3510 by Luke Jermay
Luke Jermay shares his thoughts and magic in this great book!

• CHAPTER ONE - DEVELOPING COMPELLING DEMONSTRATIONS                                          
• This chapter outlines my own personal beliefs on presenting contemporary mentalism. From the structure of an effect to building a routine and a show. Each point is complete with working examples from my own repertoire.
• CHAPTER TWO - A WORKING EXAMPLE OF MY GUIDELINES   In this chapter we handle a working example of all the guidelines outlined in chapter one by creating and applying these rules to an effect.
  

• CHAPTER THREE - AN APPROACH TO “PROP FREE” MENTALISM  A brief look at performing modern mentalism without the aid of apparatus and props of any kind. This chapters features a breakdown of what I think are the most useful methods for a performer to have in his or her tool box when it comes to performing mentalism with no psychical props at all.
• CHAPTER FOUR - THE DEVIL IS IN THE DETAILS - This chapter outlines the attention to detail that I feel is needed to make a truly compelling performance. It also features a working example of how applying the small touches to an effect can make all the difference.
• CHAPTER FIVE - PRESENTATIONAL TOUCHES
• A collection of presentational additions that can be added into many effects that you already perform as well as all the effects featured within this book.These range from the use of a slinky as a pendulum right the way up to saying the alphabet backwards and writing inside out verse. These touches are used throughout the book to build compelling demonstrations and will be referenced throughout from this chapter.
• CHAPTER SIX - TOUCHING ON HOY – THE REAL WORK - This chapter features possibly the strongest, prop free, anywhere, anytime demonstration of mind reading available to the mentalist. Featuring brand new work on my original effect as well as three different effects that are achieved with the same basic conceptual methodology. This chapter also includes new work on the effect eliminating the need for a psychological force, a new and boldout for the brave performer, a new idea from which a miracle could spring “the Stranger’s Name Concept” and also features a guest contribution from  Chicago’s Chris Carter.
• CHAPTER SEVEN - HAIL DUNNINGER – A PRINICPLE AND AN EFFECT
• In this chapter I take a closer look at the “Dunninger Ploy” and describe its use in relation to a card effect using a prop you almost certainly already own.
• CHAPTER EIGHT -A LOOK AT TV MAGIC/MENTALISM FROM EDITING TO BROADCAST
• Here I share my personal thoughts on the world of TV magic. From selective editing to pre-show work and dirty “camera tricks”.
• CHAPTER NINE - STANDING ON THE SHOUDLERS OF GIANTS
• This chapter is a work inspired by my influences. As performers I truly think we are building everything we perform on the work of greats from the past. Here I share three routines that I feel are directly inspired by Canasta, Dr. Jak’s and Koran.
• CHAPTER TEN - MENTALISM WITH PLAYING CARDS - This chapter features mentalism with playing cards. All neatly piled together so those who would rather poke themselves in the eyes with anthrax covered magic wand than mix mentalism and playing cards can simply skip.
• CHAPTER ELEVEN - SUGGESTION - A chapter featuring effects that mix the classic methods of magic and mentalism with suggestive techniques to create bold and new effects never before possible.
• CHAPTER TWELVE - A BRIEF JOURNEY INTO THE BIZARRE -No skulls, altars or sacrificed goats, rather Mentalism with a surreal twist. From making time stand still, traveling backwards in time, scars healing themselves, incredible coincidences, a game of life and death, demonstrating your "gift sense" while charmingly stealing from your spectators, revealing innermost fears and stealing watches with your psychic power. Its all very odd. Featuring guest contributions from Morgan Strebler, Craig Browing and Liam Montier.
• CHAPTER THIRTEEN - ZEROING IN -Methods to zero in on the correct spectators for your effects. This features a cold approach to working with suggestive methods as well as a honing method design for the stage performer and a method designed for the close up worker.

Pages 177 – Hardbound