2-The Pass(Classic or Herman)
Anything that you think surpasses these? Or that should be up there with them?
Ultimately, the most important parts of a magic effect are plot (what happens), method (the sleights used) and presentation (what you say to draw the audience into the effect, including principles of misdirection, patter, etc.). As you progress as a magician, you will be exposed to more plots, more methods and different presentations. You will become a better magician as you build a toolbox that has a variety of plots, a variety of methods and a variety of presentations.
This is a really good point and is in line with a lot Ascanio's lecture notes. RealityOne, when you learn sleights, do you record/analyze the pros and cons of each in some way? The example of the odd-backed card and the need for a variety of forces is a great point. Another example (from Helder's excellent book "reflections") that is really telling for me is the necessity to use different controls/forces for different spectator situations. If a method calls for a dribble control or a riffle/slip force, then you would want to select a spectator farther away from your performance space. If you want them to pick a card and they are right next to you, why not just spread the deck and let them take one? Reasoning: to get everyone involved, we want people in the back to have a choice, but rather than having them come up, we'll just select one in that manner so we can show everyone. So when putting together a "toolbox", cataloguing the different strengths and weaknesses of the particular method/sleight seems important. How do you go about that analysis?
One of the things that I am puzzling over is how to modify/select particular sleights based on situations. Part of this is "tweaking" a technique for a particular event takes time and practice, and when I performance test things, I often wonder whether it is a question of technique or a question of construction that causes problems (particular in my mirror/video self-assessment). Essentially, is it that I am not doing the move as smoothly as I need to? Is it that I haven't addressed the cover/attention direction appropriately? Or is it that the move I've selected just won't work in that scenario? This is a difficult question to answer, but I think that this puzzle, and the CONSTRUCTION of an effect (as it appears in the mind of the spectator) seems to hinge on it.
Do you have any tips for seeing your own work through the eyes of the spectator/returning to our pre-magician naivete?
Even if you`re doing magic for XX+ years, this will probably not change (much)I've only been doing magic for 4 months now and everyday I see that there is something new to amaze.