Whilst recently sharing a brief insight into my creative process on character, I was also contemplating sharing my scripting process for the stage act. Having gained some years of experience within script development, specifically for TV and film, I thought I might have something to share. I thoroughly enjoy the creative process of writing, hence this blog, whilst also sharing and helping others in realising their ideas. This involved providing script feedback and notes for both writers in film, novels and book adaptation to screen. I also shared some of this detail within a magic Facebook group which was well received, so I hope some insight can be garnered between the lines.
Most of the advice is based primarily on my experience in screenwriting, which is different to writing for stage. However, I do find they often overlap, but you will need to consider the difference in formatting for the stage play. I believe this is a fascinating process within the magical arts, which often gets overlooked. It’s not about patter per se, this advice is geared more towards a stage performer, whilst I’m sure it can be adapted. Again, these are highlights of my experience to date, there’s a lot more that I may discuss in a later post on stage craft as I’m always learning as a hobbyist mentalist, magician.
Books
There’s a plethora of books and advice out there on writing, plenty on screenwriting and stage plays, not so much for magic. I just so happened to discuss this topic recently with a magician friend, Ryan Beyer, looking to present his magic via storytelling, so here’s what I shared. As a starter, when it comes to story writing, I’d look at Syd Fields ‘Screenplay’, Robert McKees ‘Story’, and anything by Christopher Vogler and Joseph Campbell. The one book, perhaps I should say two, that I’ve referred to more often which are related to magic are Pete McCabes ‘Scripting Magic’ Volumes one and two. Also check out Ken Webers ‘Maximum Entertainment 2.0’. I would also add the ‘A, B, Z’s of Magic’ by Rob Zabrecky. I highly recommend these titles as a worthwhile investment in improving your magical performance and writing.
Writing
Biggest piece of advice I’d share from the get go is; write. Sounds obvious, but you do literally need to park yourself in front of that blank screen, paper, whatever, and start the process. It’s a discipline, one that I’m always striving to improve. Much like with magic practice, I find short and frequent works best for myself. Try not to self edit your words, just put them down. Like a ‘vomit’ draft a writer might do for a screenplay. Nobody is going to see it. I wouldn't advise sharing any early drafts of written work until you’re 100% entirely happy with it. Well, maybe 90% because if you’re going to share it with trusted partners, be prepared for feedback. Don’t be too precious with your words early on, just get them down. Writing is rewriting. Writing long hand is great for jotting down ideas, especially in a new moleskin notebook. Initially, I tend to write mostly in pencil, as I also have several sketchbooks containing ideas for effects. I recall Paul Daniels sharing this tip in writing in pencil, as it’s unlikely to fade overtime like ink. I also find a good desk and chair helps in creating a conducive environment to writing.
I believe its also important that you format your script accordingly. This looks professional and sharing your work this way shows you mean business. Over the years, Final Draft was the go to software for screenwriting. Whilst there are now others on the market, I’ve recently been using celtx.com. An online screenwriting tool, which has a free version for a limited number of projects, allowing you to format your script to a stage play.
After some scribbles of ideas, I’d then turn to my computer and start in MS Word or similar. Initially I will type up the routines that I’m considering as part of my act. I’ve got a file of routines that keep evolving with Mr Quinn in mind and appropriate titles. Creating titles for the routines is a fun exercise in itself. I’m currently working on a short act, with three routines, with a couple of bridging effects. I’ll then draft an outline, which is essentially the order of the routines with a brief description of the effect and also the running theme throughout. For longer acts, after the draft stage I’d also put together a running order, which involves timings on dialogue, music and lighting.
Theme helps to bond the effects together, rather than it just being a list of trick after trick. How does the first trick connect with the second. I’ve also drawn storyboards and stage plans of where I will see myself in relation to any props or furniture that might be on the set. Also, an inventory of what’s in your pockets is good planning. Tommy Cooper may have looked chaotic on stage, but his preparation was meticulous.
Conflict is always highlighted when conveying plot. To engage the audience in a TV show for instance, conflict helps move the plot forward, engaging the viewer. This might not be so obvious in a script for magic. Yet conflict could easily be translated in the magician in trouble scenario as an example. I was in a recent lecture by Ali Cook, who shared some valuable advice on magic performance and referred to the common plot device of man vs themselves, man vs world, man vs man.
I wont dwell too much on plot structure here as this can be found in many of the books on writing I’ve mentioned. Its good that you discover your own method after you’ve grasped an understanding on the rules and tools of writing.
Feedback
Once you have a draft of a script you’re happy to share, its worth seeking constructive feedback. I would share your ideas with a few trusted friends or colleagues who’s judgement you respect. Spreading your ideas to all and sundry will only cause confusion, everyone chipping in with well meaning advice, with conflicting opinions.
When I have something worthwhile sharing, I’ll schedule in a zoom chat with my mentor, Rob Zabrecky. Usually consisting of a script with a video recording of my run through. This is more like a dress rehearsal, where I’ll often edit this with music and titles. I now religiously film all my run-throughs, and quite often an impromptu phrase will make it into the script. Sharing your script and run-throughs is instrumental in honing your act, and more often than not, suggestions will be made that resonate with you.
Whilst sharing my ideas and filmed performance with Rob, themes and ideas are discussed. This might be music, films and other magicians or mentalists. Here are some highlights of a few pointers that came to light in my last Zabrecky session.
Sharing the magic moment with the audience — I’ve been guilty of this of late. Whilst performing to camera and staring right down the lens performing a routine. Show that you care, when you share. Try not to stare.
Relish the moments — when performing the magic effect, surprise, reveal, express your own wonder or surprise. We often forget that we should perhaps suspend our own disbelief when we share the magic before an audience.
Consistent, cohesive look — the term ‘wheelhouse’ often gets mentioned when discussing character. Over the last year as Mr Quinn has evolved, I’ve started to gravitate more towards material that would suit his character. What’s in Mr Quinn’s wheelhouse? As much as one likes buying the latest shiny effect, there’s an encyclopedia of magic effects in books and tricks of old that can be mined for their value. Most of which are probably in ones magic book shelf too. I often ask myself the question, ‘What would Mr Quinn do?’ when I look at effects and routines. Does the trick suit the character, how could I weave a story around the effect that would fit with the act. There’s some great patter attached to many bought effect, but when you add your own spin to it, it makes it you own, so to speak. You have to be disciplined, as magic as a hobby isn’t cheap if you’re tempted by the newest fang-dangled electronic gadget that will end up gathering dust in your magic drawer.
As with writing, you’ll start to collect a drawer of ideas. Some will get used, others need to mature for a later date. The important part is just to continue to write and improve with practice as you would with your Magic.
Happy writing!
End note: at the time of writing our friend Piff just shared the following pearls of wisdom from R. Paul Wilson.
