Making your magic less suspicious.

The one problem with performing magic is the suspicion that several spectators have. Of course many people just go out and perform and suspicion leaves, however there are certain moves, sleights, just random things that the magician may not even think about.

Let's talk about each part and what you can do to eliminate any unnecessary suspicion.

Moves, these are the things that aren't necessarily sleights but the way you handle the cards or coins, or w/e object that doesn't look natural. One thing that deals with sleights and moves is your double lift. Do your single, double, and triple lifts all the same, because specs do notice, they may not say something or even really care, but it does cause a brief moment of suspicion.

Handle everything naturally, showcasing something that has no need to will arise suspicion also. Such as Tommy Wonder's ACR routine with the ring case, he handles it naturally and never asks if anything is funny or gives them the chance the to inspect it because there is no reason. If you don't act like there is something wrong then chances are your specs will feed off of that and won't suspect anything.

Sleights, these what we practice to perfection, making sure everything is picture perfect. This one doesn't need much explanation, you practice what you believe to be useful. However even you can realize when something is suspicious, and if a magician finds it suspicious then so will members of the audience.

Now everything else you do is always under watchful eye. I'm not saying you will be under scrutiny every second, but something suspicious looking to a spectator will cause them to look carefully and second guess many things you do throughout the routine.

The best way to solve this problem is to get a buddy who doesn't do magic and just ask to perform for them. Ask for advice on what looked funny, if it's your sleights then you practice them, however if they say something else then don't simply disregard it because this is more important than your sleights. You build sleights from habit of doing it again and again and of course it becomes just muscle memory and no real thought.

Now the problem with performing very similarly to spectators is that some things you never think about will look funny. This is a bad habit that can be stopped by doing what I mentioned before. Talk about what you are doing, look in the mirror and handle everything like you normally would, go back and do an effect going through the motions. If you find something abnormal then it's time to stop.

Just a quick example, you do a classic palm and throw it in the other hand and while the coin is looked at in your closed hand you put it up to your mouth and simply blow into it, slowly opening your fingers one at a time.

Now this may seem to be fine and dandy but in reality several people look at this funny. What part of this did you find odd? If it was the hand to mouth then you're correct, ding ding ding. You will find if you perform like this some people will look at your mouth, wondering if it's in there and if somebody says something you will of course allow them to look.

The problem with this is they shouldn't have to look, they shouldn't have to inspect something that would go by otherwise if you had done something a bit different.

Any other things people would like to add would be great.
 
Oct 29, 2009
971
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Just around
Great post Sherlock. I'll add a little.
It's also not about having a sleight perfect. Not at all. You may have a perfect double that never parts, not even once. But the spec will still catch you. Why? Because it wasn't done naturally. Sleights have to be done smoothly. It's what makes them so disarming when done well. Even if your double parts a little bit, if you do it naturally as if your turning over a single, no one will see it, because they aren't expecting it. When you do a sleight, just do it like if you were doing the real thing. How do you feel when you do it normally? Think about that...done? Now do the sleight keeping that same feeling. Looks better, no?
 
Jul 1, 2009
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Austin,TX
Agree with everything you said Sherlock, but thats why some many magicans provide misdirection because they can't do the sleight naturally. If you act naturally they won't really be looking out for something. We are only human so we can't perform a sleight perfect, but we can at least act natural.
 

James Wise Magic

Elite Member
Dec 28, 2007
1,021
13
Agree with everything you said Sherlock, but thats why some many magicans provide misdirection because they can't do the sleight naturally. If you act naturally they won't really be looking out for something. We are only human so we can't perform a sleight perfect, but we can at least act natural.

I agree but don't make the mistake of thinking that misdirection is an excuse for clean moves. Sure you can't be perfect but try your hardest to make it as clean as possible. Don't be like, "oh I can't get this and I don't feel like practicing, I'll just hide it with misdirection.":p
 
Jul 1, 2009
648
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Austin,TX
I agree but don't make the mistake of thinking that misdirection is an excuse for clean moves. Sure you can't be perfect but try your hardest to make it as clean as possible. Don't be like, "oh I can't get this and I don't feel like practicing, I'll just hide it with misdirection.":p

Yeah I was thinking about that. I use misdirection when I do sleights like the pass or something else.
 
Mar 6, 2008
1,483
3
A Land Down Under
I agree with you on the most part.

The coin vanish example you gave was in my opinion the point that really hurt your point. well not hurt but you could have thought about it better, the real suspicious moment is not raising the hand to the mouth, but the tossing the coin into the other hand. The blowing on the hand gives the magic a 'process' and the swapping of the coin from one hand to the other is the true flaw in the effect.
 
I see what you mean, but unfortunately that is the problem with coin magic. You have to place it in the other hand for the vanish to take place, however suspicion can arise from anything. I'm not really gonna go into that however.

Blowing on the hand is fine depending on the distance. If you put your mouth right on your hand and then blew into it, like talking into a safety cone amplifying your voice could make the specs believe it was in your mouth. Instead take it a few inches away where it's noticeable and then blow and the suspicion of the mouth is gone. Little key details like this are what can really separate your magic from others, inspecting your routine and finding these voids where suspicion could arouse is the first step in getting rid of them.

It's difficult to analyze such things when we don't know what to necessarily expect. The way I do a classic color change is almost a arch of my hand after the change and I slowly my right hand to the right slowly revealing each piece of the card as if it was changing slowly even though of course it was already done. Now some people actually thought I was palming the card and the way I fixed it was doing this, I used less fingers giving less of chance of their thoughts, yet still completely covering the right side of the card, and then just slowly opening my fingers even though no attention was on them.

Sometimes peoples peripheral, not necessarily off to an exaggerated side but instead something slightly off away from the frame can grab somebodies attention. Simply by opening my fingers at the end kept the focus on the frame which is exactly what I wanted to do. A bit confusing right now what I'm trying to explain. Some things not just to spectators but just people in general will arise suspicion for w/e reason. However if one little changed it could completely avoid the suspicions of the people. However this little thing may not be noticed but indeed remove the suspicious thoughts from the group. Even things not actually thought about or even seen can add or remove suspicion to an effect, sleight, or magical move.

Now of course there are always better ways to do things, it doesn't mean that you have to switch them to avoid less suspicion. You can do like what I did and simply nitpick things that make a real difference but otherwise in the specs eyes make little difference.
 
Dec 25, 2008
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Malaysia
For me i would say that a successful performance relies on the audience management.

I would try my best to get the mechanices of the trick down, even doing it without looking at it.
Once i get it done, i'll try to work on the audience management.

I'll keep experimenting until i feel comfortable presenting the trick and make the audience amazed. This is also a very important part of your performances because i think that this is where you develop your patter. Where to talk,where to stop, when to execute the sleight and give misdirection.

So get down your mechanics as perfect as possible and go out, play around with it. You'll know its more important how the audience experience your magic instead of how you look at the trick.
 
Nov 15, 2007
1,106
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Raleigh, NC
I can vanish a coin without having it switch hands. Just a thought.

On minimizing 'tells' and alluding suspicion,

Audience management is the real key. Yes, technical perfection is nice to have, but knowing when to do something is the real key.

Max Malini was one of the best at this, one of his pieces of advise:Don't make the move when people are looking. If people keep staring, just wait. How long should you wait? He said, "wait a week" if necessary.
*

And I think misdirection is wrongly stated. Instead of misdirecting someones attention, try and direct it somewhere else. (Sounds like the same thing, in reality it'll change how you try to manipulate someones attention)

When misdirecting you're attempting to get someone to look away, when directing you're inviting them to look towards something.

Think about it. Is it easier to get someone to look at a car accident, or away from it? Getting someone to look towards something interesting is easier, and more natural, then getting them to look away from what is interesting. If you're looking at your hands when you do a secret move, they'll be wondering what you're looking at and want to see too. Human nature.

Just a few thoughts. :)
 
Last edited by a moderator:
May 31, 2008
43
0
subtleties can be counterproductive?

This post reminds me of a trick I perform, which uses subtleties that one one occasion made what I did suspicious.

One trick I do involves doing a double lift of a card on top of the face up pack and writing on the back of the card. (in reality, I'm writing on the back of the card below it). I then put the card I just "wrote on" on the table face up. Before I do that, I blow on the card as a subtlety that I just wrote on it and want the ink to dry.

However, I have been "caught" on one or two occasions. These actions which are in my mind clever subtleties somehow indicated to the spectators that something odd was taking place.


What's you guys' advice?
 
I'm sort of only half way on what you are getting at. However, like I said in my second medium sized post, very small things can lead to large changes, it's just up to you to find out what they are.

Some people will be suspicious just because they are, and while you don't have to change something to fool them. You have to perceive the audience and what they like.
 
Sep 1, 2007
662
2
Some thoughts on this one. Take your initial example of the coin vanish. This is a classic example as to how creating suspicion can be a very good thing indeed. As has been previously pointed out, the true flaw in this sequence is the passing of the coin from one hand to the other. Next step you create suspicion; raising the hand which supposedly still holds the coin to your mouth to make it "vanish" could indeed create suspicion that you have placed it in your mouth. If you throw in a bit of acting, you may well increase this suspicion.

Fantastic!

Now you have created conviction that the coin REALLY WAS in that hand - misdirecting attention away from the dirty hand, and creating an opportunity to ditch that coin. Then you create a bit of distance between the method and the effect, because some of your audience will believe the coin vanished, and the rest who now think its in your mouth will be doubly surprised to learn that its not there either!

Sometimes you can create some very powerful and suprising magic by using "suspicion".
Cheers,
David.
 
Sep 1, 2007
662
2
Ah...well if you're looking for an approach to this specific problem, then I would suggest checking out Joshua Jay's excellent three coin vanish routine on his "Methods in Magic" DVD - its a very clean vanish of three coins with no suspcicious moments.

I would urge you to think more about the concept covered in my last post; after all, the effect does remain the same - the moment of real astonishment is delayed - but this delay does produce stronger reactions, and isn't that what this is all about at the end of the day?

Cheers,
David.
 
We both agree on parts of what was done, by I still see no reason as to why you should allow them to think it's in your mouth. Of course I don't use coins so I have no idea how it would play out for most specs.

I just don't understand why they would want to look at your mouth, both hands, then need to be satisfied. Instead just allow them to "know" the coin is in your hand and do a simple blowing motion an inch an a half from your first.
 
Sep 1, 2007
662
2
The reason why is easy to understand if you think about what's going on inside the head of your spectator. Its a case of role-reversal; rather than you trying to convince them of something, THEY convince themselves - which is a far more powerful position to be in, as they trust their own convictions FAR more than they'll ever trust you!

So if you lead them to a place where they are convinced that the coin is in a place that its really not, because they think they've caught you out then they'll be doubly shocked when it turns out not to be there at all. Can you see how this adds a layer of deception?

This is not a tool you'll want to use ALL the time, obviously. But it is a killer principle in the performance of magic; a form of misdirection that the audience create for themselves.

Cheers,
David.
 
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