Building Up Your Confidence

In the past I have often been asked how to overcome the state of nerves, sometimes even frigid fright that overcomes an amateur performer. How can we develop that strange superior feeling called confidence? Let me quickly add that many of that confidence performance have their moments of uneasiness. During my performing career I often suffered from a shaky feeling before I stepped on to the stage, but once I was on, everything was forgotten but the act. This is not necessarily the case with all entertainers: quite a few are nervous until they obtain their first applause. Confidence comes to the performer who is governor of his act; he must be certain of his abilities to put over his particular performance. If he is sure of his power to please, his props are in their proper place, his patter is correct, his dress is flawless, he is well on the way to becoming confidence. Confidence breeds confidence; the audience can soon feel whether the entertainer is happy with his act. If the tricks are put over in a confidence style the audience will receive it in a like manner. If he is nervous, it cannot be hidden from the spectators, who will become nervous for him.

This book being essentially for the amateur, this matter of confidence has still to be attained. As mentioned above, you must be the boss of your act, not its slave. You must practice your tricks well before performing them in public. Show them to your family, show them to your friends, providing you have rehearsed them well enough they will congratulate you and your confidence will start to graw. Never miss a chance to try a new trick on a relative before adding it to your repertoire.

Do learn your tricks one at a time, then and only then begin to knit them together into a little programme. Remember that five or six perfectly rehearsal effects are much better than a programme of ten mediocre ones. You may not obtain the same polish as the professional, but you will have to remember his way existence on the boards depend on his ability. You will not be using the remarkable cabinets and apparatus that he will often be using; also you will not be giving the years of constant practice needed for his clever sleight of hand. But you will obtain many of his results with far simpler means. With a little practice with the articles mentioned you will find that you will be able to put over quite a creditable performance of “sitting- room’ or “ parlour” magic: your confidence will increase with every show you put over.

The amateus does of course suffer from a few snags that the professional does not meet. The pro has a nice stage to perform on, a dressing room to prepare in and usually has an assistant to ensure his properties are all ready and set for him. The amateus has none of this. He will have to carry all the props he need in his pocket or a small case. He will often find no platform and sometimes his audience will be all round him. Invariably he will be supplied with a shaky table. But none the less you will still be able to put over quite a good show with the aid of the magic in this book. You will soon find that your services will be required by people such as teachers, scout-masters, club organizers, etc. These people are very considerate and will try to provide you with some type of platform and a decent table.

Remember the following;
The more simple the trick, the more effective the result.
Deceive yourself before you try to deceive others.
The art of conjuring is- misdirection
Practice well- then practice.


Roy Holmes U.K 1973
Easy Magic Good Tricks and How to present them.