I want to know how could I distract audience not to look at my hands while I am doing the pass. And how do you misdirect audience generally?
PAUSE!
I'll give you two replies. Reply 2 is far more difficult, but also far superior. Here it goes.
REPLY 1:- Ask a question, the spectator will look up unless they are hellbent on burning your hands. If so, you've probably already given yourself away. A good strategy at this point is to give them the deck, let them shuffle, and begin with a new effect (this out of course, is subject to modifications depending
WHEN in the effect you are being roasted to medium rare by the viewer's eyes).
Look in people's eyes. They'll look at you, again, subject to same exception as mentioned above.
Look at something else or somewhere else, where the 'secret move' is not happening. Their eyes will follow yours.
Imagine you did a false transfer, move the non-guilty hand away FIRST.
Move the guilty hand in a curve, because human eyes follow straight lines.
The last two ways are of course, usually independent of each other. You don't want to look like a human windmill.
REPLY 2:- Go to Vanishing Inc's website. Sign up/ in. Go and download the e-book MAGIC IN MIND for
free. Absolutely. Free. Read Tommy Wonder's essay about getting the 'Mis' out of 'Misdirection'. After you finish that, the subsequent lines will make sense.
Masking a smaller move with a bigger move in magic is an example of misdirection built into a sleight. Think, the paddle move.
Get a feel of doing the usual motion, and then incorporate it into your sleight-motion, or adjust your natural motion to the sleight. For example, I use the turnover pass a lot. So first, I observe very, very, VERY closely (did I mention VERY CLOSELY?) how my hands usually turn over a deck. Then my pass should look the same or as close as possible to that. All required misdirection thus gets incorporated in naturally.
Don't think about your sleight. Your body language shouldn't scream “ULTRA-DIFFICULT SLEIGHT INCOMING!” That would be like screaming the sleight-version of “MAKE WAY, FOR PRINCE ALI!” People won't know what happened but they will know that something happened.
You may go on and just read this reply 2 in place of MAGIC IN MIND, in which case you'll be missing out terribly. I want you to read that essay so badly (and to get that book) that I won't even talk about what the essay mentions and how my reply matches with that essay.
But I will say this:- Reply 2 is far better than Reply 1, but it is so difficult, that even lots of the best magicians (and thousands of professional magicians) ignore it. Even after reading the essay, it becomes difficult to actually use it. But in the rare case that you do, it's supremely better than Reply 1. Get this fact down ===> The misdirection in Reply 1 will do the job, yes, but that's solving the problems in the performance. That is like painting over cracks in a building. However, what if there were no cracks to begin with? Reply 2, when fully understood, and the essay when read thoroughly a million times, the problems will be gotten rid of and the misdirection utilised in the effect design itself.