About a week ago, I was at Jeff McBride’s home and we started talking about communication, when he asked me to write an article about ten ways to get your message across.  Enjoy!

Give them what they want

The audience you are delivering to wants to be told what they want to hear. If you make them sit too long, you have lost them. It is better to leave them wanting more.  As far as content is concerned, in sales, people will only buy what they want to buy deep down inside.  You just have to find that hidden need and fulfill it.  Maybe that topic can be discussed in another article.

Give contrast

Too many shows and presentations are bursting at the seams with what they boast to do. Numerous comic magicians are completely funny the whole time, offering no drama or other type of theatrical byplay. What happens with this? The presentation becomes stale.  You ever eat so much of your favorite type of food, for so many days in a row, that you end up hating it? The great comedies on television all have contrast.  There is a lesson interlaced with the laughs.  All of the great shows here in Vegas also are combinations: amazing and comedy (Absinthe) or dramatic and funny (Jersey Boys). Mac King is funny and at the same time, nostalgic of growing up.  Life isn’t made of just one thing so you shouldn’t be either.

Give them options

Everybody learns in different ways.  Some people are visual learners and some are auditory learners.  The US Navy did a study with three groups and found out that people who are told something (group one) comprehend that information as well as people who read the same thing (group two).  The third group that comprehended more was the group that read and heard the material simultaneously. Maybe this is an argument for being entertaining and followable when you speak, because then when they watch what you are doing they will get so much more out of it.

Give it sincerely

Pearl Jam, who is synonymous with rock star as far as bands go, said that they never “phoned in” a show. Everytime you perform for someone or even talk to them, you are auditioning for them and you need to give it your all.  If you are in the moment, then you will be paying attention for new bits or mistakes that might be gems at later performances.  This also applies for listening to people, for they gave the time and energy to talk to you, and you should do more than hear them, you should listen.  This is something I need to work on myself…

Give them you

People tell me all the time that they saw a magician and then they explain what he or she did. When I ask them what the magician’s name was they say they don’t remember. Don’t let your magic be bigger than you. Enough said.

Give them yourself

Don’t do routines that you know are other’s. If it is an independent invention that is one thing. Stealing is another.  People have put their heart and soul into the building process that goes into these routines. That’s why they look good when they do them and not as much when they are replicated onstage. If you give the audience a genuine creation that is yours, like a dog smells fear, audiences will smell the genuineness.

Give them a break

I always structure my shows where there are not too many routines in a row where I need a person to come onstage. The audience grows weary and becomes indifferent to the indifferent person onstage again and again and… Amazing Johnathan has the same person onstage for each routine that he does in his show.

The audience almost finds this volunteer to be a friend of theirs and definitely a representative of theirs and that goes to…

…Give them a validation

You are a wonder worker. You need the audience to know this. I used to perform a book test and I would write the words on a sheet of paper. One time there were three girls (beauty contestants in a pageant) who stood behind me when I wrote the words down. This was not planned but gave the audience validation in two different ways. One, the three girls behind me worked as a committee to ensure that I was not doing anything fishy (people suspect everything) and two, when the person names off the word, their facial expressions, when they see the written down word before the rest of the audience, act as a catalyst for excitement.

Give them something believable

If you are trying to sell a vacuum don’t tell them that it will suck up the dust bunnies.  People know that dust bunnies are impervious to any kind of suction and that is why there is a outbreak of them in the Midwest.  The tornados kill everything but dust bunnies. In the same way, people don’t believe that you have real powers. They want to believe it but they just don’t. As soon as you come down to their level and tell them the truth about that, then they will believe you about everything else you tell them. So the “EZ VAC 2637-a” won’t get the dust bunnies but the monster under the bed? You bet.

Give them something that they care about

Make your message about them (do your homework here) or something they can relate to (their industry). Even if this means changing a story that happened to a friend of yours to one that happened to you, then, if they can connect with that, the message will sink in better. Making them part of the story can be unforgettable.

Visit DaveJohnson.tv to learn more about the author.

You never know who you are really talking to. They could be a terrorist, or a great leader. Let me explain….

It started in Israel. A bomb had blown up in a tourist section of Jerusalem. Dozens of people were dead or injured and all of our major convention shows were cancelled. A young magician, born in Italy, now living in Budapest, named David, was in a challenging situation with the management of the convention due to the cancellation. I stepped in, helped him out a bit, and never thought about it again. That was over sixteen years ago.

I’ve recently returned from Budapest, Hungary. I was flown over, to a most elegant hotel, to perform my full evening show in a well-appointed theater for magic fans who had come to see me in my first show in their country. Why did I end up there? Because I happened to be kind to a young magician, sixteen years ago.

That magician is David Merlini, one of the top escape artists in the world, famous for his “Frozen in Ice” stunt, and “Inside of Concrete” escape. If you Google them, and you will be amazed at the amount of publicity David received on these stunts.

Well, most magicians start off from humble beginnings. When I first met David, I had no idea he would grow up to be one of the most famous escape artists of the new generation. Yes, he was skilled and had good ideas… but who knew? It got me thinking about how many times I’ve met young magicians who then go on to achieve major success.

WHO AM I TALKING TO?

• I was standing in a hotel lobby in Austin, Texas, in the late 1990s, witnessing a couple of kids do some cool things with card fans and flourishes. We shared a few laughs and a few moves, and I never knew their names until years later, Dan and Dave.
• I was in a late-night session with a couple of the insomniac kids in the lobby of the national IBM convention. We were trading moves and magic stories, and talking about what we loved and hated about the state of the art of magic. One of the kids said he wanted to write a book. I thought he was a bit young to be writing books. I didn’t know the tall kid’s name, but years later I found out it was Joshua Jay. He even wrote an article about our meeting in MAGIC Magazine.
• I was backstage at a show in Vienna, just before the FISM in Den Haag, in 1986. I was giving some ideas to a young man, who was working with sunglasses, magic wands, and cards. The ideas I gave him are still in his act today. Topas went on to world-wide fame and fortune. Even at his young age, he gave me some ideas that I still use in my act!

I’ve learned that age is not really a factor in art. Many of the young people I have met have wonderfully progressive ideas and a strong magical vision of what magic can be.

“I’ve also learned, from my various encounters in meeting magicians, that you can only make a first impression once.”

Our friend Lance Burton shared a very important lesson with a group of our students at a recent Master Class. He said that when he looked back over his life, he didn’t think there was a single interaction with another person where he might have thought “you know, I could have been more unkind in that moment.” Lance reminds us that we can always consider being more kind in every interaction. One lesson I have learned from magic conventions is to surrender to the moment and not rush past fans and friends to get to “other business.”

I SURRENDER!
I remember entering a dealer’s room at the World Magic Seminar in Las Vegas, and being surrounded by cameras, fans and tv crews. This is to be expected at these media events, but I really wanted to push through this and get into the dealer’s room to see all of the cool new magic items. Then it hit me, why rush past friends and fans who I’ve worked so hard to cultivate and inspire with my magic, to go buy more magic tricks to impress more people to push past later? It all seemed so pointless and a vicious circle.

I decided, then and there, to surrender to the moment and be 100% present. Being in the public eye can be demanding and even physically exhausting. At the recent FISM in Beijing, China, it seemed that over 2,000 people had cameras and wanted multiple photos with every magic celebrity. It took me several hours just to get from one side of the main room to the other. There was also lots of pushing and pulling and crowding. Through it all, I remembered that I only have one time to make a good first impression, and that any show of impatience or discomfort could be interpreted as a personal rejection…. So I would tell myself to relax, to breathe and to enjoy these moments, because these are the moments I had been working towards.

GET YOUR FACEBOOK FACE ON!
Nothing is worse than seeing yourself in a photo with an expression on your face as if you’d rather not be there. I try to avoid taking photos with a negative expression on my face. Remember, my friends, facebook is forever.

These moments reminded me of times I’ve toured with major headliners like Diana Ross and Tom Jones, and how they have to hide themselves from the public, avoid encounters as they travel, and insulate themselves from the crowds and fans they have worked so hard to gain. It’s a bit of a paradox, is it not?

You never know, the fan you pose with for a Facebook photo today could be the next great magic star or opinion maker in the world of magic. I take the time and the energy to give each person individual attention. I hope when we meet, I can share that moment with you!

Magic is the shadow cast by the fire of the soul.
— Michael Fraughton

Dear student of the art,
There are some who say that magic is a dance between shadow and light. There must be darkness to create mystery, true, but there must also be light in order to perceive it. One of the practical problems of darkness and light is encountered onstage.

A PRACTICAL PROBLEM

I often get asked by young magicians, “How do you manage to see the audience when the stage lights are on and the audience is in total darkness?” Well, there are a few tricks of the trade here. Often, you can see reflections from eyeglasses, but the best thing you can do to see the audience is turn up the house lights.

WHO SAID TURN OFF THE LIGHTS?!

In all my years onstage, I have never found a reference or a source of why magicians must turn off the house lights all the way. I can totally understand that in the theatre, it is a convention to turn off the lights because the audience is not connected to the action onstage. In fact, the darkness reinforces the “fourth wall,” or boundary, between the actors and their actions, and the audience and their reactions.

In a theatrical play, the reactions of the audience are, for the most part, ignored by the actors, until the final curtain call. This is not the case in most magic shows, where the audience is personally addressed by the performer, and members are often part of the show, literally breaking the fourth wall.

Constantine Stanislavsky, in his book An Actor Prepares, recounts the horrifying feeling actors often experience as they stare past the footlights into a darkened cavern of unknowingness, where the audience watches and judges in silence. For a young magician taking the stage, staring off into the darkness can create a sense of terror. There is no need for this pain.

PRACTICAL SOLUTIONS

I understand the classical formality of the theatre fading to black at the top of the show to create a sense of anticipation and mystery. When the theatre fades to black, we get the sense that we are between the worlds of the mundane and the magical. Total darkness, however, does not enhance the much-needed audience connection during the continuation of a magical performance, especially if the audience is part of the show. After the performer addresses the audience (usually after an opening effect during a welcoming talk), I would suggest they should consider turning the house lights up a bit, so they can see the faces of the audience members.

When you can see the audience, you can connect your scripts and direct your personal eye contact more effectively to individuals, than if you are simply “shooting into the dark.” Some extraordinary performers have developed the ability to make the audience feel that they are getting direct, personal attention from the performer, even when they are sitting in a totally darkened theatre.

I have not depended on developing this technique. I start out my show in total darkness. My opening number establishes my territory onstage. During the next part of the show, I directly call to the light technicians to turn up the lights to let me see the audience. I create a personal connection with the audience and then have the house lights fade down to a level where I can just make out the faces of the audience. This technique helps me connect with the people in the back of the theatre and the balconies, who often go unseen and ignored in a darkened theatre. During the course of my show, I use many different levels between “total darkness” and “full house lights up.” This permits the audience to have a varied and textured experience during the show.

Delicacy and discrimination must be utilized to determine just how much is enough or how much is too much. Too little light, and you will not be able to see the audience reactions, or establish a connection. Too much, and you run the risk of disturbing the audience’s comfort and making them wince and squint in reaction to the sudden brightening of the theatre.

BLINDED BY THE LIGHT

There are occasions when you can utilize audience directed light to your advantage. This is often seen in stage shows that use black art principles. Lighting can be directed at the eye level of the audience to decrease the pupil dilation, which makes black art effects more effective, as it temporarily eliminates the eye’s ability to see contrast. Discretion must be used to effective make use of this technique. Nobody wants to have super-bright lights blasted into their eyes more than once or maybe twice during a show. Sometimes, during a finale of a show, it can be exciting and effective to have stage lights sweep the audience, shining the light on them. This creates an exhilarating effect, where the audience gets to feel the power and excitement of the lights.

LOOKING AT THE FIRE IN THEIR EYES

The major benefit I personally have received from working with the subtle dynamics of illuminating the audience in the theatre, is not only the rapport I gain, but also the ability to see the emotional reactions that the audience displays during the course of the show. In truth, one of the great joys of performing magic is experiencing the wonder and astonishment that appears on the faces of the witness of the mystery. Perhaps this is why close-up magic is so appealing, because the performer can experience, up-close and personal, the emotions and feelings of the participant. Why should this great part of magic be lost to the stage performer? Recently, television magicians have shifted the major focus of the magic show from the performer’s execution of the effect to the audience’s reaction to the effect. This, I feel, was a needed step in the evolution of magic. So, dear student of the art, I encourage you to turn up the light, not only on the audience, but also in your heart.

Originally published for Wittus Witt’s “Magische Welt” magazine in Germany.

I have been street performing for more then 15 years and I love what I do – it has allowed me to travel, teach, and perform at festivals all around the world.  It has  given me the training and experience required for me to gain work as a festival worker, cabaret performer, close up magician and write and perform my own one man show.  Everything I do stems from street theatre.  I have picked up some of my best bookings whilst working the streets.  Being a street performer means that you don’t need an agent and you have the freedom to work where and when you like.  However its not a easy choice and not everyone will make it as a street performer.  Like any art you need dedication, motivation and discipline.  In 2006 I founded the School of Busking in the UK and have taken my lecture on tour to Switzerland, Italy, Germany and all over the UK and been  part of the Teaching Faculty Jeff McBride School of Magic and Mystery – focus on Street Theatre.

I would like to share with you my top 10 tips for street performing:

1)  Develop your character

The crowd will fall in love with you not your tricks or effects.   Find out what suits you and wear the  clothes/costume that suit your character. Be careful of overdressing  – it may backfire if you better dressed the most of  your audience  and keep flashing your very expensive watch – unless of course – this is part of the character that you want to portray.  On  the opposite scale – dress like a beggar and you can expect a beggars wage!

2)  Developing a Street Show

Whether you are developing a doorway or circle show – your show will need a beginning and an end.  I recommend 3 effects for a show is enough.  Your ice breaker/crowd gatherer, a middle effect and your finale.  Make your show as  unique and interesting as you can  – you may have effects that you have bought directly from the performer, but remember right from the beginning try and perform each  effect in your own style and character and do not copy word for word someone else’s act – because that is all your act will ever be – someone else’s

3)  Finding and working a Pitch

Every city and every town is different.  When I arrive in a new town or city I do what I call  Reconnaissance (a mission to obtain information by visual observation or other detection methods) by walking the streets and getting a feel for where the best place to do a show may be.  My motto is – its easier to apologise afterwards then try and gain permission – unless of course you hit a town where queuing is the norm then of course you must follow suite and enjoy watching, learning and making new friends.

Here are some of my tips for finding and working a good pitch:  Respect other performers and street folk i.e. keep your distance;  Don’t let street traders intimidate you; Shaded pitches are best;  Look for quality not quantity – busiest may not be best;  Look for natural outdoor pitches that can lend themselves to a theatre setting;  Fit into your surroundings, don’t block foot flow or a doorway, for example;  Be courteous and professional at all times;  Keep your wits about you.

4) The Street Performer’s Props

What props are going to work for you?  Think about the transportation of your props and how you will travel and get around with them.  Everything you have with you – from your hat to your case and of course all your effects should be used as props.   The moment you arrive on your pitch and put your hat on your head you are starting your show and everything you do – from setting up your table or your props for your show should be a deliberate act and therefore creating curiosity in the people around you.  Allow the setting of your street stage become part of your crowd build.   Play with your props as you set up your table, use your case as a centre point and stand and look at in in wonder – you will be amazed at how many people stop and look too.

If your finale is a 10 foot unicycle then of course your audience is going to know what your finale is and of course the advantage of a high finish means that you can play to much larger audiences and these are known as circle shows.  The beauty of magic is that it can pack small and play big therefore you don’t have to reveal your finale props until you are ready – this will keep your audience guessing.

5) Attracting an Audience

I have a couple of different ways of attracting an audience depending on whether I am performing a circle show or doorway show-

Loud and Rude Method  (else known as whistle and clap)

Loud and Rude is the way I  work when doing a circle show with the straitjacket finale.  I use a chain from a bucket and I pour the chain out of the bucket into a straight line and then drag the chain across the road.   When I’m getting ready to start attracting a crowd, I’ve got my bucket with the chain ready in my hand -  I start to shout “Just about to Start!”  Shouting loudly – “Watch this – just about to start”.  I make a lot of noise and a lot of clatter.   This immediately gets people’s attention. A classic way of attracting others is to ask the crowd to give you a huge round of applause as you take your centre stage (you need a least a couple of rows people by this time) and watch as other people wander over to see what is happening!  A crowd attracts a crowd!

The subtlety of Curiosity!

When doing my doorway show I grab people’s attention in another  way – the power of curiosity.   If you don’t have big props that give your show away – then  people don’t know what to expect and they become curious.  I use the silk hanky routine as a crowd puller. The beauty of an effect like the silk hanky is that it can keep on being repeated until you have your first hedge to your audience.

I only begin to eyeball people who have stopped for a moment in time.  Otherwise, people who keep on walking by can feel intimidated.  I give the people who have stopped a moment to settle in and then they realise that I am not that scary!  Then I do the disappearing silk hanky again,  I  get people to come in a little bit closer and when they are about a meter away from my table that is just about as close as I want them to be.  If they get too close, then I pull table back.  Otherwise I lose my depth with the crowd that I have got.  The audience is not trapped in yet and  I want more people to come in so I keep on playing.

6) Turning your Crowd into an Audience

Learn to connect with your audience.  That is the advantage of close up – the closer your audience is the better the relationship you have with them.  That is the disadvantage of a big show and big crowd – that is exactly what they are – a big crowd – not yet an audience.   Just because people are crowding around you – that does not make them an audience. Develop a relationship with the people, make eye contact, communicate, reach out to individuals in the shows.  Make people  feel included.  Welcome people to the show and ask their names and use it!    On the streets eye contact is an important tool   Make eye contact with individuals in front of you, behind them, to your left and to your right – make them all  feel included.   If someone is shy and doesn’t want to make eye contact then let them be – otherwise you may scare them away.

7) Overlapping Your Material

Overlapping is an important part of a street show – it keeps your audience locked in.  Before I finish my first effect  I introduce my second effect and this part of my show includes a lot of fun and audience participation.  Then whilst halfway through my second effect I  introduce the props for my finale so that  they know that the big finale is yet to happen.   Keep them keen, interested and entertained with overlapping your material.  There are lots of different ways of overlapping whatever your material is  and you can get creative with this – whatever your show.

8) Dealing with Distractions

Lets face it there are always a lot of distractions on the streets and remember no one invited you to be there!  So take advantage of any distractions – Police cars, fire engines, ambulances, the local drunk are all  distractions that you cannot ignore  – work with them  – control your audience and get them to move around or split your crowd in half or wherever  is good for the distraction to pass.    If you played it right and they are interested in what you are doing then they will be completely under your control at this point anyway, so they will go where I ask them and they will come back for me too.   Acknowledge the distraction – have fun with the distraction and remember -  bring the audience’s  attention  right back to you  again.  Ad lib your way through distractions and make them part of your show.

9) Keeping Your Audience

Getting a volunteer to  participate in your show is a great way to keep your audience – I get a cute kid to come out and help me in the middle of my  show and make them a star – the cuteness of the kid warms the audience to me and they want  the kid to succeed and feel good and this gives your show a great energy that makes people want to be part of.

If you need a grown up volunteer – this is a safe way to get a volunteer –  once you have your crowd or your audience, take a prop – it could be a ball or a silk.  Take it out your pocket or case and give it to a guy in the audience  and ask him to put it in his pocket and tell him to forget all about it and I just get on with my show.

Then when it is appropriate – remember I have picked this guy as my ideal volunteer – he just doesn’t know it yet  – this is the guy that I want to wrap me up in a strait jacket later in the show!  I then  ask “is there anyone here who happens to have a silk handkerchief in their pocket  – anyone here?? Amazing – sir can you pull that silk hanky out of your pocket – can you bring it out here – what is  your name….”  Then  you put him where you want him to be on your stage and you have your volunteer.  There are a number of different ways to get your volunteer – just don’t use that word!

10) Making Your Audience Pay

Throughout your show you need to be educating your audience – training them into letting them know this is what you do for a living.  I tend to say right at beginning – “My name is Mario Morris and  I travel up and down the country doing shows in front of kind folks like yourselves and this is called my Slight of Mouth Show and this is what I do for a living.”

The word busker is not a word that everyone understands.   Make subtle points throughout your show e.g. if someone takes a photo of you during your show, exclaim “I don’t mind you taking a photo mister, just don’t show my mum – she thinks I work in an office!”  This way you are educating your audience that you do not get paid to do this and this is all before you come to doing your hat lines.  Exclaim – “this is what I do for living”  These little one liners throughout your show educate your audience.   However – don’t be desperate throughout your show – people pick up on these vibes. It is also good practice to be specific about what you want your audience to pay you – if you want a  pound, 2 pounds or even 5 pounds – ask and specify to your audience that that is what you want.    You will find this makes a great difference to your hat.

Your hat lines must come before your big finale, because you have them locked in by that time anyway.

Ladies and gentlemen this is what I do for a living, for the last 30 minutes if I have made you laugh and if I have made you smile then I know that I have done my job. In turn at the end of the show do yours. Come forward and put a tip in my hat, the average donation is about 5 dollars, Folks don’t put nickels and dimes in my hat. I do believe that my show is worth at least $10 – if you can’t afford that two or three dollars or the average tip of $5.00. But folks most importantly have a Beautiful night and with no further endue… the finale.

Some of the above material  is taken from my Street Performing Manual.   For more details look on www.schoolofbusking.com.

The School  of Busking DVD has over 3 hours teaching material from myself and Gazzo.

Don’t miss the opportunity to study in Las Vegas with Mario at an upcoming Focus on Street Magic class.

There are many highly specialized brilliant performers in the world of magic. Amazing stage artists such as Lance Burton, experts at the card table like Guy Hollingworth and masters of manipulation such as Juliana Chen.

But modern day Renaissance man Paul Draper takes a different approach, proclaiming himself to be a perspicacious polymath.

Despite ostensibly being a mentalist, the multi-talented Salt Lake City, Utah native is also a very skilled close-up and parlor magician.

More noteworthy however is his huge list of achievements outside the world of magic.

He has taught anthropology and communication studies at the university level, made Emmy award winning documentaries, works as a musical theater actor and is an adviser for world famous theme parks.

His status in the Las Vegas community has also led to him to take on his most audacious role yet – as a fully ordained minister providing marriage services as a free community service to members of the entertainment community. He has performed ceremonies for notables including Dan Sperry, Tyler Kyle Knight among other Las Vegas headliners.

So how does Paul manage to juggle so many different roles?

He said: “Performance leads to performance. The more we perform, the more we perform.”

Paul sees his life as “weaving a rug. A little blue yarn, a little red, some yellow and white. Each piece adds to the other to create the whole.” The Las Vegas resident believes every piece of his training works in harmony to create his unique brand.

He added:  “My anthropology studies give me a different approach to mentalism than the current vogue for psychological presentations.

“Rather than understanding the actions of participants based on their ID, Ego and Super Ego, I predict their thoughts-based on their culture.

“As an anthropologist I have the opportunity to look at all the different perspectives of culture, society and identity.”

Paul even starts his show with a stand up comedy-esque set defining his background and what an anthropologist is.

“My character draws upon the folklore, literary and film archetypes of characters such as Batman, Indiana Jones, Sherlock Holmes and even Santa. Characters that know what you are thinking study every topic available and almost know your thoughts enough to know what toys you want and if you have been good or bad!”

This has led to Paul developing a more theatrical and whimsical style that leaves it up to his audience to decide how he makes his amazing divinations.

When asked if his education has helped him in his presentations he said:  “My studies have definitely affected my style of performing. I integrate stories about myths, folklore, as well as modern theoretical and human perspectives. I think it makes for a very interesting and thought provoking mixture of education and entertainment”

Paul is already established as one of the world’s finest mentalists. He has performed in top venues in Las Vegas and New York, as well as featuring in the world-famous Magic Castle.

He has been seen talking about Houdini on the history Channel and chatting about shamans on Criss Angels’s show Mindfreak on A&E. His thoughts have been featured in articles in Psychology Today, Glamour Magazine and even the Associated Press.

The 32-year-old recently celebrated his second anniversary of being a full-time mystery performer, a salient time for some reflection on his magical journey.

He said: “It has been quite a hard road. I am excited to see what the rest of year three will bring.

“Starting in October 2008 at the head of the greatest recession in the last 60 years in American history was probably a bad idea, but it has been the greatest run of my life so far.”

Paul left a blooming career as an academic in 2003 to become a full-time entertainer, and his versatility soon proved to be a valuable asset.

He said: “Soon after leaving the ivory tower of academia I stage managed musical theater productions, acted in musical theater tours and took a full time position at the Venetian Hotel and Casio where I played many roles including magician, gondolier, juggler, visual artist and high roller suite entertainer.

“Leaving my full time job at the Venetian in October of 2008 I dedicated my time fully to working as a full time mentalist and speaker. I suddenly became the CEO of my own life and career.”

While making the transition from the luxury of receiving a regular paycheck was not easy, he believes it has been more than worth it, allowing him to branch out into other areas he is interested in while still maintaining a focus on his mentalism career.

However, he freely admits that being self-employed does not make his working days any shorter.

He said: “I spend 8 hours per day working at finding work. Marketing, sales, cold calls, promotion, product creation, follow ups, press releases, social media and the like.

“I decided that success would mean seeing this as a real job. Others with real careers work 40 hours per week or more doing their job and I needed to do the same.

Even if I have a show that day, I still put in 6-8 hours looking for more opportunities. Working on my show and performing have become the equivalent of my hobbies and pleasure time. That is something that I do after hours – after my sales day.”

“Of course some of my success has been about being in the right place at the right time, and how do I do that? By making sure to be in right places all the time.” He said in his monthly Mysteries of the Mind newsletter offered on his website.

However he also readily admits that his current success is born from a lifetime of study and dedication to magic.

Paul is not afraid to admit that mentalism chose him almost as much as he chose mentalism. As Eugene Burger often says, “Like the clergy, magic is often a calling.”

Paul said: I didn’t have a lot of money growing up. As an only child of a single mother in Salt Lake City, Utah I couldn’t afford illusions or expensive effects. Also I wasn’t particularly handy at building them myself.”

So he gained as much experience as a performer from his other interests in theater, juggling, and speaking as he did as a mystery entertainer.

Also his wide intellectual background allows him to make his performance pieces more layered than someone purely influenced by the world of magic.

He said: “In school, I was state champion in pantomime and one of the national champions in debate two years in a row. I took acting, singing, directing, business, debate and dance classes in middle school and high school.

“At the university level I double minored in Musical Theater and Communication with a major in Anthropology. My graduate work was in political rhetoric and I worked at a magic shop to help pay my way.”

His predisposal to magic-of-the-mind paid off during the time he studied at University.

He said: “Mentalism could be performed for university students without seeming silly. I could build the props needed from school supplies that were readily available. The key to mentalism was in understanding and loving the other person – a skill that I enjoyed.”

But, despite his outgoing and gregarious personality today, Paul admits he was not always so confident.

As so often seems to be the case, the young Draper was an introverted lad who found magic could be a social outlet.

Dazzled after seeing some of the truly great magicians of the last century, it was not long before he was interested in finding out more about the art himself.

He said: “As a child, I saw Harry Blackstone Jr., Harry Anderson and David Copperfield perform magic on T.V.

My uncle took me to the touring production of David Copperfield’s show in the early 1980′s when he came through Salt Lake City, and while on a family trip at age 10 we made a special trip to see Michael Skinner perform the three card monte at the Golden Nugget in Las Vegas.

“When I was young, I was very shy and so desperately wanted to believe that magic was real. I remember the first time I was taken into the magic shop, the man behind the counter could do amazing things with ropes and blades and colored sticks and strings.

“I looked up at him as he hovered high above the glass case filled with colorful cards, feathers, wands and coins – and politely asked in a small voice “Is magic real?”

“To which he quickly quipped ‘Yes, and you can learn how to do it too for $7.95.’

“I instantly pulled out my wallet and several weeks of savings only to find that… it was… a trick. I had been fooled. This finger chopper wasn’t real magic; it was merely a trick blade.

“Yet something from within compelled me to practice and memorize the story that came printed in the red and green plastic package. Some great force drove me to go up to one of my peers on the playground and perform it for them.

“At that moment, when I saw the amazement in their eyes, I realized that it wasn’t just a trick. Instead, I found in that singular moment, in the sharing of the experience and wonder – in that moment, it was real magic.”

And the power that came from being able to impart the moment of wonder soon also led to a transformation in Paul.

He said: “I bought more effects and practiced. I read more books and learned. Slowly but surely my shyness faded away and my confidence and ability to work a room blossomed – giving me a life long desire to use magic to amuse, educate and entertain in every appropriate instance.

“It gave me the confidence to carry magic where ever I went and use it to leave places and people a smile happier than they were when I found them.”

He has come a long way from his early days, but even now he admits he will always have more to learn.

Perhaps the hardest lesson he has had in the last few years was in understanding the entrepreneurial side of performance.

He said: “The business of my job is my responsibility. There will never be an agent, a manager or anyone else who cares more about my career than I do.

“I can not wait for a hand from the magical world to pluck me from obscurity and give me work. I have to build relationships and find my own opportunities while proving myself every day.

“A bit of advice for entertainers – Though some take the role of the shy girl and make sure that everything is as pretty as a picture before they go to the ball, and once there, they stand coyly by the wall waiting for someone else to ask them to dance.

“I have found that successful entertainers take the dashing gentlemen’s role, risk rejection and stir up their courage to boldly ask others to join them.”

In addition to serving as a university lecturer he has also served as a teacher of a different kind at Jeff McBride’s Magic and Mystery School.

Paul believes the experience was a huge benefit to him professionally and socially.

He said: I attended one of the first Master Classes in Las Vegas, then came back for the very first Mysterium.

“After that I have attended every Magic and Meaning and Master Class for Mentalists until this year as I was so lucky to be ‘too busy’ performing my own shows.

“I have helped teach at Magic for Mentalists, Street Magic and even Magic and Medicine.

“The friends that I have made at Magic and Meaning have been some of the best friends in magic that anyone could ever ask for. They continue to inspire me daily.”

And his time there has led to him making a number of observations about what the novice needs in his toolkit to be a solid professional.

He said: “Every magician must take opportunities to attend as many theater, dance, acting, speaking, comedy, stage management, business, marketing and sales classes as they can.

“Most importantly, please care more about your audience than yourself.”

And he believes there is still a lot to be learned about magic even in these cynical modern times.

He said “It is an endless discovery made every day and in every interaction between artist and audience where the two continually grow and shape each other.”

What is your favorite magic book, and why?

The Psychological Subtletiesbooks from Banacheck really shaped my thinking. The first book made me realize that powerful magic moments could come anywhere and with nothing more than paper and a pen.

Also -

Magic History and Performance Theory:

• The Illustrated History of Magic by Milbourne Christopher
• Tarbell Course in magic volume 1 by Dr. Harlan Tarbell et al.
• The Five Points in Magic by Juan Tamariz
• Verbal Magic by Juan Tamariz
• The Magic of Ascanio compiled and written by Jesús Etcheverry
• Magic and Meaning by Eugene Burger and Robert E. Neale
• Strong Magic by Darwin Ortiz
• Designing Miracles by Darein Ortiz
• Books of Wonder by Tommy Wonder
• Maximum Entertainment by Ken Weber
• Shattering Illusions by Jamy Ian Swiss
• Neo Magic Artistry by S.H. Sharpe
• Art and Magic by S.H. Sharpe
• Our Magic by Nevil Maskelyne & David Devant
• Find the Stuff That’s You by Chris Carey
• The Magic Mirror by Robert E. Neale & David Parr
• Greater Magic by John Hilliard
• Hiding the Elephant by Jim Steinmeyer
• The Last Greatest Magician in the World by Jim Steinmeyer
• Glorious Deception by Jim Steinmeyer
• Magic and Showmanship by Henning Nelms
• The Trick Brain by Dariel Fitzkee
• Foundations by Eberhard Riese
• Scripting Magic by Peter McCabe

Non magic books I feel magicians should read:

• How to Argue & Win Every Time by Gerry Spence
• The Hero With a Thousand Faces by Joseph Campbell
• The Power of Myth by Joseph Campbell
• An Actor Behaves by Tom Markus
• You Are The Message by Roger Ailes
• The True Believer by Eric Hoffer
• Ragtime by E. L. Doctorow
• Harry Potter and the Sorcerer’s Stone by J.K. Rowling
• Born Standing Up by Steve Martin
• Making a Good Script Great by Linda Seger
• Zen and the Art of Writing by Ray Bradbury
• Why People Believe Weird Things by Michael Shermer and Stephen Jay Gould

What is your favorite trick?

It changes regularly. For me to perform Right now Kurotsuki by Max Maven from the Video Mind series. I have my own twist on it and currently use it as my opening.

For others to perform: The Harbin sawing. Truly a beautiful illusion that looks so very magical. My favorite performance of it has to be by Mark Kalin and Jinger in their show Carnival of Wonders with Jeff Hobson that I fist saw in Reno back in 2001 or 2002.

Who are your favorite magical performers?

Magic: I was inspired by Doug Henning, Harry Blackstone Jr., Looy Simonoff and Eugene Burger.

Mentalism writing: Bannacheck, Max Maven and Barrie Richardson.

Children’s magicians: Paul Brewer & Christopher Fair.

My 42 favorite magicians to watch (in no particular order). One day I would like to throw a magic party and have this be the cast list (it could be done for about $75,000).  Don’t worry, if you’re not on the list. You are still invited to the show. :-)

• Helder Guimarães
• Derek Hughes
• Mac King
• Bob Sheets
• David Williamson
• Roberto Giobbi
• Lennart Green
• Sebastien Clergue
• Guy Hollingworth
• Max Maven
• Juan Tamariz
• Michael Weber
• Dirk Losander
• Paul Green
• Ardan James
• Rob Zabrecky
• Howard Hamburg
• Johnny Ace Palmer
• Scott Hitchcock
• Jeff McBride
• Marco Tempest
• Banachek
• Romany Diva of Magic
• Andy Nyman
• Darren Brown
• John Archer
• Wayne Dobson
• Paul Daniels
• Ricky Jay
• Harry Anderson
• Penn & Teller
• Lance Burton
• Appollo Robbins
• Paul Brewer
• Christopher Fair
• Gary Darwin
• Anthony Blake
• Alan Ackerman
• Peter Reveen
• Mark Kalin & Jinger
• Eugene Burger
• Bob Fitch

What are your influences outside of magic and mentalism?

In his video for the Essential Magic Conference he said “Stay away from just the pure study of mentalism, because the pure study of mentalism is not the future of mentalism.”

• Hiding the Elephant by Jim Steinmeyer
• How to Argue & Win Every Time by Gerry Spence
• The Hero With a Thousand Faces by Joseph Campbell
• The Power of Myth by Joseph Campbell
• An Actor Behaves by Tom Markus
• McDonaldization of Society by George Ritzer
• The Beak of the Finch by Jonathan Weiner
• Guns, Germs, and Steel by Jared Diamond
• Ragtime by E. L. Doctorow
• The Complete Maus by Art Spiegelman
• The Complete Persepolis by Marjane Satrapi
• Why People Believe Weird Things by Michael Shermer and Stephen Jay Gould
• Undaunted Courage by Stephen Ambrose
• Benjamin Franklin by Walter Isaacson
• The Autobiography of Benjamin Franklin
• Harry Potter and the Sorcerer’s Stone by J.K. Rowling
• Born Standing Up by Steve Martin

I read a lot!

Endnote – Other interesting material

Paul also prepared a thought provoking video for the Essential Magic Conference where he covers topics such as what makes a great mentalism performance, his pet peeves in regards to the art, and many more topics.

It can be viewed by following this browser link – http://essentialmagicconference.com/videos/33

You can get even more information about Paul on his regularly updated newsletter page at http://www.mentalmysteries.com/newsletter/