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Mike Walton
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I just finished watching the performances on Unexpected Visitor by Doug Brewer and though the technical handling is clean and exhibits Doug's coin skill, the lack of really strong patter takes away from his performances.

A bunch of neat stuff happened but I wasn't sure why and I wasn't very engaged. Possibly Doug didn't want to include his proprietary patter which I'm starting to learn can be more valuable than information only about the sleights and progression of a published routine.

This made me wonder who has created and published (book, dvd, cave wall drawings, etc.) some of the best patter that should be used as examples for new and/or experienced magicians of what patter needs to be in order to correctly frame, present and strengthen magic and to improve existing routines.

I'll start the list with Ron Bauer and his published scripts. Boy, did he spoil us with this great information and logical patter.
Mike Wild
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I include patter examples and ideas in my Tavern Magic series, but do so with a grain or two of salt. I'm not sure if it's "really great patter", but it works well for me. The problem is that no two people are similar enough to carry off the same patter... that's what I believe anyway.

My premises and patter examples work for me. My patter and premise suggestions are nothing more than food for thought to get the reader's own creative juices flowing.

I could try to put words in your mouth, but they'd be my words, and might not fit well, or sound right coming out of your mouth.

Having written that, the Scotty York video series contains some killer patter examples and ideas Smile


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I'm sure what the book is called but Gazzo has some great on lines in one of his books. My friend bought it when he saw Gazzo lecture so I'm not sure where you could get it from, however the patter is very funny.
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I agree with Mike's thoughts on the limits of reading other peoples' scripts for magic, but do get a lot out of studying the models that others have created.

Eugene Burger has an excellent essay on the creation of a magical script in his book, "The Experience of Magic." In the chapter titled "The Inquistition", he provides his script for card warp, along with a complete analysis of how the words complement both the overt and secret moves of the routine.

David Ben includes complete scripts for several of his routines in his book, "Tricks"--I found this useful as an example of how to format scripts for theatrical use which can be used by directors and light and sound techs.

And Stuart Cramer included many of Karl Germain's scripts (text only, no stage directions) which can be found in the recent Miracle Factory book, "Germain the Wizard"
David Hirata

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Tommy Wonder
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Tommy Wonder
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Ron Bauer's series
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Ditto the Ron Bauer series.

Also, Racherbaumer's book on Don Alan (In A Class By Himself).

Both of these analyze WHY the particular "patter" (yep, I hate that word) is used - what is the performer trying to accomplish at that moment? You can use these books, not to learn particular words to say, but how to come up with your own.

They teach you to fish, in other words.
Clifford the Red
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Check out Eugene's essay and fine examples of scripting on his website...

This is a good one and if you poke around the site you'll find other good things as well. I think it's much better to create a well-written script to use as the basis for performance. That documentation enables you to constantly improve it as you learn what works and what doesn't from your performances. Using some loose "patter" does not.

Like others in this thread, I wish that term "patter" would just go back to the unholy depths of #%@$@^(unspeakable name, sorry) where it came from.
"The universe is full of magical things, waiting for our wits to grow sharper." Eden Philpotts
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Simon Lovell has also published his patter in his books.
May your fingers never lose their deftness,

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Curtis Kam
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Well, now it can be said that you should check out the published works of one of the earlier posters. Bill Duncan is shockingly clever, and has quite a knack for creating scripts that not only milk the magical situation for all it's worth, but in many cases, the script is the method, as well.

"Tubthumping" is his book covering a lot of different effects, and boasts a "spellbound" routine with only one coin, a "Coins across" with only one and a half moves, and presentations that solve nagging problems like "why don't you restore the last corner" in a T&R card. Well worth hunting down and dragging back to the cave.

"Tribute" is his script for an entire act built around a very classy presentation for the Ambitious Card. Along the way, he also gives you new and deviant handlings of several classic effects.

The pubs are advertised elsewhere on the Café, and at the Genii Forum, where you 'll find rave reviews by some guys who usually claim to know better.

Along with the T. Wonder works, which should be mandatory, and the Bauer scripts, I'd say both these books are required reading.
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Wow Curtis, Thanks a bunch.

I doubt very much that I'm in the same league as Tommy Wonder but I did grow up in the same STATE as Mr. Bauer.

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Comedy writing techniques and other storytelling books should provide some guidance.
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Thank you very much for the Eugene Burger web address, his essays are a joy to read.
Bill Palmer
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Even though the stories are old, and a bit long for modern audiences, the material in Magical Adventures and Fairy Tales, republished as Once Upon a Time, is good story material. The same is true of the material in Sheherazade. The material in Sheherazade probably won't need as much trimming. However, it is more story than magic.

However, I would not use anyone else's canned scripts. They won't fit me. I would re-write them and re-write them, as I have so many times.
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