles
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Years ago in Genii Magazine, I remember Michael Ammar's contributions as to how he planned out his routines. He had a "Personal Project Planner," I believe he (also) published these in his Cups & Balls book and lecture notes.
McBride's "Show Doctor is along these lines as well.
Anther great resource is Ken Weber's Maximum Entertainment- though it doesn't have much in the way of plotting out your own routines (as far as a "fill-in-the-blanks" sheet).

Im curious if there are any great resources or personal ideas that have helped you (anyone) when putting together a new show, routine, etc?
Ray Pierce
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I had a series in Genii years ago called Pansophical Production where I laid out a lot on Show Structure (Opener, Personality, Ballad, Rouser, Closer). Similar rules apply to laying out each routine. Look towards the structure of a great story, a great mystery, a great roller-coaster... and you will discover similar patterns you can apply to magic. It's all the same. Tease, hook, introduce the characters, create conflict, change direction, build rising interest, resolution. As magicians, our characters are the props we use. They must be introduced and justified the same way we would bring them into a story. There are many differing formulas, the secret is to choose the one that fits the needs of each specific routine based on it's position in your act or show.

When I get called in to direct or as a show doctor on many one-man shows, the first question I usually ask is, "Why should we care about what you have to say?" Your goal is to make us care about your point of view, create resonance, rapport. You are always telling a story with everything you do, even if it's not known to the audience. You are still introducing characters and showing us their journeys, trials and tribulations. Make each story count and tell it well.
Ray Pierce
<BR>www.HollywoodAerialArts.com
Bryan Gilles
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Ray- I will definitely have to go back through my old Geniis and check that out.
tommy
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Cardini: The Suave Deceiver by John Fisher is a cool book which goes into the thinking of Cardini and how developed his act and so on.
If there is a single truth about Magic, it is that nothing on earth so efficiently evades it.

Tommy
ed rhodes
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Quote:
On Nov 26, 2016, Bryan Gilles wrote:
Ray- I will definitely have to go back through my old Geniis and check that out.


I had forgotten about that, my subscription (at least, THAT one) started in the middle of the series. I'll have to get online and see if I can find all of them!
"He was born with the gift of laughter and a sense that the world was mad." - Rafael Sabatini, Scaramouche
Dick Oslund
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It has been aat least 25 years since I "put in" a new trick or routine.

I learned, as a teenager, in the '40s, to "plot and plan". Just like writing an essay for English class in high school, I would sketch out an outline. Then, I would "think about it" for a week or two. Several versions of the outline would be "written and rewritten". Then, came detailed, mental scripting. Then, a trial performance, (When tape recorders became available, I would tape the trial performance, and, sometimes make slight revisions.) Then, another trial performance. (Roy Mayer and Joe Scott, would call this "woodshedding".) By then, the bit would usually be ready to go into the show. Occasionally, over the years, in order to keep the bit, topical, minor adjustments would be made.

I only remember ONE ROUTINE, that NEVER NEEDED "ADJUSTING"! When I decided to add the late DON LAWTON'S MUTILATED PARASOL ROUTINE to the school show, I merely adapted the patter/presentation slightly, to fit school kids. IT PLAYED GREAT THE FIRST DAY, AND, HAS NEVER MISSED! --Thanks, Don!!!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
jkr
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I loved the "The Ostrich Factor" by Gerald Edmundson. It is a great book. It's more than just scripting, it also covers: proper practice, misdirection, planing movements and how to put it all together.
http://www.geraldedmundson.com/tof1/bookorder.htm
Dick Oslund
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Quote:
On Jun 15, 2017, jkr wrote:
I loved the "The Ostrich Factor" by Gerald Edmundson. It is a great book. It's more than just scripting, it also covers: proper practice, misdirection, planing movements and how to put it all together.
http://www.geraldedmundson.com/tof1/bookorder.htm


YES!!!!!!!!!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
tommy
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Our Magic: The Art and Theory in Magic by Nevil Maskelyne and David Devant

"Magicians and other performers looking to up their ante need look no further. Nevil Maskelyne and David Devant masterfully describe the mechanics of building the act and the show. By covering topics such as presentation, principles and theory, rehearsal and more, magicians will be challenged to strive for a higher level of performance.

How should I organize patter? Why do I need transitions? How much (and how often) should I rehearse? Will my audience like my show? How should I respond if they don't? How much thought do I need to put into my character?

These questions and more will be answered with this classic magic book. There are many books to teach tricks. This isn't one of them. If you're like most magicians, you already have more effects than you can fit into your show. Now, put them together with a seamless show that separates the professional performer from the amateur hobbiest."

It is my favourite book
If there is a single truth about Magic, it is that nothing on earth so efficiently evades it.

Tommy
Gerald Deutsch
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The Importance of Routining

For an extended period of magic (as opposed to just doing a quick simple effect), I believe routining is very important and what effects follow each other must be carefully considered. Even for card tricks. Especially for card tricks.

Most magicians don’t realize that it’s a tough task for spectators to have to remember a selected card. If they don’t they may feel (i) they will look foolish and (ii) they will ruin the trick and (iii) the magician will be mad at them and (iv) everyone will hate them. What pressure!

That’s why the Ambitious Card is such a good effect – or series of effects with only one card that has to be remembered.

When I do walk around and I do a series of card tricks (not more than 4 and they’re quick) I usually use the same selected card.


For example, when I do “walk around magic” for a charitable event I have a series of card routines and one such routine consists of two effects – using the same card as follows (and I do this as Perverse Magic):

1 A card is selected and shuffled back into the deck and a different card is given to the spectator to stab into the deck next to the selected card. She does this but the card she is holding does not find the selected card but it turns out that the card she is holding is the selected card. I seem confused.

2 The deck is given to a spectator to shuffle. I take back the deck and say that I will make the card that was selected before go into my pocket. It does.

I say I will do it again. And I do.

I say I will try it a third time. I have a spectator reach into my pocket. The spectator does but comes out with an indifferent card. I am confused.

I reach into my pocket with my right hand and come out with another card. This too isn’t the selected card. I keep pulling cards out of my pocket until – the entire deck is there – except – except the chosen card which is alone in my left hand. Now I’m really confused and the routine is over.

The audience (i) isn’t bored, (ii) is entertained and (iii) will remember what was
done.
Dannydoyle
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I am going to have to disagree a bit. Remembering a card is simply not that tough a task. I Can count in single digits the number of people in 30 years who have forgotten cards. That is working 5 nights a week. It just doesn't happen much in my experience even behind the bar.

For me it is about engaging them. They want to remember the card because they want to stay involved in what is happening. My multiple selections has 14 different cards, and everyone remembers.

I have never had a problem with people remembering cards.
Danny Doyle
<BR>Semper Occultus
<BR>In a time of universal deceit, telling the truth is a revolutionary act....George Orwell
Gerald
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Thanks, JKR and Dick! I'm happy that you liked The Ostrich Factor.

Thanks again for your comments.

Best regards,
Gerald
Dick Oslund
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Quote:
On Jul 28, 2017, Gerald wrote:
Thanks, JKR and Dick! I'm happy that you liked The Ostrich Factor.

Thanks again for your comments.

Best regards,
Gerald


You are more than welcome, Gerald!

I was in a hurry that day, and I just wrote: "YES", but. the guy in front of me, had said it, briefly and very well!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
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