I’ve been practicing Asi Wind’s ACAAN lately. If you’re not aware, you have to do some calculation and then execute a secret shift of the deck. As you can imagine, it can be a tricky thing to do in performance.

I’ve developed a way (I’m sure I’m not the first, or the only person to do this) to practice this type of routine effectively. The benefit of this type of practice extends well beyond an ACAAN, and is applicable to nailwriting, clocking a deck, and plenty of other things. I think it’ll be of use to you.

When I first practiced the ACAAN, I would go on Random.org and get a random card & number, then do my thing. I’d just repeat that over and over until I was done after an arbitrary amount of time or repetitions that I’d set for myself (this isn’t the special practice method, keep reading).

I then realized that it’d be best to simulate a real performance with conversation. I started to look at the seat across from me and speak to an invisible participant. I’d ask them to name a card, then Random.org it, talk some more, then get them to name a number (again Random.org-ing it) and continue talking. This got me used to calculating what card I needed to shift to while speaking. What this also did was help reduce the “lag” in performance that you get with this type of routine. Since there was less lag, I cut down the amount of ums and uhs I utter in performance. With this new way of practicing, I unconsciously came up with new ways to buy myself time. On the fly, I’d start asking questions like “How many times did you change your mind?”

Of course, the standard “Why did you choose that card?” is a tried and tested technique to buy yourself time, but I found myself coming up with new questions and ploys to give myself time to calculate. Each practice session took longer, but the improvement I found in my performance was worth the effort.

Practicing with this type of approach will put an emphasis on choreography, speech, and connection with the participant. You’ll obviously have to do the mechanics/moves/calculations associated with the effect or routine you’re doing, but you’ll have to do so while multitasking, what we do in actual performance. Unless your participant is on the floor, you’ll be looking up as you practice! Something that more of us (myself included) should do. If you practice looking down, you’ll perform looking down. Things like misdirection (or “direction of attention” if you’re pretentious) will come to be easier if your default mode is looking up.

Next time you want to practice something, try doing it to an invisible friend.