17 Secrets of Magicians

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Whether they're performing a big illusion that makes a tiger disappear or showing off card tricks on a table, magicians spend years perfecting their performances. We spoke to several from across the country (and beyond) to find out how they learn their trade, the type of resource they spend thousands of dollars on, what they hate most at shows, and the one question they really wish you'd stop asking.

1. THEY DON'T GO TO MAGIC SCHOOL.

Surprise: There’s no Hogwarts School of Witchcraft and Wizardry out there. "There's no real training," says Dave Taylor (a.k.a. Magic Dave) from Southend-on-Sea in England. "It's all personal experience, lecture notes, DVDs, books, etc. You can go to workshops, but for most things you have to be self-taught." One big asset, he notes, is a local magic club, which can provide feedback on shows.

Randy Follis, a magician from southwest Missouri, agrees: "The training is mostly independent. Researching books, DVDs, and—if you're fortunate enough to find them—fellow magicians." After that, all that's left is a lot of hard work and practice, practice, practice.

2. THEY SPEND THOUSANDS OF DOLLARS ON BOOKS.

“Most magicians are serious scholars," says Las Vegas magician Xavier Mortimer. "I don't know any professional magicians who don't have their own extensive libraries about our craft." (One notable example, Harry Houdini, assembled close to 4000 books on magic and spiritualism, now held at the Library of Congress.)

The costs of those books can add up, though: "Most books are small print runs, for a small audience, which can lead to high prices," Mortimor says. As an example, Denny Haney, who owns the Denny and Lee Magic Shop in Baltimore, Maryland, says that one book he sells—Soirees Fantastique by the French illusionist Christian Fechner—goes for $3000.

3. THEY MIGHT SPEND A YEAR PERFECTING ONE TRICK.

Magicians are nothing if not obsessive. Danny Whitson, a comedian and magician from Knoxville, Tennessee, says he spent a year in front of the mirror mastering one particular move. "It sounds insane," he says, "but a great magician is always learning."

All that rehearsing can take a toll on loved ones. "You spend most of your time rehearsing a trick over and over again, to the point where it annoys everyone else around you," Taylor says. "My wife threatened (jokingly) to leave me if I kept playing with a Rubik's Cube after I spent a solid two weeks learning the ins and outs of a trick."

4. THEY CAN EARN THOUSANDS OF DOLLARS PER GIG.

Magicians can earn more than you might think, but it depends on the type of gig. "Corporate gigs pay the most at $800 to $2500, then your bars, clubs, festivals $300 to $1000, and a birthday party $200 to $500," Whitson says.

While that might seem substantial, as Taylor notes, "you are self-employed, so you could work lots in a week and then the next two weeks have nothing. Then, there's the task of advertising yourself, administration, rehearsals, prop maintenance, etc., which take up your time. You might only have two shows in a week for two hours and get paid £500 [about $675], but you still work a full week doing everything else.”

5. THEY AREN'T ALLOWED TO HAVE BAD DAYS.

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"Being a pro magician basically means you are selling a product—yourself," Taylor says. "You have to convince your audience you are the best even when you don't feel like it." That means pulling through a bad show, or a bad day, with a smile: "If you're in an office you can be in a bad mood. If you are in front of hundreds of people performing that's another matter."

6. CONNECTING WITH THE AUDIENCE CAN BE MORE IMPORTANT THAN THE TRICKS.

Doc Eason, a legendary magician who performs at the Magic Castle in Hollywood, California, and at the Stonebridge Inn in Snowmass, Colorado, is known for his incredible memory; he does one trick where he memorizes the names of 20 people in the audience as well as a card held by each person. Despite the impressive feat, Eason says, “The trick is not the thing ... what is the thing is connecting with the audience. Without connection, you just become a clever person who learned to do a few cool things." Establishing that connection is a matter of eye contact and remembering the names of the people in the audience, Eason says—which requires plenty of practice in front of friends, family, and then strangers before taking to the stage.

7. THEY HATE CELL PHONES MORE THAN HECKLERS.

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Magicians have probably dealt with hecklers (“I know how you did that!”) since they first stood on a stage. But today’s electronics are considerably more annoying, performers say, what with people constantly recording the show, checking messages, or texting during performances. “Holding audience attention is increasingly difficult," Eason says. However, he doesn't ban cell phones, since that can "start a show on a hostile note."

Randy Forster, a magician from Delaware, handles the annoyances of technology by turning them into an opportunity for humor. He'll open a show with a comment like, “If you have any devices with you with an on-off button, such as a snow-blower or generator, please turn them off now.” Should someone’s phone ring, he’ll say, “We’ll just hold the show until you get that,” or “Put the phone on speaker so we can all hear.”

8. THEY'RE NOT ONE-SIZE-FITS-ALL.

Haney says there are several types of magicians: those who specialize in close-up magic (like card tricks on a table), illusionists (think Siegfried and Roy or David Copperfield), mentalists (those who pretend to perform mind-reading), the "bizarre" (think sword swallowers), and children’s entertainers (balloon animals), among others. While some may do one or more types of magic, they generally stick to one category, and develop routines that play to their own strengths.

That's worth keeping in mind when you're hiring a magician. Although many magicians are happy to accommodate special requests, keep their specialty in mind—"someone who does close-up [magic] might hate animal tricks and wouldn’t do them within the scope of a close-up act. Each has its place," Haney says.

9. THEY'RE TIRED OF THE DORKY STEREOTYPES.

"The media gives magicians a bad name sometimes," Taylor says. "Think Howard Wolowitz on Big Bang Theory with his cheesy, annoying manner and performing at inappropriate times." Then there's the memorable Gob Bluth from Arrested Development, whose ineptitude as a magician is matched only by the obnoxiousness of his personality. Magicians like Taylor aim to change those unpleasant associations: "Many magicians, like myself, try to make the magic cool. Not over-the-top cool, but entertaining enough that you’ll talk about it in the pub that night and be impressed and not use 'geeky' to describe it."

10. THEY'VE HEARD ALL YOUR JOKES BEFORE.

Rich Bloch, a magician, inventor of magic effects, and owner of Dickens Parlour Theater in Millville, Delaware, says that when you think you’re being clever by asking the magician, “Can you make my husband disappear?” or “Can you saw my wife in half?” or “Can you change this dollar into a $1000?”—you aren’t. Also, the magician has probably heard the joke “How’s tricks?” before, even if they laugh with wide-eyed amazement like you’re the first person to ever crack it.

11. DON'T ASK THEM TO WORK FOR FREE …

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Taylor’s pet peeve is someone asking, "Can you work for free?" or saying "I don't have much of a budget, but it will be great exposure for you."

"Unfortunately, exposure won't feed my family or pay my phone bill," he explains. "And I hate to say it, but 99.99 percent of these ‘exposure’ gigs don't lead to anything else. You wouldn't ask your electrician to work for free so why ask entertainers to?”

12. … OR TO EXPLAIN THE TRICKS.

As tempted as you may be to learn how a trick is done, don’t ask unless you’re paying for a private lesson. Once you learn, you’ll probably be disappointed, our sources say. “It’s usually something very simple,” Haney says. “It’s always more fun to be amazed.”

13. THERE ISN'T NECESSARILY A PENALTY FOR REVEALING HOW TRICKS ARE DONE.

While revealing a trick can lead to some ostracism for magicians, doing so won't get them sent to magicians' jail. For one thing, magic tricks aren't copyrightable, so it can be hard to prove ownership, and there's usually plenty of resources out there explaining tricks already. They have occasionally even been revealed in court—as when David Copperfield was forced to reveal the method behind his Lucky #13 trick after a participant claimed he'd dislocated his shoulder during a Las Vegas performance.

But there are certain centerpiece tricks—ones the magician created or purchased for thousands of dollars—that can ruin a magician's act if their mechanics are revealed. For example, Bloch has a trick where he copies someone’s signature while he’s blindfolded; it's a key part of his act, so revealing how it's done could be devastating. If a trick like that is unmasked, a magician might sue, as when Teller of Penn & Teller filed a lawsuit against a Belgian entertainer who posted a YouTube video of an illusion similar to one of Teller's signature tricks, and promised to reveal the secret behind it for $3050. Even though magic tricks aren't specifically copyrightable, Teller won his lawsuit because he'd registered his trick as a "dramatic work," which is protected by copyright.

14. THEY AVOID USING TRICK DECKS.

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Although there are numerous trick card decks out there, Haney and Bloch both say a good magician needs only a standard Bicycle deck. “If you have a funny back, if people don’t recognize it, they automatically suspect it’s a trick deck,” Haney says.

15. THEIR TRICKS DON'T ALWAYS GO AS PLANNED.

Magicians sometimes perform in unusual environments—outdoors, at birthday parties, etc. Taylor remembers the time he was performing in a church hall for a corporate event and fell victim to its old wooden floor, which was riddled with gaps between the boards. "I was doing an escape from a replica set of Victorian prisoner chains and it's supposed to take 20 seconds in total," he says. But just as he went to flee, he realized he couldn't move his legs. "Turns out the chain had got trapped in the floor, meaning I couldn't get my feet out of the set of chains. I was stuck to the floor and could hear the music ticking away. Panicking, I grabbed hold of the cloth [that was supposed to drop and reveal him] and covered my feet with it as I yanked at the floorboards. I spent about 30 seconds of hell trying to subtly escape from the chains while talking to the audience as cool as I could. With a large yank, I managed to get my feet free, injuring an ankle in the process, and hobbled off stage as soon as I could."

Occasionally, even the little "disasters" turn out OK. Follis says he was once working a restaurant when a couple's dollar bill, which was part of his trick, got "a little too close the flame and burned—only a little, but clearly visible." In a panic, he tried to replace the dollar, but the couple "insisted on keeping it as it was their first date and they thought it would make a great story." The next Halloween, the same couple came to his show, sat in the second row, and told him how much they enjoyed the performance—followed soon after by an invitation to perform for their first family Christmas as a couple.

16. MISDIRECTION IS KEY.

“The essence of a magic performance is misdirection," Bloch says. "Not as in causing someone to look here rather than there, but displacing their expectations." He compares magic to humor, which often seems funny because of the unexpected turns a joke or a skit takes. "The unexpected is what causes the laughter reaction," Bloch explains. "Magic is the same. People expect an assistant to remain stable on the table, yet she floats, so you are changing the direction of their expectations.”

17. MAGIC TRICKS CAN HELP PEOPLE WHO HAVE BEEN INJURED OR WHO HAVE DISABILITIES.

Over the years, magicians have realized that learning to do tricks can be a valuable form of physical therapy. Haney says a customer bought a trick for his wife who had suffered a stroke; her doctor had said she’d never use her right hand again, but the trick gave her a goal to focus on, and she ended up regaining the use of her hand.

Several magicians have created programs that combine magic with other forms of physical and psychological therapy: David Copperfield founded Project Magic in 1981 to teach people with disabilities how to do sleight of hand work as a means to improve their dexterity, problem-solving skills, and self-confidence. After being in a debilitating car accident in 1988, magician Kevin Spencer created a “Healing of Magic” program that uses simple magic tricks to boost physical skills and motivational levels. According to his website, the concepts of “magic therapy” are now being used in more than 2000 hospitals, schools, and rehabilitation facilities worldwide.

13 Secrets of Obituary Writers

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When Chicago Sun-Times obituary writer Maureen O’Donnell sits down to assess the lives of the recently departed, she feels less like a journalist and more like a historian. “I sometimes feel like I’m a frustrated history teacher,” she tells Mental Floss. “I get to teach a lesson every day and share it with readers.”

Unlike death notices, which only recite basic facts about the deceased, or funeral eulogies, which offer impassioned remembrances from loved ones, obituaries are a written memorial of a person’s legacy published for the world to see. Instead of dwelling on death they celebrate life, from the most recognizable celebrity to the quietest neighbor. They prove that almost everyone has a story to tell, and it’s sometimes only after a passing that people realize exactly how a person has left their mark in the world.

O’Donnell recalls a 2010 death notice for a Montana resident named Jim Cole, which mentioned his interest in photographing grizzly bears. Only after excavating details of his life did she realize Cole is the only person in North America to survive two grizzly attacks, 14 years apart. “They called him Grizzly Jim,” she says. “He wore an eyepatch because the second attack left him without an eye.” (Cole died of natural, not wildlife-related, causes at age 60.)

For more on how obituary writers approach the delicate art of human posterity, we asked several of them—including O’Donnell—to tell us about their work. Here’s what they had to say about a life spent covering death.

1. THEY LOOK FOR THE “ROSEBUD” MOMENT.

John Pope, who writes for the Times-Picayune in New Orleans and assembled a book of obituaries, Getting Off at Elysian Fields, says that the goal of his work is to discover the “Rosebud” moment of an individual’s life. (That's a reference to the 1941 film Citizen Kane, and the desire of a reporter to define the mysterious dying word uttered by wealthy business magnate Kane.) “I look for ‘Rosebud,’ what makes a person tick,” he says. “When you talk to relatives, they talk about how he loved family, how he loved life, but you need to keep going and dig deeper.”

In 2009, Pope was tasked with profiling William Terral, a beloved pediatrician and gardening hobbyist. While the former was a noble career, Pope found his real jewel in the fact that Terral was once so struck by the bag of plasma separated from his blood during a medical procedure that he took it home, hung it from an IV hook, and pumped the liquid into the ground to see if it would help his garden grow. “His hibiscus flourished,” Pope says. So did his obituary.

2. IT’S ACTUALLY A PRETTY UPLIFTING JOB.

The stereotype of obituary writers toiling under the shadow of death, constantly aware of the fragile nature of life, isn’t exactly accurate. According to Pope, some family members have such fond memories of the deceased that talking to them can provoke a lot of amusement. “With Edward ‘Bud Rip’ Ripoll, a saloonkeeper, I had to ask his daughter to stop because I was laughing so hard and the stories were so good,” he says. (Ripoll was a Budweiser fan, and his urn was inscribed with the dedication, “This Bud’s for you.”)

O’Donnell describes it as “uplifting” work. “You’re frequently writing about people who made a difference in the world, large or small. The end of life is always sorrowful, but with someone like Mary White, who lived to be 93 and started the La Leche League [to normalize public breastfeeding] in her living room that now has tens of millions of members across the globe, that’s inspiring.”

3. THEY SOMETIMES KNOW WHEN DEATH IS IMMINENT.

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Obituary writers have all kinds of information channels when it comes to mortality. Funeral homes may call to notify them; death notices in their paper or in another might provide a clue that a lesser-known person’s life is worth investigating further. Or they may simply be tipped off that the end is near. “For Barbara Harris, who was a founding member of Second City, one of my co-workers heard she was ill,” O’Donnell says. “I was able to prepare the obituary in advance, so when the time came, there was something comprehensive for readers available.”

Other times, that information can be a little off. When an editor was sure a prominent celebrity was going to die, Pope was told to prepare a lengthy obituary. “It was Paul Prudhomme, a chef who a line editor was convinced was going to launch to glory at any moment," Pope says. “He died 27 years later.”

4. THEY NEED TO BE READY FOR AN EMOTIONAL DELUGE.

Mike Bodine, who writes for the Sheet in Mammoth Lakes, California, says that an obituary writer will often be the first person a relative of the deceased has spoken to in depth about a loved one’s passing. “They can be really distraught,” he says. “It’s a matter of waiting it out while people just let their heart out. You can’t always use what they’re saying, but just listening and being patient can help open people up. It can feel a little bit like handling the body itself. You don’t want to push people.”

5. THEY CAN GET CAUGHT UP IN FAMILY SQUABBLES.

Phoning family members to collect memories of the recently deceased can be a sobering experience. Bodine says that children of the deceased can sometimes try to use an obituary to vent about personal vendettas. “When someone has passed and a lot of money and kids are involved, it can turn into animosity,” he says. “Someone will say a sibling is screwing them over on money. It’s just distortion you have to wade through.”

6. FAMILIES CAN GET UPSET AT THEM.

While an obituary writer’s job is to celebrate life, that doesn't mean they exclude the less-flattering components. When he was writing about a local politician, Pope discovered that he had once been to prison for misappropriating campaign funds. When he mentioned that in the obituary, the man’s daughter phoned in an uproar. “She asked why we were doing that. I told her it was because it was the truth.”

O’Donnell has had similar experiences. “Unfortunately, in Chicago, a lot of politicians have been investigated and convicted of corruption," she says. "It gets reported at the time it happened and readers would have known about it. It would be a disingenuous, fraud obituary if you didn’t include it.”

7. OTHER TIMES, PEOPLE LIE.

Family members may also omit certain facts. Because obituaries are perceived as the last word on many people, relatives and friends sometimes lean into the idea it should be a hagiography. “With [socialite] Mickey Easterling, no one was going to tell me her age,” Pope says. “I had to cite public records, which I’ve never had to do before.” On another occasion, the deceased’s loved ones refused to inform Pope that a suicide had occurred. He found out the truth months later, after listing the cause of death as “undetermined” in the obituary.

8. IT’S BETTER TO DIE ON CERTAIN DAYS THAN OTHERS.

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If you want a well-read obituary, try to die on a Friday. According to Pope, people who expire that day of the week are more likely to be targeted for inclusion in the Sunday edition of the paper, which affords more space and more time for the obituary writer to do a thorough job. “Dying on a Friday will get you more play on a Sunday,” he says. Holidays are also ill-advised times to make an exit, as reporters with dedicated beats (politics, movies, sports) aren’t usually around to assist in reporting notable deaths in those fields, and readership is down.

While you'd think the dying and their associates would have more pressing issues, sometimes they prioritize that recognition: In 1936, King George V's physician injected the monarch with enough morphine and cocaine to hasten his death in time for the next morning's papers, rather than the less-desirable evening editions.

9. PEOPLE CAN BE A LITTLE NERVOUS AROUND THEM.

When an obituary writer becomes well-known in the community, their very presence can portend bad news. If Pope needs to phone someone for any reason other than someone’s passing, he’ll sometimes begin the call by saying, “It’s Pope. No one died.”

That slight unease can work both ways. Once, Pope walked into a social gathering where three people whose obituaries he had already written and banked for future use were standing. “I just kind of stopped,” he says.

10. THEY GET INVITED TO FUNERALS.

Obituaries are often treasured by families who appreciate how a writer has summarized and memorialized the deceased. Sometimes, that gratitude can extend to invitations to come to the funeral. “That happens with some frequency,” O’Donnell says. “I went to the services for a rock concert roadie, who I didn’t know, but he worked a lot of rock concerts I went to the in 1970s. I met a lot of people there who went to the same concerts.”

Other times, they’ll be dispatched to cover the funeral for the purposes of writing a piece. “I went to Al Copeland’s funeral, the founder of Popeyes Chicken,” Pope says. “There were 24 white Bentleys, a horse-drawn hearse, and a band playing ‘My Way.’” The solemn music continued until the procession reached the grave, at which point they broke into “Love That Chicken From Popeyes.”

11. CERTAIN PHRASES CAN ANNOY THEM.

Work the death beat long enough and certain recurring phrases begin to wear on a writer’s patience. Pope dislikes using the term the late to precede a decedent’s name. “What’s the point?” he says. “Can we get over that?” He also dislikes funeral service because “it’s redundant,” and avoids using “natural causes” as the reason for a death whenever possible, because it's non-specific. "Always get the cause of death," he says.

12. SOME PEOPLE USE OBITS TO TAKE REVENGE.

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O’Donnell says she's struck by the more contemporary practice of “revenge” obituaries, which are penned by family members and tend to criticize their departed relative for allegations relating to abuse or other personal reasons that have prompted a vendetta. Pope recalls a time when a widow sent in a death notice to his paper claiming her late husband’s law firm had sent him to an early grave. “We spent a day with lawyers de-fanging it,” he says.

13. THEY HAVE THEIR OWN AWARDS SHOW CALLED “THE GRIMMYS.”

Acting as a kind of unofficial trade organization, the Society of Professional Obituary Writers invites devotees of the dead to exchange information on their work and attend functions like ObitCon. Each year, awards—known as the Grimmys—are awarded for best long- and short-form obituaries, as well as for lifetime achievement. The trophy resembles a tombstone. “I was nominated last year,” Pope says.

11 Secrets of Tour Directors

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Tour directors get paid to travel the world, dine at incredible restaurants, and sleep in comfy hotel beds. Of course, there’s a lot more to the job than merely hoisting a brightly colored flag and rattling off pertinent facts. Some would even describe the work as exhausting, both physically and mentally. Unlike tour guides—who provide local expertise about a city or attraction and generally don't have to travel far—tour directors book gigs across the country or abroad via tour operation companies, handle the pre-trip planning, and conduct the tour, all while fixing the problems that pop up along the way. To find out what their day-to-day work is really like, Mental Floss spoke with three tour directors (or managers, as they're also known). Here’s what they had to say about an occupation that many label a “dream job.”

1. FORMAL TRAINING IN TOURISM ISN’T REQUIRED.

While some tour directors hold certificates in tourism and hospitality management, this isn’t a strict requirement, and professional directors come from a range of educational backgrounds. Kimberly Fields-McArthur, an American tour director based in Australia, has a degree in biblical studies and archaeology, and Anne Marie Brooks, a former tour director turned cruise ship worker in Orlando, has a background in musical theater.

More important than education or training: their skills. Tour directors must be highly organized, adept at speaking in front of large groups, and people-oriented. "A lot of it is a personality thing versus a training thing," Brooks says. "You can’t train someone to have a personality to work with people.”

2. WHEN THEY’RE ON A TOUR, THEY’RE ON CALL 24/7.

While they might get to spend the night in a nice hotel, the sleep of a tour director is often interrupted. Brooks, who used to lead city tours for high school performance groups, recalled a time when a large group of rowdy, drunk men stayed on the same floor of a hotel as the girls in her group. Although she was staying on a different floor, she received word around 3 a.m. that the boozed-up bros were making some of the girls—and adult chaperones—uncomfortable, so she went down to the front desk to sort it out. No other rooms were available, but the hotel agreed to hire a security guard to sit in the hallway for the duration of their stay.

Similarly, Fields-McArthur says she’s been forced to respond to issues in the middle of the night quite a few times. “One of them was a gentleman who made a very bad decision about what height he could jump into the pool from and ended up breaking his foot,” she says. “That was 2 o’clock in the morning.”

3. THEY HATE IT WHEN YOU CALL THEIR JOB A “FREE VACATION.”

“There’s nothing about what I’m doing right now that is me on vacation,” Fields-McArthur says. “If I am on vacation, it means I am not doing my job and you are probably not having a good time.”

Kathi Thompson Cullin, a tour director based in Grand Rapids, Michigan, adds: "I was up at 6 o’clock this morning and didn’t go to bed until midnight doing my paperwork.” When they're not traveling, they're handling all the pre-trip arrangements: crafting the itinerary, ordering tickets for activities, taking care of transportation and lodging, and following up with venues to make sure they haven't forgotten about their reservations (a common problem). Plus, there's the added challenge of shepherding dozens of people around a city that's unfamiliar to them, which isn't exactly a walk in the park, either.

4. THEY GO THROUGH A LOT OF SHOES ... AND LUGGAGE.

If you’re looking for a job that forces you to stay active, tour directing might be the profession for you. Thompson Cullin and Brooks say they walk so much they burn through three or four pairs of sneakers per year. (Pro tip: If you’re looking for comfy travel shoes, they both swear by their Skechers.) Suitcases tend to be another casualty of the job. Thompson Cullin says she stopped buying expensive luggage because it would just end up “beat up and broken with the wheels off” by the end of the year.

5. THEY’RE TRAINED TO ANTICIPATE THE WORST ...

People get lost. Accidents happen. Natural disasters strike. Tour directors have to be prepared for the worst-case scenario. “If I’m leading a trip to Indonesia, I need to know volcanoes might be part of the process of being there, and earthquakes might be part of the process,” Fields-McArthur says. So educating herself about potential disasters—and how to deal with them—is part of her pre-trip research.

Things can go wrong with the guests, too. "I’ve had trips where people have gotten very sick," she says. "I had one trip where I had seven people end up in the hospital at different times for completely different reasons. I’ve seen broken bones and illnesses and hospital stays for days on end, where we ended up having the trip continue on to a different country and we had to leave them behind.” (In those instances, the tour director notifies the tour company, which follows up with anyone injured and left behind to ensure they have travel arrangements once they recover.)

6. ... BUT IF SOMETHING LESS SERIOUS GOES WRONG, YOU PROBABLY WON’T KNOW ABOUT IT.

Problems arise more often than you’d expect. A misspelled name could result in the hotel not having any record of a 50-plus person reservation—this once happened to Thompson Cullin—and businesses often forget that large groups are scheduled to come in on any given day. “So many things go wrong on a day-to-day basis that our guests will never know about,” Brooks says. One time, a restaurant she took her group to was understaffed, so she stepped in, grabbed a pitcher of soda and plates of food, and started refilling their glasses and serving them—all while playing it off like she was merely mingling with the group.

The job is hard work, but tour directors never let it show. Fortunately, Thompson Cullin was able to fix the hotel reservation error before her guests ever found out about it. “Think of me as a duck floating on the water,” she says. “To the human eye I’m looking very peaceful floating along, not a care in the world, but underneath my feet are paddling like crazy just to stay afloat.”

7. THEY REALLY LIKE TALL PEOPLE.

While guests do get separated from the group from time to time, tour directors do their best to avoid it. In addition to holding a flag or umbrella at the front of the line to help guests find their way, they have another trick up their sleeve: “What I usually do is try to make friends with somebody who’s very tall in the group,” Fields-McArthur says. She'll ask if they'd mind being the last person in line; that way, when she looks back and sees their head bobbing above the others, she knows that the group didn’t get split up. (Of course, this doesn’t stop the occasional straggler from ditching the group any time they get distracted by a gelato shop or chic boutique.)

8. SOMETIMES THEY HAVE TO BREAK UP FIGHTS.

When you take a big group of strangers from diverse backgrounds and send them on a trip together, it doesn’t always end well. Thompson Cullin said part of her job involves playing mediator and preventing disagreements from escalating. The most extreme example of this is the time when she had to physically break up a fight in the hotel lobby between two women who weren't getting along on her tour. When tensions reached a boiling point, one woman raised her arm to hit the other, but Thompson Cullin arrived in the nick of time. “I grabbed both of their arms and said, ‘Come with me now,’” she says. They did cooperate, but only after they received a warning that they’d be kicked off the tour if they continued to quibble.

9. THEY OFTEN DEPEND ON TIPS.

The median wage for travel guides—those who "plan, organize, and conduct long distance travel, tours, and expeditions for individuals and groups"—is $25,770 annually or $12.39 hourly, according to 2017 data from the U.S. Bureau of Labor. However, Fields-McArthur says many U.S. tour companies pay directors by the day, and wages range from $100 to $300 per day (on the lower end of the scale) to roughly $400 per day for higher-paying jobs. For directors in the former camp, tips are essential. “On some of the older adult tours, sometimes they give you $5 in an envelope and say, ‘That was the best trip of my life,’ and you’re like, ‘Great, I can’t pay my bills now,’” Fields-McArthur says with a laugh. If you’re on a tour and you're unsure how much to tip, check the information packet provided by the company. They usually include tipping guidelines.

10. THEY MEET SOME INTERESTING CHARACTERS.

Tour directors see a steady stream of fascinating people from around the world. One of the most memorable characters that Thompson Cullin ever encountered was a “sweet little old man” from New Jersey on a tour of Sedona, Arizona, who happened to be an ex-con and “retired” member of the Mafia. “He said to me at lunch, ‘You know what Kathi, I like you. You got moxie. Here’s my card. Anybody ever gives you trouble, you call me and I’ll take care of them,'” she says. She thought he was joking at first. He wasn’t.

11. THEY NEVER GET TIRED OF THE AMAZING SIGHTS.

Sure, they may get sick of certain activities—Brooks, for example, has had her fill of Radio City Music Hall—but awe-inspiring sights like the Grand Canyon become no less impressive with repeated viewings. “I never get tired of it. That’s probably the one question I get asked all the time,” Thompson Cullin says. She also enjoys witnessing how her guests react to the sights they’re seeing. “My biggest perk is to see people’s faces transform into childlike wonder when they see things for the very first time—things that they have always wanted to see.”

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LIVE SMARTER