(Open) Letter To A Student, Part Two
by Kenton Knepper

Kenton, here is what I am performing right now.

Currently these are the effects I’m looking to make better.

1) Memorized Magic Square

2) Reading Cards Shuffled In A Paper Bag

3) A group of cards is selected and as the spectator looks across the group of cards they are called out one by one with back turned

4) Equivoque with 7 random objects

5) A take on a Tim Conover effect where the revelation is one on a torn and selected piece of newspaper.

Sometimes in place of that effect I'll do a version of watch turning.

6) Perfected Prediction as the closer or a Straitjacket escape if the prediction was not possible. The Straitjacket escape has been a good closer because of the publicity generated in my area from my version of it.

Scattered throughout I do some psychological forces for spectator selections... A Cut Above if it’s a smaller or average sized group.

Sometimes I will do a Deck Memorization effect with a deck of cards.

I make changes routinely but these are the ones I perform most often. You see my struggle in trying to make these match my inner world and also attempt a logical order.

Dear Student,

I know you feel these are somewhat random and not in an order that is entirely cohesive. I admit the straightjacket is apparently out of place.

But think about what I wrote in Mystery By Association. Find ways that these can be associated one to another. Then consider how you can associate these effects to you and your beliefs.

If you begin with who you are, it can be very useful. But if you cannot do that, then let’s begin relating one thing to another with association, and see if that tells you anything about who the organizer of these parts into a whole might be.

For instance, below I have related the effects you gave to me, and their corresponding numbers, to some patter that would work for me.

1) How I began to build up my brain

2) A demonstration of how far that might be able to go, according to some people

3) Pushing it to an ever greater degree

4) ”Some people have asked ‘Does it work with cards only? Is it some sort of card trick? No. We’ll use... anything. Here...”

5) “Now let's push it to the limit of reasonability. Not one in five or even one in seven. Let’s go for one thought out of thousands...”

6) ”People ask me if I can do all that with my mind, why can't I know the future. I do. Just like some of you claim you know the future too. You call it the stock market. I call it entertainment. At a certain point you are not allowed to play certain normal things. It's a bit like being a card counter in Vegas. They may not officially throw you out for that, but they will stop you in other ways if you can count cards too well. That's why I don't play the lottery or even cards for that matter. You might doubt that, but let's
end on one last bit of proof.”

Or

”The catch to doing this is that you can make yourself crazy. Imagine how you would feel knowing so many things long in advance that have not yet happened. It messes with your mind. One day I fear I may be locked up. That's okay, I'm in training for that too...”

Now these may not fit what you wish to teach or express of yourself to the world. Only you can decide that. What I mean to point out here is a way to string things together, one to another, by associating one trick to another. I did not change your order, but instead changed how each trick was associated to the next one, and finally to an overall tone. The ending is light and surprising with the straightjacket, and though out of character does tie into the rest of what you have done. It’s a lighthearted way to use that trick in the end if you wish, and thereby suggest that the whole thing was more about entertainment than actual fact.

The other ending option of the prediction is obviously related naturally.

The associations make a link from trick to trick until a theme is developed. If you don't like the theme, then you can change the associations or bridges from trick to trick to end up with a different overall theme.

I hope you study the principle here that makes for the flow, rather than the tricks or examples of patter. Really all I wish for you to consider is how unrelated tricks can be related if you want them to be.

I prefer working from the outside in, performance-wise, beginning with who I am, and then choosing material that suggests who I am. But as you can see it can be worked the other way around. Look at the tricks you like, then figure out how to associate each trick to an idea, and each idea to the next one and so on. In the end of this line of associating tricks one to another you end up with a theme.

You can take this and change it somewhat to fit what you do mean to say by associating a different meaning (one you believe) with each trick you do. Do not preach: share.

The last is perhaps the greatest suggestion of all.

Those reading this should remember that I am not giving you patter to take as your own, or my student’s act and sequence (or even tricks) as your own. If you do such, you will take the least valuable work written here. The principle of association and relating things to you and to each other is more valuable than the patter or trick order. The order did not look great to me, but association surely makes even random tricks into a seemingly logical act, with a bit of thought and feeling.

I do hope that my challenging a student to find his own way within himself may be useful to you. Even if you perform a single card effect for friends only, there is much to be learned in our various exchanges. One trick can still be performed in such a manner that it says something about you, your beliefs, and your place in this world.

I know you are up to the challenge even if you think you are not. You have it in you.

The question is, will you share your inner world with others in this way?

Kenton