by Mr_Grue » Mar 22nd, '13, 13:59
Imma defend Brushwood. I think his book test is very strong, and he's clear about what you're paying for - it's not the secret so much, it's the production of the gimmicked books. I think it's important, especially in book tests, that choices be as free and fair as possible. Most forces have a tendency to smell like a force. Brushwoods force (presuming I understand the method correctly) doesn't smell like a force, there's no "first word on the first line", no weird maths, the book isn't in the performer's hand. So really what's not to like here? If it's the price, then fine, but it doesn't seem that unreasonable a price for a professional to pay. If I had the money, and the audience, I would pick one up without a moment of doubt.
Also, I think the way of getting the one bit of information you need is inspired, and possibly worth scribbling into the front cover of your copy of Naked Mentalism.
I agree up to a point with the above posts, that there are other, cheaper book tests out there. I've also sat in an audience of colleagues who have watched a magician do ten book tests in a row. They didn't fathom all the methods, but they were certainly close to the mark on a few of them. Worrying too much about the audience guessing your method is only a problem if it a) impacts on your performance, or b) stops you doing something all together (unless it's 100% transparent and not done as a gag). I did see a professional presentation of Word In A Million which has convinced me that that's probably the most effective, cheaply available book test possible with an almost as clean handling (any word, any page, in the participant's hands when the heat is on). It's performed in Rob Drummond's Bullet Catch, and the compromise is handled beautifully.
Simon Scott
If the spectator doesn't engage in the effect,
then the only thing left is the method.
tiny.cc/Grue