Since it has been stated that we all have different techniques, I would like to bust the mold being suggested here.

We have a number of great regular clients who give us very lucrative contracts each year. In return, we have to provide brand new 90 minute shows each and every year.

The result is a repertoire of literally hours of `A` material. (Without exageration, it would be in excess of 10 hours.) And not just average material as one mentioned here, but quality stuff that gets you the contract again next year and the year after that and so on.

It is a constant learning process for us. We (Pat(my wife) and I) do not write scripts or dialogues. We talk out routines and what we want to happen and then work through them verbally and mentally. At times, this process is continued until moments before the curtain goes up and we can and occaisionally do, revise on stage during performance.

Since the contracts are usually for a series of shows over 10 or 12 weeks, we have a chance to review and revise. The first self critique is usually done in the hotel room over a few drinks immediatly following each show. Then we tweak and develop each routine as needed over the contract time.

What we end up with is a number of tight and entertaining routines that can then be used in any other show. This is what works for us.

I break down loearning a new effect into three stages,

Practice. Getting the mechanical part of the trick down right.Watch our angles and making sure everything is in its place at the beginnng.Going through the steps with increasing tempo.

Rehearsal, Presenting the trick as it till appear on stage.Tying to make it smooth natural. Rehearsing the monologue/dialogue.

Routininng. Fitting it among your other effects. Getting a rhythm going.
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My .02 cents

2 or 3 effects at a time

1. mental close up
2. mental parlor/stage
3. Sleight of hand effect

the third one for me sometimes its optional.

Practice, write all the details, practice, perfomed and more practice

Get a general understanding of the subject matter you are attempting to depart. Then create a script for the effect.

One at a time, if I had it to do all over again.

Carry it with you and play to people you don't know at least once a day.

Say, "I am a blah blah, each day I like to show a NEW routine, the latest thing I am working on, to someone I've never met, would you like to help me?"

j

And for closeup I am always thinking in threes.

The first one shows your powers.
The second confirms your powers.
The third one let's them know the first two weren't flukes.

To me three is the perfect number. It's a complete microshow but you never overstay your welcome. And by "powers" I mean your entertainment powers even more than any "psychic" powers. Like if you're talking to a reporter, critic or potential booker.