How to Effectively Add Conflict to Your Show

I listened to the entire recording in amazement.

Then I texted my wife to tell her how impressed I was.

She had just sent me a recording of a script for my new puppet routine for one of my shows.

I’ve never tried vent, and I don’t have the time or desire to put in the work now.

But I love the idea of adding secondary characters to my show.

So I wrote a script, and my wife offered to record the lines in a cute ‘puppet voice.’

Months ago, we had discussed what kind of character this particular puppet, Axtell’s dragon puppet, would be.

Once we nailed the character, I soon decided this little guy needed a voice.

And my wife absolutely nailed it.

Before recording, she also made some changes and edits to the script, enhancing both the character of the dragon and the messages we were trying to get across.

Puppets in particular are a delightful way to add a different element to your show giving it texture.

Most importantly, it gives you the opportunity to create conflict.

Conflict is key to engaging storytelling. Without conflict, there is no real story.

In many magic shows, that’s what’s missing.

Conflicting is a great way to add humor, drama, different points of view, and much more to a show.

Even if you don’t want to add a puppet to your show, you can still add another ‘character’ to your show with a new voice.

Look no further than the classic “Vanishing Bandana” effect. There is conflict there.

When the audio instructions reveal that the magician was not really supposed to drop the ‘bandana’ into the folds of the handkerchief, there is a dilemma that needs to be resolved.

Even the beginning of the effect, when the performer takes out a banana instead of the bandana, conflict is created.

Puck and the late Scott Alexander created the modern equivalent of this with their “Shoe Business” release, still one of my all-time favorites in this sub-genre of magic.

Or what about AI?

A few weeks ago, I wrote that I was working on a script for Alakazam’s new Trick 46. I finished the script a few days ago and I’m thrilled with it.

There is plenty of conflict and, false modesty aside, I think it’s very funny.

I still have to road test it, of course, but I think it’s a winner.

So, create some conflict in your show by adding another character.

The key, though, is adding a character with a distinctive personality.

Once you have that personality, the new character’s actions have to be driven by that personality.

In Bill Abbott’s classic, “Chico the Mind Reading Monkey,” the puppet’s character is very clear.

The monkey is trying to do the right thing. But he’s a troublemaker. Not because he’s bad, but simply childlike.

I’ve been using Bill’s routine for years and in that script, he very clearly lays out the motivations of the monkey’s actions to create a funny bit of theater.

In another one of my shows, I added another Axtell puppet, the crocodile.

His character is similar to the mind reading monkey. He’s more mischievous in that he likes to cause a bit of trouble.

But unlike the monkey, he does it deliberately to get a reaction out of the audience. He’s a bit of a showoff.

In the end, we get to the resolution and everyone is happy.

Both of these characters, the monkey and the crocodile, are silent characters. For me, as the puppeteer, they are easier to play.

This new character, the dragon, has a speaking role. So my wife and I had to decide what kind of character he’d play.

I decided I didn’t want him to be a troublemaker. That would be too close to the crocodile.

Besides, I just wanted a different character.

We eventually decided on a character who is gentle, good-natured, with a sort of wide-eyed innocence.

Since his intentions are pure, the conflict had to come from misunderstandings.

The solution? An external source of conflict.

I’d have a piece of paper on my table. Each time the dragon tried reading the paper, he’d misread something.

I’d have to gently correct him. The key was ‘gently.’ If I came down too hard on such a sweet-natured character, I’d likely turn the audience against me.

My crocodile, on the other hand, is a deliberate troublemaker. So I can raise my voice more, expressing my frustration a little more freely.

It’s a delicate balance because in my case I’m going for comedy. But I still want that conflict.

With Trick 46, the character for the AI in the script is snottier. She makes disparaging comments about the performer.

And she immediately dismisses any mistakes she makes, reflecting them back on the performer.

My reactions, therefore, can be a little more expressive.

But I’m playing it more desperate, less angry.

I’m at the mercy of this apparently soulless AI creation. So my frustration comes from feeling helpless.

My character will be reacting to the AI character much differently than the puppets I’ve detailed.

All of this may seem like a lot for a few laughs.

It’s not. Setting the premise, executing the conflict with clearly designed and well-motivated characters, and reacting in ways true to those characters makes the routine fun and interesting.

If you’re going to add a second character to your show, you have several decisions to make:

• Who is the character you’re going to add?
A puppet? A recording? An interactive AI bot? The look (or lack thereof) of the character can (and should) inform their personality.

• Will your character be verbal…or not?

For me, adding a non-verbal character is the easiest. Without voice work, all I have to do is worry about the physical movements of the character.

But “easiest” does not mean “easy.”

When working a puppet, too many magicians make the puppet flail around uncontrollably.

I learned this from Bill Abbott – each movement should have intention and meaning.

Why is your puppet doing a particular physical movement at a certain time? Actors call it “motivation.”

What’s your puppet’s motivation?

Don’t think this only applies to puppets.

What about Axtell Boards and Ultimate Magic Sketchpad?

Like the classic Axtell boards, Sean Bogunia’s Ultimate Sketchpads feature a drawing that comes to life.

The eyes move, the mouth moves and if you like, it starts talking.

But most magicians I’ve seen jump too quickly into the movements.

Me? My board/sketchpad character is a troublemaker.

So his eyes move...but only when I’m not looking. Same with the mouth.

This adds more runtime to the routine and features a slower climb to the climax.

• What is your character’s personality?

This is key and should inform the rest of the routine, especially the script.

Is your character friendly? A troublemaker? Snotty? Disinterested?

A well-defined character gives you a strong personality to play off.

Your character’s actions should be consistent with that character, too.

• Does your character’s voice match their personality?

Again, consistency is key. The more authentic your character’s voice is matched to their personality, the more clearly defined they are for the audience.

• Where is the conflict coming from?

Again, conflict is integral in any storytelling medium from written works, to plays, to movies, to TV shows.

People often forget that ‘sit-com’ is shorthand for ‘situational comedy.’

There are characters in a situation. And conflict.

What is your conflict going to be for your new character?

Answering all of these questions in a thoughtful manner will help you develop a fun routine that adds layers and textures to your show.

Have a great week!

--Cris

 
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