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Finally, I would like to thank Michael Weber, Christopher Carter, Lee Earle, Sean Taylor, Chuck Hickok and Ran Pink for their invaluable contributions to this book, all of which are examples of brilliant and insightful thinking from these gifted performers.

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Thank you. 2 Many thanks to: Paul Ingram Ben Earl Noel Qualter lain Moran Michael Murray Peter Nardi lan Rowland For continued inspiration, kindness and friendship.

Special thanks to the contributors: Michael Weber Chris Carter Lee Earle Sean Taylor Chuck Hickok Ran Pink For being so generous with their time, thinking and material.

It represents a lot of time spent studying, thinking about, discussing, performing and refining mentalism.

Ever since my friend Paul Hallas inspired me to grow a goatee beard and cross over to the dark side I havent really looked back.

Although the industry at large knows me primarily as a close-up magician, my friends and audiences will attest that Im really only interested or happy when performing mentalism.

Following my conversion (on the road to Huddersfield) it wasnt long before I realised that it is the very last part of a mentalism performance, the revelation, which has the most impact on the success and memorability of an effect.

This led to a search for techniques and 7 strategies that has so far lasted over a dozen years and is still far from over In this book you will find much of my current thinking about the state of the contemporary mentalism scene as well as its often poor but occasionally brilliant performers.

So please read this book in the spirit that it was written: with the intent to share some powerful, proven ideas and techniques that I have discovered on my travels.

Were all in this together and Im very happy to share with you some of the fruits of my studies (of both the mentalism literature and human nature) and offer you some direct paths to becoming a stronger, more memorable performer.

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If you are just reading this book for knowledge, then I think youll enjoy it; but if you are looking for some practical instruction on how to improve as a performer you will get much, much more out of it.

There are a lot of book recommendations herein, as well as constant admonition to read mhre.

Quite a few of the topics discussed in Mentalism Reveals are the subject of excellent books by people who are experts in their field.

Rather than plagiarising or quoting huge chunks of material from these books I have in every case pointed you to the relevant author, title and publisher.

Usually, on any of the subjects at hand I have read pretty much all the relevant books (whether you think that sounds boastful or simply sad tells me everything I need to know about you) that are available and always recommend the one(s) I think are the most applicable to mentalism performance.

A few words on terminology are probably a good idea so that we are working off the same page.

I completely agree with Paul Harris 8 assertion that Astonishment Is Our Natural State Of Mind.

However, to describe the more cerebral kind of impact a mentalism effect usually has (as opposed to the eye-candy of magic effects) I prefer to use the word amazement than astonishment and that is the term which is used throughout Mentalism Reveals.

Likewise, I am not a fan of the word (or role) spectator in mentalism.

Consequently I use the words participant or audience throughout the book instead.

I genuinely work hard to ensure that anyone who sees me perform does participate and interact, rather than just standing passively by and spectating, so the language I use reflects this.

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