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Breathe. In. Out. Repeat. Practice doing sleights when you exhale.

True story: I was talking to one of the residents while setting up for a nursing home show. Her: That's a lot of stuff you got there, how do you keep track of it all? Me: I usually forget something when I do a show. I'm checking that I have everything I need. Her: Is it all there? Me: I...

@Dmezhkov - The handling looks suspicious. Something happens at :07 when you put the decks together. The subsequent display also makes it apparant that you are not showing all the cards. The discrepancy in the mixing of the cards is a little too apparant especially because you immediately...

Knowledge isn't given, it is earned. I've given you the way to earn the knowledge by picking up a book and reading it. If you love this type of magic and want to perform it, reading Annemann will be a joy. You will learn a method for this effect and so many others. Also, you will appreciate...

Don't you just love that feeling? There are several ways that this can be done. We don't provide methods in the forums. I know how I'd do it, but that doesn't mean that is the method your friend used. Read Annemann's Practical Mental Magic. The effect isn't in there, but there are lots of...

Old trick, usually Fred or Phil. http://geniimagazine.com/magicpedia/Fred_Trick

If he won't tell, neither will we.

No worries. My terse comments sometimes come across the wrong way. I like how you visualize performing the effect in your method. I often visualize an effect hundreeds of times before actually performing it.

I guess I read the question about how to come up with "magic." Magic is an effect (what the audience sees) or series of effects (the plot of an effect or routine) acomplished by a method (which the audience doesn't see) accompanied by a presentation (which allows the audience to care about the...

Well, yes and no. Having the greatest impact at the end is important but not for the biggest wow. By the immediately before the end of an effect, the audience should realize what the end will be (just like a good movie, the end makes sense the instant before it is revealed), should realize...

Paul Harris's Art of Astonishment, Volume 1 ($33.75) David Acer's Random Acts of Magic ($33.75) Jerry Mentzer's Counts Cuts and Moves ($7.50) John Bannon's Impossibilia (e-book at L&L Publishing $17.95) Spend the rest on some Bicycle cards to practice with.

Interesting dichotomy. Do you think that the difference is between creating for performance or creating for sale? Most of my performance pieces start with the thought "wouldn't it be amazing if I could do....?" I'm inspired by a story, an idea, a prop or a routine. That becomes the base with...

To create personalized magic, you need to have an understanding of classic plots and a variety of sleights. When I create a performance piece (something I will use in a show) I start with what has already been done. Let's say I want to do an Invisible Palm Aces routine. I would start out...

OK, I'm still not getting it. What is your starting point how the deck is set up and then what happens during each phase? What cards are you changing into what cards?

Roberto Giobbi's book is the best source for sleight of hand. Lots more sources here:http://www.conjuringarchive.com/show.php?search=deck+switch You may also consider picking up Tamariz's Five Points in Magic. For a short book it has tremendous value. The Double Crossing the Gaze method is...

https://www.theory11.com/forums/threads/saturday-night-contest-falling-in-love.42814/#/post-442303

Exactly. For classic magic acts, I'd add folks like Al Baker, Alan Wakeling, Cardini, Roy Benson, and Frank Garcia.

Kenneth: I picked this up when I saw Wayne lecture a couple of years back (it was called Counterfeit Hollingsworth back then). I haven't watched the DVD in a while, but would be glad to take a look at it again and answer your questions.

I start with the deck in mechanics or dealing grip in my left hand. I then shift the deck to an elevated dealing grip slightly lifting the deck with and end grip (thumb on one end and middle, ring and little finger on othe) in my right hand and by curling my left index finger is under the deck...

If the top of your thumb is 1/4 inch below the deck, the gap at the back of the deck with the tilt is about 1/8th of an inch. Essentially that 1/8 inch is the amount of the break. For me, that means that the middle of the top segment (flange) of the thumb and middle finger is roughly aligned...