**I wanted to start a new thread for reviews of the book only, instead of general conversation**. Many on the general thread urged not to post reviews of the book, but in this particular case I really want to express my thoughts.

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I've never been more anxious to start reading a book (other than Kennedy's Whisper). I should mention I have only read the first half of the book containing Brook's close-up version. I'm assuming Colin's stage version is very similar since they are the same method.

The first thing I want to mention is this will absolutely not fool Magicians (as Colin had already hinted at). I do feel confident though that this will fool laypeople, so it's not a huge concern. Archer said it best in his review, that this is a twist on a classic principle.

I'm somewhat disappointed that the prop used in this routine wasn't mentioned in the ads for the book. I feel it is a substantial part of the effect. But most importantly, when the audience think back to remember this routine I think they will remember the prop. Therefore, I don't see any reason at all why this shouldn't have been mentioned in the ads. I didn't have any complaints about purchasing the Whisper book by Kennedy, because he did a great job of exposing everything before the purchase. Nothing was hidden. I feel that in this case, the prop definitely should have been mentioned given the price of the book. I feel the same way I did after purchasing Andrew Mayne's Social Distortion. (the prop wasn't mentioned in the ad)...Mayne'e effect was still a good trick, and I wasn't very upset because the trick was only 20 bucks. This book is a different story. However, I do applaud Colin for mentioning on the Café that there was a "prop" needed for the effect. I don't think this was enough though. In my opinion, for the purchase price of the book, the prop should have been mentioned. Even over a PM with the author, they wouldn't disclose the prop used to me. There is a section at the beginning of the book entitled "What the audience sees"... THAT should have been the effect listed on the ads for the trick. It described the effect in perfect detail. Immediately after I read this I guessed the method before seeing that I was correct. (Again, not that it matters). However what does matter to me is that I feel information of important substance was held back to boost sales of the book.

Next, there are a ton of half-blank pages throughout the book, making the book thicker with more pages than it needed to be. Additionally, the "Thanks for purcashing", "Appendix", and "Other products from the author" sections together are 75 pages! (page 205-280) This normally woulnd't matter except the number of pages in the book was mentioned in the ad. I feel that between this and all the half-blank pages through the book, that this was a bit deceptive. (The number of pages in the Whisper book wasn't mentioned)

I mentioned above that I haven't read Colin's stage version yet, but I'm confident I will never put the close-up version in my repetoire. I feel that the first thought that would pop into a spectator's mind after seeing the prop would be "This guy is really weird for making this...". Perhaps I'll feel differently about the stage version.

Now you may ask, what is the prop? Well I'm in a bind here. I see NO REASON why the prop shouldn't be mentioned and the "what the audience sees" section from the book copied and pasted into this review. This would in no way reveal any part of the method. However, I've worked with Colin before. And Paul seems like a great guy. They are both great guys. Colin has provided me good service in the past and I love his other work. I don't want to upset them so I'm not going to say anything more than what I've said. If we were talking about different people here I might say more. Plus another reason I won't mention the prop is to not upset the people who said not to post a review.

In conclusion, this is not a bad trick. The construction of the prop is easy. And it will work. However, the audiece WON'T go away remembering you just plucked a thought straight out of their mind, as directly as the ad describes anyway. (and once again, I haven't read the stage version yet)

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***Please do not add to this thread unless you have something relevant to say*** Thank you!

You do realise this is the big red button that says 'Do not touch'? Having said that I would just like to add.................

I always sleep with my house key under my tongue and I have never suffered from cramp!

I understand your concerns... but I think you will have less when reading Colin's stage version... and of course there are quite similar ideas e. g. by Bob Cassidy (credit is given!), Scott Creasey or Sean Waters although technical a bit different. Nevertheless I appreciate your brave honesty. Jan

It sound more of a complain than a review.

I guess this is pretty relevant to say.

I was very skeptic when ordering this book but after reading it I DID fully understand why the prop was not mentioned in the add. And to be honest I’m very happy that it was not mentioned! This trick should never be performed for magicians, but for real audiences only, and they will not have a clue what hit them.

The gimmick is not mentioned to keep this effect for a select group that invested in this book, and if all buyers stop talking about it and only perform it for laymen this will be a thing of terrifying beauty as Max would say. It´s that good.

The power is in the presentation!!!

It´s so great, Paul walks you through every aspect of the presentation giving perfect reasoning for everything you do in a very appalling en entertaining way for your audience (and yourself) from start to finish, ending with a miracle no one can explain. The idea to let the audience talk after the effect, will be a great discussion to hear and be part of as a performer. Let them inspect the prop if you want. There is nothing to find! You can even let them keep it if you want. What more do you want? It´s so f****** clean.

I have never read a better way to make contact to people you are going to perform for and how to get immediate rapport with them, have great interaction, playing the game of socializing.

I really think it was the best they could do, not mention the prop. Even if magician could come up with a solution for a prop, they will never be able to perform it the way it should be done. If they don´t know the subtleties, the buildup of the presentation, how the game is used and how to present the full system with the kicker ending that people will keep talking about for a long time. Instead every mentalist would want to (mis-) use it and abuse it and it would probably be public domain in no time, killing this powerful piece…

That´s way I totally agree that this has to be limited, and has to stay limited forever and never talk about props, presentations, or subtleties. Keep it to yourself, go out there and perform it! I have tested it only once last night, repeated it 3 times and it killed! (And they really could not stop talking about it!) It was really great and fun to do, I can´t wait to do it again.

BTW I have also only read the first part with Pauls presentation (3 times) and it´s worth much more than the price of the book. I only had to make some notes (Dutch reminders) and made some small changes, and have been practicing the presentation al day, alone and out loud, because I knew I hit the jackpot with this book and wanted to try it our a.s.a.p.. That happened last night and I know it will only get better after this

Best wishes,
39

I agree, this is well worth the price, it is a real world piece of mentalism and the whole routine is an ideal way to introduce yourself to the group. There is no issue with the prop, when you present this effect well you find that the audience focus more on what you are saying.

This is NOT a review! In fact I find it quite laughable that you have not even read the whole book before posting. The only thing you have done is moan about the gimmick, which, though being necessary for the effect to work, is only about 5% of what the book actually teaches you. Are you saying that if you knew what the gimmick was you would not have bought the book? Why is that? Very interested in your answer to this. I'm sure that the majority of serious, performing mentalists on here who trusted Paul and Colin were more interested in the details, the subtleties and the structure of the effect. Also, how can you possibly comment on how you think laypeople will react if you've never performed it? Do you actually perform?

I've read the whole book several times and constructed the gimmicks AND I've learnt Paul's close up script (slightly tailored to my own style) and I literally cannot wait to go out and try this at my next gig. I will report back when I do.

If you are unhappy with your purchase you are totally missing the real value of this book.

Thumbs up to Colin and Paul, this is an absolute gem.

Andrew

LIKE*

Great comments guys. Dr. Eamon, thanks for sharing your thoughts. However, the prop can NOT be fully examined and they can NOT keep this unless you switch it secretly. Where are you getting this from?! For everyone reading, what Dr. Eamon said isn't true.

I will say again, this ISN'T a bad trick. I think it will stand up with the right presentation. The most important thing for me was what the audience comes away remembering. There is no way, shape, or form that the audience won't remember the prop used. The smarter of your audience could come back to the prop as a possible method, even though they might not know how it works. Just like Michael Close says, I'm always out to fool the smartest person in the audience. Audiences are smart guys. And I think it was Erdnase that said "There is a world of difference between not knowing how a trick is done, and knowing that it can't be done"

Again not a bad trick. But I would never put out an expensive, limited edition book like this without revealing the effect more in detail.

Mesaboogie, to answer your question. If I would have known the entire effect as the audience sees it, there is a chance I may not have purchased the book. Thus it was very smart of the authors to describe the effect the way they did. It made me buy the book, heck.

Colin has a psychological word force that he teaches on his DVD's. Nothing is written down, no props used, etc. Really cool. I figured the method would be something close to this. I was wrong. Even knowing there was a prop used in the effect, I was hoping after reading the book that the audience would come away with not remembering the prop (this is what I was hoping). I was wrong. I hope this answers your question Mesaboogie.

Heck, Karmilovich may as well just re-name the Mother of all Book Tests. Here's an idea...he can name it "The Karmilovich Test". Just say in the effect description that the Magician plucks the word right out of the spectators mind. No pre-show, no instant stooging! And not mention the book. Then he can sell it for $800 instead of $400. Luckily, Karmilovich mentions there is a book used in the ad

*Laugh*

Daniel,

I think you should reread the book a couple of times. Maybe you aren't ready yet for this type of thinking. You might want to read a couple of other books first and perform other effects (NOT tricks!) in the real world. I promise you that with the right attitude and the right performance the prop is only a very minor part of this effect. In Paul's effect the prop is only there to introduce yourself to the audience and from their POV has nothing to do with the mindreading at all. It's long gone before you start doing the mindreading.
The performance is about YOU and the SPECTATOR (participant) not about a prop.
Anyway, I've probably already said to much and should keep my mouth shut about this effect.
Please do not try this one out at your local magic club. Keep it for yourself.

BTW: Mentalism isn't about fooling your audience, not even the smartest guy. It's about connecting to your audience and there will be no need to fool them because what you are doing is the real thing. If you are looking at mentalism as performing tricks then you should go back to magic, or understand that you still need to grow. Most of us have been there and at some point had to accept that just maybe we had to change how we think about this stuff. Follow Bob Cassidy's advice, follow his 39 steps. But this is something for another thread.

Sorry to post more than once but this needs to be said... This is a not a 'trick' to fool magicians, this is a piece of mini theatre for the mind, that when played out correctly will astound the audience. By the time you get to the mind reading any thought of the prop is gone. I have been working this in the real world and I would have paid more for just the quality of the scripting alone.

Mentalism / mind reading (whatever term you like!) has not, and nor should it, ever be about tricks. It is about creating an experience for the guests, to connect with them on a personal and emotional level. It is not about how clever we are.

Again... read the entire book ... rethink ... it will change a lot. Read Bartellis helpful comments. Jan

Daniel,
before asking about all the OOP stuff and indeed trying to find the holy grail in limited edition books, you really should pick up AND READ 13 Steps, Practical Mental Magic (effects) and be sure to read Cassidy's Artful Mentalism. (where have I heard this before?)
I guess you have already read the other threads about people who want to get started in mentalism and reading your posts I can also guess you won't take anyone's advice on this. I wonder why this is. Don't you want to become the best performer you can be? This board is full of free advice from the most knowledgeable people in our field. People who have proven themselves over and over again. Do yourself a favor: listen to them! Just give it a try. You really need to make some changes in your attitude if you want to become a mentalist/mindreader or whatever you want to call it. Try to be constructive and not destructive for our art.

I sincerely hope you aren't performing what you think mentalism is yet. You might be ruining your audiences experience. Again this is not about your ego and being clever. Learn to connect with people.

Daniel, if people keep referring to the classics, then there must be a reason for it. And the reason is not to keep you away from the good stuff. These books are called classics because they are.

Guys, it's all good! Everyone is entitled to their opinion.

False shuffle has been fairly delicate in his review too!

I would encourage you to read the entire book first my friend and use the technique, then, once you've performed it, give a complete review. I'm sure you, like us, will see the full potential with it!

Thanks to everyone for their continued kind words. I know that those already using it both close up and on stage are getting a lot from it and that is awesome!!

I'm very proud to know that people have not only studied this work, but are also taking the time and effort to sculpture their own unique routine and then actually go out and perform it!

Rock and roll!!

Col

Bartelli, it should have been very clear from reading my review that I DO respect other people on the board. That is the reason I didn't state the prop or give the effect as the audience sees it. I wouldn't have revealed the method. I really wanted to, but I respect the people that told me not to say anything. So don't say I don't respect people man. Please admit that I did show courtesy in my review.

Also....just took this pic for you Bartelli. I love you man! .... I do start with the basics

Daniel


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Read is one thing practice and understand is another...
Anyway, I know all our posts are useless
Was Hänschen nicht lernt, lernt Hans nimmermehr.
It is very hard to shave an egg

Even if I'm not agreeing with the review from False_shuffle because I do love This Way Up, I still really don't understand why a "negative" review is not a review and on top of that a "stupid" one from many peopel from the Café.
This is not because he doesn't like it that he doesn't understand it. So much condescending people on the Café, Parmenion the first, all i' ve read from him recently is trashing other people with insulting remarks and "useless" post.

As an advice for False_Shuffle, the key is the justification of the prop, as you justify a book in a book test for exemple, there is a chapter about it in the book. Presentation, presentation, presentation.

My thoghts on False_shuffle's review.

It's HIS review. He's entitled to post a review expressing his thouhgts on his purchase. It's not a totally negative review and it won't affect sales in any way either.

I do however disagree with some of the points made and feel that False_shuffle may like the effect more if he takes on board some of the advice given on this topic (inbetween all the crit.)

The effect only really starts AFTER the prop is out of play. Linguistics and justification make the prop a nutural element within the introduction to the effect. And because the prop is justified in such a subtle manor it almost becomes invisible to the spectator. Remember this prop is casually used as a lead-in to the actual effect. The FOCUS is on reading minds. There is so much scope for this. You are clean and it's all down to your presentation skills to get as much out of this as possible. Cognitive Bias will have a profound affect on the spectators as they recall this later. It isn't a magicians effect but it is a VERY powerful effect for laypersons.

False_shuffle, IMHO you should have read the whole book first. Colin has written the second half, and although the method is the same, the presentation is vastly different, you've no idea of the treasure to be discovered in the second half of the book. I think it was very foolish to review this without reading the book at least twice beforehand.

This is All ABOUT presentation!

I've already made up the prop(s) but will take my time in producing a script and making sure this is fluid before presenting this. This book is pure gold and worthy of time and effort.

I am so pleased we are keeping this all to ourselves it is indicitive of how highly we regard this piece.

Derek

I think, Derek, you hit the nail. This is the way we should handle it more often. Jan