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Wil Castor
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Profile of Wil Castor
As I have progressed in my magic I have started moving away from any kind of scripting that I have not written on my own and am working towards designing my own effects. In doing so I have started mentaly mapping what an effect should have in order to make it easy to understand, and perform so no one misses the magic and everyone "gets" what happened... in thinking about this I am curious as to what everyones opinion about the anatomy of a trick should be...

obviously you need a hook to interest people, an intro including what you will be doing or what you should draw attention, a climax which creates a magical moment for the spectator, and a finish to let everyone know that this effect has ended and its time to clap or move on to another demonstartion.

If anyone has thoughts on this deconstruction of effects or a suggestion to add to my thoughts please share. I am looking forward to hearing what everyone thinks a proper effect should contain. I know each trick is different but surely there are similarities that can be drawn... lets see what we can come up with.
thanks Smile
Pain is the craft entering into the apprentice.
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Profile of markjens
Wow, this is a tall order. While your final paragraph refers to the 'deconstruction' of an effect, it appears what you are trying to do is construct one. For instance, you didn't start with a known effect, and do a de/reconstruction, you seem to be starting from ground zero on this. My method would begin thusly:
Who are you? Are you performing as a character, or are you yourself?
Who are you targeting as an audience? Adult? All ages?
Where will this new routine fit in your presentation? What will come before, and what follows it?
Do you need a lighter moment between the two, or is this to be the effect that hits them right between the eyes?
This is the long form of using the Professor's insistance of knowing how to go into an effect and how to get out of one.
Given the location of your query, we can assume a bizarre theme, so will you be going for the creep factor or an emotional appeal to suspend disbelief?
The last questions will dictate whether you are spinning a yarn of fright or one of emotional significance. I realize that fright is an emotion as well, but I am trying to differentiate between the frightful and the touching of a human heart with a story that perhaps shares a common bond.
If you have decided who you are, who you are speaking to, where this effect will play in your performance, and what type of emotion you are looking for, choose the effect you want to tailor, choose your background, be it music, lighting, sound effect, etc.. Perhaps there might be a thread where we choose an effect and build the routine - this could certainly be educational. Sorry this is so long, but the question is tough to answer in a succinct manner.
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Profile of Andrewdavidson12
This is an interesting concept with which I have grappled for a while.

I think it's like saying what does a successful novel contain and how do we write one. There are formulas out there and suggestions but ultimately, in my view, you have to just do it and work out what works for you.

I've tried to consciously kick-start my creativity in a number of ways and I've found that, for me, the most effective way is just to brainstorm words (I mindmap) around a central idea. If, for example, your character is obsessed with death and this is something you want to communicate in your work I would start with just word associating around the word "death" and the images it creates.

Most of what you produce will be fruitless (at least initially) but I've found that some great ideas can flow from using this process...

I know this is slightly off target but I've found it to be helpful in designing effects and presetations and that's what you're talking about I think.

Bill Fienning
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Profile of Bill Fienning
You might find some information in my first two "It's More than Tricks" columns in the IBM Linking Ring. These appeared in November 2001 and December 2001.

My lecture at The Gathering of the Inner Circle of Bizarre Magicians would have been of interest to you. I may turn that lecture into a column in the Linking Ring later.
Bill Fienning

"It's More than Tricks"
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