plik

SECOND EDITION - 6/6/07

All material copyrighted by Luke R. Jermay. No material may be used without permission of the

others, as it will link back to you. It’s also really not very nice. Many thanks Luke.

COPYRIGHT © LUKE R. JERMAY 2007.

INTRODUCTION.

First let me thank you for buying this manuscript, I greatly appreciate your support and
ongoing  study  of  magic  and  mentalism.    We  are  all  students  for  life  and  I  hope  that
sharing some of my ideas with you might bring us one step closer to one another.  I am
sure  there  is  much  I  can  learn  from  you  and  hope  one  day  to  sit  down  and  hear  your
thoughts on magic.

Now for my thoughts; in days gone by popular magical literature was ripe with books and
manuscripts  that  collected  sets  of  publicity  stunts  for  the  performer  to  use  to  gain
attention in various manners.

Normally these were headline predictions and daring stunts.

As with many of the traditions of yesteryear these books are now few and far between.
Those that are still in print really are only useful as a historical reference rather than a
practical guidebook on such material.  The times have changed and sadly the stunts the
magicians express in these books simply do not work today.

As well as this we are faced with the difficult situation of several high profile performers
having  plastered  the  television  screen  and  newspapers  with  crazy  over  the  top  life  or
death style publicity stunts.

In this manuscript you will not find methods to gain publicity however what you will find
is material that will help tell a story about you and your skills via the newspaper or the
Internet.

I know many people will not ever be in the situation of having a major newspaper run a
profile piece on them (I myself am more than likely among this group) however I along
with many other performers have had several small local newspapers run articles on me
and  my  show.    The  material  in  this  manuscript  was  created  for  these  occasions.    The
material  is  not  to  be  presented  in  formal  performance  but  rather  casually  as  a  way  of
adding even more weight to what you can do as a mystery worker.

The material covered in this manuscript is all about creating a myth.  Learning to find the
core  of  a  story  and  feeding  it  to  the  person  interviewing  you.    I  have  found  that  the
moment you give a reporter the killer line or paragraph it will end up in the article these
effects basically fulfill that purpose.  They are much more interesting in premise than in
method  but  the  premise  is  what  ends  up  in  the  article  and  what  furthers  you  and  your
myth.  The material is also carefully constructed to ensure that at no point does it look
like  you  the  performer  are  trying  to  show  case  your  skills.    In  the  second  example
“Memorizing  Goggle”  the  reporter  is  actually  roped  into  asking  you  to  perform  the
demonstration.  In the first example “Big Spender” an effect happens that is so surreal
and odd the reporter will simply look awe struck as it plays out right in front of his eyes.
This style of construction I think is very important.  These routines should not look as if

you are carefully planning them but rather they are something casual you are letting the
reporter in on.  These things are nothing more than normal to you.

The fact that your perspective of normality differs so widely from that of the reporters is
one of the main reasons the story will be engaging to the reader.  Play up to this and you
will soon be creating a myth.

This material isn’t intended for formal performance so where and why would you want to
perform these items?

Well let’s imagine you are performing at a local charity event.  The local newspapers are
covering this.  You suggest that you would like to talk about the charity event and why
you  are  donating  your  services  to  it.    You  perform  one  of  the  routines  detailed  in  this
manuscript  and  provide  a  story  to  tell  for  the  reporter.    You  become  the  focus  on  the
piece, which now serves as great advertising material for you.

Now lets imagine you are a college mentalist.  All of these routines could be performer
for campus newspapers and campus Internet report bulletins.  These stories will increase
the number of people attending the performance at the school.

This material will also work in a corporate newsletter, a school journal, Internet blogs and
much more.

I would not recommend this material for Television interviews.  It is all well and fine to
have  these  stories  expressed  about  you  by  someone  on  television  however  to  actually
perform any of the material on the television interview lessens the power of the myth that
surrounds each item.

Some of these items are ready to perform at any time and some require the use of a secret
assistant and so fourth.  I will offer no apologies for this as in an interview situation you
will  essentially  control  the  environment  –  you  will  suggest  where  you  meet  for  the
interview and you control the surroundings.  I think going to the effort of having a friend
assist you secretly for the sake of the better story is well worth it.

I really hope you find something of interest here and maybe the material inspires you to
create some of these style publicity effects of your own.  If you do I would love to hear
about them!

Thanks for you support of my work and your love of magic,

Luke Jermay.
Las Vegas, 2007

THE APPROACH:

I briefly expressed my feelings that in an interview situation a performer should not seem
to be performing but rather seem he is demonstrating his abilities in a more casual and
engaging manner during the short introduction to this manuscript.  I would like to expand
on this here without wishing to insult your intelligence I will keep this brief and I hope
you might see this as a quick qualifier for the material that follows.  If it is possible for
the reporter himself or herself to seemingly suggest a demonstration then all the better.  I
believe this so strongly that I actually view the performance of these effects as being very
closely linked to various scams and cons.  You essentially rope in the reporter to the point
of their own cursorily becoming the driving force behind the effects.  Much like the way
a mark is the driving force behind a scam at no point should the performer seemingly be
waiting to bust into a prepared speech and effect.

I attempt to construct the effects in such a way that the reporter will actually bring up the
idea  of  a  demonstration,  the  other  approach  I  am  fond  of  is  for  the  performer  to  do
something  surreal  and  odd  such  as  paying  for  lunch  with  a  stack  of  play  money  bills
without warning of explanation.  In these demonstrations the false explanation has to be
strong allowing the reporter to “work out” what the performer must have done in order to
achieve  the  effect.    Normally  I  will  include  some  crazy  pattern  of  speech  that  is
seemingly riddled with embedded commands and such that the reporter will lock onto as
the false method.  A great example of this kind of construction is the work of my friend
Derren  Brown  who  is  truly  a  master  at  creating  false  explanations  in  the  mind  of  the
audience.

The material detailed in this manuscript was created with this in mind.  The material also
stays true to the environment in which it will play best.  One of the great luxuries of an
interview is the fact that it happens in a place you can control.  Unlike the stage, which
offers the astute performer many avenues to exploit the coffee shop, restaurant, bookstore
and other such places offer the smart performer a whole host of new avenues to explore
and capitalize upon in an interview situation please bear this in mind when reading the
descriptions  of  the  effects,  I  have  also  added  a  section  explaining  the  setting  in  which
each effect is intended to be performed.  The general pace and performer style changes
with each venue and thus the material takes on an entirely new and different feel than that
of  a  formal  performance.    I  like  to  think  of  this  material  in  the  same  way  as  a  card
magician might think of jazzing.  You as the performer will need to use your judgment
and  intuition  as  to  the  correct  moment  to  move  in  for  the  climax  of  an  effect  without
looking like you are desperately trying to amaze the reporter.  This ladies and gentlemen
is about become a performer of mystery and building the myth that surrounds you as such
and  not  simple  about  performing  for  applause.    It’s  a  different  and  somewhat  scary
change the first time you try it however I am sure after a few performances of this style
you will enjoy it as much as I do.

So with this brief qualification for the material lets jump into my personal favorite in this
manuscript called “Big Spender.”

BIG SPENDER.

The performer and reporter sit in a restaurant of café in which have been conducting

their interview while eating and drinking.

Effect:

At the conclusion of the interview and the conclusion of the meal the performer reaches
for the check.  He removes a stack of play money bills from his wallet and counts them
out covering the cost of the lunch with them.

He  then  calls  the  waitress  over  and  hands  her  the  play  money  bills.    Amazingly  the
waitress  accepts  the  playbills  and  moments  later  returns  to  the  table  to  thank  the
performer and reporter for visiting the restaurant and finally presents the performer with
the change from the check.

The performer picks up the change and places a healthy tip on the table for the waitress
and exits the restaurant parting ways with the reporter.

Comments:

This is a great example of creating the story that the reporter wants to tell.  It is also the
easiest  of  the  items  presented  in  this  manuscript  as  well  as  being  a  piece  that  can  be
performed alone without any assistance and in theory can be performed at any time.

There is no need to reserve this especially for a reporter and indeed it could be used to
impress a potential client or even a friend while at dinner.  Select the right occasion for
this effect and it will truly be a story your spectator will tell over and over again.  The
premise is what drives this routine.  The ability to seemingly influence a person to accept
play money in place of real money is so strong a hook for your spectators that they will
not be able to help but wish they had this ability themselves.  This is what in my opinion
makes this sequence a myth-building piece.

I hate to have to say this but it is also important that you select a spectator for this piece
that is not going to be offended by it.  I know this sounds odd however if you examine
what you the performer are seemingly doing here you soon realize it boils down to theft
and fraud.  This is one reason I think it is so strong and evokes feelings of power and the
romantic connotations we often see expressed in movies about loveable con men all work
in your favor with this routine.  However I cannot stress enough the need for restraint and
consideration  before  performing  this.    Consider  what  the  very  nature  of  this  effect  is
saying about you and what it will be saying to your spectator and indeed if that is the
right message to be sending to them.

Method:

You will need to collect a stack of play money bills for this routine. I personally use the
bills from the popular board game monopoly as I think there is something rather
appealing about the use of an item from a Childs board game in this outwardly dangerous
effect.

If you would prefer not to have to buy an entire board game for the sake of play money
bills I would recommend going to a joke shop and buying some there or even creating
your own play money bills by sketching on a blank sheet of paper.

I HAVE BEEN TOLD THAT IN SOME TOYS STORES IT IS POSSIBLE TO BUY

‘REPLAC MENT’ PACKS OF PLAY MONEY FOR THE GAME MONOLOPLY. CHECK YOUR

LOCAL TOY STORES TO SEE I F THI S I S TRUE IN YOUR AREA.

The most important thing about the play money itself is that it is obviously different from
real  bills  and  visibly  so.    Hence  my  preference  for  monopoly  money.    Everyone
recognizes it as fake money instantly.  There is no need to draw any further attention to it.
I really do recommend using these play money bills over any other.

As well as this you will need some real money too!

To prepare for this routine you will suggest to the reporter that you conduct the interview
over lunch at a specific restaurant.  This venue  can be of the reporter choice or yours.
You are merely guiding the meeting to take place in a restaurant setting.

Search  information  about  whichever  restaurant  you  are  attending  on  the  Internet.
Essentially you will need to be sure you can guess an amount of money the check will
come to for two meals and drinks.  I normally place two 100-dollar bills folded in my
wallet ready to go.  The first folded bill is held to the stack of play money with a small
dab of post it note glue.  Magician’s wax would also work if you prefer however the post
it note glue allows for easy removal later.  The second bill is then folded around and into
the first attached bill.  This is very easy and essentially is just a way of securing the bills
together for easy retrieval later.  This is no big secret simply attach one bill to the stack of
play money and play with different ways of folding the second bill in and around the first
until you are happy with the security the folding provides.

To  successfully  perform  this  effect  you  will  need  to  have  built  up  some  kind  of  fun
relationship with the waitress during the meal itself.  Now I would simply suggest being
friendly, charming and witty will do this.  Waitresses have a hard time.  Low pay and
rude customers are often all waitress face.  If you take a moment to be a nice guy to your
server they will remember and they will like you for it.  Plus you get a nice warm feeling
inside knowing your making their hard day a little easier.

Of course if you happen to be an uncontrollable jerk which sadly 90% of magicians and
mentalists seem to be and find it funny to be rude to waitresses then this effect is not for
you but based on your good taste in magical literature I am sure your not that kind of
person.

After you have built up some kind of fun relationship with the waitress and the interview
is coming to an end ask for the check.  As soon as the check arrives place your hand on it
and continue your conversation.  Subtly open the check and look at the amount.  This is
to  double  check  that  the  amount  on  the  bill  is  covered  including  tip  leaving  you  with
change to be returned to you, by the amount of money you secretly prepared by folding
and attaching to the stack of play money bills.

BE AWARE THAT ON OCCASI ON IT I S POSSIBLE THAT THE REPORTER WOULD HAVE

ALREADY C OVERED THE C HECK. IT I S COMMONLY ADVIC ED IN BUSINESS C LASSES

TO ARRI VE BEFORE YOUR GUEST/CLI ENT AND PLACE YOUR C REDIT CARD WITH THE

HOST. THI S IS OFTEN DONE TO C REATE AN ODD FEELING OF THINGS BEING EASY

AND WELC OMING WHEN YOU ARE WITH THE PERSON. IT I S AC TUALLY TAUGHT

MUCH LIKE ANC HORI NG I S IN NLP TO BUSINESS STUDENTS. IF THI S HAPPENS SMILE

POLITLEY AND THANK YOUR HOST. IF NOT CONTINUE AS FOLLOWS.

Remove the play money bills with the real money in its folded condition facing toward
you.    The  reporter  who  is  sat  opposite  you  will  not  see  the  folded  bill  attached  to  the
monopoly  money  but  rather  simply  see  a  stack  of  playbills.    If  the  reporter  is  not  sat
across from you watch your angels and adjust the your actions accordingly to ensure the
real money remains hidden behind the stack of play money bills.

Now  count  the  playbills  in  your  hands  removing  $200  worth  of  playbills.    I  normally
remove two play $50’s, four play $20’s and two play 10’s.  I choose this combination as
it affords more cover than simply removing two play $100 bills.  You can create a small
spread/fan  of  money  to  better  conceal  the  real  money  hidden  behind  the  play  money
stack.

Get  the  waitresses  attention  and  with  a  wink  point  to  the  folded  bills  hidden  from  the
sight of your spectator as you say, “this should cover it but I will need change.”

Instantly crumple the play money over the real bills and place it either into the bill book
handed out with the check or into the waitress’s hand should a bill book not be present.

Place the bill book into her hand and smile as she attempts to remove the bill book from
you hand state:

“You should probably check that’s ok.  We will be here waiting.  Just bring the change
when you have a chance.”

This will essentially tell the waitress to go away and look at the money in the bill book.
She will see the folded money and bring you the change needed.

Alternative Method/Precautions:

Now  I  am  sure  some  of  you  might  be  worried  that  when  she  brings  the  change  the
waitress  will  say  something  about  the  play  money.    I  personally  have  never  had  this
happen  and  if  you  are  a  strong  performer  generally  it  will  not.    She  will  be  slightly
confused however you will direct the situation and control it.

SINC E THE FI RST RELEASE OF THI S EBOOK THERE HAVE BEEN SEVERAL

PERFORMANC E STORI ES FROM PURCHASERS PUBLI SHED ON VARIOUS INTERNET

MAGIC DI SSC USSI ON FORUMS AND I AM PLEASED TO REPORT THAT NOT A SI NGLE

PERSON HAS YET EXPERI ENC ED A PROBLEM WI TH THI S. I INC LUDE THI S HERE AS A

LITTLE C ONFIDENC E BUILDER FOR YOUR FI RST ATTEMPT. LIKE MOST GOOD

MENTALI SM THI S MOMENT REQUIRES BALLS. YOUR C OURAGE WILL BE REWARDED.

Another option to add some confidence to your  performance is to include a small note
with the real money that reads:

“I am playing a joke on my buddy.  Please do not mention the play money”

This in much the same way as the famous electric chairs routine this note will encourage
the waitress to actually play this up even more.  This is your choice.

Another option for those who do not wish to hand the play money to the waitress is to
switch the play money using either a Himber style wallet or even a sleight of hand switch
after  you  have  counted  the  play  money  into  the  bill  book.    I  have  played  with
constructing a generic looking Himber style bill book however I still favor the methods
outlines in this manuscript however these options are there should you prefer.

The real secret of this effect lies in the way in which you present the false explanation.  I
have chosen to use  scripting as  a way of seemingly influencing the waitress to  see the
play  money  as  real  money  through  apparent  embedded  commands.    Play  around  with
your own script until you feel this is the underlying message in your performance.  This
false explanation will lift the effect to new heights.  I also encourage you to play with
other false explanations until you find something that works for you.

An Important Point:

The only perspective of the effects presented in this manuscript that counts is that of the
reporter/client/guest.  It is your job to amaze him or her and him or her alone.  They are
the  one  that  will  be  writing  the  story  and  selling  your  myth.    The  waitress  will  be
confused  and  probably  think  you  are  slightly  crazy  however  it  does  not  matter.    This

material  is  not  created  for  a  popularity  contest  but  rather  as  a  focused  set  of  effects
designed to amaze the reporter and further your apparent skills as a man of mystery.

Bite  your  tongue  –  smile  sweetly  at  the  waitress  and  think  of  nothing  else  but  the
reporter’s perception.

If it really bothers you after you have left the restaurant and bid farewell to the reporter
quickly  go  back  inside  and  thank  her  for  helping  you  play  a  joke  on  your  friend.
Personally I find this idea sickening however it may make some of you feel better.

One final piece of advice when the change comes back in cash makes sure you tip your
server well.  The tip is really the only thing the waitress cares about and at the end of the
day,  no  matter  how  quirky  or  odd  you  were  with  your  play  money  if  you  tip  well  the
waitress will be happy.

TELLING TALES: JIMMY GRIPPO.

I  live  in  Las  Vegas;  before  I  made  the  transatlantic  move  from  London  to  the  United
States  I  like  many  others  had  heard  the  legendary  stories  of  Jimmy  Grippo  and  his
amazing  magic.    The  fact  that  I  had  heard  of  these  amazing  demonstrations  not  only
thousands  of  miles  away  but  many  years  after  they  apparently  happened  is  really  a
testament to Grippo’s ability to create a strong and powerful myth.

Many of these stories are so fantastical in nature that I often find myself chuckling and
imagining how these myths became know as fact by some many people.  I often wonder
how Grippo created the myths that followed him.

From  his  ability  to  make  thought  of  playing  cards  appear  inside  locked  bank  vaults  to
causing fully grown men to fly across the room with nothing more than a gentle touch to
their forehead, producing stacks of money which he gave to his spectators, causing items
to vanish and reappear wherever a spectator requested and so much more Grippo created
myths wherever he went.

I have had the great fortune of speaking with Joey Burton, Jimmy’s only student and also
one  hell  of  a  good  magician  in  his  own  right  on  several  occasions  and  in  our
conversations more and more amazing stories pop up.

Grippo was clearly a man that understood the power of a story retold.  It is often in the
retelling of what he did that the myth was really borne.

The material described in this manuscript is intended in very much the same vein.  The
myth will build each and every time the story is told.  You will be amazed at what you
apparently did when someone tells you what he or she has heard.

This  is  partly  the  reason  I  suggest  not  performing  these  pieces  anywhere  on  tape  or
recording them in any way that is accessible.  In today’s age the only way for the myth to
build is through the telling of the story and not through placing a video of the effect on
your  web  site  on  promotional  DVD.    The  myth  exists  in  the  story  and  the  story  will
grown and change over time. This is not possible if a rock solid documentation exists of
what you actually did.  Today there are so many instantly accessible means for people to
tell their story via the Internet and self-publishing that the myth will build quicker than
ever before.

Think  of  Jimmy  Grippo  and  the  power  he  commanded  in  his  seemingly  anywhere
anytime  performances  of  the  most  outlandish  effects  performed  in  such  a  way  that  his
audiences felt as if they were truly the only people to ever witness such an effect.  Allow
your audience to tell tales and in the process create the myth for you.  Jimmy understood
this and I understand how powerful this is.   Maybe if we meet one day I will tell you
about some of the Jimmy Grippo stories I have heard.  You just wouldn’t believe them. If
I wrote them down you would think I was simply telling tales.

GOOGLE GOOGLE.

The performer has the reporter join him at a coffee shop. On the table are the

performers laptop and a large stack of papers. When the reporter arrives the performer

clears these aside and begins the interview. At some point during the interview the

performer accidentally knocks some of the papers onto the floor.

EFFECT:

The  reporter  helps  recover  the  fallen  papers  and  eventually  asks  what  they  are.    Each
page of paper is a single sheet print out of the first result page for various searches via
www.google.com.

The  performer  explains  that  he  is  slowly  but  surely  learning  to  memorize  the  Internet.
With a sly smile he continues:

“Well obviously not the whole of the internet that would be far to difficult but I am trying
to  memories  the  top  ten  search  results  for  any  single  word  in  the  English  language.
These papers are some of the more tricky ones I am trying to commit to memory.  So far I
have only got from A to H.  It needs some work but it’s getting there.”

The reporter will without doubt bite on this statement and question the performer about it.
In reply the performer pushes his laptop toward the reporter and continues:

“Lets  try  this.    Type  in  any  word  as  long  as  it  begins  with  a  letter  A  thru  H  in  the
alphabet I should be fine.”

The reporter types in a word and searches it on www.google.com.

The  performer  now  states  the  top  five  results.   He  then  states  the  lower  five  results  in
reverse order.  The performer finally has the reporter select one of the results one thru ten
and  the  amazingly  states  the  web  site  summary  and  the  various  other  pieces  of
information attached to the search result.

Comments:

This routine really is a killer when performed correctly.  It makes use of a service that we
all use every day more than once.  People are very used to using goggle as a search site
and also people are very accustomed to seeing laptops and personal computers in coffee
shops.    There  is  not  a  single  town  around  without  wireless  Internet  access  in  a  coffee
shop somewhere.  If you happen to live in a town without a wireless connection at some
coffee shop somewhere I would suggest moving.

You will find this routine becomes something of a feature story when performed at the
right time.  I often use this routine when I am asked during an interview “how do you do

it?” I normally talk about the mix of magic and psychology I make use of and also the
various short cuts I use such as memory skills.

During this question I will actually say something like:

“I am actually working on my biggest memory test yet.  I’m not all the way there yet but
it is coming along well.”

I take this chance to plant the seed for what will follow.

I would also like to mention that I have chosen to include two methods for this effect in
this manuscript.  One makes use of a secret assistant and a wireless earpiece. This is to
me the best way of performing this effect however I am fully aware that not everyone has
an ear piece nor wishes to use a secret assistant so I have provided an alternative which is
also an alternative I have used when faced with someone who has heard the story asking
me to test my memory skills with them.  The second method is also the method I carry
with me pretty much at all times.  I carry the prop in bag that contains my laptop.

The alternative method makes use of a dictionary and with the minor change in premise
from  memorizing  any  word  in  the  English  language  to  memorizing  any  word  in  the
dictionary.    This  minor  presentational  twist  now  allows  you  to  both  introduce  the
dictionary and make use of all the sneaky possibilities that now open to forcing a specific
word or words from the dictionary.

The alternative version does require a little memory work from your point however I will
provide a way to secretly access a crib sheet during the performance that will allow you
to no longer have to worry about memory work.  I do however recommend taking the
time  to  actually  memorize  the  ten  listings  you  will  use  in  the  effect  as  it  allows  for  a
much  better  performance.    I  know  you  will  get  just  as  strong  a  reaction  to  the  second
version that the first.  However if you do have access to an earpiece and a secret assistant
it truly is the easiest and also the strongest due to the level of detail you can go into and
the freedom the spectator has with the selection of any word.

With this in mind the most important thing to remember is that with all material that is
designed  to  be  re-told  in  a  story  from  one  spectator  to  another  the  real  magic  in  these
effects lies in the strong and memorable premise.  It is the premise that really sells the
effect,  it  is  the  premise  that  hooks  your  spectators  and  it  is  ultimalty  the  strong  and
focused premise they will repeat to their friends and family and more importantly to their
readers if they are a reporter conducting an interview.

Method One:

The first method exploits the fact that a coffee shop is a natural environment for people to
be sitting close to one another as well as the fact that people often work on their laptop.

The  method  is  utterly  simple  but  rather  expensive  and  high  tech.    The  performer  is
wearing  an  earpiece.    The  performer  has  a  secret  assistant  sitting  near  by  on  a  second
laptop.  This assistant simply hears the word selected by the reporter and searches it on
their laptop.

They then read the results into the transmitter of the earpiece allowing the performer to
repeat the results affecting a display of super memory.

I have also performer this in a slightly different and all together bolder method in which I
simply turn my back on the reporter so I cannot see the results – he then selects his word.
With  my  back  to  him  I  type  the  word  into  my  cell  phone  Internet  browser  and  simply
read  the  results  back  to  him.    This  is  becoming  easier  and  easier  as  more  cell  phones
move over to EDGE connections which allow for faster speeds and loading times.  If this
appeals to you I would recommend the Blackberry 8800 handset.  Using the cell phone
Goggle search feature can often be useful in performing mentalism.

The cell phone method is very fooling however not as elegant as the earpiece method nor
the dictionary method.

Method Two:

This is I suspect the method that most will prefer.  To do this method you will need to
buy a pocket dictionary and keep it with you.  Prepare the dictionary by trimming one of
the pages short.

You will riffle force the page on the spectator and have them look at the first word on the
page.

This  word  of  course  is  your  force  word.    You  simply  commit  the  first  ten  results  to
memory for the force word on the Goggle search.

If you would prefer not to have to use such memory make a small print out of the search
results and stick it to the back of the dictionary!

Force  the  word  and  close  up  the  pages  of  the  dictionary.    Now  simply  state  the
information staring you in the face reading from the back of the dictionary.

Final Notes:

Despite the methods for this effect being extremely simple I would encourage you to pay
careful  attention  to  the  way  this  effect  is  set  up.    I  like  the  accidental  exposure  of  the
goggle results causing a conversation to begin.  With the second method you can use the
same  hook  by  having  scribbled  notes  on  a  pad,  which  you  accidentally  expose  to  the
reporter  along  with  the  dictontary.    The  real  work  here  is  in  peaking  the  spectator’s
interest and making them ask you about the notes and the goggle results.

GOODBYE.

Well  there  you  have  it  two  simple  routines  that  allow  you  to  begin  building  myths.    I
really like the premise displayed in each of these effects and I hope you do too.

The methods are not nearly as interesting as the premise and this is a good thing in my
opinion.  The premise is what sells the story in the long run.  The effects are very easy to
sum up in a single sentence and I am sure if you perform them with conviction and power
the story will be told again and again by your spectator.

I really hope this has been of interest to you and that you might try one or both of these
routines out sometime in a casual setting.  If you do happen to perform these for reporters
please  let  me  know  how  it  went  for  you  and  I  would  love  to  see  the  article  when
published.

I am sure you will enjoy the reactions from these ideas as much as I do and I wish you the
best of luck with them.

If this material has peeked your interest in this style please keep an eye out for my larger
work  on  this  subject  currently  in  the  works.    Intended  as  a  hardback  book  with  the
working  title  “Whispers”  I  examine  the  psychology  of  building  myths  combining  the
teaching of sociologists and anthropologists such as Joseph Campbell and James George
Frazer along with case studies of performers who built myths everywhere they went such
as John Lennon, Bob Dylan, Chan Canasta, Annemann and others.  The book closes with
a set of effects each designed for different venues and with different goals in mind.

Fell free to contact me directly about this coming book to be placed on the mailing list to
receive updates on its progress.

Until next time happy myth building,

Luke Jermay.

LUKE JERMAY

5208 Garden Lane Office D

Las Vegas, NV, 89119

luke_jermay@yahoo.com

WWW.LUKEJERMAY.COM

WWW.MYSPACE.COM/DUNNINGER