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While most will agree that no better way to impromptu get information from a sitter is to use the center tear, many have discouraged setting the pieces a flame after the tear. The logic seems to be that since you've torn the paper there isn't a reason for the burn? So the obvious but not often talked about solution is to give the burn a logical connect. Here are some things I've come up with for the tear and burn,

"I burn these pieces because it would be to easy for one to put the pieces back together like a puzzle and I don't want to be accused of that."

"I'm tearing this up before burning because it will burn faster in ashtray."

Just a couple of justification. you can find others. The point is the reasoning behind the burn that will make all the difference in you believability.

why mention the tearing up? its an inconsequential action. You simply have the ash tray,or what ever you are burning the billet in, just out of reach. You ask the spectator to pass you the tray,and during this action,you just tear up the paper.

Remember.if you place no importance on an action, your audience will always do likewise.

jdmagic357 wrote:
"I burn these pieces because it would be to easy for one to put the pieces back together like a puzzle and I don't want to be accused of that."

All you're doing there is telling the spec what you're doing. Why run when you're not being chased? Why burn? The only thing you're going to achieve is setting off the smoke alarms.

jdmagic357 wrote:While most will agree that no better way to impromptu get information from a sitter is to use the center tear

No better way? Really?

themagicwand wrote:

jdmagic357 wrote:While most will agree that no better way to impromptu get information from a sitter is to use the center tear

No better way? Really?

So you have a better way? Do tell.

As far as what I'm saying about the excuses for the burning, I'm simply answering the controversy behind the doing of both tear and burn. Personally I don't burn the pieces at all, but for those who want to, I'm giving a logical connect.

Since the moking ban came into effect, I find that a lot of venues won't let you burn so much as a billet unless you've filled in all sorts of risk assessments and whatnot.

I find it's more hassle than it's worth.

Not least because a good billet switch is just as practical - if not moreso, as it takes all sorts of heat off your handling.

besides which, if your presentation is good and your persona is engaging, it shouldn't make the slightest difference how you get information from your volunteer. It should all be about 'what happens next'.

Just a thought.

Pete

Another day, another ill thought out piece of dubious "wisdom", too easily shot down and clearly not borne of experience, followed by a none too subtle attempt to fish for information.

pcwells wrote:Since the moking ban came into effect, I find that a lot of venues won't let you burn so much as a billet unless you've filled in all sorts of risk assessments and whatnot.

I find it's more hassle than it's worth.

Not least because a good billet switch is just as practical - if not moreso, as it takes all sorts of heat off your handling.

besides which, if your presentation is good and your persona is engaging, it shouldn't make the slightest difference how you get information from your volunteer. It should all be about 'what happens next'.

Just a thought.

Pete

Hey Pete, I'd have to disagree with the "heat" part of a billet switch, since you have to conceal the second billet.

I do however agree wholeheartedly with the fire premise of your post.

Thank you for adding to the discussion with pointed commentary.

You have to hide the centre if you do a tear,so that doesnt realy matter.

daleshrimpton wrote:You have to hide the centre if you do a tear,so that doesnt realy matter.

Yes, but not until you actually tear. When you start your clean. Not true of a billet switch.

You're still running when you're not being chased. Your spectators don't know you have a second billet. In their mind you're "clean". It is the perception of the spectator that is important, so why fuss and worry?

Alternatively you could do away with billets completely and either use cold reading (my preferred technique -
http://www.lybrary.com/reader-minds-p-29045.html) or go naked (see Tomo's work).

Cold reading won't tell you the exact picture someone drew. But for those who want some free resources for cold reading here are but a few,

http://www.lulu.com/product/ebook/learn ... d/14358013

http://www.wikihow.com/Cold-Read

http://www.suite101.com/content/cold-reading-a35087

No need to buy over priced ebooks. Enjoy.

jdmagic357 wrote:
No need to buy over priced ebooks. Enjoy.

Okay then. Bye.

Hello Craig

There is a version of the centre (or "center" if you're American) tear in the latest issue of The Mystic Menagerie, written by none other than myself.
It uses thick rice paper so you can, well, eat the evidence. there is a presentation and script to justify eating the paper.