Workflow In Magic

[notsoltd]

My girlfriend recently brought it to my attention that writers don't necessarily always know what it is that they're going to write. They sort of just start and then see where it goes. Which is interesting.

I've been trying to write a new show for a while now and I was thinking about the types of tricks I'd want to perform and going from there. It's proven to be quite unsuccessful. After she told me the way these writers go about their books, it got me thinking about doing the same thing. I'll start out with the opener. Once I figure out how to come onto stage I can go from there and see what follows!

I'm curious to know, though, what does your workflow look like when you're creating/writing a new set/show?

 

[Timewise64]

I start off by doing an outline, identifying last of tricks in sequence. Sequence is important so that you can build links into the flow of the show. Under each trick I then identify what my introduction, body, and finish is going to be for each trick in terms to the 'story' I use for each trick. Again, only a topic outline at this point.

Once I am happy with that, I then write my story out for each trick. Then practice, practice, until I can do it without thinking. I do keep a 4 x 6 card with my trick outline on my table the first few times I run through my routines.....after that ...I just 'do it'

 

[nothingmuch]

I think it's best to start with a theme you want for your show, I've found that if you start with the effects, it'll be harder to establish a cohesive narrative. So I define a theme, then go through everything I know and pick out the things that would fit in with that theme. Then I just try to arrange them in a way that would be effective in a theatrical sense, and a story telling sense. It's nice to be able to incorporate all of the effects in the show into one central story. From there I can further develop the script and narrative to polish it off. Then like Timewise said, it's just practice, practice, and a whole lot more practice...

 

[notsoltd]

I think it's best to start with a theme you want for your show, I've found that if you start with the effects, it'll be harder to establish a cohesive narrative.

I think this is solid advice. I tried thinking about character and who I want to be and how the audience perceives me but after literally weeks I just gave up on that and started trying to take a different approach.

Now I've been thinking about the theme. It's just as difficult. I've started completely excluding the magic and just thinking of it as a one man show. If I could think of a theme or something of importance that I want to SAY to my audience, THEN I can add the magic and tailor it to fit perfectly.

 

[Timewise64]

When I was still working my job required that I do a lot of public speaking. Over the years I learned two things about performing in front of an audience. Make sure you consider yourself an 'Expert' of the tricks you are performing. The confidence that comes from repetitive practice at doing your magic, is that confidence that makes a performance in front of an audiance easy! Also organizing and practicing your patter in such a way that builds confidence also....

 

[RealityOne]

I developed a new show about a year and a half ago. I started out with some the effects I wanted to perform. I had always wanted to do a linking rings to an Orchestral Version of Fireflies, I wanted to do a routine where a card disappeared from a deck and reappeared into a bottle, I wanted to do an egg bag routine using a story I had written a couple of years ago. I then had my opener, the second effect and a closer. From there, I started combing over books and props for additonal effects. I loved the feel of Wayne Houchin's Houdini's Influence and loved the interaction I had when I performed Eric Ross's Election. Two more effects. I then found two more effects in my favorite book - Jim Steinmeyer's Conjuring Archive. Presto - I now had seven effects. I'm now working on other effects that can be substituted in the show-- a Miser's Dream routine, two other Jim Steinmeyer effects, Tom Stone's Benson Burner and a Sands of the Desert routine.

Each routine has its own presentation. Some are lighthearted, some are serious, some explore ideas, some tell stories and some are downright silly. Most of the routines take around five to seven minutes and are each like a one act play. When I select an effect, I usually know the presentation or better put, I select an effect because I know the presentation.

 

[notsoltd]

When I was still working my job required that I do a lot of public speaking. Over the years I learned two things about performing in front of an audience. Make sure you consider yourself an 'Expert' of the tricks you are performing. The confidence that comes from repetitive practice at doing your magic, is that confidence that makes a performance in front of an audiance easy! Also organizing and practicing your patter in such a way that builds confidence also....

I like the idea of considering yourself an expert of the tricks/show. And honestly, I don't have much of a problem getting in front of people. I think my biggest challenge is that everything I come up with and put together I either end up hating it and starting over. And technically speaking, I'm good. I can fool the pants off spectators no problem. It's more of an internal struggle. I want to write something that I think is good and I can build on but I just can't find that base show.

I developed a new show about a year and a half ago. I started out with some the effects I wanted to perform.

Each routine has its own presentation. Some are lighthearted, some are serious, some explore ideas, some tell stories and some are downright silly. Most of the routines take around five to seven minutes and are each like a one act play. When I select an effect, I usually know the presentation or better put, I select an effect because I know the presentation.

This is very interesting. With every other show I've put together this is pretty much the approach I've taken. And it definitely works. It kind of makes me think that the problem I'm having with writing this show may not be the tricks themselves.

I think the real problem is the writing part. I don't think I have enough of me in my show. I think most of what I've done has pretty much been the tricks as they are with a little of my personality in there and then I worked on the transitions and made them make sense together. I really love the idea that each one of your routines is like a one act play. Almost like a music track that you can just hit play on by itself or listen to it with the album. That's art.

Do you have any resources on writing or scripting or anything that may be able to help me on that front?

 

[nothingmuch]

Do you have any resources on writing or scripting or anything that may be able to help me on that front?

Card College Volume 2 by Roberto Giobbi has some valuable insight as far as scripting in the section on theory. He also walks you through constructing a routine in its entirety, and selecting the right effects for the right positions in the show. This is pretty much where I learned most everything I know about scripting for magic. I'm looking to pick up Strong Magic by Darwin Ortiz as well, which from what I've heard is an essential resource on magic theory, so that might be worth a look as well.

 

[RealityOne]

Do you have any resources on writing or scripting or anything that may be able to help me on that front?

Start with Peter McCabe's Scripting Magic. Peter's book is great reference with a lot of good scripts from well known magicians. I also recommend Larry Haas's "Transformations: Creating Magic Out of Tricks" which provides a good reference of how to go from doing tricks to presenting full blown performance pieces.

Additionally, anything by Eugene Burger or Robert Neale provides great examples of scripts for magic that have a some meaning. I'd start with Eugene Burger's Mastering the Art of Magic or Performance Art of Close Up Magic. Those books have a nice balance of theory and routines. Robert Neale's stuff is typically very thoughtful and has strong meaning. I also like Walt Anthony's Tales of Enchantment because it has a edgy feel to the routines.

Card College Volume 2 by Roberto Giobbi has some valuable insight as far as scripting in the section on theory. He also walks you through constructing a routine in its entirety, and selecting the right effects for the right positions in the show. This is pretty much where I learned most everything I know about scripting for magic. I'm looking to pick up Strong Magic by Darwin Ortiz as well, which from what I've heard is an essential resource on magic theory, so that might be worth a look as well.

Roberto Giobbi's advice in Card College is good, especially for card magic. His book Confidences is a wonderful read and the script for the first effect in the book is masterful. Darwin Ortiz's Strong Magic is a tough read. There is a lot of theory in it and it takes a good amount of performance experience to understand the theory. I also like Darwin's Designing Miracles. However, seeing Darwin perform was something of a let down - maybe I just had really high expectations but his performance was solidly mediocre. I'm not sure that I agree with Darwin's advice on how to make magic interesting - my recollection was that he said to talk about money or sex. To me, that ranks up there in usefullness to Dariel Fitzkee's advice to dress up magic with dancing girls in sparse sequined dresses (which some illusionists seem to still follow.

 

[notsoltd]

Additionally, anything by Eugene Burger or Robert Neale provides great examples of scripts for magic that have a some meaning. I'd start with Eugene Burger's Mastering the Art of Magic or Performance Art of Close Up Magic. Those books have a nice balance of theory and routines.

I'll have to look into Scripting Magic in the next few weeks when I have some extra cash to spend. I did, however, recently purchase Mastering The Art of Magic and am slowly making my way through. Seems to be a LOT of good information so I'll keep digging through that for now.

Card College Volume 2 by Roberto Giobbi has some valuable insight as far as scripting in the section on theory. He also walks you through constructing a routine in its entirety, and selecting the right effects for the right positions in the show. This is pretty much where I learned most everything I know about scripting for magic. I'm looking to pick up Strong Magic by Darwin Ortiz as well, which from what I've heard is an essential resource on magic theory, so that might be worth a look as well.

I can't say I've ever read any of the Card College books, but I know a few people that have them so I might be able to borrow vol 2 and check that out. I have read bits and pieces of Strong Magic and it's definitely a tough read. I think I still have it as an e-book somewhere, maybe I'll give it another look once I finish with Mastering The Art of Magic!