If art was a woman, by and large magicians would all be virgins. Do you want to lose your virginity?
One of the better up and coming magicians I know once said, “Fuck you creators, I wish I had it in me.” He does, he just doesn’t know what creation is yet. But he has a hell of a classic pass, he stole it from the old books perfectly. Unfortunately, he stole the patter too. What he doesn’t know is how to steal maturely.
T.S. Eliot said, “All art is theft. Immature poets deface what they steal. Mature poets make what they steal better or at least different.” I, on principle, disagree with the use of the word better there. That’s subjective. But different, that’s much more on point.
Creation is simply the combination of things. This is often true, regardless of artform: from technology to science, from poetry to magic. It’s all the same.
Look at Penn and Teller. Shit, just look at Teller. He has the best Miser’s Dream routine around. No doubt about it. It is poetic, but he doesn’t say anything. And yet, did he create anything? All the elements were in existence before he showed up. They were there, he didn’t create them. What he created was the combination. Sleights, moves, and gimmicks in magic are, as far as I’m concerned, common property. But routines are not. The idea for me is not to think of yourself as a creator. Not if you want to be a performer that is, but rather to think of yourself as a composer. Ludwig van Bethoven created a symphony out of four notes. That’s it (Rene Levand mentions this in his routine Beauty in Simplicity). Teller says more than most magicians and he doesn’t speak a word. He’s a damn good writer.
There are some questions you need to ask before you can just start horseshitting a script together, though.
Question 1: What is the trick?
For example, imagine the “Ambitious Card.” A classic that we have all learned at least one version of. What is the trick? The answer may be more interesting than expected.
To say, “that’s the trick where the card keeps coming back to the top,” would be very limiting to the performer, not to mention boring for the audience. Even in the original from Vernon, the card did not keep coming to the top. There is a phase to throw off the audience where it goes to the bottom. Hence it is not the trick where the card comes to the top. If instead you define it as a card that won’t cooperate, you now have a lot more room to play with.
Question 2: What’s the inherent narrative?
Every trick has an inherent narrative. This is also something a performer can bring a lot of himself into answering and the more interesting the answer the more unique the piece.
In a torn and restored, what’s really going on could be something of a phoenix being revived from the ashes. Or could be the idea of being broken down to be built back again. Could be that what doesn’t kill you makes you stronger.
These are themes and messages that the trick inherently has, meaning all you have to do is see them, not invent them. They’re already there.
In our example of Ambitious, it could be the idea of being ambitious. Or instead it could be a sadder story of wanting to be seen or wanting fame. Or for you it could be about being different from those around you, sticking out like a sore thumb so to speak. Each approach would drastically change the trick, and yet every other magician you know would still be doing a version, yours would seem different entirely.
Question 3: What’s involved in the trick?
This is important. Not only for knowing where you’ll be able to do the trick, but more importantly for being able to further justify props.
If a magic wand for whatever reason is necessary for a trick like many seem to think is the case for the cups and balls, is there a way to script it in? Make it more than just a magic wand. Obviously you can change it to a chopstick or whatever, but is there even a reason for its existence? In Ambitious Card, many people use an omni deck. Fine, but why? Also, why a deck of cards?
These questions are important if you’re going to make something interesting out of what is otherwise just a riff—or in magic terms a sequence of moves known as a “trick.”
It isn’t a routine until it is scripted. It isn’t a good one until it is well-scripted.
Question 4: Why are you doing this trick?
Max Maven says there are 3 questions to ask at every performance. Who is this person? What story are they trying to tell? Why should I care?
Most magicians are plastic: no story, they're just doing tricks—and there’s no reason to really care. Who is this person? That’s a character/persona question. What story are you trying to tell? That’s a scripting question. What are you trying to say? What do you believe? What do you want to convey to an audience? Why should I care?
As Maven says, “If you answer the last question well enough, the other questions don’t matter.” Damn smart cookie. He’s right. Therefore the question: why this trick? Because it’s fun? Well, if that’s your answer, stick to performing in bars. You want art: tell me what you believe. You’re doing that trick because it changed your life: well, how did it do that? Do that trick because of its historical importance. Do that trick because it carries a message you believe in. Now we’re getting somewhere.
Question 5: Where are the beats?
Man, this is your moment to punch, slap, and establish. This is it. This is mighty stuff.
In the case of Ambitious, the beats are probably (depending on routine) going to be where the revelation of the card is each time, also that moment where you put the card in. That moment is huge, because once the card is in, you now have automatic dead time until you show it on the top. What do you say there, in that beat? Also, where is the misdirection required? Do you need to do a top change? How do you justify it in your script or with your movement?
Understanding the beats will make you a pro. This is how performers hit their time mark every time, without seeing a timer. They don’t need one, they know the beats.
Once you have these questions answered you’re well on your way to doing art. Your Ambitious will be your Ambitious. Good or bad, it will be more rewarding long term. Answering these questions will help you find new avenues and approaches.
In short, when writing to a trick ask yourself “Why?” Then justify everything! Every action, every word, and even justify your reason for doing the trick. Only then you might lose your virginity.
Ambitiously Yours,
James Mollenkamp