If you can only do something seven out of ten times then it's not mastered. When I first started, I worked on my act and effects for three years before anyone outside of the ring or my mentor saw them. I learned long ago that it's not only the amount of time you put into practice, it is how you practice.
Also there is a huge difference between knowing how to do the effect and performing it. One of my strongest audience reaction effects is the simplest thing I do. It is self working using a wallet. What makes it is the story. It's the story that draws them in. I spent six months alone working on that story. Tweeking it. Making sure places and items in the story fit the time period. Making it something special.
The other thing you have to remember is that friends and family will not tell the truth. They will tell you that they are fooled or that you did well because they are family. They don't want to hurt your feelings.
I had to use this quote because there is so much valuable truth to it and rules of the art so many ignore, like working on an act for extended periods of time, quietly, until THE ACT IS GENUINELY READY FOR THE STAGE. . . or types of venues you're wanting to work; knowing the mechanics of a trick doesn't mean you know how it's
done (performed).
I do a card effect that has never failed to blow magicians out of the water and all it is, is a Svengali deck that I switch to. I've done the same by ringing in a force deck after borrowing a deck of cards from one of the guys (can't get away with that as easily now days thanks to all the designer decks). Then again, routines as simple as the Vanishing Salt or Cigarette via Thumb Tip can get you major applause IF you present it correctly.
Most of the guys I've watch that love all the difficult card crap suck as entertainers; usually because they are more concerned with showing off "the moves" than they are performing. I've seen this same problem with guys that buy big illusions thinking that's all you need; a big expensive box. Truth is, big illusions are a pain in the tukkiss to present in an entertaining and enchanting manner, especially when you don't have the advantage of a proper theater. I should point out that I've been in and around two huge illusion shows over the years (my mentors and my own) in which the one effect everyone remembered was the simplest, "smallest" of them all, a pure manipulation routine known as "
The Orange Bowls" and while the method is simple the presentation is a royal pain to learn. Yet, the production of two pounds of real oranges is what people remembered and clamored about most.
When it comes to performing for Friends & Family there is a truth to what I underlined but there is also the reality that most of your peers will be prone to give you a harder time and taunt you as well. It's not usually mean spirited just classic orneriness. This is especially true when you do things at school.
Now Comes the Big Spanking . . . why are you waiting till a week before the gig to ask for help?
Halloween is about 3 months away, it's my big season because of what I do. I've been working on the act I do for this time of year more than five years ago and have been "courting" the client I want to work with, for several months already. This is how it's actually done; you prepare for a show months ahead of time, especially when you're young and new at the game. As you get experience you can be more flexible but not when you're first starting out. So keep this in mind.
I know I can come off harsh but understand that it's just my love of magic and desire to see neophytes like yourself, do better.