Lost Souls

Lost Souls marks Fraser’s final physical book release for the foreseeable future, as he shifts to a digital subscription model for sharing his insights with students. This book reflects on Fraser’s extensive notes, enhancing and refining various concepts while introducing new methodologies and previously unpublished ideas shared only with a select group of friends. Readers will discover fresh content alongside innovative takes on established principles, offering unique methods for performing a range of effects.

Among the highlights is Fraser’s groundbreaking exploration of the ideomotor response. He demonstrates how to reveal a spectator’s thought of color after a brief physical connection, such as holding their hand. Spectators think of a primary color, with the option to mix it or stick with their initial choice. The performer can then reveal this thought instantly or incorporate it into another routine. This technique can also connect to memories and emotions, broadening its application for various revelations.

Fraser introduces a non-contact ideomotor response, where a spectator holds their hand above his while focusing on a specific thought. This method allows Fraser to reveal the thought or use it to gain an advantage in another routine. He elaborates on how to perform a prop-less reverse name guess, enabling the spectator to intuitively guess the name Fraser is merely thinking of.

These concepts can also be creatively applied to prop-less star sign guesses and other thought categories, including numbers, drawings, and symbols. Fraser provides insights on using these principles in multiple languages, ensuring versatility beyond English performances.

Additionally, Fraser shares his latest techniques for prop-less number reveals, employing the ‘re-frame’ principle. He presents two streamlined variations that appear flawless, eliminating the need for finger snaps or cues from the spectator. A few spoken words initiate the process seamlessly.

Fraser also introduces a novel verbal method to compel a spectator to think of a specific playing card suit while they randomly select a card. This technique creates the illusion of a genuinely free choice, with the only difference being a brief pause during instructions that alters the spectator’s perception. This seemingly free selection can be utilized in various versions of the ‘Any Card At Any Number’ effect, with two distinct variations taught in the book.

Lastly, Fraser covers his reverse pin guess and two-way written out from ‘Silent Poets.’