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Dramatic results overnight. Guaranteed.

Now Available Through Practical Magic!

Children’s Entertainers:

“How To Double The Laughter And Gasps

From Your Audience and Put At Least
An Extra $10,000 In Your Pocket
In The Next Twelve Months!”

My simple effective systems earn thousands with almost zero risk for
any magician, using overlooked techniques to bypass the years of gut-
breaking experience that dyed-in-the–wool magic hardliners insist
you must suffer, giving you audience reactions that a World-Class
Comedian would Envy.

”Do You Want A Show Better Than Anyone Else In Your Area,
with Fees at The Top End Of The Market?” If Yes, Then Read On…

Dear Children’s Entertainer,

Hello, I’m Quentin Reynolds and I’ve been a professional magician since 1972, while still
at school. Every penny I earned for the next twenty-five years came from entertaining
children, at which point I jump started into adult shows. I’ve also recently taught my kidshow
performing and marketing systems to three young Dublin magicians. Before they met me they
had never stood before an audience. Two of them are full time pros and have each just bought
their own houses in Dublin (where property prices have gone through the roof – a basic starter
home in Dublin is ¤370,000, that’s US$540,000 or £275,000 sterling). The third (now aged
22) did shows to pay his way through college and using his magic earnings has just started a
video production company as a sideline.

I’ve also been the first magician to lecture on children’s magic at the World’s Largest
Magic Convention in Blackpool as well as the first to lecture at the prestigious FISM
Congress (a six day magic convention held every three years) in The Hague where both my
lectures were packed to the gills with two hundred being turned away (the organisers figures,
not mine).

Back when I started, naïve wasn’t the word for it. I knew nothing. (I thought a close-up
mat was something you stood on). But I did have a yearning to learn - from books, from
others who knew more than I did and most importantly from my mistakes. And boy, did I
make a lot of those! Every mistake in the book. And some new ones as well!
But I read books on everything, magic history, close-up, illusions, stage magic, cards, the
classics and the allied arts. I’d buy up and devour all the old magazines and catalogues that
came up at magic auctions. More than anything I’d spend hours absorbed in the books and
articles written about well-known and obscure magicians and their life’s experiences. Funnily
enough, that’s where the real secrets of magic lay. Not how the tricks were done, but how
these dyed-in-the-wool pros handled problems, difficult audiences, awkward theatre
managers, thieving agents – the real world of show business. I also watched and studied other
theatrical personalities. Later on in this report I’ll let you in on three show-biz secrets I
learned from comedians Jackie Mason, Jack Benny and Ken Dodd.

Using my experience you can leap-frog to the top rungs of entertaining children that will
knock three to five years off your learning curve and astound your friends and family.

But First Is This For You?

Continue reading only if you fall into one of these categories.

• You want to develop a well-structured show that is so much fun to perform, even if
you’ve never done a show in your life (So well structured that even with a nasty dose
of flu, the flow of the show will carry you through).

• You’re a teenager and looking for extra income, or to pay your way through college
(At the age of seventeen I was making more money at weekends than my teachers
were earning in a week).

• You have a job but want to do some shows to supplement your income, and you want
to able to hold your own with any pro.

• You’re retired and want to perform for the pleasure of it as well as generating some
extra income in your spare time.

• You’re already a pro and want some new proven material that’s been already tested
through thousands of performances, or you’re looking for an edge to get to the next

• You’re a slightly jaded pro and could do with a powerful boost to recharge and re-
energise your batteries with new ideas. Rejuvenate your excitement for magic.
There’s nothing like two pros sitting down and talking for revitalising and firing the

• You have a children’s show and are looking for proven marketing strategies that
will boost your profits

• Oh! And you’d better not hate children!

If that’s you then reading this Report very carefully, in its entirety, is going to be the most
profitable and important thing you do all week, all month, maybe this year. Don’t skip a word
of what I have to say. Maybe you’re not much of a reader. That’s okay! But, THIS is so
important you just have to read it. So get a cup of tea, coffee or a Coke, take the phone off the
hook, bolt the door, do whatever you have to do to give this your full and undivided attention.

Conventional wisdom says you have to slavishly study and work hard for months or years
before you ever do your first show and then work for low fees while you build up your skills
and experience. I’m not going to contradict the importance of experience, but there is a way
to leap-frog to the top of the ladder and that’s…

Secret #1 Leverage The Experience Of Others!

There is absolutely no need to make the same mistakes others have made. Learn from their
years of frustrated trial and effort. I was already performing for a couple of years when I met
my mentor Eric Sharp. Wow, with Eric’s guidance and suggestions my performing and
business skills increased dramatically. I went from 200 to 500 shows a year in the space of
fourteen months.
You may have heard of Louis Walsh. When I knew him first in the early eighties he was
already an old hand at promoting bands and booking cabaret acts. He was up and down the
length and breadth of Ireland, in the backwoods of grotty hotels and bars trying to get tight-
fisted hotel managers to pay for the acts they’d booked but forgotten to promote and now
didn’t want to pay. He badgered record companies to just listen to the demo tapes from his
artistes. Occasionally one of his acts would get on TV and sell a few albums. He came up
against closed doors, bounced cheques and the slimiest people in the business. But he kept
going. It was the only business he knew.

Then something extraordinary happened.

He Cracked The Code. He figured it out. Here’s the story.

Back in the early ‘90’s Louis decided to put together a boy band. He auditioned and picked
a handful of working class teenage lads with good looks and dubious singing talents who
could hardly string an intelligent sentence together between the lot of them. He groomed
them, got them singing coaches, dance instructors and an image. Their first public appearance
was a bit of a flop. Back to the drawing board and within a couple of months their first
number one chart hit. The first of many. They became the biggest thing in pop music in
Britain and Ireland. You may have heard of them. “Boyzone.” Some years later in their early
twenties they broke up, all as millionaires. Then Louis started another boy band with even
greater success. “Westlife.” More Number 1’s than anyone else. Not to mention solo-act
Samantha Mumba and a host of others. All jumping to superstardom practically overnight. If
you live outside the British Isles, those names may not mean much. But take my word.
They’re big.

Here’s my question for you.

Did these guys figure it out and get a good manager or did Louis, drawing on his years of
experience, frustration and hard knocks, figure out how to leap frog to the top?

It’s obvious - Louis did it. Not only did Louis did it once. He keeps doing it.

I’m not going to make you a millionaire popstar. But I will take you onto the ladder of
children’s entertainment and leapfrog you to the top. If you follow my advice and suggestions
you’ll have a show better than anyone else in your area and you’ll be able to set fees at the top
end of the market. With my hard earned experience you’ll avoid the pitfalls and develop into
a world-class pro.

“OK, Quentin You’ve Made Some Pretty Strong Claims.

Prove You Can Do It!”

I’ve already taught three others who’d never done a magic show. In 1997, I taught
Brendan Byrne, aged seventeen a basic show and put him out to do my overflow shows. He
quickly built a name for himself. Six years later he bought his first house. In 1998 I cut down
on my children’s shows and taught Aiden Kane, who also had never performed my systems
and a show. Eighteen months later, in February 2000 he became the UK Children’s
Entertainer of the Year. He’s also bought a house from his magic income. Both these guys
are full-time pros. Then Ciaran McCormack came on board and did shows to pay his way
through college and aged 22 set up as a sideline his own production company. The three guys
had a beginner’s knowledge of magic. Yet with my guidance they each built a name for
themselves, developed their own performing personalities and are as busy as they want to be.
Most of the time they’re complaining because they want days off!

The secrets I’m ready to reveal to you are the same ones I used on every project, every show,
day. And the same secrets I passed on to Brendan, Aiden and Ciaran. You don’t need to put in
long, painful hours when you have the short-cut secrets to performing bliss.

Look. You can show anyone how to hit a golf ball – you just take a club and whack the
dimpled little thing. But to play the game of golf well…to make the ball go where you want it
to go…you need the inside secrets that you will not discover casually, on your own.

It’s the same with performing magic. The advanced, mega-powerful secrets do not appear
to you out of the blue, just because you now have a few tricks and want to earn money with
them. You need a guide.

That’s what I’m here for. And I’ll take you there right now. It’s a relatively short trip,
when you know the secrets. Let’s get moving, all right?

Secret #2 Go Where The Money Is!

It’s an extraordinary fact. In our magic industry there are stage magicians, cabaret
performers, close-up guys, illusionists, trade-show workers, not to mention the hobbyists and
amateurs who rarely if ever perform for money. Yet overall, more money is made every
single week by magicians entertaining children at birthdays, schools, shopping centres, scout
and guide groups, crèches, day-care, than any other single branch of the magic industry.

Every year thousands of new books, tricks and DVDs are released to the magic fraternity.
Something like 0.05% of these are for children’s magicians.

Why is it that more money is made from children’s magic and yet so little material is
released? Many dealer props are the same only painted in different colours. Run Rabbit Run
with monsters, space men etc. Do the dealers think the children are stupid? If they’ve seen
RRR and you produce a prop with a door at each end and a space in the middle, they know
what’s going to happen. So, why is it that so little new and original material is released?
Here’s why…

Those magicians who have put thought and effort into developing their routines, gags and
bits of business guard them better than the gold at Fort Knox. Working magicians are looking
for new lines, gags and bits of business. Those that they already use are money in the bank.
They are more jealously guarded than the most inner-inner underground card guys covet their
secret moves.

That’s why there is so little material for the children’s entertainer. Plus it is very difficult
to translate the written word into a picture of a live performance. How often have you
overlooked a catalogue, book or magazine description only to be stunned by seeing it
performed live?
With your children’s show it is the gags and business and their delivery that are so
important and it is nearly impossible to convey their effectiveness through the written word.
You see, the response from the audience cannot be put on paper. With entertaining children
you don’t just stand there and perform, you interact. Trade-show magicians and bar magicians
understand this perfectly. It is not about the tricks, it is about the experience for the audience
of their interaction with the magician.

Your Big Advantage

Now it’s true children’s entertainers are not the highest paid magicians but they do have
some incredible advantages that the other guys would give their eye-teeth for. Lifestyle for

90% of your shows are within a twenty-five mile radius of your home. Frequently you can
fit in two or three (even four if you start early) in a day. When you are in that situation, the
first show pays all your expenses and still shows a profit. All the other shows are practically
pure profit. After your first show, you are warmed up and the adrenalin is going. The second
and third shows are easier.
You’re home for dinner by 6.30 or 7. Your evening is yours. Relax, watch telly, read a book,
socialise with friends or family, whatever you want, with a wallet stuffed with cash or

The really great thing here is that you don’t have to go schlepping props and illusions all
over the country. Many of us (I used to as well) have dreams of having an illusion show.
Have you ever thought about how much hard work that is? You need at least one assistant,
maybe even two or three. You need their help just to get the props into the venue, assembled
and on to the performing area. There’s not too many places today that have suitable venues.
You need a truck, have to travel miles eating up gas, petrol or diesel, which is getting more
and more expensive, pay for lunches and dinners, pay for overnight accommodation,
breakfasts. There is a limit to how many Big Macs you can eat! Heck, half your fee can be
gone before you even do the gig. Not to mention the wear and tear on you, travelling getting
the illusions assembled, getting the lighting and sound sorted. That’s stress and hassle I don’t

Certainly touring can be fun, especially when you’re single, but the social life doing one-
nighters is practically negligible. If you get married and start a family, you don’t want to be
away too much. Sleeping in your own bed with minimal expenses becomes very attractive.

When Hank Moorehouse turned professional, Jay Marshall asked him if he did children’s
shows. Hank replied that he didn’t. “You will,” said Jay. And Hank did. Why? The bread
and butter money for most pros is children’s parties. Far more professional magicians
than you might think, regularly do them. They pay the bills, fund the holidays and put their
kids through school. Most magicians do not realize this and think that the pros only do adult

Billy McComb, who always did children’s shows says, “They are your endowment policy.
When they think you are too old to entertain the adults they’ll book you for the kid shows.”

Sure, the fees per show are not as high but the money is earned in off-peak times, the
mornings, afternoons and early evenings. Two shows on a Saturday and two on a Sunday
make a very handy profit for a pro or semi-pro. A half decent magician will build up a regular
income in a fairly short period of time. Unlike the touring illusionist who has those “through
the roof” staff expenses not to mention time-guzzling travel and hefty agent’s fees, most of
your shows are profit. You’re probably putting more after expenses cash (the profits) in your
pocket than the illusionist without the stress and hassle.
Roy Johnson’s Secret

A few years ago Roy Johnson (well known in the magic world for his original tricks,
many of which were marketed by the legendary Ken Brooke) lectured in Dublin and I put him
up for the night. He did a great lecture and afterwards we chatted until the early hours. Then
he knocked my socks off. He showed me the stuff he normally never shows to magicians.
What he did for lay audiences. When he gets paid. OK, it was not children’s stuff, but the
principle is the same. Very few entertainers will put on record the stuff they earn their living
with and if they do, they will often hold back.

A few years ago, I decided that I wanted to perform my mentalism show much more and
develop into the speaking business (I speak on developing intuition, and have written a book
on the subject). That’s how I came to teach the three magicians in Dublin. While I still do the
odd children’s show, it is no longer my main source of income. That’s why I’m prepared to
reveal all. I’m holding nothing back. And because of my agreement with Aiden, Brendan and
Ciaran, my material is not available in The Republic of Ireland.

Secret #3 This Secret On Building A Repertoire

Is Worth Thousands And Will Put You
Into The Top Bracket Of Show-Business
When I started doing shows for money I was regularly booked back. At that time for
birthday parties the family would have you when the child was four and every year until they
were eight or nine. And also for the brothers and sisters. That was a lot of shows for the same
audiences. And they expected regular changes of show.

Many magicians have one good “A” show and a less interesting “B” show, scraping the
bottom of the barrel after that.
The Best Advice I ever got

Eric Sharp and I were discussing building a repertoire. He gave me some of the best
advice I have ever received. It helped me build a large repertoire of mostly “A” material.
In fact, my biggest problem later became what tricks to leave out, because I enjoyed
performing them so much. Eric said, “Most magicians when putting in a new trick will leave
out the worst trick in their act. Don’t. Instead leave out your best trick. You will have to put
more energy into the show and all your routines will improve. You will end up with all
excellent routines.”

I took his advice to heart and built up to eight completely different one hour shows. If you
get nothing else from this report, don’t overlook this tip. It does require some bravery to
leave out your best routine, but you will be astonished at how quickly the other routines
improve. Every few months repeat the process. Before long you will have two or three first
class shows. It also means that if you get work on TV you will have built up a strong
repertoire and you are fully trained in the process of working in new material.

Over the following years I fulfilled all my goals in Children’s magic. I performed all over
Ireland, in theatres, halls, outdoor shows, schools as well as the normal private house parties.
Much of the time I averaged 500 shows per year. I say this, so you’ll know I’m speaking
from practical experience.
Sure, some of the shows were outside my area but over 90% of them were within a forty
minute drive of my home. The other 10% then became fun, because they were the exceptions,
not the norm.

I’ll share with you another secret. You know how magicians are always telling you how
busy they are, doing tons of shows, boasting to anyone who’d listen? When I was that busy I
never told any of the local magicians what my schedule was. If asked, I always replied that
work was okay, or just ticking over. Why would I want them to know how lucrative the
marketplace was? I would only be putting ideas in their minds and possibly encouraging them
further into the marketplace. I’d be creating competition for myself.

So, how did I get into all this in the first place?

At school, I was fairly shy and introverted with little interest in school sports. Occasionally
I was bullied, but I got by. At the age of six I saw Dublin magician Albert Le Bas, a world
class act. That hooked my interest and I received a magic set for Christmas. But the bug
didn’t really bite deep until I saw an ad for a junior magician’s club in a comic.

I sent off for the information. The day it arrived was the day my life changed. I started
performing for anyone who’d watch. At the age of fourteen, my neighbour who was on the
committee of the local ladies club asked me to perform at the Hallow’een party. And they’d
pay me. Wow, another paradigm shift. Word got round and the scout group booked me for
their Christmas party and they paid twice as much as the ladies club!

About a year later I discovered that another pupil at my school (a year older than me) was
also interested in magic. His name was John Schutte. We became friends and that summer we
put on a show in his garage and charged the local children in. We made enough money to put
an ad in the paper advertising our services. We each got a couple of shows. Of course this
led to more shows and more money. I didn’t realize it at the time but I was earning as much
in the weekends as my teachers were earning for their week’s work. The last summer before
leaving school (age seventeen) I went on a month long school tour to Vienna. I paid for the
whole trip myself. The teacher who organized the trip told me years later that I was the only
pupil ever on any of his tours who paid for it himself.

Every penny I’ve earned since that ad in the paper (I was sixteen) came from magic. After
school I intended to become a teacher. I was using shows to pay my way through college. It
didn’t take long to realize that I was already earning much more from shows than I would as a

Totally against my parent’s wishes I left college. They wanted me to get a nice job with a
pension. However my love of learning never waned. I just wasn’t learning what other people
thought I should be learning. At university while I was supposed to be studying French and
English I was in the library reading books on advertising and marketing. I also read every
magic book I could find – it didn’t matter what the subject, cards, coins, illusions, biography,
history, stage, cabaret, puppets, ventriloquism, allied arts. I had joined the local magic club
and at the auctions I bought up all the old magazines. I devoured everything I could find.

If I could point to two things that helped my magic career more than anything was my
eagerness to read and my willingness to observe, listen and learn from those who knew more
than I did. And then see how I could apply what I had learned to my children’s show
business. Sometimes there would be an obvious link, sometimes it would lead to another,
similar technique. Earlier I promised you three such show-biz examples. They are not
specifically to do with children’s shows but everything helps you up the ladder and helps
carbonize the piece of coal into a gleaming diamond. They’re examples that you can learn
from all areas of show-biz.

Here’s The Three Show-Biz Stories and Their Lessons

I've always been curious about what performers say about their craft and why they do
things a certain way. You learn so much doing this. As I've said next to your own experience
there's nothing like learning from the experience of others. It all goes in to the subconscious
ready to surface when needed and all of it forms part of the jigsaw. Sometimes it's a whole
piece of the puzzle, sometimes it brings part of it into sharper focus.

1). Here's Jackie Mason, top New York Comedian at the National Concert Hall, Dublin. He's
going full swing, going great and then there's an interruption from the audience. A heckler.
With a top pro you are seeing a seamless performance and it is not too easy to analyse. It's
only when something unplanned happens that you begin to see how he's crafted it together.
How did Jackie handle the heckler and get back on course? What would you do? There isn't
necessarily one right answer but Mason responded, not with a heckler stopper but with, "Look
lady these are jokes, this is a show, I'm the comedian." Immediately he lifted the microphone
stand and walked with it to the other side of the stage and continued his act. He shifted the
focus of attention. The lady said something else but Jackie was gone and the audience went
with him. No further interruptions. Regularly in our children’s shows, we have to handle
interruptions. There are various techniques for dealing with the different types. This is just
one technique. Shift the focus of attention. It is especially useful when you can anticipate a
potential interruption, thereby stomping it out before it even happens.

2). Magician (and student of comedy) Trevor Lewis told me about seeing Jack Benny
perform live back in the 1960's. The band played his intro music, Benny walks on to terrific
applause. Stops at the mic stand. Pauses. He picks it up and walks a few more steps
downstage, towards the audience. Trevor asks himself, "Why would a consummate pro like
Benny not have the mic stand placed exactly where he wanted it?" Before I give you the
answers Trevor and I came up with what do you think? Here's a few possible answers
• By pausing at the microphone and then moving it forward Benny was giving the
audience a few more moments to size him up.
• He may have taken the few extra moments to scan the audience and size them up.
• He was building the anticipation before his opening line.
• By moving the few steps closer to the audience he was conveying a sense of creating
intimacy, drawing the audience in.

We may never know Benny's reason but this technique came to mind once in front of a
particularly noisy audience. I was introduced and walked on. The audience paid no
attention. I stood about six feet from the front of the stage. I paused and looked the audience
over slowly (it felt like an eternity). A few looked at me. I moved three foot (a metre) closer,
paused and looked the audience over. I smiled and started talking, except I was saying
nothing. My face was somewhat animated as I slightly exaggerated mouthing the words.
Some children towards the front strained to hear. They shushed the others. As the audience
quieted down, I started to voice the words, quietly at first, getting a little louder, then to my
normal voice. Only when they were fully quiet, did I start to use the microphone. Since then
I’ve regularly used this technique to settle a noisy group, especially when performing on the
same level as the audience (no raised stage or platform). Talk to them in your normal voice
without your microphone. It may seem for a moment you are getting nowhere. Don’t worry,
they will settle and when they do then use the mic. You will have much greater control over
3). The third example comes from Ken Dodd who has two rules of comedy. (Ken is one of
my favourite comedians. Based in the UK, his shows generally go on for hours and he
averages eight laughs a minute). The first is that the women control the audience. You have
to get them laughing. Only then do the men feel it's okay to laugh. Here's why. If a guy starts
laughing and his lady is not amused, she will give him a dirty look. He’ll stop laughing
because he’s going off with her later and he doesn’t want her thinking he has a weird (or
dirty) mind. Once she laughs, he has permission to laugh. Ken’s second rule of comedy is “If
you’re doing a 45 minute act, don’t forget the first 45 minutes.” This sounds like one of
those profound statements that nobody contradicts but you’re not sure what it means. I had
heard it and thought about it for a couple of years without understanding it, when suddenly it
explained itself with living proof…right on stage at The Kilkenny Comedy Festival. A
comedian who was billed as the best thing in Irish Comedy for years has top of the bill …
doing about forty-five minutes. He comes on and starts his act. The audience are laughing.
But I amn’t. I feel the audience are laughing because they’ve been told the guy is good, not
because he is funny. Towards the end of his performance, he suddenly gets funny, very
funny. That’s when it hit me – Ken’s second rule of comedy. This guy had made his name on
twelve minutes of good stand-up. He gets booked for 45 minutes, develops new unworked
material and keeps the good stuff till the end. So, if you’re going to do a 45 minute act, don’t
forget the first 45 minutes, otherwise the audience may not be awake at the end. In our shows,
as magicians our best and strongest effects are usually at the end of our show. However, if
you are performing for a very tough audience, then bring your BIG GUNS out early in the
show. Otherwise you may lose them completely. If you can’t grab their attention with your
best stuff, then that show isn’t going to happen. They sure ain’t hanging around. At least if
you have their attention, they will warm to you and get into the flow of the show.

You might think I’m a bit nuts going into all this in such detail. Maybe! But it is in
developing an understanding of my craft that has qualified me to share my observations,
thoughts, experiences and knowledge with the full confidence it will work. I’ve done it with
others and I’m ready to do it with you. I didn’t pursue a formal education but I sure as heck
pursued a real world show-biz education and I’ll bet I have the equivalent of a PhD. And I’m
not interested in abstract theory – only what works in the real world in front of paying

Secret #4 How To Have Both Laughter

And Gasps Of Amazement
My next major turning point was meeting Eric Sharp from South Wales. Eric and his wife
Muriel had been busy professional magicians since the 1950’s. Eric had performed in concert
parties (working men’s clubs), Punch & Judy on the beach, ran two cinemas in the busiest
caravan site in Europe, performed stage shows there during the summer months, ran mobile
cinemas plus performed at hundreds of local children’s parties.

When Eric started entertaining children he looked at it objectively. He didn’t want to be

doing the tricks that everyone else was doing. I followed Eric’s suggestion of avoiding
effects that other magicians in my area were doing, so my working repertoire became
filled with routines and effects that would be new and different to my audiences even if they
had seen every magician in my area. Run Rabbit Run, Farmyard Frolics, Hippity-Hop
Rabbits, the Magic Colouring Book, all excellent effects, but all in the repertoires of my
competitors became relegated to the back shelf.

With all this learning and advice I was out doing shows regularly. It wasn’t long before I
was doing 500 shows a year, most of them being repeat bookings and recommendations.
Developing my repertoire was not an option, it was a necessity. And I was doing enough
shows to work in all the new routines.
Here’s the secret for building the laughter and gasps in your routines. Put the laughter
early in the effect. Have as many laughs as you want. But as you travel towards the climax of
the routine, the magical moments, cut back on the planned laughs to allow your audience to
experience the amazement and astonishment. Nothing should detract from the magical
moment. Your audience might laugh spontaneously in amazement but it should not be
because you built in laughs at that point. When the magic happens you want everyone’s
attention focused. When people are laughing they are relaxed. If the magic happens when
they are laughing, they either won’t appreciate it, or will feel you “must have done
something” while they laughed. When they are alert and their attention is fully focused, they
know you can’t have “done something.”

As children's entertainers we try and have as much laughter as possible in our shows. Most
magicians I have seen try and concentrate more on the laughter and less on the magic. If
queried, they usually say, "Ah, but I'm and entertainer first." And of course they are in one
sense correct. As the plot develops, lots of laughs and gags, as the plot builds still lots of
laughs but as we reach the climax of the effect the laughter should diminish so that the
audience can experience the magic. It is simply that the audience can't do two things at once.

In this way you give the audience (either adults or children) the opportunity to experience
laughter (earlier) and amazement (later) without one impeding on the other. If you have one
or two strong laughs and immediately the magical climax, you will lose the power of the
moment. When laughing, the audience are relaxed. When the magic happens, you want their
complete attention as they realise just how impossible the effect is.

Secret#5 Developing Important Skills

While Doing What You Love
While I went on to becoming a full-time pro, my friend John decided to become a lawyer.
He did shows to pay his way through college before setting up his own practice. He’s built up
the practice into a firm of over twenty staff. He says the skills he learnt as a teenager in
performing shows have been invaluable. Besides learning to stand up and perform in front
of a group he learnt
• how to command and control attention.
• how to handle clients over the phone, how to market himself and
• how to present himself in a professional manner to people much older than himself.
(Don’t forget some of your clients as a children’s entertainer will be very wealthy
business people and celebrities).
Imagine the incredible advantage and confidence he had in his first day in court. Before ever
entering the courtroom he had developed, refined and polished the skills that other lawyers
would take years to learn.

How Much Do You Think This Skill Is Worth?

Businessmen and politicians pay personal coaches thousands of pounds learning how to
present themselves in public. You can learn these skills for fun in your spare time and get
paid handsomely into the bargain.
When our local magic club in Dublin started a junior section I urged them all to develop at
the very least a short stand-up performance. “Learn three simple tricks with a regular pack of
cards, or a routine with some coins. Even if you drop magic as a hobby, you will still have a
party piece that you can perform for the rest of your life. The confidence you develop and the
ability to stand-up in front of a group will also stand to you in your career. The greatest skill a
CEO has is the ability to communicate his or her ideas with fellow workers.”
You’re not just learning magic, you are learning some of the most important
lifeskills.Whether you’re a teenager, employed or retired you can turn your hobby into a
profitable sideline or career. If you’re a pro or semi-pro you are looking for that extra edge
that will take you to the next level in fees and audience reaction.

Hang On With Me While I Show You How To Do This!

Getting paid for doing what you would otherwise be doing for free must be one of life’s
greatest rewards. Getting paid for having fun! And entertaining children offers another
advantage that most magicians ignore.

Children like magic. They want to see your show. They want to have fun.

Most adult audiences do not have that mindset. They shy away. They’re afraid they might
be embarrassed. They may resent your presence. You have to work hard to break down those

Not so with children.

Their enthusiasm can make some performers a little uneasy, or even quake in their boots.
No need for that. Here’s the real secret for holding the attention of children. If you think about
it for a moment it’s obvious. And it makes your job as an entertainer so much easier. You
have to get them more interested in what you want to show them than what they’d be
interested in if left to their own devices.

It’s that simple.

And there are equally simple techniques to do that. What’s amazing is that those
techniques have not been explained or analysed before. Because once you grasp and
understand them, it’s almost impossible not to implement them. Here’s what I mean. Let’s say
you’re fairly happy with your car but, for whatever reason, you get the notion to change it.
You decide you’ll go for a SUV (sports utility vehicle). You haven’t paid any attention to
them up to now. Suddenly, you see them all over the place. They’re everywhere. Over the
course of a few days, you can spot them a mile away. You can identify the different makes
and models, not to mention spotting the difference between last year’s and this year’s models.
Walking down the street or through the car park, you pause and examine the bells and
whistles that go with them. You start doing this automatically. Your subconscious has been
tuned in to SUVs.

Well it is exactly the same with performing. Once you become aware of the techniques for

• getting better and stronger laughs,

• getting gasps of amazement,
• structuring a balanced world-class show,
• having unshakable inner confidence on stage

your subconscious starts looking for ways to implement them. It is almost effortless. And if
you are prepared to go a little further and put in a smidgen of conscious effort you can
accelerate the process tenfold. Instead of just being aware of the SUVs you might check out
some of the car dealers and take a test drive. With your show if you take just thirty minutes to
run through it with the props in hand, looking for places to use my techniques, I guarantee
you will double the laughter and response you currently get – overnight.
I know I can guarantee this because I’ve already gone through this process over the years
with other entertainers.

Here’s How You Can Benefit

Teaching and coaching the three magicians in Dublin made me focus on what I knew. It is
one thing knowing something, it is another to teach it successfully to someone else.

In teaching Aiden, Brendan and Ciaran, I kept notes of their questions and what we
covered. Once Brendan had a question which I answered. He then asked, “Why?” I replied, “I
can tell you, but it’s better you discover why for yourself. After your next twenty shows you
will understand why.” It didn’t take him that long. You see, part of teaching someone is not to
put information into their heads, it is to draw out and polish what is already there.
That’s why these systems are so important. I don’t want to show you how to be a clone of
me. I want you to become the best you possible. I teach all the performing techniques through
video and a manual and the marketing systems on audio and manuals. My main function is
to teach you the systems. Once you understand them you can use or adapt them for your own
purposes. Because you haven’t daily access to me I’ve put everything I could think of down
on paper, audio and DVD. You’re learning in three different ways – you can even listen
while driving to the shows! I will tell you what to do, exactly how you should do it and
importantly why you’re doing it! Once you understand how everything integrates together
you have a full and clear sense of what you are about on a far deeper level than 98% of

“Ok, How Do I Get All This Information,

All These Tools, And Put Them To Use, Quentin?”

Firstly there’s the Silver System Membership

Seven Show DVDs. I taped seven shows in front of a live audience. Each show was
recorded as seen by the audience, with two cameras, one wide shot, one close-up shots. We
didn’t record the same show a few times and put in the best shots. No. They were taped once.
No out-takes, no gaps, no clever TV editing. You see everything, even the odd moments
when things did not go according to plan.

Show One: For the eight to ten year olds. Eight Routines

Show Two: For the six to eight year olds. Six Routines

Show Three: For the four to six year olds: Eleven Routines

Show Four: For the ten to twelve year olds. Nine Routines

Show Five: For the four to five year olds. Seven Routines

Show Six: For the five to six year olds. Seven Routines

Show Seven: For the six to seven year olds. Ten Routines

That’s a total of fifty-eight routines but two of them appear twice. One is a two-minute
routine and the other a five-minute routine… I wanted you to see them both performed for
different age groups.
You see each show as though you were there. Every gag, every bit of business is
included. You’ll notice the genuine roars of laughter from the audience. There is no forcing
them to react, there is no drawing out of routines. Some of the routines last ten minutes or
longer but there is no padding, just solid entertainment. You’ll see how I develop the laughs
and how I regularly get gasps of amazement at the climax of the routines. This is one of the
biggest faults I see with children’s entertainers, even many pros. They throw away the climax
of their routines. Once you understand how I get these gasps you can do the same with the
tricks you already do. The principles translate to any effect or routine. I’m not going to list
the details of every trick or routine here now. Because, quite frankly, it’ll mean little to you.
I’m fairly well known for the pocket handkerchief routine mentioned later. But if you were
told it was just a trick for kids with a hanky, would you buy it? I’m not great for inventing
tricks, but I am good at routining. Look at the pocket handkerchief routine. It’s all as old as
the hills, but the routine makes it solid entertainment. So listing the tricks will not convey
much benefit. But they are all working professional routines. The routines that catapulted me
to 500 shows a year when I chose to be that busy. The routines that helped me command the
highest fees. The routines that so delighted the children they demanded I come to their
parties. My mentor, Eric Sharp also gave me permission to include the routines he first taught
me in the mid-seventies. I’ve picked the ones that I believe are equal to, if not better than any
of the “classics”.

Because the first forty minutes of each tape is a complete show (each tape is appx 90
minutes including explanations), you can show them to your children or visiting children.
Watch them as they’re looking at the performances. They’ll be engrossed. Particularly pay
attention to what they like best and what they react to. This will help you with your own
shows. Just make sure you switch them off before the explanations! I also guarantee you
won’t leave these tapes lying around. You’ll lock them away. Why? You won’t want visiting
magicians to even know you have them. They’re your secret treasure-trove of new
professional material.

Professional Secrets Manual The companion manual for the DVD presentations.
Here I go into greater detail on the systems for getting the strongest possible reactions from
your audiences. My main purpose in putting this whole course together is not so much to
teach tricks (which I do) but to teach the principles of turning tricks into polished
performance pieces. I use the tricks and routines as illustrations of the process.

You’ll discover
• How To Double (at least) the laughter, gasps and applause in your show
• The three most important techniques for getting continuous laughter and how to use
• How to get three laughs from the one gag, without overdoing it
• The secret to building a world-class magic show, be it for children or adults
• Why original material is not as important as being yourself
• The two performing styles you must be aware of and avoid the fault 80% of
entertainers make
• How to handle a sucker trick without making the audience feel foolish
• The secret of top comedy performers that milks the laughter without saying a word
• How a “Vernon” secret can be applied to children’s shows that gets gasps
• What you need to do without delay if you’ve never done a show before
• How to develop professional routines that will stand up to constant performance
under any conditions
• Two bonus first-class routines, one by Eddie Burke, the other by Ali Bongo (not on
• How to keep the audience interested if there’s a delay in starting the show
• Priceless bits of business that can be used with almost any production box
• Priceless gags with a rabbit and a dove that are each worth more than your entire
• What to produce if you don’t use livestock and how to get the equivalent reaction
• How to conclude a routine when a trick goes wrong, leaving you still in charge and
not losing any credibility
• How to perform card tricks for older children and not have them interrupt
• The competition routine that parents frequently tried to buy from me as it kept the
children so engrossed and excited.

The Resource Guide. I’ve scoured the earth to bring you up to date details of suppliers
of difficult to find props. Included are details of everything I recommend and where to find it.
I don’t care how well versed you are in magic, I guarantee you will find useful information,
references and resources that you didn’t know about. You’ll keep this on your office desk as
you’ll refer to it regularly.

The Gold System

Six Business Builder CD’s and the Business Builder Manual You get
everything included in the silver system plus six audio CD’s covering my Business Building
Systems. Discover the marketing secrets that made me the busiest and highest paid
children’s entertainer in Ireland. There are a number of marketing systems already out
there for magicians. I’ve read most of them. Some are excellent. I didn’t want to cover what
these guys have already covered. So I remind you of the basics but then go into great detail of
my systems. You’re getting the real stuff here. I’m spilling the beans. Imagine entering a
goldmine with bright shining nuggets literally strewn all over the ground. All you have to do
is pick them up and take them home.

I’ve studied marketing since I was in college. And I knew I should be spending more time
on marketing. But, I’m a bit lazy. I’ve tried many different systems and ways of motivating
myself. They worked for a while but then it became drudgery. It was like doing homework in
a subject I hated.

But marketing is the foundation for all your work. You have to do it – or starve. So I came up

The Lazy Magician’s Guide To Marketing

After years of frustration I developed two systems that are both fun and easy to work and
don’t take more than a couple of hours a week. Plus you’ll also learn the integrated systems
that I developed that practically guarantee every client will actively recommend you all
over the place. My sweetest and most secret tactic is getting the callers who book another
magician to recommend you. These proven systems have never been revealed anywhere.

It’s so difficult to do regular chores if they are boring. But if you take just a few moments
to talk yourself through them, you can set it up so it happens automatically. You can see why
I’d prefer to take a little time to set up a system that would save me hours of effort and
drudgery, keep everything simple and would practically work itself.

Six CD Audio Recordings and The Business Builder Action Guide Manual

• The three categories of magicians. Make sure you’re in the right one
• The importance of knowing how long a contact should be kept in your database and
how to know when to remove them, saving you time and money
• What I recommend you send your clients (with samples to get you going), that they
will look forward to receiving and will want to show their friends.
• How to regularly keep in touch with your clients without making it look like you’re
• How to minimize things going wrong and how to benefit if they do
• The best type of character for children’s shows and how to customize it to suit your
• Developing the attitude and mindset of a pro with which you will face any audience
with a steel-eyed calm confidence you’ve never experienced before!
• The secret of developing a performing name that could be worth a bundle of cash
• How to find the best and brightest materials for costumes
• The secrets of accurate positioning in your marketplace that will make you the
number one choice of bookers. You’ll rise to the top like cream.
• Why you should have the highest or second highest fees in your marketplace and how
to do it. When you understand this important principle you can double your profits.
• A simple and easy way of keeping track of your expenses. Avoid end of year panic.
• Secrets of developing professional routines and presentations and when to add them
to your show, making it easier on yourself.
• What interests the different age groups, allowing you to have changes of show as
your audiences grow
• The secret of getting fairs, festivals, charities and community groups to book you at
full fee, even when they say they can’t afford you.
• How to find and develop good bookings to fill your quieter times and how I turned
my quiet season into my busiest, yes, even busier than Christmas.
• The one simple question you must ask that will add thousands to your profits
• If you’re doing outdoor shows, discover where to position yourself to your maximum
• Samples of our letters that get the bookings. Use them.
• The powerful subliminal messages that I put in these letters that let the clients talk
themselves into booking you and thinking they thought up the idea themselves.
• My secrets of ensuring that clients will recommend you. This is so important as you
don’t have to spend money to get them, meaning there is more cash in your pocket.
• My sweetest, powerful and ethical secret letter that I’ve only shared with two
magicians. It gets the caller who booked ANOTHER magician to recommend you,
pretty much regardless of how good the other magician was. This one idea can recoup
your entire investment in less than eight weeks.
• What you must and MUST NOT put in booking confirmations
• How to leverage yourself and your income so you will have cash coming in whether
you are working or not. This is so important as many magicians have reached
retirement age and have to keep working as it is their only source of income.
Discover how to avoid that.
• Things you must know if working with agents. Also very important if you want to
become one.
• Real world hints and tips on generating publicity and how to reproduce it to impress
potential and existing clients.
• Samples of my and other magician’s publicity materials and giveaways to give you
ideas to use.
The sixth recording talks you through a complete show from leaving your home, arriving,
greeting, setting-up, handling interruptions. You get all the gags you’ll need to handle these
and other awkward situations that occasionally crop up. You’ll learn how to handle them like
an old pro. This CD alone is worth your entire investment. You’ll play it over and over
driving to and from shows.
The CD-ROM with the sales letters and marketing tools in the manual, ready for you to
cut and paste, including two terrific professionally drawn cartoon drawings that can be used in
your brochures, on postcards or any publicity. One of them always brought in a high response
and you will use it. To get it drawn by a professional artist would probably cost you €350 and

One Hour Phone Consultation. With the Gold System you also get a certificate for
a one-hour phone consultation with me. You may have extra questions, or just want to talk
things over and help clarify some details. We’ll talk about what you want. I want you up and
out there, making a name for yourself. You pay for the call but we’ll arrange a time when
you can get the cheapest rates. The cost of the call will be infinitesimal in comparison with
the value you’ll get.

“How Well Do You Teach These Systems, Quentin?”

Here’s what the pros say about one routine I released a few years ago: “Five Minutes With A
Pocket Handkerchief.”

“This DVD shows simply one of the BEST KIDSHOW ROUTINES I have ever seen! Yes, a
five-minute routine done completely and only with a man's white pocket handkerchief,
polished over many years of working with children.” David Ginn

“This is brilliant! I’m sure I won’t upset Vic Pinto (or anyone else) if I say that, in my view,
this is probably the best tape he’s produced in years! It’s a hilarious ‘Magic Mouse’ routine
for kids and/or adults. Your props? Simple—one gents’ pocket handkerchief. Quentin shares
all his moves, and, most generously, his gags. The result—one of the funniest and most
entertaining routines I’ve seen in years! If you are (or want to be) an “entertainer” (close-up,
cabaret, stage, strolling, party, corporate, whatever…) this is most definitely FOR YOU!”
Morley Budden, Kaymar Magic

“Speaking about gems...5 Minutes with a Pocket Handkerchief just blew me away. Here is a
pro who shows you how and then tips every subtlety and includes it with all of the jokes, gags,
by play, tidbits that are only garnered after thousands of performances... I consider this a best
buy.” Doc Eason

“I watched the tape, and found myself laughing out loud at the honest and open squeals of the
children. I also enjoyed the simple explanation you give throughout the tape. I tried out the
routine during an unprepared-for moment when I was required to do a few extra minutes to
cover for other work being done backstage, and it was so much fun. It allowed me to stray
from the franticness of the rest of my show, and simply talk to, and horse around with, my
audience.” Don Bursell. Mid-West U.S. Professional magician

From his internet review Robinson Wizard said:

“Each effect is taught separately, so while it would be possible to appropriate Reynolds' entire
presentation, it is just as easy to adopt the bits you like to your own style and sequence and
create something unique with Reynolds' assistance.”

“Do I Need Special Props?”

Many of the routines require no props at all, other than what you have lying in your
cupboard. Others have new uses for standard props, that you should have or can easily obtain.
Some of the routines will require further investment and in the Resource Guide I’ve tracked
down those props I recommend. I don’t sell them. I am not a magic dealer and don’t make
commissions from them. There is nothing outrageously expensive and many of them can be
found at magic auctions and second-hand lists. Even in the routines that do need props, I
show you how to take the structure of the routine and translate it to props you may already
have. There’s a handful of tricks you’ll have to make or have made but (with just one small
exception,) there’s nothing difficult or complicated. That’s why you’re also getting a bonus
tape on making your own props, simpler to make than anything you’ve ever come across

“Can I Use The Routines As They Are?”

Absolutely. They are tried and tested. Even if you copy me exactly, word for word, you
will, in time start to add your own personality and develop your own gags and bits of
business. But see what Robinson Wizard said above. It is easy to adopt and adapt to your own
style. The sooner you do that, the sooner you will become the best you.

“How Much Will It Cost To Put A Show Together?”

If you’ve never bought a prop you can put together a show for as little as $100 -$200 and
use your ongoing income to re-invest in further props if you wish. There’s no need to rush out
and spend a lot before you get going. Magicians who already have a show can simply use
what they have without buying anything if they wish.

“Can’t I Just Learn This Stuff On My Own?

Why Should I Pay You?”

Sure, you could learn this on your own. I learned a lot of it on my own. I also made tons
of mistakes. I spent thousands on props that were useless. I ran marketing campaigns that
didn’t bring in a single booking. Every year I invest time and effort in attending magic
conventions (ever worked out how much just one convention costs to attend – travel
accommodation, meals registration, before you even spend a penny in the dealer’s room?) Not
to mention the cost of the thousands of books I’ve bought and then spent even more
thousands of hours reading. My systems represent over $250,000.00 invested in research,
TESTING, experts, and PROVING the strategies.

I did the hard part for you. Everything is perfected. It’s ready to go. You don’t need to
reinvent the wheel. You COULD go ahead and spend $250,000.00 and years trying to put all
this together on your own – but why? – when I’m prepared to hand it to you on a silver platter
AND guarantee its profitable impact on your business.

“So What Does All This Cost?”

With the Silver System you get the DVDs detailing fifty-six professional routines. If
“Five Minutes With A Pocket Handkerchief” retails at $29, that’s $1,624 for the routines
you’re getting. And we’re talking in US Dollars, or about £812 sterling £812

The Professional Secrets Manual is £109 and

The Resource Guide is £35

That’s a total of £956 plus Shipping and Handling.

But just hang on for a minute.

With the Gold System you also get the six CD’s covering my propriety marketing systems
guaranteed to bring in higher and better fees, and boost your referrals and recommendations,
giving you a brutally unfair advantage over your competitors. You’ll own your marketplace.

The Bonus Builder Manual sold only with the CD’s £145.00

The CD-ROM with the sales letters and marketing tools in the manual, including the two
original professional cartoon drawings designed to bring in business, each worth at least €350
. £220.00

The one hour phone consultation certificate £100.00

That’s £956 for the Silver System and

An extra £685 for the Gold giving a total of £1,641.00

I’m going to discount this for you and throw in some FREE bonuses if you order now from
Practical Magic.

FREE Silver System Bonus DVD. “How To Easily Make Your Own Props”
taught by Eric Sharp.

Years ago most magicians learnt how to build their own props. Books and magazines were
full of apparatus you could build at home. This frequently meant you could have props in
your show that no one else was using. As time went by, magicians became lazier and wanted
everything done for them. While I’d encourage you to learn simple woodwork and metalwork
there is a much easier and simpler solution that will knock years off learning those skills.

You can be making professional appearing props within a half-hour of watching this
tape. What’s more they will be at least as good, if not better than what you can buy at the
magic store. Even better they will be incredibly lightweight yet very strong and sturdy. It’s
like using a prop for years made of solid steel and then discovering you can have it in light

But here you don’t need nails, saws or welding equipment. So what is this amazing stuff?

In the UK it is known as Plasticard. That’s plastic card. You can buy it in model shops. It
comes in different colours and thicknesses. Generally sold in letter-sized sheets, you can also
obtain it in much larger sizes.

What’s so exciting about plasticard is that it can be simply cut with a sharp blade. In the UK,
we call it a Stanley Knife. The other thing you’ll need is a hot glue gun, which is available in
any hardware store for about twenty dollars.

The DVD will show you how to quickly and easily be cutting squares, circles and shapes.
Even if you are the most ham-fisted person in your town you will be making boxes, tubes and
even more complicated props. Plasticard is so easy to work with. The most difficult part is
believing you can do it. Even if you never made anything in your life, you’ll instantly be
making professional quality props that are unbelievably light. No more breaking your back
lugging around heavy props.

About twenty years ago Eric Sharp discovered plasticard and developed the techniques for
making magic props. On this tape he will show you how you can do the same.
Not only does he show you how to accurately cut shapes and make simple props, he also
takes you through the equally simple process of making larger and more complicated props
with examples as he goes along. You’ll learn not just how to make deceptive production
boxes, but you’ll get tons of tips on how to decorate them as well.

Never has it been so easy to produce professional, hard-wearing, sturdy yet lightweight
apparatus for the magician.

If that wasn’t enough Eric will show you how to make and present a routine he devised for
that most awkward age group, the two and three year olds. Eric devised the routine to cope
with the biggest problems when facing so young an audience: Lack of attention and the
tendency to run around. This routine, called “The Present” can last as long as thirty minutes
and will keep them screaming with laughter, anticipating what’s next and totally involved.
They won’t want you to finish! It can be used on its own but works best between other

This bonus routine is worth a fortune to you if you already entertain the very young. If you
don’t, you will want to when you see this tape. It makes your job soooo easy.

Not only will this tape save you more than you paid for this course, it will make your case so
much lighter, and you will have props no one else in your area is using. That alone is a major
confidence booster. Worth thousands but retailing at €97 and it’s yours FREE with the Silver

FREE Bonus with the GOLD System (If ordered through Practical Magic)

Getting On Television. What Every Children’s Entertainer Needs To Know

About Appearing On TV. Over the years I’ve made a lot of TV appearances. As a guest
on chat shows, taking part in documentaries, being interviewed and my own TV series. I’ve
put down on paper everything I’ve learned through observation and experience. This is
invaluable information for any magician who wants to appear on TV and become a celebrity
in your own area.

You’ll find out:

• Who exactly you’re performing for and how to work to them
• Why the TV people aren’t worried at all about you and how to deal with it so you
come over professionally
• What you need to know if you’ll be performing a trick and how to finish it to your
best advantage
• How to handle awkward questions
• How to promote your show even if the interviewer doesn’t want to mention it
• How to say what you want to say no matter what questions they ask you
• What you must do if you get involved in a controversial subject, guaranteeing you
will keep your cool and come over with professionalism
• A secret camera technique I discovered by accident
• Everything I learnt in making thirteen TV shows in a four day period and that
included the rehearsals.
• The kind of effects most suitable for TV and how to present them to your maximum
• The subliminal messages that get children to write in to the station, demonstrating
how popular you are and why they should have you back
This manual is easily worth £70, it’s free with the Gold System and I will also include a
three hour DVD of my appearances on TV, to illustrate the points I’m talking about.

Here’s What I’ll Do For You

The Silver System

You’ll get the seven forty minute magic show DVDs, The Professional Secrets Manual and
The Resource Guide not for £956 but for £247 (saving you £709, that’s almost a 75%
reduction) plus S&H and you will receive the “Make Your Own Props DVD” FREE.

The Gold System

Everything in the Silver System, plus the Six CD audio marketing course and the Business
Builder Manual and the One Hour Phone Consultation Certificate, the CD-ROM not for
£1641 but £347 (That’s a saving of £1,294.00) plus S&H. In addition you will receive both
the “Make Your Own Props DVD” and the “Getting on TV” manual and the TV DVD
included as a FREE bonus.

Two magicians have seen what’s in this course during production and they both told me I
was mad to reveal so much professional know-how at all – never mind ask you to invest in
it. They insisted I charge at least £1,000 for the show tapes alone. They pointed out you are
buying a complete business. Comedians will often pay what you’re investing in the
complete course for just a handful of lines that are told in seconds. You’re getting seven forty-
minute shows, appx 280 minutes of proven professional material. How many businesses can
you start up with such little outlay and you can recoup your entire investment in just one
weekend…and you won’t believe this…you get a full…

One Year Unconditional

Money Back Guarantee
Here’s how it works: Order your personal copies of the DVDs and manuals, and use them
as if you owned them. If, for any reason or for no reason at all, you aren’t completely satisfied
after twelve entire months, just send them back, in any condition, and I’ll personally
guarantee you get a complete refund of your purchase price by return mail. No questions
asked. No hassles, no forms and no hard feelings. And the bonus tape “How To Easily Make
Your Own Props” is yours to keep regardless. It’s my way of saying thanks for trying the

Why am I doing this?

I’ve earned a very good living with this material. I’ve taught it to three others who are
doing the same. I know it works. Many other magicians have put into operation suggestions
I’ve made and have thanked me afterwards with the immediate results they’ve achieved. So
I’m pretty darned confident that it can work magic for you, too. Think about it: Standing on
stage in complete control of your audience, bringing the house down with laughter like
you’ve never heard and at fees fatter than you’ve ever imagined … that would be
something, wouldn’t it?

You bet it would. And you have absolutely nothing to lose with this super-generous
money-back guarantee! I stake my reputation on my promises. Perhaps more important. I’m a
magician, just like you – and I honestly want to share this amazing material with you – and I
don’t want you to have to worry about getting “taken” or anything. I’ve been “gyped” with
magic dealers and ads before promising what it couldn’t deliver. I want to treat you the way
I’d want to be treated. With respect, courtesy and integrity. Check it out. If it’s not for you,
just send it back.

“So What’s The Catch?”

Let’s say you’re in the middle of the jungle and you need to get to the sea. You can get out
your machete and hack your way through the trees and undergrowth taking weeks and leaving
you exhausted, or you can go to the river, carve a canoe from a log and let the river take you
to the sea. Well, I’ve eliminated the back-breaking work, I’m taking you to the river, I’m
providing you with a top class canoe and I’m giving you a map detailing where the crocodiles
are and any other hitches that might crop up. But I can’t take your journey for you. That,
you’ll have to do yourself.

Never has it been so simple to step onto the top rungs of the professional ladder of children’s
entertainment. I’m not just teaching you tricks, performing skills or marketing, I’m giving you
a COMPLETE BUSINESS, A Business In A Box. All you need to do is to implement it. If
you’re not prepared to make that step, that commitment yourself, then this course is not
for you. I’ve met enough magicians who feel they already know it all, or just couldn’t be
bothered to go to the next level. If that’s you, then please pass this report on to someone who
will benefit from it. I only want to work with those who are prepared to invest in themselves
to get a better lifestyle with more shows at better fees. This will automatically lead to more
wealth, more self-confidence and more self-respect. You’ll have the tapes, manuals and CD’s
to refer to regularly. Each time you go over them, you will find something new, some hidden
overlooked gem. And you won’t be on your own. You will receive regular updates and hints
and tips from me. It’s all part of the service.

Why You Should Respond Now

The Sooner you start the sooner you’ll get the edge on everyone in your area. you’ll be so
far ahead of the pack, they’ll never catch up. The sooner you put these strategies to work, the
sooner you’ll have recouped your investment and leap-frogged to the top of the ladder.

A Special Note to Pros

If you’re a pro you might think I’m just aiming this course at beginners. It’s certainly true that
I’m spilling the beans in such a way that someone new to the business will be able to grasp
and use the principles, techniques, tactics and principles. I want to teach them a professional
mindset as well as how to develop a professional show. But you, as a pro may well get more
than anyone else. You have a show, you’re in the business. Let me ask you this. Would you
reveal all your secrets? If you did, how much would that be worth? Don’t you think I could
learn from you? I’ve no doubt I could. It might be only a tweak here or a change there but you
know full well that it is these small changes that can mean so much. A beginner is looking for
the bigger picture, you’re looking for the finer details. The winning horse in a race only has to
marginally ahead of the horse that comes second and yet he may win ten times the prize
money. Do what ALL champions do – decide to better your best. To get that extra edge. To
excel. Try the course. No risk to you. Even if you were only to be reminded what you’ve
forgotten, that alone would be worth it. But I believe you will find more, much, much more. If
you can’t find at least five things that you agree are each worth the price of your investment,
I’ll buy it back. Fair enough?

Which Course Is For You?

If you are mainly interested in just developing your performing skills and tapping in to a rich
vein of “pure gold” magic, gags and bits of business, then the SILVER course is your option.
If you also want to add on the razor sharp mindset of a pro and discover the business building
marketing systems that will get you better bookings at higher fees, explode your profits and
ensure you get top range recommendations and referrals then it has to be the GOLD.

My Final Thoughts

Perhaps the most important life skill is the ability to make a decision. Even though I know
I’m giving you “the bargain of the century”, I also know that £247 or £347 is a significant
decision for a lot of people. Maybe it is for you. Believe me I understand. But if you do have
to struggle over such an amount, I have to tell you: that’s the best reason of all to act on this
opportunity immediately…so two or three months from now you get past it and are NEVER
financially embarrassed again.

You’ve gotten a lot from magic, put in time, developed skills. You deserve to get on to the
next level. You’ve read this far. It’s decision time. Are you serious about your magic? Do you
want to a jump-start to the next levels? If your answer is YES to both questions then your
decision is which system will you invest in, The Silver System or The Gold System?

Fill in the membership form now, send it off and be on your way. This is a positive decision
you will be very glad you made. I guarantee it.


Quentin Reynolds