Mailbag: Destiny Deal

Do you have any thoughts or ideas for Craig Petty’s Destiny Deal?

I’m not a fan of the handling 100% but I like that the specky gets to give them a real shuffle.

I also do a lot of magic with your Peek Backstage concept so that drew me to this trick.

The responses so far have been fine but not really super strong. Any thoughts or ideas for this one? —DT

I like the aspect of the trick that you noted, that there’s a genuine shuffle during the effect. I also like that there’s a genuinely free choice of card.

I don’t really love the handling either. I think taking the card from them and drawing their attention back to the deck isn’t a great moment when ALL they care about is if that card is their card.

On his Youtube, Craig showed a much better handling where the instruction card is held face-up the whole time.

He still suggests drawing their attention back to the deck after the card at their position has been added to your instruction card, but I’m not quite sure why. It’s unnecessary. The gimmicked card does a discrepant, but still fooling, switch for you. Drawing their attention away from the only thing they care about in that moment, is the last thing you want to do.

It would be like doing the Nest of Boxes and when you get to the last one you say, "Okay, give me that. Now double-check and make sure you didn't miss anything. Your ring isn't in any of those other boxes, correct?" And then you secretly load the ring when they turn away to check the other boxes. You wouldn’t do that, of course because it’s a terrible idea.

So I recommend Craig’s face-up handling, it’s a lot better than the version in the trailer. Take the card from them. Drop it on the instruction card. Wait a beat while you say something. Then turn them over.

Yes, it’s discrepant, but I’ve found people to be almost incapable of following along with what the orientation of things should be if they are in multiple orientations, and you then turn them over.

So the handling isn’t really an issue for me.

I do have issues with the presentation, however.

In DC’s email he says he likes to do tricks with “my” Peek Backstage concept.

That style of presentation—which I originally talked about here—is certainly something other people played around before me. I was just the person to codify it and name it.

The problem with Destiny Deal is that it doesn’t really have the feel of what I’m going for with a Peek Backstage.

To understand this, remember the posts I didn’t on Presentation vs. Context.

To quickly summarize-

Presentation: Is a motif or subject matter that is laid over a trick.

Context: Is a situation into which a trick is placed.

If I want to do a trick with a ghost presentation, I could use this pen and tell you a story about Happy the Ghost and have the pen move without anyone touching it. That’s a trick with a ghost presentation.

If I wanted to do a trick with a ghost context, I could take you to a run-down “haunted” motel near me and show you the room where this guy was killing prostitutes for over a decade. They say the room is haunted by their spirits. I make a little Ouija board by drawing the alphabet in a circle on a piece of paper and then resting the pen on top of a glass in the middle of the letters. As we call on the spirits, the pen would move by itself and eventually topple off the glass.

It’s the same trick, with the same theme, but in one case we’re just using the theme to dress-up the trick, and in the other we’re pulling the trick into the theme.

Destiny Deal is a Peek Backstage presentation. It’s the way you would do Peek Backstage if you were table-hopping or working at a wedding. Which makes sense because these are the environments Craig normally performs in.

But since I don’t perform professionally, I want my peeks backstage to feel legitimate. I want them to think they’re actually getting some insider information.

My first issue with this is that the instructions are on a playing card. Nobody thinks that’s how trick instructions come.

Simon Aronson had a great trick called Side-Swiped. That involved instructions on a card as well. With Side-Swiped though, the instructions become the spectator’s selected card. So even if they don’t buy this card as being legitimate at the start, by the end it makes sense that these instructions are on a card because they would have to be for the premise of the trick.

My issue with Destiny Deal is that the instructions are on a card only for the methodology.

Do you see what I mean?

You’re introducing something unusual, and something that doesn’t make much sense (magic instructions on a playing card) and then nothing happens—from the spectator’s perspective— that necessitates the instructions being on the card.

Now, you could say to yoru audience, “Every now and then, Bicycle includes the instructions for a card trick in with their decks. But they only sell these in certain magic shops or at magician’s conventions.”

Good! Now we’re back with something that’s justified and interesting. In fact, I’d say that’s very interesting. Special cards that Bicycle puts in special decks only to be sold in special places? Great.

Perhaps it can even come as a surprise to you. Start opening a deck before anyone’s paying much attention. Add the special card to the deck as you open it up. “Oh shit. This is cool.” Explain to them that these “trick instruction” cards only come in decks randomly that you get from special locations. “They’re in every 50 decks. Or 100 decks. Something like that.”

So we’ve justified the prop, and there’s a handling I’m happy with. So what’s the problem?

Unfortunately, we’re back in Peek Backstage presentation land… because these aren’t instructions for a trick

They’re just the steps you would see if you were watching along with the trick. There’s no secret or insight on this card. There’s no peek behind the curtains, because this is literally exactly what they’re seeing in front of the curtain.

Here’s a page of fake instructions for a trick from an older book of mine…

In that trick you’re walking through the steps of a trick with someone as you “learn” it. The trick is supposed to make a card come to the top of the deck. But when you perform it, the card ends up going to the spectator’s pocket. (Because you accidentally turned two pages instead of one as you went through the instructions, causing you to accidentally perform Card to Pocket, rather than Card to Top of Deck.)

Notice there are a bunch of fake-o techniques mentioned in the instructions. The techniques listed are what make them instructions. Rather than just a description of what we can see happen.

It’s a simple fix. Penguin just needs to make a new instruction card. I’ll help you design it. (And yes, you can brand it as a Jerx/Petty production. You’re welcome.)

Imagine you’re going through the card, reading off the instructions. And the instruction that happens after you take the card from them is something like, “Misdirect their attention away from the card while you perform an MB Twist of 8 degrees.”

Now you drop their card on the instructions and hold out your palm to them innocently.

“I’m not going to bother misdirecting you away from this. That would be silly because you’ve seen the instructions. So the MB Twist looks like this….” You slowly turn your palm over and back. “And if that worked, this should be your card.” Turn the cards over and reveal their card.

Now instead of actually misdirecting them at that moment in the routine, you’re being so generous by not doing so.

To be fair, I think as the trick stands now, it’s perfectly fine for the situations Craig (and many magicians) perform in. It’s a professional performance, so everything is going to likely come off as “presentation” anyway. I’m trying to add elements of verisimilitude and mystery because those things play very well in casual, amateur performances where people don’t really know what could be real or not.

While I’m redesigning your prop Craig and Penguin…

  1. Get rid of the heading “Steps to Perform an Amazing Card Trick.” I realize the point of this is so people understand what they’re looking at immediately from the other side of a restaurant table, but it makes the card look extra fakey. It should say something like. “Mystery Card Trick #14.” This implies there is a series of these things that exists in some manner in the real world. And not that this is just a prop for this particular trick.

  2. I don’t think there’s any reason for the card to have a red back. At least not with the face-up version Craig demonstrates in his Youtube video. In fact, a red back only serves to confuse people of which card they’re looking at which moment. Make the back of the card an ad for the book this trick was supposedly taken from. “If you like this trick, you can buy the full collection…,” blah, blah, blah. Or make it say, like, “Mystery Card Trick Series. Collect all 52 card trick instructions in select decks of playing cards…,” blah, blah, blah, again. This makes it a card you can just carry with you and perform with any poker-sized borrowed deck.

Until October...

This is the final post in September. The first Monday in October isn’t until the 7th, so there’s a bit of break until then, but you’ll manage just fine. The next issue of the newsletter will come out on Sunday, the 6th.


Some follow-up housekeeping…

The only sizes of the GLOMM shirts remaining are Small and Large and the remaining membership kits with those shirts will sell out before this site returns in October, I would guess. So if you’re interested in one of those sizes, snag it now. [UPDATE: Gone.]

Also, the Amateur at the Kitchen Table hardcover monograph is shipping out by the end of the month.

  • If you’re a supporter…

  • And you purchased this back in April…

  • And you confirmed your shipping address via the email I sent you earlier this month…

Then expect an email with tracking data to come to you soon. If any of those things isn’t true. Then don’t expect it.


J.S. writes…

I was thinking about your post about Housing My Repertoire and it reminded me something I like to do that you and your readers might be interested in.  

I have been into leatherworking for several years making various small items for friends and family as gifts.  One of my favorite gifts is to make up a Yahtzee set with 5 dice and one of my leather cups. But, I always build a magnet into the cup.  Now, I may never need to use that cup when I am visiting their house, but it’s nice to know that if I want to crumple up a dollar bill and go to town on a Chop Cup routine, I can.  They're hidden in plain sight.

This definitely goes a step beyond “housing” your tricks, into the idea of planting gimmicks in different locations. It’s more ambitious than I am, generally, but I still like it conceptually. And those cups are beautiful.


Little Holes is a new trick from Roddy McGhie and Noel Qualter

I don’t have any comment on the trick itself.

What I want to ask is for magicians to keep in mind one of the GLOMM’s objectives when they’re naming their tricks: We’re trying to keep pedophiles out of magic.

Some of these trick names can end up confusing that process.

In the past, when we were at a magic convention, and we overheard someone say, “I love little holes!” We knew to keep our eye on them.

Now, if we hear someone say, “I can’t wait to get my hands on Little Holes,” we have to ask, How do you mean, exactly?


See you all back here in October. Do you have your Halloween costumes planned? Due to my love of reading and magic, I think I might be Harry Potter.

My girlfriend is going as “sexy Craig Petty.”

Housing My Repertoire: Part Two - Rotational Housing and Homeless Tricks

Rotational Housing

In addition to the Houses I mentioned in Tuesday’s post, I have three Rotational Houses as well.

A “Rotational House” is a location that houses a single trick, but I have many tricks that could be held there. So I hold a trick in that location until I perform it, and then I rotate in a different trick.

Here are my current Rotational Houses:

  1. The coin pocket in my pants, which holds any small gimmick (And today holds Double Deception.)

  2. Inside whatever book I’m reading, where I keep a trick as a bookmark. (Which is currently Random Card Generator.)

  3. Under the cellophane of a deck of cards in my messenger bag, where I keep a single gimmicked card. (Which today is Twilight Angels.)

Now, obviously if there’s a trick I’m really excited about performing that uses a small gimmick, then that’s the trick I’ll put in my coin pocket that day. But if there’s nothing particularly calling to me, then I’ll just put the next trick in my “coin pocket rotation” list into that pocket.

Sometimes I’ll bring a trick out and perform it that day, sometimes it will sit in its “rotational house” for weeks before the opportunity comes up to perform it. That’s fine.

The goal is simply to have a system in place where all the tricks in my repertoire are in a position to be performed at regular intervals, without me having to think about it.

That’s the whole purpose of this “Housing” concept.


If this isn’t clear to you— if it just sounds like, “Have a place to put your tricks” —and you’re thinking, “So what?” It might help to understand my thinking by looking at a “homeless” trick.

Axel Hecklau has a great cap in bottle trick that’s been out for many years now.

But this isn’t a trick you can just have ready to go and do at any point in time. You have to prep the bottle and the cap.

So, maybe you prep the bottle and cap and then the trick “lives” in your refrigerator?

Well, you can’t really do that because if someone decides they want a Coke, they’re going to notice something weird going on with the bottle.

“Well, that’s okay. I live alone. No one really goes into my refrigerator but me. Even if I have people over.”

Okay, fine, but still this preparation won’t hold up to just being stored in your refrigerator for a couple of weeks or months.

So that means it’s a trick I can only do if I think to myself, “I want to do that cap in bottle trick this evening. I’m going to set that up so I can do it tonight.”

I don’t think most magicians would see that as an issue.

I see it as an issue only because I’m trying to construct a Carefree Repertoire. And that means a repertoire of tricks that are staged somewhere and ready to perform whenever the vibe is right. So all the tricks are ready to be deployed now or 8 months from now, so long as I’m in near the area where that trick is housed.

That means there are a lot of tricks I like that just don’t fit into my current performance philosophy. So I don’t bother holding space for them in my repertoire.

Outside of tricks that are crafted for a special occasion or with one specific person in mind (which wouldn’t be in my regular repertoire to being with), everything in my current repertoire is prepped and ready to go whenever I want. It’s very freeing. It means when things feel right, I can go into whatever trick is right for the moment.

A Rubik's Solve Presentation

“Have you seen this app? It’s pretty cool. If you get your Rubik’s Cube mixed up and can’t solve it, you can use this. I’ll show you. Do you have like a paper bag or plastic bag or something?”

So, yeah, you know what’s happening here. You download any Rubik’s solving app, combine that with a one-handed solve, and there you go.

In real life, I have the person reach in and grab out the phone and then reach in and grab out the cube for themselves. It’s shocking stuff. But with a charmingly absurd premise—the idea that there’s an app that physically solves a Rubik’s cube—that I think is much more interesting to people than the standard Rubik’s solve performance.

It’s good, clean, Christian fun for the whole family!

Housing My Repertoire: Part One

Last week I wrote about the steps to building a repertoire.

Those steps were pretty straightforward, but one of the concepts I wanted to introduce with that post is that every trick in your repertoire should have a “home.”

Every trick should be kept in a place where it can be deployed somewhat seamlessly on your end.

You should be like an irresponsible gun owner who leaves a loaded gun in his end table. If an intruder comes in, you just open the drawer and unload on him. Yes, responsible gun ownership involves keeping your gun in a locked gun-safe high up in your bedroom closet, so your kid doesn’t blow his head off. Which is great, so long as you get a five-minute heads up from your home invaders that they’re on their way. But I get it, it’s what you have to do for the sake of safety.

With magic we don’t have to worry about safety.

If your tricks aren’t “staged” somewhere, ready to be performed, then you’ll always be performing in some awkward manner where you’re excusing yourself to go get something from the other room so you can show them a trick. There’s no sense of casually rolling into a performance because all your tricks start with you digging through your drawer of magic props in your den.

Here are some homes you might consider populating with tricks.

Ungimmicked Tricks

Ungimmicked tricks tend to “live” within the object that’s used in the trick. A regular deck of cards is a home for about 30-40 tricks within in my repertoire. A pile of change is home for a few tricks. Rubber bands and finger rings also house a couple of tricks for me.

The only consideration with ungimmicked tricks is if these objects are things you encounter enough in your everyday life. If not, then you have to ask yourself if the trick means enough for you to be willing to populate your life with these items in some way.

For example, when I worked in an office, I knew a couple of tricks that used a stapler. A stapler was a common object for me to interact with in an office. I no longer do those tricks because I don’t encounter a bunch of staplers in my day-to-day life, so I would never naturally flow into such a trick. So that trick dropped from my repertoire.

Displays

[See the Wonder Room and the E.D.A.S. concept.]

I have two different displays in my house that are used for magic purposes. One is a small display of “interesting” decks that’s on a shelf with other cards and games.

The other is a small shelf on which I store some unusual objects.

For example, Andy Nyman’s Three Skulls on a Spike (or Three Skulls on a Stick, as Tannen’s URL suggests) sits on that shelf.

So sometimes people ask what it is. Other times I “notice” it myself and say, “Oh yeah, I wanted to try this with you.”

Because that trick has a place where it “lives,” I’m able to flow into the trick in a natural way. I never have to say, “Hold on. I’m going to go get something.” And then go into another room and come back with my special magic prop.

Bookshelf

I have a few book tests that use gimmicked books. These live on a bookshelf with my other regular books.

Wallet

I keep a couple of tricks (three at most) in my wallet.

Keychain

Your keychain can house a couple of effects. More than that though and you become the guy who does tricks with his keys. And instead of people thinking of you as a guy who can do strange and magical things with whatever’s around, people think, “Oh, I guess they make trick keys or something.”

The nice thing about key magic is people don’t really suspect keys. They don’t have an obvious connection to magic in people’s minds. Do a bunch of key tricks for people though, and that will change.

Brain

Certainly, my entire repertoire is in my brain. But more specifically, my brain is where my propless repertoire lives.

Phone

There is always a chunk of my repertoire which lives in my phone. I try not to go overboard with this. It would be pretty easy to make a lot of my repertoire phone tricks, given how easy and convenient most are to perform.

But I want the phone to feel somewhat ancillary to the tricks, and that can’t happen if you’re using it for everything you do.

Car Trunk

If I’m around children, it’s because I’m out somewhere at a party or an event, or at the very least, visiting someone’s house. So the few tricks I do that are explicitly kid-centric are stored in a small box in my car’s trunk. That way, the tricks are always there when I need them. Once I realize I’m at a place where there is a kid or kids, I can make sure to grab something specifically to show them.

These are just some of the houses I use for my repertoire. The idea isn’t that you need to use the same ones. The idea is that by giving thought to where the effects in your repertoire are staged, you will be much more ready to actually perform these things when the time comes. Meaning, you’re a much more flexible and dynamic performer than you are if all your tricks are in a box in the back of your closet.

Thursday I’ll finish up this subject with a couple final ideas.

GLOMM Lodges

[As mentioned earlier this year, The GLOMM “Elite” Membership Kit is not being re-run. While there will likely be other GLOMM apparel in the future, the membership kit version with this shirt and the enamel pin and membership card will not be reprinted. [UPDATE: The only sizes remaining are Small and Large.] If you’re one of those sizes and want the membership kit, jump on it soon. If you want the membership kit and you’re not one of those sizes… I don’t know what to tell you. You had eight years to buy it. You can still buy one, but you may have to hit the gym, or the all-you-can-eat Chinese buffet to make the shirt fit.]


We now have two official GLOMM Lodges.

GLOMM Lodge #2: The Mastodons
Melbourne, Australia

GLOMM Lodge #3: The Coyotes
Eugene, Oregon

How To Get Your Own GLOMM Lodge

To request a GLOMM Lodge for your area, send me an email with:

  • The names of the people who would make up this local lodge (there must be at least three)

  • Your location

  • A contact email I can give to anyone else who lives in your area who may be interested in joining your group

After I have that, I will assign you a lodge number and a mascot (which I determine by consulting a masot-giving oracle).

What’s the point of the mascot? I don’t know. Just another way to differentiate the groups beyond location and number. And it gives you branding opportunities. If the guys in Eugene want to do a GLOMM shirt with a coyote doing card fans, they’re free to.

Plus, once we have a mere 1024 Lodges, we will be conducting a 10-Round, single-elimination softball tournament. So having the mascots in place now will set the stage for that when the time comes.

What should you do with your GLOMM Lodge buddies? I don’t know or care. The GLOMM is a decentralized magic organization. It exists so I can kick people out of it. So you can get together and do magic stuff. Or eat pizza. Or go on a tour of the Celestial Seasonings tea factory. Your local GLOMM is whatever you want it to be.

Just to clarify something, the GLOMM is its own thing, separate from the Jerx. It’s not the Jerx’s magic organization.

There is no Jerx magic organization. I don’t really believe in hanging out with other magicians. I hang out with cool people.

Tense Magic

Tense Magic is the opposite of Carefree Magic.

The performer exudes an internal tension. Or he grips his props in an unusual or tense manner. Or he speaks in a tense fashion. Or the vibe in the room is tense.

This is so common that I would call it the standard for traditional magic. Almost always, there is something that comes off as awkward or tense. If not multiple things.

One of the principles of the Carefree Magic philosophy is to perform tricks that allow you to engage with people and objects around you in a normal, human way. It’s shocking to me how little magicians seem to care about this. It often seems like the only question magicians ask themselves is, “Is this theoretically impossible?” If the answer is “yes,” they’re okay with whatever other limitations the trick has.

“Is it impossible for a peanut to appear under a bottle cap? Yes! Okay, then let’s do the trick.”

  • But the bottle cap doesn’t look normal.

  • But the peanut can’t be examined.

  • But you have to stiffly hold the cap at one unnatural angle the whole time.

  • But there’s no point to a peanut appearing under a bottle cap.

“So what? It’s IMPOSSIBLE for a peanut to appear under a bottle cap!”

Here’s the problem… Tension cancels out impossibility.

If everything you do isn’t normal or justified/contextualized in some manner, then they will dismiss what they saw as much as their mind will allow them to.

Some people will pick up on that tension and dismiss everything they saw as “just a trick.”

The good news is, this tension is SYNONYMOUS with “magic tricks” in the mind of most people.

They expect you to use some fakey looking prop, or handle objects in a strange way, or stop them from looking where they want to look, or speak in a scripted or awkward manner. That’s what they expect from a magic trick.

So when you relax back into the corner of the couch and talk casually about something, you can discuss the most unbelievable subjects and show them the most impossible things, without it feeling like “just a trick” because you lack that tension. Their mind knows, “Surely, this is just a trick.” But it feels like something else.

Years ago, I defined the magical feeling as the gap that exists when you know something isn’t real, but it feels as if it is. Carefree Magic is designed to work on the feeling of this being not a trick.

With Tense Magic, they know it’s a trick, and it feels like at trick because they sense the tension they associate with a trick.

I’ll leave you today with a great example of one of the aspects of Tense Magic: the awkward manner with which magicians handle the props they use.

@lilch0mp

Bizarre elbow placement

♬ original sound - Lilchomp