Andi Gladwin - Original Magic

Creative Magic Andi Gladwin Being Creative The Process Making New Tricks Props & Methods New Presentations Conclusions

'Creative Magic' is (c) 2001 by Andi Gladwin. http://www.illusionist.co.uk/ All rights are reserved. This document is for the personal use of the reader and may not be altered, sold, reprinted, copied and/or distributed without the written permission of the copyright holder. Published by Robinson Wizard, Inc. New York City. Portions (c) 2001 Robinson Wizard, Inc. http://allmagicreader.com

The Art of Creativity Part 1 - Being Creative There comes a time in a magician's life when using tricks invented by other magicians is not enough. The performer may want to create his or her own methods and effects to add to his existing repertoire. On the other hand, too many performers read or purchase a new trick and haphazardly use the patter, presentation and handling described by the author. In a perfect world taking the latter approach would be ideal, but I'm afraid to tell you this is not a perfect world! We are all different, in body and mind; meaning that what is good for one person may not be good for another. If you want to perform an effect successfully it is very likely that you will need to add your own performance style to it. In some cases one may feel that it is adequate to adjust the handling as well. In this essay I plan to discover how we can create our own effects and modify others to make them practical for the performer's use. The first thing that should be noted is that creativity is one of magic's greatest secrets, it is not something that can be taught in a single piece of writing. Creating a magic effect is a very personal experience; it is similar to driving a car - there are ten different routes to get to the same destination, each route being different. Whatever route you choose you will eventually arrive at the required place, although you will not know if it is the best route until you attempt the others. So if at first you do not succeed in creating original material do not worry, just try taking another route. Why Should We Be Creative? Nobody can force you to create new magic; it is something that must come from within. If you feel happy

to perform magic exactly as it is taught you are doing the right thing, I cannot tell you this is wrong, as it is your opinion – something that cannot be wrong. I can, however prompt you to consider thinking deeper into what you perform, I am sure that it will make you a better performer, if not a better magician. Being creative does not necessarily mean that you should start performing only the effects that you have created; neither does it mean that you have to constantly create new tricks. If however you get the urge to be different, to do something that no one else is doing then I suggest that you do make the extra effort to produce some of your own material. Before I explain how we can become more creative I feel we should look more closely at the fundamentals of what qualities you should have already gained in your journey of magic. What Do You Already Know? I feel it is necessary to build a strong 'backbone' of magical knowledge if you want to create new magic, this can be gained from reading magic books old and new. There are a few reasons for this, firstly there is the possibility of're-inventing the wheel,' there is no feeling worse than inventing an effect and later finding out that someone such as Vernon or Marlo invented it fifty years earlier. Another reason I suggest you should be knowledgeable of magic effects and moves is for ease of applying methods to your effects, which otherwise may seem impossible. At least if you know a few basic sleights you will be able to utilise them in your idea. An additional reason to be creative is that by studying the work of others you will gain a wider outlook of magic. Other magicians have inspired many of my tricks; I may take an effect and use a similar method to create a totally new effect or visa versa, using the same effect with a distinct method. There would be absolutely no reason of changing the method of an effect unless I had a problem with it, for example if the creator's method would not be suitable for the location I have in mind for performing it in I would consider modifying it to suit my needs. In fact if I regularly adapt the method of a trick by someone else if I cannot execute the moves properly without being suspected.

The Art of Creativity Part 2 - The Process The greatest achievement of learning other people's material is not learning what has already been accomplished but learning how it has been achieved. Whilst reading a book you may stumble across an interesting technique that may inspire the method of one of your creations. Remember, everyone's mind works differently. If I were to pose a problem to all of my readers to find the method for an effect I guarantee that the results would be extremely varied. As an example, to perform a card location some magicians decide to use key cards, other crimp the selection, some use mathematical principles and some decide to keep the card under their control. Each of the methods can be expanded even further, such as the fact that some people prefer to use aBreather Crimp instead of aCorner Crimp .

I am in no way implying that if you are not well versed in magic you should not invent new magic effects. In fact some people believe that developing a firm groundwork of magic is not necessary, it may even lead to many advantages. The main advantage that comes to mind is that if you do not know of a method to secretly reverse the bottom card of the deck you may be possessed to craft your own methods to achieve the feat. This way you will be even more creative as you have now produced an effect and a move. Whether or not you have read a lot of magic I am sure you are ready to adventure into theCreative Process . Thoughts On The Creative Process Creativity itself is something that is almost impossible to explain, as it is a subconscious event. There is no right or wrong way of creating new magic effects, I believe that the following quote by Carl R. Rogers explains my point, "The very essence of the creative is its novelty, and hence we have no standard by which to judge it." Some people are naturally creative; there are a few magicians who seem to produce and release new effects faster than we can purchase them! The majority of magicians, through no fault of their own have a slower approach to creating magic. This is not a bad thing as 'we have no standard by which to judge it' – so any creative thoughts are good thoughts. Remember to be creative you do not need to be gifted, you just need to be willing to stretch your imagination. Now that we have discussed the background points of creating new magic how do we think up new effects? As I have said earlier in this essay it is not possible for me to tell you how to create new magic. You will have to discover it for yourself. I can, however, give you advice on how you should go about inventing new ideas by discussing the methods that I use or have used in the past. Before we go on I ask that you have an open mind; whilst thinking you may stumble across a brilliant idea but pass it by as an impossible concept that would never be achieved. This is not true, remember in magic nothing is impossible! This is why I would like you to consider keeping a notebook – wherever you go try to keep it on your person. In the past few years I have stumbled across many ideas, amongst those ideas were some good inspirations. Unfortunately many of these inspirations are gone, I can only vaguely recall a few of them, this is my greatest regret in magic. I decided that it was time to take action against these many lost memories, the best method I could think of was to keep a notebook. Today my notebook is one of my most valuable possessions, as soon as I come across an idea I write it down in the back of my book – whether it is good or bad. Every night I spend a few minutes considering the ideas that I had earlier in the day and if I feel the need I expand on the day's muses, in some cases producing a complete routine with the single idea. All of this information is recorded so when I have time I can go back and develop the better ideas into effects that one day I may use in performance. If you do use this method of storing your thoughts please do not make your ideas opinionated, whatever thought you receive for an effect write it down. If it is of no use today it could probably be useful at some other time.

The Art of Creativity Part 3 - New Tricks There are two main categories that creating a magical effect should be sorted under, they areMaking A New Trick andMaking A Trick New . Both are very different, the first being a complete idea that produces an entirely original effect and the second is being creative by updating a previously taught trick. Let's take a look at how you can create your own, original effects. Making A New Trick One is often not given the encouragement to create new magic effects by others quoting such famous sayings as, "There is nothing new under the sun," and "What can be invented has been invented." I can assure you that this is by no means correct. I believe that one invention inspires hundreds of others, as an example we can look at domestic items, if Alexander Graham Bell had not invented the telephone in 1875 the answer machine or indeed the 'Cellphone' would not have become popular objects. This theory can also apply to magic, although we will look at this more closely in 'Making A Trick New.' Before you create new magic you must decide what your aims are – do you want to produce a close-up effect, a stage trick or something suitable for children? This is important as each genre of magic needs different designs for tricks – there is no good trying to invent a stage effect using props that cannot be seen on stage. I still have not answered the question you were probably asking at the begging of the essay – 'how do I create new effects?' This happens in the next stage; you should think about an object suitable for the performance style you have chosen, it does not need to be a magic prop, in fact using obscure items is probably the best approach to take. Think about this object, if you can look it at or try imagining it, now ask yourself the following questions: What Is Its Function And Purpose? All objects are invented for a reason, what problem did the inventor aim to solve by producing such an item? In normal usage what would you use this item for? Answering these questions will help you muse over its use in a magic trick. What Could It Be Used For? Not what is it used for but what other tasks could you use it for? Try to think of strange uses for the item such as a book is normally used to read but it can also be used to prop up an unstable piece of furniture. This will be very helpful later in the process, remember to write down all of the ideas that you think of, good or bad they are very important. What Magic Properties Does The Object Have? If you could do anything at all with this object what would it be and what magic tricks would you like to do with it? Answering this question is very easy if you have already thought about the previous questions as they will give you ideas of what you could do with such an object. Let's imagine that we are looking at a cassette tape, if I could perform any magic at all I would pull out the reel of tape and tear it up into many small pieces – then in a flash the tape would re-materialise and

appear back inside the tape. At this stage the effect sounds impossible, but methods are not important. If you have wrote all of your thoughts down you probably have a full page of ideas, notes and doodles. Do not take a lot of time on this; do not force ideas out, as they should naturally flow from your mind – a five-minute 'brainstorming session' is adequate. As I said at the beginning of essay do not judge any of your ideas at this stage, just write them down. Some people find it easier to make simple drawings of their ideas - this is fine although I suggest that you make notes alongside your sketches just in case you forget what they are! Although you may not have realised it you have produced some of your own magical effects, just by answering three questions! Looking back at the previous five minutes you may find that some of your ideas are not brilliant, but amongst those ideas you are guaranteed to find at least one idea that has potential - if not more than one. If you could not think of any original tricks that use the item you have chosen you a number of alternative choices. You could try a totally different item, I don't recommend this though as you have spend five minutes thinking about this item. I do suggest however that you add another item to the previous one, then try and think of 'impossible feats' using both items, to start you thinking how about the items magically changing place?

The Art of Creativity Part 4 - Props & Methods We've discussed how to find and create ideas; it is now time to develop them into a magical effect. Find the idea that you are most happy with and take a new sheet in your notebook. You should have an idea of a trick in mind, sit back for a moment and think of that effect, imagine yourself performing it. Whilst doing this you should make an evaluation of the effect, you can do this by answering – yet more questions! What Props Will You Need? Do you need to use extra items to enhance the effect? This is important as if you add another prop for the effect there is a chance of extending the trick and developing it into something totally different (hopefully for the better.) Remember at this stage you are just thinking of an idea, do not stop because you have a good idea, with extra work you can improve it to make it an even better idea. What Could You Do To Improve The Trick? Let's say that at this stage you have an idea you are happy with but there are probably areas that could be improved. Maybe the props could be substituted so that it enhances the effect even more. If you are creating a trick suitable for a stage performance using fruit - such as apples ask yourself if the same effect could be produced by using a larger fruit – like a melon or even a coconut. Because you are working on stage a fruit of this size will look a lot better as the audience will have a better view of it and lay people believe that it is harder to manipulate a large item than a small item, which in fact it is! Of course changing the size of an object is not the only way to improve a trick. Think about the props that you use, if you are planning to levitate a pen around your head would it be more logical to levitate a toothbrush instead? Again, this will lead to much more you can do with the item such as have the

toothbrush magically clean your teeth – something you would not have done if it were a pen. If you are happy with your effect then we are ready to move on to the difficult part – 'creating a method.' Applying The Method You have in your mind an effect that you want to produce, the picture in your mind now needs to materialize into something that the audience can visualize and experience the way you have for the past few minutes. I cannot tell you how to give your effect a method – that would be impossible as I do not know what effect you want to produce! I can give you a few pointers that I feel will help you along your way. First, have a think about how you would perform the effect; you may immediately have a few ideas of your own. If you have try them out and if they do not work find the bad points and try to remove them by changing the methods slightly. An idea I tend to use if I cannot think of any acceptable methods is to look at how others have solved similar methods. If I wanted to make a banker's credit card vanish in my hands I would immediately go to my collection of magic books and find effects that are similar, such as playing card vanishes. The first method that comes to mind is Howard Thurston's 'Five Card Vanish & Reproduction' using the Back Palm. On examining Thurston's method I can try to modify it so that the effect I want to produce will work with that method. By combining a series of methods and thinking about why the inventor choose to execute the trick in the way he did I can normally think up a respectable method. After I have thought up a basic method I will start practising and rehearsing the effect. This is very helpful as during my practising I can look at certain parts of the effect and change any parts that do not look right. If, however you cannot find similar tricks my next suggestion will be very helpful! You should discuss the idea with other magicians, they have probably read different books to you and as I said earlier everyone's mind works differently. With a few magicians brainstorming your idea I am sure you will be able to concoct a method. If you are not happy with the method use it as groundwork to produce another method.

The Art of Creativity Part 5 - New Presentations In the previous article I explained my method of creating new magic. When I say 'my method' I do not mean to claim it as my own, it is the method I have always used. For sake of completion I am now going to describe some other proven methods of creating new magic. One method that I have used for a few years issolving a problem . As magicians we should be naturally inquisitive, we should look at objects and think 'I wonder how I could make that levitate,' or as we stand near a national landmark, 'How could I vanish this?' If your mind does not work like this don't worry there is nothing wrong with you! It just helps in your quest to create new magic. The solving a problem technique takes the question of 'How could I do this?' and makes it a reality. This

does not mean that you should set about thinking how you could vanish the Eiffel Tower, but it means that you should try and work out methods for ideas that you may have ... whether it is for a grand illusion or a small scale close-up trick. I have recently been made aware of a book aimed at magicians and at helping them create new tricks. The book is entitled 'The Trick Brain' by Dariel Fitzkee and is a system that seems to have potential. If you are interested in this idea I suggest that you try and get hold of a copy. On a similar note I have stumbled across a few books and even computer programs aimed at writers and novelists. The idea is to inspire plots and stories by randomly generating phrases; this could also be applied to the creation of magic effects. Another method of creativity that I have experimented with is a very cheeky method that I believe has potential. In a conversation with your friends casually bring up the subject of magicians performing the impossible and ask them if you could perform any miracle in the world what would it be? Working with the response you receive you should be able to create a miracle! There is another method of creativity that we have not explored – taking a trick by someone else and making it suitable for our own personal use. We will look in depth at that method now. Making A Trick New Like most magicians I perform a card location routine. For a few months my presentation was exactly as I read – 'You pick a card and I will find it – you can then see how clever I am.' I found that this was not receiving the reaction I wanted. I spent a long time thinking about why I was not receiving the response that other performers were getting. What were they doing different to me? I later realised that it had nothing to do with the performance location, my style or handling of the effect (which can sometimes be the cause of bad reactions) but was in fact my presentation. Whilst performing the effect amongst friends I had a presentation idea, I would not merely find the selected card, I would make it turn invisible, the spectator would place the 'invisible card' back into the pack where it would re-materialise. I told the audience that during the materialisation process the card would become extremely hot. In fact too hot to hold, hence I would be able to find the chosen card by feeling the backs of the cards. The presentation of this effect was improvised; I made it up as I performed the standard routine. Now, three years on I still perform the routine exactly how it read in the book, although I have radically changed the presentation. If I had not been creative in that one performance I would have probably rejected the routine a few weeks after I had learnt it. This is an example of 'improvisation.' Although I didn't create the effect just described I used my own presentation perspective. If the same effect was shown to you now you probably would not recognise what effect it actually is, although at this point I must state I do not claim the routine as my own. This is good because I have taken someone else's routine and made it into something that I am happy with, something that suits my style and not that of the author's. It seems to me that the most successful magicians are not those who perform excellent sleight of hand but those who care for presentation of their material. Taking an old, outdated effect and updating it to something that looks almost new is a true art form and those who make the effort to do so will receive great rewards.

The Art of Creativity Part 6 - Conclusions There are two divisions of making a 'trick new' – updating the effect or updating the method. When I say 'making a trick new' I do not mean revising a trick that has not been used on stage for 300 years, I mean one that has already been invented. There are about 100 tricks that I could state as being classics of magic. If you were to look in your performance repertoire I could guarantee that you would find a large number of these 'classics of magic.' This may be a good place to start updating your material ... remember today's audience have probably already seen the Linking Rings and the Cups and Balls. Lets look at the famous Linking Rings, a great effect that everyone knows of. I believe it has been made a classic of magic because of it's simplicity in performance. The audience sees a number of solid chrome rings link together. When updating this effect we do not want to lose its simplicity as that may lose the impact. The same applies to almost all classics of magic. They way I have always gone about updating effects is to study the prop used and write down all of the items I can think of that looks similar. By taking the Linking Rings we could change it to link bicycle tires or even giant wedding rings. As another example, in my notebook I have a number of ideas for the Zombie Floating Ball, to be original I could use a large bubble, which gives a reason for it floating in the air. You do not need to change the props used to update an effect. Try changing the presentation. Look at the many variations of card locations, the plot is the same for most of them, but the presentations are totally different. Conclusion I hope that by this stage I have given you a lot to think about, in fact already you may have ideas running havoc in your mind! If you have then this essay has performed the correct task and I am very please it has been of use. The 'Art Of Creativity' is not something that can be explained in one page of writing, in fact creativity is not something that can be explained at all. We can just do our best to describe our personal process of discovering new realms of magic. The only advice I have left to give to you is as soon as you get an idea write it down. If that idea seems poor today, one day it will be formed into a great idea.