Jumping the gun here...

Danny's thread on starting out in magic as a profession was very clear in that the assumption was that you already had an act ready to go. But as usual, I suspect that there will still be questions about how to get an act ready to go. So here's a thread just for that purpose.

I noticed as I was formulating that question SO many questions were spawned!

Glad we have the freedom to explore them nowto.

Great idea for a topic and thread George.

It is funny to me that things that come up in our journeys that are unexpected but can make a huge difference in serving our clientele and audience.

Since George has shared in previous threads his journey in magic and t0 where he is today in set design, I will touch on a brief part in my journey...

As many here know I started performing professionally at age 12 in a family act. Our parents were our managers/agents. They knew nothing about show business, so it was difficult. Because were were so young (and cute, absolutely adorable) we garnered attention and received a decent amount of press and media coverage. I was also very interested in the business side of entertainment as I wanted to help and teach my parents who knew absolutely nothing. I had to explain the the word "gig" to them!

We searched He** and high water for anything on the topic of entertainment business. There was absolutely nothing. And I mean nothing. Not a single, even outdated source. We went to libraries, contacted agencies, management companies, other artists and still found out there was absolutely nothing.

I suspect because we were so young and cute we were noticed and eventually taken under the wings of some big name celebrities (from the time). When I would talk to these people they were always amazed at both my knowledge for the business of entertainment and the quest I was on to learn about the inner-working of show business. (I think they saw we were blindly being led By our parents. A few years later, one of these gusy said "the first thing you need to do is fire your parents. So I did! Not recommended!)

Several people became my initial mentors, actually about a dozen huge celebrities of the day. The most influential was Steve Allen, a comedian, actor, musician, author (original creator of The Tonight Show and the format of late night talkshows), comedian and actor George Burns (God), and Tino Barzie who was the manager/agent/producer of Frank Sinatra. They knew my thirst and quest for entertainment business knowledge and with the promise that I would pay it forward to others some day, they began to teach me everything about the business of entertainment. The secrets and things not commonly or publicly known, only from true industry insiders. They also promised me that since there wasn't anything on the market about entertainment business, that I would eventually create resources for other upcoming entertainers seeking the same information. I agreed. I was more than open-minded, I was a huge sponge. We would talk for hours and days, with me talking notes on everything, and I mean everything. It was nothing short of mind-blowing. At the time I was only interested in learning this as it applied to myself and our family act. Years later I saw a whole new entirely complete value in the greater picture of the industry. While I really may not have understood at the time, these guys were giants in the industry. I was luckier than even I realized.

So eventually I started coaching, mentoring, and consulting other performers and entertainment businesses. I wrote nearly a hundred books, reports, resources, and articles on live entertainment business, and have been formally coaching, consulting, and training performers and entertainment business owners since the early 80s.

In doing so I thought I would be educating and training them on the business behind their performances. But soon, very quickly, I realized that all of these performers that were coming to me saying they had their show firmly in place and they just needed the business operations behind it, were terribly wrong. They really didn't have a show together at all. They may have thought they did but they did not. Especially not a market-ready, marketable show.

Most of the magicians didn't really even have a performance, they just had a string of tricks strung together into what they called a performance or "show." So I quickly learned after a brief analysis if where they were currently at in their performing, and that I would have to put significant time and effort into first helping them to create a market-ready show first and foremost, before ever getting to the real business behind the show.

So much of my time was spent initially, as it still is to this day, helping them create a true show. A show with all of the elements of a true show. A show that was truly market-ready that was worthy of a business behind it.

I still do this today, especially with newbies, beginners, and early stage performers, which still remains around 65% of those I work with.

Because of the Default model most magicians use as they begin, they quickly start off with the following things that immediately jump out (most of which work against them in a big way)...

1. They create their "show" from their own me-based perspective

2. They create their "show" with tricks, effects, and props that THEY like, not at all what is best or most suitable for their show, audience, venues, market or those booking them

3. They focus solely on the magic (tricks) with little to no effort on the other elements of the show (theme, transitions, story or byline, emotions, congruency, momentum or build-up, drama or theatrics, and little if anything from the audience's perspective (wants, expectations, interactions, etc.)

4. Little production quality of their "show"

5. The biggest mistake that comes from the Default model is that they first create their "show" and then try to find someone (anyone)to book it

There are many other things that I could go on and on about but these are the first handful to consider.

I think the first problem is most do not truly understand what a "show" is or should be.

Next, I do not think they have done the Foundational work when creating their business and show to have made the determinations and guidelines to use when creating their "show" - This can make a huuuge difference but literally almost no one is even aware of this to know or think about doing it. This one aspect alone could help almost anyone create an 80% or more better show, even from the beginning.

There is a sequential process to both creating your show and the business behind it that most magicians know nothing of and therefore of course, couldn't possibly utilize in their efforts, and of course, once again, just use their own me-based thinks, wants, and ideas as the thing that guides them. This is why so many beginning magicians are poor to terrible. They focus on the wrong things. The wrong approach. The sad part is it simply doesn't have to be that way if they first get some knowledge and education instead of thinking they know it all and can do it themselves.

Some will tell you to work with a producer or director to help create your show, but 99.9% won't or never will. Again, to me one of the greatest mysteries of magicians. The two places I would spend or invest heavily are in the creation of your show, and in the business operations behind it. These are the two points where revenue is created and profits are made.

In reality, in an idea world situation, one should be working on BOTH creating their show AND the business behind it AT THE SAME TIME, FROM THE BEGINNING. Most don't. The few that have the wisdom to see and understand this prevail and succeed hugely, much quicker, and with much greater opportunities, profitability, and are positioned to utilize and benefit from the 5 types of bookings that every performer should know and be targeting.

So yes, there is a structure and formatic way to create a show. Invest in learning this as it will save your years off of the learning curve, gain you tens of thousands,of dollars much more quickly, and help take you to levels you aren't even aware of yet.

OK here is advice nobody is going to take. I only say that because historically nobody ever has.

First thing is to realize magic is performance art. It is learning how to be entertaining and engaging in front of and with an audience. Forget the moves and tricks this is the priority. Being able to do thousands of tricks is useless without someone caring why you are doing them. I have said it a thousand times. I am a mediocre magician on my very best day. While I have many tens of thousands believing otherwise, this is the truth. This is because I understand meticulously how to engage and entertain an audience. (Also this little fact about mediocrity didn't occur to me before I was making a heck of a lot of money.)

Too many magicians are just not even mediocre AND can't engage and entertain an audience. Magicians spend so much time learning other people's tricks and moves and not enough time concentrating on who they are. More than developing an act you have to develop you. I have seen SO many people who almost change personalities when doing different effects. The one thing that needs to bind your act together is a personality. It is the thru line of the performance.

Rather than learning more magic effects magicians should be more interested in learning how to be on stage and engage with an audience. I had a discussion with Chris Jericho once. (He is a professional wrestler, or at least he was.) He said to me about his craft, that "you can climb up on the top rope, do a triple flip and land on a guy across the ring, and NOBODY will care about it unless you can get them to care about why you climbed up that rope in the first place". This relates to magic directly as a performance art as well. If you can't get people to care about you and WHY you are doing what you are doing all you are left with is a series of puzzles. A bunch of tricks just to fill time.

So while learning magic and the means of doing the thing, learning how to be on a stage is also very important. Probably more important. I mean learning how to move on stage with purpose is SO important. I have seen too many who look like a bear in a shooting gallery on stage. Just moving from side to side with no purpose or meaning. If you are going to learn to be a stage magician, learn how to be on stage. Learn how to speak properly also. Take voice lessons.

OH my GOD learn how to dress as well. Just sayin.

Learn how to listen to an audience. Oh this is a big one.

One thing that really matters that goes along with why you are doing things is what you are doing. If you are doing the "Vernon Cups and Balls" you are making a grave error. Learn the moves, learn what goes into the effect and then do YOUR VERSION of the Cups and Balls. I remember one night at Schulien's and I was about 20. Jay Marshall, John Shirley, Tommy Edwards and Billy Bishop are there to see me. (Yea none of those names mean anything to anyone now, but believe me if you were in magic 35 years ago your jaw would have dropped.) What in the heck am I going to do for this group? I walked up with a Chop Cup and said "you guys have seen this 1,000 times so I'll leave it out." Jay looked right at me and simply said "We've never seen YOU do it". Oh man what a lesson! They knew 100% how it was done and saw 100% of all the moves and loved 100% of the routine because I was doing My Chop Cup routine. It wasn't even a very good routine yet. But what a lesson. It flies in the face of everything we are taught by the books and guru types. They claim you have to learn whatever routine so you get the timing right and blah blah blah. FORGET THAT and just be you.

Ok the next thing needed now that you are all that is to find somewhere to perform when you are not really going to be great. You will have little experience in front of an audience and you need to get that. It has been said that "we learn our craft from each other, and we learn our art from our audience". Nothing could be more true. You must find a place to get out there and get out there regularly performing and getting flight time. I used to tell comics at open mic nights to never do open mic nights at a club you eventually want to headline. The owner or booker will never look at you as anything but an open mic guy. This relates in that you don't want to go for your dream market when you are learning. You can end up burning that bridge way before you ever cross it and then what?

When I learned my hypnosis show Sandals was doing a deal where they would let you stay for a week if you did a weeks of shows at the different resorts. I made a deal for a minor payment and then staying there for 6 months. (Hurricane Floyd had a different timeline in mind.) I was able to do an amount of shows for a new audience every night for months. It would have taken YEARS at home to get that sort of flight time. I was able to do over a 100 shows in that time span. Didn't kill it in the money department, but that was to come later. I was able to gather materials for promotion and video and pictures and such and get them to comedy clubs. I was able to book them before I left the island so the transition was smooth.

Don't wait for places to present themselves to you to work. Create them yourself!

The thing I have been biting around the edges of here is that there is a difference in a show and an act. (There is a difference in a show and an experience but that is another step and maybe another thread.) An act really isn't polished and is just enough to get by and fill time and keep an audience. A show is far more. A beginning, middle and end. A logical progression with peaks and valleys and a final build to a spectacular ending.

An act gets you in front of an audience regularly. It can be polished and prepared and directed and produced into a show.

So there you go. That is BASIC levels of what to get done and help move forward with the act.

I have seen, heard, and read so many times that "magic is different," "I'm not an entertainer; I'm a magician," "the rules are different," and so on and on ad nauseam that I have to really wonder where this mentality comes from. Maybe the memo got lost somewhere.

No memo, this is something that only comes from experience...real-world, actual hands-on experience over time. No magic pill, no book to buy, no magic club meetings to get such info. The only way to get or learn this is either by an experienced mentor who has lived this, or through attempting to learn this the hard way.

The first step to learning it is a mindset and mentality shift. Without it one will never come close to getting it.

I can't imagine why anyone would say or believe "I'm not an entertainer; I am a magician." What is the point or purpose? A magician is a person who executes magic tricks. Usually two or more magic tricks strung together. I would much rather be someone who entertains with magic rather than just an executor of magic. If that's the way one feels, give it up now. You are just in it for self-fulfillment which is called a hobby. Nothing wrong with that, but then don't get involved in discussions in areas or with those that want to be more than just an executor of a few tricks strung together.

I have spent some time over the last few days re-reading and enjoying the many great posts and discussions here in Tricky Business lately that have allowed for some nice and deeper discussions without disruptions, derailments, or agenda-based opinions. And really, truly, the one thing that seems to come into play in every one of these threads and discussions, all comes down to one thing...

Now I know when I say this it will sound like I am bashing magicians, or getting a dig in, or something of a similar connotation, but it is not. It is a serious, legitimate, single aspect that is making all the difference in all of these things and topics. We're discussion creating a show, determining value, starting out, paying your dues, apprentice or mentorship, perception, that magic is different, monkey-see, monkey-do approach, SEO and tech, even thoughts and perspectives on The Bash.... It ALL comes down to one single thing... And I know it sounds like a dig, but it is not (I beg you to see and think of this in the proper context it is being given)... It all comes down to "thinking like a magician."

Every single one of these topics and issues comes down to this one issue or problem that is making all the difference in the world and that is Magician's Thinking. It is different than business thinking, it is different from entertainer's thinking, its different from normal people or layman's thinking. Almost every topic issue or problem presented will come back to Magician's Thinking.

Perhaps this should be a topic of it's own as there is so much depth to it. The worst being, is that magician's really don't see or understand this. Even in the topic of leveling-up and the different levels of magicians, I think this is one of the greatest factors between the Default model, mentality, and operations, and the next levels up the chain.

I truly believe, and see it over and over again, that growth and progress should be part of the evolution of a magician, however it can only partially happen to a limited or governed degree unless Magician's Thinking is overcome. This is why many become stunned where they are is because you can only progress so far with Magician's Thinking at play. You can't evolve your show, your business, operations, and offerings, or your true value, the understanding of audience dynamics, customer's wants, needs, expectations, and dynamics, the true perception of your show, the true perception of your business, the true understanding of Consumer Vs. Professional markets, and literally so much more.

It is such a limiting, prohibiting, and one-dimensional mindset and position to be in.

Great content here. Thank you.

Everyone should ask themselves after recording a rehearsal, “Am I entertaining, and would people enjoy watching this act?”

If yes, go perform it.

Of no, then fix it. Watch it again. Repeat…perform it, or shelve it.

Great thoughts! Creating your show is a process and what you mention is surely part of the process. Rarely does one get it right and have it down on their first shot or attempt. What your thoughts show again, is that it is far more than just about the tricks you perform.

For many magicians it is hard putting themselves in the frame of mind of how others see it. Your question of "Am I entertaining, and would people enjoy watching this act?” must be done and is an absolute crucial part of the process of creating a show. It must be about how "they" (the audience, client, person who booked you, etc.) perceive and receive it.

You're also right in your last sentence... You must know when to shelve it or know when it is not working, identify why not, and then to figure your next move, which may mean shelving it. Being honest with yourself is a must. The other option is working with someone more experience to assist you with this process that can maybe see what you can't.

The recording and review is not just for beginners, as even seasoned professionals must do this anytime when making changes to their show, adding or removing a segment, or when creating a completely new show. The documentary "Comedian" from Jerry Seinfeld shows this perfectly. It is a joy to "watch the process" even from a seasoned pro.

I have recorded and watched every show I’ve ever done.

Once a week I watch it with only sound to concentrate on what exactly I’m saying and timing.

This is after an astounding number of performances.

When I first got into magic in my teens, I just did routines as the instructions said...which was kind of hilarious as a 14 year old talking about "...during my recent trip to the orient..." And then I just pieced the preset routines together...no commonality or continuity or call backs...not very engaging or entertaining other than the occasional magical climax. The few shows I did this way were not especially well received, and may be why I didn't perform a lot.

Now, as I've been rediscovering magic and trying to do regular shows, I've come to realize much of what's been written here already. The key lessons I've learned include:
- It's not about the magic, it's about the engaging and entertaining of the audience
- Listen to audience, improve from their feedback, and, capture the lines and jokes that come from them.
- It helps to get lots of reps in...to "pay your dues"...the more shows, the more confidence, more feedback/improvement, and more materail
- Tear up the patter that comes with the tricks...create your own

So while working on creating my act, I've worked on scripting routines, and piecing them together so they flow, and have a common thread, and have built in call backs and seek to optimize audience engagement. For my close up show I talk about how I'm getting back into magic, but I'm not a "move monkey"...that I rely on "magic playing cards" and then launch into all the wonderful things the cards can do. Then I talk about how they can do it to...and then have series of "exposure" routines and various tricks that happen in specator's hands. I close with Woody Aragon's "Love Ritual." So far it's been getting solid reactions.

I've also been working on my character. I'd love to have a fully developed one like Pop Haydn or Lucy Darling. But as of now, I'm kind of this older version of a young Jon Armstrong; kind of nerdy, nebish, a bit clumsy. Working in occasional dad jokes. Also, have been inspired by Hannibal and try to incorporate stories into the routines. It's all a work in development.

Lately I've been reading "Scripting Magic" by Pete McCabe, which has been very helpful. And just got "Stage by Stage" for Christmas, which also looks wonderful.

And that's my coffee fueled rambling for this morning...

Smart.

Sound is so important: pacing, timing, intonation, variation of voice level and speed. Is what one’s saying entertaining? Is there too much exposition? Editing of one’s patter is important.

One can’t know these things unless a rehearsal is recorded and watched critically, or if the performance is being watched by a director or someone trusted to know what’s needed.

Absolutely hilarious, yet so true. This is still done everyday in so many trick's patter. It';s crazy, outdated, often inapplicable, and a joke really. From a 12 year old..."Madam, am I right in saying that we have never met before?" Crazy. Great points.

I don't know, sounds pretty funny to me. Should have leaned into the absurdity of the story heavier.

A kid building an entire act revolving about experiences that's really unlikely he's had could be pretty good actually.

"In my second tour of the orient, a local shaman showed me the local medicinal flowers... You'll see God!" [Flower bouquet production!]

Heck, I'd watch it.

And thus the perfect illustration of what not to do. SO MANY crimes against entertainment have been perpetrated using this phrase as a starting point.

I have always had outside direction. When I got to headlining comedy clubs I had Jay Marshall come watch with a notebook. He said "are you sure"? His advice was dispassionate and without any reason other than improvement. It was not what I wanted to hear! Heck I was a headliner right? Well it was what I needed to hear and the tone was meaningless. It was helpful.

I've had two different directors for my hypnosis show and a director for my close-up show. I believe it is incredibly difficult to perceive yourself as others do even on video.

A director gives you a unified vision of what you are trying to put across, and it stays throughout the performance.

I don't recommend a director at the beginning or even at the middle. It would waste a good bit of money if you hire one while you are still learning the craft. It would frustrate each of you to no end. Learn your craft first then move to directors. Listen to the audience. There is a time and place for a director no doubt. It was a director who taught me to listen to the show once a week.

By the way you can not imagine how tedious it is to watch every show you ever do. First I hate the sound of my voice, most do. But listening intently and watching is tough. But it helps. It helps more than you can imagine. There is a concept of losing focus that can't be brought back into focus any other way. Happens to comedians a LOT and much more prior to video tech being so great and easy. You do a line SO many times and your brain gets lazy with timing and with words. It is almost on autopilot. You start to miss the timing, and still get the laugh. Then you change the words because YOU know what you are saying. Problem is the audience does not. You end up losing the strength of the joke. The audience laughs less and suddenly you are dropping a perfectly good joke because it doesn't land as well as it once did and you end up wondering why you ever did the joke!

Watching video helps to avoid this. It keeps you crisp because hopefully the audience hasn't seen what you are about to do anyhow! I have seen it where I have added the word "Now" before I was starting sentences WAY too much. It crept in there somehow even through my vigilance.

In short directors help.

I did my close-up show in Las Vegas. Robin Leach was there to see the show. (He was a fan of entertainment needless to say but a HUGE magic fan.) He asked if he could share an observation. (NEEDLESS TO SAY I said heck yea!) It changed the way I looked at the show after 25 years! We rewrote the whole show with a different approach.

Mind you I am not an advocate for just listening to everything every person has to say and trying to implement that into the work. That is ridiculous.

The problem is the path I advocate for takes years. Not many want to spend the time. As Ronnie Coleman said "Everybody wants to be a bodybuilder, nobody want to lift heavy @@@ weights." I suggest lifting the weights, you won't regret it.

Here is a previous thread that has much into on creating y9ur show. The first page of the thread has some good insight and details before the usual getting derailed and other typical TB thread ninsense starts kicking in mid-way through page two. It offers some more and deeper insight into creating your show that I thought could be helpful here.

https://www.themagiccafe.com/forums/view......&start=0

Whit “Pop” Hayden was mentioned earlier.
I love Pop’s work. Attended a lecture last Fall. Terrific.

Whit was (is) an actor with lots of study and experience with improvisation. He still studies mime. This is key to why he’s so darn good. I think it’s very difficult to work backward by first learning how to do tricks, then learning how to perform an act, versus beginning the journey as an actor, then learning tricks to create an act.

The latter is definitely possible. It’s just more difficult to do convincingly.

It was detailed almost immediately.

It just illustrates how much things are improved. The principal of addition by subtraction.

The last sentence should have stated former instead of latter. I realized the error too late to edit the post.