OVer the course of doing magic for about 2 years I have learned and perfected quite a few illusions. I make many effects my 'own' and invent new patter or ways of explaining the 'story' of the trick. But I have only ever created a whole new effect once.
How much do you guys make new things? How do you come up with them?
Let's clarify something in what you're saying first -- in the magic community for most of the past 150 years or so, the term "Illusion" has always referred to large scaled effects like a sawing in half or genuine levitation (not this tippy-toe B.S. everyone thinks to be so cool) the smaller version of such, like a Dagger Head Box or Lakes Guillotine were called "Illusionettes" well into the late 70's at which time they got demoted to the status of "Hand Prop" (which originally referred to things like a Lotta Bowl or Bontania)
The point is, you guys don't seem to understand how your improper use of such terms creates confusion for both, we old farts that like helping you out, as well as the public that expects to see David Copperfiled/Blackstone type stuff when you claim to be an "Illusionist" or that you do "Illusions" -- then again, you may find yourself in a seriously uncomfortable situation when you are booked to do an Illusion show and all you end up doing is off the shelf, current top ten flavor effects that might cost a hundred bucks -- a.k.a. standard schtick!
I've actually been inventing magic and producing it since the mid-1970s, everything from a live animal version of the Hip-Hop Bunnies to several co-op developments with Ken Whitaker (Creative Illusions) and that's before we get into custom pieces for a long list of notables and those not so well known. I say this not to boast but to help all of you understand where I'm coming from when I speak on this subject.
Let Me Start with Storytelling, what is probably one of the most important factors to anything we do, even when we do a completely silent/music only act -- it's a ballet and should be treated as such from the very start. But if we are creating a tale that goes with an effect, then it is up to us as the storyteller to invoke the audiences' imagination and thus, create magic within their mind, luring them into a make-believe world when magickle things happen. When we do this the "trick" serves more as a punctuation to the story vs. the focus (even when it is the actual purpose to the tale). Sadly, this is the precise part of magic at which most fail and typically for one of two reasons; lack of understanding when it comes to the skill behind being a storyteller and lack of actual rehearsal. The latter typically being the result because of how addicted the magician is when it comes to the trick and not understanding (nor accepting) the need to understand the tricks of the trade -- the THEATRICAL side of it all from which the chosen effect(s) are allowed to become both, art as well as a personal signature.
Creating an Effect is no easy task in that 99% of what you think up has probably be done in one form or the other. Trust me, most of the guys I've known over the past 30 years have multiple filing cabinets filled with effect and routine notes that they've discovered to be replication of other "similar" material, frequently things already in use. That doesn't mean you can't use such innovations to your advantage, only that you need accept that your creation may very well be viewed as being nothing but a clever alteration to a yesteryear classic. For an example, I've seen at least two different versions of the famed Disembodied Princess in the past ten years, being promoted as an "Original" piece of magic. In truth, the developer created a new look and facade for the prop but the method remains the same and there are only three methods for doing the Disembodied, one of which is extremely out dated and the other, exceptionally rare to run across, which leaves the classic Thayer version as the standard (and about three versions of my improved gaff in actual circulation -- the gaff allows for a
surrounded presentation).
Creating Magic is a time consuming and very frustrating challenge even when you have methods and materials in place. A prop like Shadow Vision required no fewer than 4 complete rebuilds once we had the basic design set, the first unit required close to $20,000.00 in development investment and that was getting off cheap by today's standards.
There's certainly room for developing "new" effects and twists to older pieces. Doug Henning proved the value of looking at the older thinking and how to bring it back to life via newer methods. That includes something Bill Smith and John Gaughan gave us; learning to use new materials and construction techniques that not only deliver a stronger, better made prop, but one that is thinner and more deceptive and thus, more impossible in appearance. With the technology that's going into construction materials, fabric, thread & wires there is absolutely no reason why you can't create that horse of a different color, but it will take time and money to get there. If also means that you must force yourself to be critical of your creation; look at it and find its flaws and figure out how to correct them before you even begin thinking about putting the piece on the market.
I recently picked up a piece for my Seance show that had a huge deception problem; the developers of the prop were all gitty over the method and electronics but didn't look at the finished product with a critical eye, asking themselves what the average layman would consider upon seeing the thing work. . . the obvious 1" thick base begging to be examined -- it was suspicious and more or less tells everyone that "
Hey, here's where all the workings are". This is one of the biggest problems when it comes to a very large number of pieces currently being marketed by young "geniuses" that refuse to get critical opinions from actual working pros. . . not their friends that work gigs in the area but actual name performers that can put the piece through the grists-mill. You'd be amazed as to the number of great ideas developed by major players, fail this particular test. But such failure leads you that much closer to perfecting your concept and making it a viable piece of which to be proud of.
These are the things you need to consider as you begin working along these lines. The other thing to weigh is whether you should be shooting for any kind of retail profile at this point in your career, after all no one knows you form Adam. You don't have an industry based reputation YET.
How do you acquire such a thing?
You contribute routines and effect ideas that you've worked through and have more or less set as a viable, working piece. You share them FREELY in the various magazines. Not your favorite eZine that panders to "your crowd" but established sources where peer review is going to happen such as Genii, Tops, Linking Rings, Magic and a handful of eZines like Magic Times, Visions, etc. that have huge followings as well as age going for them. By seeding your stuff over a two or three year period of time, you will gain a bit of name recognition, if you include solid articles you will gain greater acknowledgment. Produce a simple eBook that is reasonably price (under $20.00) that share more of your ideas and philosophy -- again, you will gain kudos and though you are being progressive with your actions, you are not over-stepping; you are giving yourself a solid foundation upon which to build.
After 3-5 years of this slow-motion process you will have a name that is recognized and if you've played your cards right, you will have notable personalities that will endorse you and your work. That's when you can introduce physical props/effects to the market and ask a decent price for them that people will willingly pay -- you've become a "brand" that people feel they can trust rather than an eager kid that thinks his/her stuff don't stink.
Another thing to consider is to not go into merchandising at all but hold back on your good stuff, featuring it in your act so as to create interest. This is how the old timers did things, not marketing their material until they were heading toward retirement age and needed to build a nest egg. It wasn't unheard of, for a top name performer to be well into his/her 40's or 50's before they started doing lectures and making their material available, so think about that and the kind of advantage (not to mention "Class") it can loan to you.
Hope this helps.
it feels cheap to me. Anyways, thanks for the great advice! I have read a few of your posts before and you seem to have only smart and helpful things to say!