Dealing with Call-Outs

As @DeZeta says, the Double Lift shouldn't even be suspected. For that, it's crucial to handle the cards smoothly and naturally, as if you weren't doing any Double Lifts at all. It's all about practice and being very self-critical. The quality of the cards is also important; if they warp, there's no way it won't flash.

With practice, you'll realize the importance of keeping air out from between the cards so they don't get misaligned, and the subtle pressures (or lack thereof) needed to keep them in place. I highly recommend studying Ascanio's Volume 2, especially, because it offers many examples of techniques to achieve that lightness ('single card feel,' as he called it). Another great routine for extensively practicing the Double Lift is 'The Game of Pains,' both Ascanio's version and Gabi's. But honestly, you'll find examples in countless places (like Joaquin Matas's Hypnotic Quartet, for example).

I quickly put together a video to give you an idea of what I'm talking about; I hope it helps.

If, when you're holding two cards as one, the spectator tells you they see two cards... well, then you probably need to practice a bit more. Or a lot.

The Double Lift is an invisible technique; the spectator shouldn't see it or even suspect it. There are plenty of resources you can check out, from M&C's Cartomagia de bolsillo to Paloma Bravo's El secreto a la vista.

If you get busted, there's not much you can do besides working to prevent it from happening, and practice is the only way to achieve that. I hope this helped.

Greetings! I'm not sure if I'm getting this right—if it's because the sleight is visible when you perform it, the answer is simple (no offense, but it's the same advice I got back in the day): practice, practice, practice, and once it's perfect, keep practicing. But if it's because we're dealing with a know-it-all spectator 😏, honestly, thinking it over, and in my humble opinion, that's a pretty uncomfortable situation. To get out of it, I think it comes down to experience dealing with audiences, because everyone's different, and gracefully handling the situation successfully comes with experience. I don't know if this helps much, as I don't have a ton of experience myself, but that's how I approach those situations. Best!

Thanks so much for your help!😀😀😀😀😀😀😀😀😀😀😀😀

Everyone tells you to practice more, and they're right.

But that answer doesn't help much when you're actually in that situation.

So what I'd do is just pretend I didn't notice and seamlessly switch up my technique.

Just do a different move, and you're good.

Remember, the more knowledge you have, the more tools you'll have in your arsenal.

Improvising is one of the scariest things at first, but with stage time and experience performing for audiences, you'll have to learn to do it sooner or later. And with practice, it'll get much easier.

That said, I highly recommend mastering several different techniques. The more alternatives you have, the better prepared you'll be.