KEVIN BEUTELSPACHER
BY KEVIN BEUTELSPACHER
VISUALLYPERSUASIVE
2011 LOS ALTOS, CALIFORNIA
pocketbilliardstheopentable
table of contents
THE HISTORY OF BILLIARDS
THE GAME WITHIN
ORIGINS OF THE GAME..................................................................3
INTO THE STORM........................................................................58
THE GAMES EVOLUTION................................................................7
ACCEPT YOUR EMOTIONS...........................................................62
BILLIARD TIMELINE.........................................................................9
THE ID..........................................................................................65
DIFFERENT GAMES........................................................................11
THE “SIESTERS”............................................................................68
FUNDAMENTALS OF THE GAME
“PIN PULLERS”.............................................................................70
NO SHORTCUTS...........................................................................15
GOALS AND EXPECTATIONS.........................................................80
GETTING STARTED........................................................................17 FANS OF GEOMETRY.....................................................................19
SHARKIN.......................................................................................73
12 CRITICAL SHOTS
FOLLOW AND DRAW....................................................................21
IMPOSSIBLE BECOMES POSSIBLE...................................................83
SIDESPIN.......................................................................................23
THE RUNNING ENGLISH POSITION SHOT......................................84
NINE DEFENSIVE STRATEGIES........................................................26
THE RUNNING REVERSE ENGLISH POSITION SHOT........................86
CHEATING THE POCKET................................................................28
THE SHOOT THROUGH SHOT.......................................................88
ACCURACY VS. SLOP....................................................................30
THE SIDE POCKET CHEAT-THE-POCKET SHOT...............................90
SPEED CONTROL 1......................................................................32
THE INLINE FROZEN BANK SHOT...................................................92
SPEED CONTROL 2......................................................................34
THE FROZEN CUSHION SHOT 1....................................................94
GETTING THE ANGLE....................................................................36
THE FROZEN CUSHION SHOT 2....................................................96
GOOD HABITS & BALANCE...........................................................38
THE CUSHION FIRST SHOT............................................................98
STANCE BUILDER..........................................................................40
THE DRAW CROSS TABLE SHOT..................................................100
THE “V” BRIDGE...........................................................................43
THE CURVED BALL SHOT.............................................................102
THE OPEN BRIDGE........................................................................44
THE JUMP SHOT..........................................................................104
THE RAIL BRIDGE..........................................................................47
THE HOOK SHOT........................................................................106
FEELING OF CONTROL.................................................................49
GLOSSARY
THE CUE SHOT..............................................................................51 DEVELOPING YOUR SENSES..........................................................52 PRACTICE SESSION.......................................................................55 GRACE UNDER PRESSURE..............................................................56
A – D...................................................................................110–111 E – O..................................................................................112–113 O – S...................................................................................114–115 S – W...................................................................................116–117
INDEX A – H..........................................................................................118 I – V............................................................................................119
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the history of billiards
origins of the game
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The game of billiards has long been played by kings and commoners, ladies, gentlemen, and hustlers alike. Evolving from a game played on lawns similar to the croquet played during the 15th century in France and Northern Europe. Soon play moved indoors onto a wooden table where green cloth was used to simulate grass, and a small border was placed around the edges. Balls were shoved, rather than struck, with wooden sticks called “maces.” “Billiard” is a term derived from French, from the word “billart”, one of the wooden sticks, or “bille”, a ball. Most of our information about early billiards comes from accounts of playing by royalty and other nobles. It has been known as the “Noble Game of Billiards” since the 1800’s, although there’s also evidence that people from all walks of life also played the game since its inception. In 1600, the game was familiar enough to the public that Shakespeare mentioned it in Antony and Cleopatra. Seventy-five years later, the first book of billiards rules remarked of England that there were few “few Tones of note there in which hath not a publi-ck Billiard-Table.” In the late 1600’s players developed the cue stick. When the ball lay near a rail, players found it inconvenient to use the mace because of its large head. In these cases players found that if they turned the mace around, it was easier to use its handle to strike the ball. The handle of mace was called a “queue” meaning “tail” from which we get the word “cue.” For a period time, only men were allowed to use the cue while women were forced to use the mace, becuase men felt they would be more likely to rip the table cloth with the shaper cue.
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the history of billiards
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origins of the game
IN 1600, THE GAME WAS SO FAMILIAR TO THE PUBLIC, THAT SHAKSPEARE EVEN MENTIONED IT IN ANTONY CLEOPATRA.
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the history of billiards
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the games evolution
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EARLY TERMINOLOGY Tables originally had flat walls for rails and their only function was to keep
Visitors from england taught Americans how called “banks”. Players discovered balls could bounce off the rails and began to use spin, explaining deliberately aiming at them. Thus a “bank shot”is one in which a ball is made why it is reffered to as to rebound from a cushion as part of the shot. Billiard equipment improved “english” in the us but rapidly in England after1800, largely because of the Industrial Revolution. nowhere else. Chalk was used to increase friction between the ball and the cue stick even
the balls from falling off. They resembled river banks and even used to be
before cues had tips. The leather cue tip, that a player is able to apply side-spin to the ball, was perfected by 1823. Visitors from England showed Americans how use spin, which explains why it is called “English” in the United States but nowhere else. (British refer to it as “side”.) The two-piece soon followed arriving in 1829. Slate became the popular choice for table beds around 1835. Goodyear discovered the vulcanization of rubber in 1839 and by 1845 it was being used to make billiard cushions. A two-to-one ratio of length to width became the standard table dimensions in the18th century. The billiard table had essentially evolved into its current form by 1850. The dominant billiard game in Britain from about 1770 until the1920’s was English Billiards, was played with three balls and six pockets on a rectangular table. British billiard tradition is carried on today through snooker, a complex and colorful game combining offensive and defensive aspects and played on the same equipment as English Billiards but with twenty-two balls instead of three. The British appetite for snooker is approached only by the American passion for the national pastime baseball. The dominant American billiard game until 1870 was American Four-Ball Billiards, usually played on a large (eleven or twelve foot), four-pocket table with four balls. The game was a direct extension of English Billiards. Points were scored by pocketing balls, scratching the cue ball, or by making caroms on two or three balls. A “carom” is the act of hitting two object balls with the cue ball in a single stroke.
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billiard timeline
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the history of billiards
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the history of billiards
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different games
DIFFERENT GAMES A “carom” is when two object balls are hit with the cue ball in a single stroke. With many balls, there were many different ways of scoring and it was possible to make up to 13 pints on a single shot. American FourBall produced two offspring, both of which surpassed it in popularity by 1870. One, simple caroms played with three balls on a pocketless table, known as “Straight rail”, the forerunner of carom games. Other popular games were American Fifteen-Ball Pool, the predecessor of modern pocket billiards. The word “pool” means a collective bet, or ante. There are many nonbilliard games, such as poker, involve a pool but it was pocket billiards the name became attached to. The term “poolroom” today refers to a place where pool is played, however in the 19th century a poolroom intially referred to a betting parlor for horse racing.
Pool tables were initially installed so that patrons could pass time in between races. The two became connected in the public mind, although the unsavory connotation of “poolroom” came from the betting that took place there.
“Fifteen-Ball Pool was the predecessor of modern day pocket billiards.”
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the history of billiards
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different games
The term “poolroom” today now refers to a place where pool is played,
From 1878 until 1956, pool and billiard championship tournaments
however in the 19th century a poolroom intially referred to a betting
were held almost annually, with one-on-one challenge matches filling
parlor for horse racing. Pool tables were installed so that patrons could
the remaining months. There were times, including during the Civil
pass time between races. The two became connected in the minds of
War, billiard results received wider coverage than war news. Some of
the public, but the unsavory connotation of “poolroom” came from
the players were so renowned that cigarette cards were issued featuring
the betting that took place there, not from billiards.
them. Pool went to war several times as a popular recreation for the
Fifteen-Ball Pool was played with 15 object balls, that were numbered one through fifteen. For sinking a ball, the player received a number of points equal to the value of the ball. The sum of the ball values in a rack is 120, so the first player who received more than half the total, or 61, was the winner. This game, also called “61-Pool” was used in the first American championship pool tournament held in 1878 and won by Cyrille Dion, a Canadian. In 1888, it was thought to be more fair to count the number of balls pocketed by a player instead of each balls numerical value. Thus, Continuous Pool replaced Fifteen-Ball Pool as the championship game. The player who sank the last ball of the rack would break the following rack, and the point totals would be scored “continuously” from one rack to the next. The game of Eight-Ball was invented shortly after 1900, and Straight Pool followed in just ten years later in 1910. Nine-Ball was the last game to be developed, emerging another ten years later sometime in the early to mid 1920’s.
troops. Professional players toured military posts giving exhibitions; some even worked in the defense Industry. The game had more trouble emerging from World War II than it had getting in. Returning soldiers were in a mood to buy houses and build careers, and the charm of an afternoon spent at the pool table was a thing of the past. Room after room closed quietly and by the end of the 1950’s it looked as though the game might silently pass into oblivion. The poolroom in the 1920’s was an environment in which men gathered to loiter, smoke, fight, bet, and play. The rooms of today however bear no resemblance to those of the earlier times. Until very recently, billiards was dominated by men. The atmosphere of the poolroom was very forbidding and women had trouble being accepted. Nonetheless, women have been enthusiastic players since the game was brought up from the ground in the 15th century. For well over 200 hundred years now, women of fashion have played the game.
Through the early 1930’s, both pool and billiards, particularly threecushion billiards, shared the spotlight. While the term “billiards” refers to all games played on a billiard table, with or without pockets, some people take billiards to mean carom games only, using the term “pool” for pocket games. Through the early 1930’s, both pool and billiards, particularly three-cushion billiards, shared the spotlight.
While the term “billiards” refers to all games that are played on a billiard table, with or without pockets, some people take billiards to mean carom games only and use pool for pocket games.
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fundamentals of the game
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no shortcuts
The fundamentals of pocket billiards will surley take you further than all the knowledge and skills you may acquire. There are no shortcuts to the top. Most top ten shooters are succesful due to being fundamentally astandard. Those who would take a shortcut, usually only reach mediocrity at best. This type of player cannot go beyond average pool. The importance of building a solid foundation of the fundamentals cannot be stressed enough. Once you have the fundamentals, you can go on from there with very few limitations. This way, you can learn to enjoy this wonderful game. It’s our good performance which brings us the most pleasure when playing the game. Good performance comes from sound fundamentals. When I started out I had a poor stance, over tight grip and inadequate sighting techniques. After one year of practice I still could not form a solid bridge. I was inconsistent. I missed simple shots and got beat by lesser players, and experienced every type of loss possible. Sometimes when I had the game in hand, I would somehow find a way to lose. It was pathetic. However, after learning the basics and acquiring a sound understanding of the fundamentals I was able to win with consistency. During those inevitable long grueling matches, you’ll need command of the basics. When fatigue sets in, going back to the basics will carry you through and lead you to victory.
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fundamentals of the game
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getting started
GETTING STARTED An Important Tip The most important tip is at the end of your cue.
Follow straight through The tip is only in contact with the cue ball
If it flattens out or mushrooms, trim it with a razor blade and sand it
for one millisecond. What you do with your cue after that can’t affect
off so that it’s flush with the sides of the ferrule (the plastic collar onto
the cue ball, but you should develop the habit of following straight
which the tip is glued). Make sure you are very careful not to scratch
through. If your cue normally rises after contact or swerves toward the
or sand the ferrule or the wood of the shaft.
side of the English, then you’ll have a harder time hitting the cue ball
Hold it Hold the cue as level as possible unless you are deliberately trying to make the ball curve or jump. When the tip is halfway from the cue ball to your bridge hand, your right forearm (assuming you are right-handed) should be aimed straight down at the floor. Hold the cue firmly but not tightly. Chalk up Applying chalk to the tip before every shot is not too often, but it’s not necessary to chalk up so frequently when hitting the cue ball in the center. If the tip won’t hold chalk, rough it up with a piece of sandpaper or one of the many scuffers designed for the job. Don’t spin the cue into the chalk; instead, rock the chalk back and forth on the tip or brush the flat surface of the chalk across the tip. Crouch Some top players bend down so low when aiming that their chins touch the cue. Most have their chins no more than a foot above the cue. If you are having trouble pocketing balls, it may be that you aren’t bending over far enough to aim the cue like a rifle. Aim Really aim, do not just go through the motions. One way is to imagine where the cue ball must be at the moment of contact with the object ball, then aim precisely through the center of the imagined cue ball. Another way is to keep refining your aim until the hit looks just right, neither too thick nor too thin.
exactly where you want to and will increase your chances of a miscue. To develop a straight stroke, try picking a spot on the cloth six inches or so beyond the end of the cue and making the cue tip stop directly on it or above it after hitting the cue ball. Stay down During your warm-up strokes and when hitting the cue ball, don’t bob yow head or move anything except your forearm. Let the cue follow straight through, then freeze until the cue ball is well on its way. Extraneous body movement during the stroke can make precision pool impossible. Your elbow should remain frozen in space until the end of the follow-through. Watch your eyes When aiming, your eyes will move back and forth a few times between the cue ball and the object ball. Almost all top players have their eyes on the object ball–or a point of aim on a one of cushion–when they pull the trigger. One exception might be on a very easy shot where the critical factor is the amount of spin on the cue ball; then you might focus on the cue ball to make sure you hit it where you want to.
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fundamentals of the game
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fans of geometry
tangent line
pocketbilliardstheopentable
GEOMETRY FANS OF
ing
e
lin
aim
THE GEOMETRY OF AIMING imaginary ghost ball angle
Fans of geometry and precision will like the method explained in this cu t
diagram. If you have trouble aiming cut shots, resorting to geometry
le ang
might help. Find point Y on the object ball directly opposite the target, A. Imagine the line BYA. Imagine line DXC, parallel to the first line, passing through the center of the cue ball. X, is the point where the line intersects the left edge of the cue ball. To make the shot, point X on the cue ball must hit point Y on the object ball. Aim the cue ball
impact line
GHOST-BALL AIMING When the cue ball hits an object ball, the ball will move in the direction of the impact line, which is the line between the ball centers at impact. The line of action should point towards your desired target. Aim the cue ball at the ghost ball center, not the contact point. cue ball object ball
On every shot that’s not straight in, an allowance for throw must be made. “Throw” is the term used to describe how a shot is thrown slightly off line by the frictional forces during the collision.
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fundamentals of the game
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follow and draw
center (stun) top-left
follow (top)
left
bottom-left
vertical plane
top-right
right
draw (bottom)
horizonatal plane
bottom-right
Follow and draw are essential elements in cue ball control. Both of them depend on striking the cue ball above or below its center on the vertical axis, although sidespin can be applied as well. You’ll learn the technique faster if you understand a bit of the underlying physics.
Follow If a cue ball rolling naturally down the table strikes an object
Scientist and pool buff George Onoda noticed a very interesting fact
ball full in the face, the cue ball will stop dead in its tracks just for an
about striped pool balls: ordinarily the width of the stripe is exactly
instant, then its continuing rotation, which is reduced, although not
half the diameter. (Note, however, that some balls on the market today
eliminated by the impact, will cause the cue ball to continue to move
have wider stripes.) This permits an easy method of learning how to
forward, “following” the object ball.
apply maximum spin. Use a striped ball as a cue ball. Orient the stripe
When the cue tip strikes the cue ball halfway from the center to the top (to be precise, 70 percent of the diameter up from the bottom) on the vertical axis, the cue ball will start with natural roll immediately. Natural roll means that there is no slippage between the ball and the cloth. While it is possible to hit the cue ball slightly higher than 70 percent
SIDE VIEW
of its diameter without miscuing, it is impossible to demonstrate in practice that doing so will create additional topspin. In other words, for practical purposes it is impossible to strike a cue ball so high that it begins its movement with much more rotation than natural roll. The distance the cue ball rolls after it hits an object ball, then, (provided
FOLLOW
the added spin is in the rolling direction
DRAW
the spin is against the rolling direction
the 70 percent point is where the tip hit the cue ball) depends only on how hard the cue ball is struck.
so that it’s exactly horizontal. The upper edge of the stripe is exactly halfway from the center of the ball to the top. Clean the ball, chalk your cue, and practice hitting the top edge of the stripe on the ball. After each try, examine the ball and see if the chalk mark left by the tip is on the edge of the stripe was on target.
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fundamentals of the game
If the bottom edge of the cue tip should happen to hit the cloth first, for example, a miscue is almost a certainty. The best way to find out what a maximum low hit looks and feels like is to use a striped ball as the cue ball with the stripe horizontal. During your warm-up strokes, try to direct the upper edge of the cue tip toward the low edge of the
0.23
sidespin
SIDESPIN Sides spin, or English, has little effect on the angle the cue ball takes off the ball it hits. That angle is influenced by topspin and backspin. What sidespin mainly does is change the way the cue ball bounces off
stripe, and after hitting the cue ball, see where the chalk smudge is.
a rail. Being able to judge the altered rebound angle accurately is so
To further reduce your chances of miscuing on maximum draw shots
much harder to pocket a ball when English is used than with a center
make sure that your tip is properly shaped and groomed and is well chalked; your bridge should be snug and hold your cue close to level. Players who have trouble getting adequate draw action almost always are not hitting the cue ball low enough. Another frequent flaw that prevents lively draw action is not hitting the cue ball strong enough when the cue ball is more than a couple of feet away. Most beginners should practice short straight-in shots, with the cue ball only six or
essential for position play. Because of squirt, throw, and swerve, it is ball hit. Top players, however, have an uncanny ability to accommodate and exploit these three variables. Players differ in their estimates of how often cue ball spin must be used, but it is probably less than 20 percent of the time. For the great majority of shots in pool, the cue ball can be controlled adequately by using center ball hits and varying
LEFT ENGLISH
cw spin
eight inches from the object ball. At that distance, it is easy to learn how to draw the ball back several feet without hitting it hard. Stop On straight-in shots, a cue ball that slides into the object ball with neither topspin nor backspin will stop dead. It takes practice and
ccw spin
RIGHT ENGLISH
a certain touch to shoot stop shots at all distances. On long, straight shots, considerable backspin must be applied, otherwise the friction of the cloth will reduce the backspin to zero and allow the cue ball to
TOP VIEW
begin rolling before it reaches the object ball.
“Throw” is used to describe the way the cue ball can push an object ball off line because of the friction between the balls at impact.
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fundamentals of the game
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sidespin
Rebounds One way to learn how to judge the effect of sidespin on
To see how much harder it is to make a shot when sidespin is used, set
cushion rebound angles is to practice simply using the cue ball. For
up a long diagonal straight-in shot with the object ball in the center
example, shoot the cue ball down the centerline and by using various
of the table and the cue ball four feet away. Try to make it with heavy
amounts of sidespin try to make it bank into any desired point on the
left or right English. If you can make a long, straight shot half of the
side rails, which can be marked with coins or balls. Drills like this get
time, with no English, you will be fortunate if you make it one time
boring fast, so it’s best to do them as competitive games with a friend.
in five with English.
English throw It’s not quite accurate to say that the cue ball should
Squirt Another factor that making English dangerous is deflection,
hit the object ball at a point directly opposite the pocket. That’s only
now usually called “squirt.” As mentioned already, when you hit a cue
correct advice if throw is ignored. “Throw” is the term used to describe
ball right or left of center, it will not travel in a direction that is exactly
the way the cue ball can push an object ball off line because of the fric-
parallel to the cue, it will diverge slightly in a direction opposite of the
tion between the balls at the moment of impact. Right English throws
English. Pool cues which have small diameter tips (between 11 and 12
the object ball slightly to the left, you must allow for it. The reason is
millimeters) cause less squirt than those that are fatter (between I2 and
that the leading edge of the cue ball is moving to the left, and when
13 millimeters) because there is less weight near the end of the shaft to
that moving surface hits the object ball, it grabs and throws it off line
push the cue ball off line.
to the left. The same explanation applies to the way a frozen two-ball combination is thrown off line if the first ball is hit on the side.
Swerve A third factor which can make it harder to pocket balls when English is used is swerve. Unless the cue is exactly level, English will
Cut-shot throw Throw occurs on cut shots, but it is difficult to see.
make the cue ball’s path bend slightly. The more you elevate the back
If you are cutting an object ball to the left, left-hand sidespin requires
of the cue, the more the cue ball will curve, or swerve. Because the cue
a slightly thinner hit than you would need if no sidespin were used.
is elevated at least slightly on the great majority of shots, swerve must
Right-hand spin will throw the object ball to the left, so it requires a
be considered when English is applied. There are, of course, situations
slightly thicker hit. Throw occurs on cut shots even if no English is
when swerve (technically masse) is needed in order to bend the cue ball
used because the surface of the cue ball rubs against the object ball,
around an interfering ball.
creating a frictional force. No throw occurs if the spin on the cue ball is such that it rolls off the object ball instead of rubbing against it.
pocketbilliardstheopentable
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fundamental s of the game
9 NINE DEFENSIVE
STRATEGIES 1 THINK DEFENSE
2 AGRESSIVE DEFENSE
3 “STUN RUN-THROUGH”
4 INTENTIONAL FOUL
5 COMBONATION
6 POCKET BLOCKING
7 SINKING OPPONENT’S
8 SACRAFICE
9 “SAFTEY”
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nine defensive strategies
HERE’S A CONDENSED NINE POINT CHECKLIST OF DEFENISVE STRATEGIES TO KEEP IN MIND 1. When coming to the table with the freedom to place the cue ball
7. In eight-ball, say one of your opponent’s balls is jawed, thus making
anywhere, you naturally think offense. Think defense also, because the
a run out for you almost impossible. You might consider making his
same freedom can enable you to completely bury the cue ball.
ball by softly driving one of yours into it, thus replacing his ball with
2. With ball in hand and a cluster that needs to be broken, consider playing safe in a way that breaks up the cluster. It may be possible to also drive the ball into the cluster and at the same time snooker your opponent. Such a double duty safety immediately turns the game in your favor. This is often referred to as “aggressive defense”. 3. Practice what snooker players call the “stun run-through.” Hit the object ball full in the face while striking the cue ball just slightly above center. The result is that the object ball travels a long way and the cue ball creeps forward only a few inches ... very useful in safety play. 4. In a game of nine-ball, if you are snookered and have little chance of hitting the lowest-numbered ball, you might consider taking a foul by bumping one ball against another to create a cluster and make it harder for your opponent to run out. 5. In rune-ball, when the nine is in the jaws of the pocket, strategy changes completely. Search for ways to make the 9 with a combo or a carom. Don’t forget the option of pocketing the 9 directly if you have no decent shot. Better to make your opponent run out than to give him an easy combo or carom. 6. In eight-ball don’t try to run out unless you are pretty sure you can, because if you are left with one or two balls while your opponent has five or six, you are at a great disadvantage. The table is cluttered with balls that are interference to you and opportunities for your opponent. Instead of making a ball, it can be better to block a pocket, reducing options for your opponent and leaving you an easy position shot later.
yours. Your inning is over, although, depending on the position of the other balls, you may have improved your position. Even caroming the cue ball off one of your balls into his jawed ball can be a strong play. The cue ball is left in the jaws, often a terrible leave for your opponent. 8. In eight-ball, it’s sometimes worth making one of your opponent’s balls directly, even though your opponent gets ball in hand. Make the move when he or she has only one or two balls left and they are tied up. If you still have a lot of balls on the table, there may be no way for your opponent to run out, play safe, or avoid a sellout. 9. Under most rules of eight-ball, you can pocket one of your balls and end your inning announcing “safety” before you shoot. It is rare that you would want to do that, but there are situations when it is the best play. Let’s say you have only one ball you can make, but no way to get position on the next ball. It’s easy to think of a few layouts where calling safe and making a ball will leave your opponent nothing.
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cheating the pocket
A player who tries to send the cue ball to f in the center of the table and ends up at g instead might say, “I shot too hard.” Its just as accurate to say, “I hit the 2 too thin.”
CHEATING THE POCKET
medium
Shoot this shot three times with exactly the same English and speed
cut
f
90°
and the cue ball will land on three different spots, depending on the hit. A full hit that sends the 2-ball to the left side of the pocket will stop at fin the center of the table. If the 2-ball enters the middle of the pocket, the cue ball will roll a farther and stop at h. The thinnest possible hit on the 2-ball that still puts it in the pocket sends the cue
f
all
sm
ball to g. The three hits carom the cue ball off the 2-ball along three
t
cu
different lines; because of interfering balls, only one might be usable
h
in playing position.
90°
large
cut
90°
g
g
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accuracy vs slop
Your mechanics have to be very good to make such a shot consistently.
ACCURACY VERSUS SLOP A long, straight shot with the object ball halfway from the cue ball to the pocket presents the smallest margin for error and is therefore
t angle
large cu
30°
a good one to practice. Your mechanics have to be very good to make such a shot consistently.
¼
At the left, the 8-ball is in the way of the 5-ball. Shoot firmly and the ball will rattle in the jaws and not go in. The best chance to make it is to shoot so softly that the 5-ball just barely reaches the pocket. Unless the pocket is very tight, the ball will drop after bouncing lightly off one or both faces of the jaws.
SIDE VIEW (looking along the aiming line)
30° ¼ ¼ ball hit
½ ½ ball hit
¾ ¾ ball hit
½
30° small cut angle
¾
m
diu
me
cut
le
ang
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speed control I
The idea is to bank the cue ball off six rails and make it come to rest on a dollar bill. With half an hour of secret practice, you’ll be able to impress your friends.
SPEED CONTROL I One place where speed control is the only thing that counts is the lag for break, but it is important on almost every shot. One interesting game that will improve your touch is to place a sheet of typing paper anywhere on the table and try to land the cue ball on it after a bank of three or more rails. Shoot until you fail, always starting from wherever the cue ball stops. The same sequence of rails can’t be used twice in a row. When you fail, your opponent shoots. Who ever can reach ten successes first wins. When used as a solo test, keep track of how many shots it takes you to land on the paper ten times.
follow (topspin)
decreasing topspin
normal topspin
FOLLOW SHOT ball center height
normal roll impact height
RAIL-IMPACT HEIGHT
rail impact height
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speed control II
SPEED CONTROL II In nine-ball, you frequently will have to make a ball and send the cue ball off several rails for position. Here’s a shot you should try a few times. Cut the 7-ball in and, depending on your level of skill, put the cue ball on a sheet of typing paper, a half a sheet, a quarter of a sheet, or a dollar bill.
target line
object ball angle error
e th all n ee t b tw jec be b e do nc an sta ll di ba e cu
cue ball angle error
In nine-ball, you frequently will have to make a ball and send the cue ball off several rails for position.
aiming line
CUT ANGLE ERROR AND OBJECT-BALL ANGLE ERROR
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getting an angle
One of the keys to running balls is getting an angle.
GETTING AN ANGLE One of the keys to running balls is getting an angle. Not only must you make the first ball, you must get an angle on the next ball that permits you to get to the third one. In other words, you must plan three shots ahead. If there is a cluster that has to be broken up, the task becomes getting an angle on a ball that can be used as a break ball. Balls 6-7 must be separated, as seen in the diagram right. To do this, you must follow forward softly on the 4-ball, leaving the cue ball in a position to carom into the cluster while cutting the S-ball into the corner. A good nine-ball player would spot the possibility at a glance even with five other balls on the table and might make the 1-,2-, and 3-balls in a way that leaves the diagrammed position.
30° deflected angle
aiming line
fast medium slow the cue ball’s path is deflected by 30º
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GOOD HABITS & BALANCE
First you must find your balance point and then work on improving
On the other side of the coin, bad habits are hard to break.
it. Balance begins in the pit of your stomach, extending down through
Once you start out wrong, you very rarely succeed. This book will help you contruct a solid foundation for your game and then you can increase your skills so that you can play with anybody. Bad habits must be replaced. They cannot be broken. There are exceptions to any rule. Willie Hoppe for example had an awkward stance. He delivered his stroke across his chest. Pete Rose is hunched over at the plate. Lee Trevino has a sloppy golf swing. Yet these athletes were the best in the world. Once you understand the fundamentals of the game, you will naturally adapt them to your own personality. You are unique. There is no one like you. You must learn grow and develop your skills according to your personal capabilities singing the song, “I Did It My Way” as you improve. You cannot be a champion by copying someone else. There are many stages in pocket billiards. You must be fundamentally sound in all of them. You need to master each level before going on to the next. If you do this, you will make the top ten in your league with ease. This can be achieved with just a minimum amount of practice. You begin with desire to win and an ability to pay attention.
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good habits & balance
your legs. Judo and Karate experts are among those who realized this some eons ago. Proper body balance is critical for building a good stance, cue stroke and a consistent sighting technique. You can practice balance twenty-four hours a day. When leaving your car, do this without hesitating or losing a single step. When you walk up the stairs, do a three sixty - without a stagger. Walk on the yellow line in the parking lot. If you find yourself in a crowded place, see how fast you are able to walk without knocking someone over. Children often use these exercises to build confidence in themselves. They never go from point A to point B without detours. During their developmental years, they do all sorts of things to learn good body posture. Practice balance in everything you do. Soon, it will be a natural as breathing. You’ll find that as you practice balance you will become aware of a certain pace at which you do things. This is important because it is uniquely your own. Once you tap into your pace, you can then go on to high levels in all sports. One exercise we did in our religious training was to stand in the “Tree” posture. While this exercise was not designed for pool players, I’ve found it a great aid to building balance. Stance is the beginning of each shot. If you set up properly, you will increase your chances of making the shot. If you are out or line, you will miss many shots. As you approach the table, assume your natural position. Do not emulate others. Once you have decided upon a shot, set yourself according to your stance. For instance, I draw a line from the object ball to the inner part of my right thigh and plant my feet. Then I move my left leg forward to where I’m balanced and comfortable. At this point, I bend over to address the cue ball, and recheck my lines. One, the line to my right thigh and two, is my left foot aimed at the object ball? If this is done correctly, I find that my chances of missing are slim. My confidence is high and I am ready to make the ball. Sometimes I will need to make an adjustment. I will move my right foot forward or backward to obtain better vision. If you are not lined up, do not sway to align yourself. You have to completely reset
THE “TREE” POSTURE IS AN EXCELLENT EXERCISE TO BUILD THE GOOD BALANCE YOU NEED FOR AN EFFECTIVE STANCE.
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stance builder
STANCE BULDER The following is an exercise to check your stance.
Shoot the numbered balls, one through six, into the corner pockets on the bottom rail. Readjust your stance each time you play a ball. This way you will become accustomed to the procedure each time you take a shot. Remember to draw a line from the sight on the cue ball, or object ball to the inner right thigh. Lay the cue down and then step into the shot. This way, you are building a good solid foundation for your game.
fast medium slow
If the number one ball strikes the right rail, simply readjust your stance to the right. And should it strike the top rail, you readjust to
31째
the left. These minor adjustments will soon come to you automatically. This proves why practice is so important. However you must
direction A has the largest effective size of any direction to the pocket due to possible interaction with the rail
43째
practice the right thing. Remember, a good stance takes time to develop, be patient.
B
A
direction B has an effective target size much smaller than direction A
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the “vee”bridge
THE “VEE” BRIDGE Inevitably you’ll run into a situation during a game where you cannot
Sometimes a good bridge is impossible to make. These are the times
get into a good solid stance. Certain shots will not permit this. Such
when the “Vee” bridge comes in. Again you are unable to form a solid
as a rail shot or a frozen ball shot. When the cue ball is centered in a
stance. The Vee bridge forces you to stand up on your toes and take a
cluster, you will not be able to approach the shot with a fundamental
shorter stroke. In order to master the Vee bridge, you must practice.
stance. When confronted with this type of situation, you must first
When two balls are frozen together, it’s often easy to touch one when
acknowledge it. You’ll then need to focus all your attention on hitting
attempting the shot. If this happens, you have fouled, and as a result
the cue ball in the just right place. When you are up against the rail
you give your opponent ball in hand. Which could result in loss of
and need to make a cut shot into the corner pocket, you must make
game. Let’s get to work on this one. Begin by placing your fingers in
a good hit on the cue ball. After you line up the shot, focus all of your
an upright position and extend your thumb outward in order to form
energy on a clean hit on the cue ball. In this case, don’t look at the spot
a Vee. There are two things you must remember and learn. First, your
on the object ball. Achieving a solid hit is much more important than
stroke must be smooth and free of poking, jabbing, and english. Move
fundamentals in this type of situation.
your grip forward two to three inches ahead of the cues balance point.
Sometimes a good bridge is impossible to make. These are the times when the “Vee” bridge comes in. When you raise your stick up, which you must do, you tend to be out of balance. This can be corrected when you bring your grip forward. Do an exercise with several frozen balls around the table and begin by target line angle to the pocket pocket centerline
simply shooting them into the pocket. After you gain confidence, set up shots. It takes time to master these shots, so be patient. If this shot is in your arsenal, you will make the top ten in your league.
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the open bridge
THE OPEN BRIDGE
CUT-ANGLE BANK OF A BALL FROZEN TO A RAIL
Do an exercise with several frozen balls around the table and begin by
The basic bridge is a versatile one. For follow shots, just adjust your
simply shooting them into the pocket. After you gain confidence, set
bridge by simply drawing your fingers toward yourself and raising the
up shots. It takes time to master these shots, so be patient. If this shot
bridge. For draw shots, just extend them outward until your bridge is
is in your arsenal, you will make the top ten in your league.
lowered. You may draw your middle finger in behind your thumb to
The basic bridge will be used most of time during your playing days, especially on a small bar table. So you should spend a good amount
offer more stability to your shot if your hand is smaller than average.
of time learning this bridge. To form this bridge, lay your hand flat on
Try both of them and choose which one works best for you. In the road
the table with your fingers apart. As in all bridges, this one must be
to enlightenment, we choose what works best for us. All roads lead to
solid. Raise your index finger and then move your thumb and middle
perfection. Some of us take the long way around. Control, or a feel-
finger towards each other until they are parallel. Do not move your
ing of control, is what you look for on these shots. On rail shots, try
pinky and forefinger. Make sure to keep these fingers pressed firmly
to keep your eyes on the cue ball as you shoot, after all hitting the cue
on the table. These two fingers are the key to a solid bridge. You may
ball is what a rail shot is all about.
have to develop muscles to keep them firm. Now you must place the cue shaft over your thumb and middle ringer. Then pull your index finger over the shaft. At this point your thumb will be above the table approximately 1/2-inch to an inch. Thus forming a basic bridge.
fast medium slow
I use this type of bridge because the basic one is too loose for me.
the cue ball deflects while the object ball compresses the rail
the object ball clears the cue ball
I realize that this material is boring and repetitive, but this is where it all begins. We must face these fundamentals if we are to get to the exciting part of beating people, and learning the art of billiard play.
As in the road to enlightenment, we choose what works best for us. All roads lead to perfection. Some of us take the long way around. minimum cut angle (about 25ยบ) smaller rebound angle
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the rail bridge
THE RAIL BRIDGE
the object ball is initially frozen to the rail, and barely clears the cue ball to prevent a double kiss
the cue ball stuns in place
The rail bridge is the most difficult to describe and teach. The reason
You will win or lose games by how well you use the mechanical bridge.
for this is that this bridge is best learned when it comes naturally to
Some people call it the “ladies’ aid” or “crutch.” What ever you want
you. You discover the rail bridge. I, however, place my cue on the rail
to call it, you had better be able to use it. There are many occasions we
and surround the shaft with my middle and forefingers to maintain
have missed critical shots because we stretched too far? This is espe-
stability. Then, I simply shoot between them with as much control as
cially true in our position. So the mechanical bridge will be a must on
is possible. Sometimes you will use the complete open bridge or the
our “we better master” list. The arm of the bridge is to be placed flat
basic bridge. There is no clear cut rule for using the rail bridge. You’ll
on the bed of the table whenever possible and held firmly. Place your
find what works for you. Control, or a feeling of control, is what you
cue on the rack and hold it in front of your chin. Sight down the shaft.
look for on these shots. On rail shots, try to keep your eye on the cue
Your head must be directly in front or the shot. Do not over stroke.
ball as you shoot, hitting the cue ball is what a rail shot is all about.
Treat this shot as you would a short shot and play to make it. Don’t
Find what works for you. Control, or a feeling of control, is what you look for on these shots. On rail shots, try to keep your eye on the cue
draw or follow or use any english when using the mechanical bridge. Just make the shot and go on from there.
ball as you shoot, hitting the cue ball is what a rail shot is all about.
45°
45°
STRAIGHT-ON BANK OF A BALL FROZEN TO A RAIL
There is no specific rule for using the rail bridge. Simply use what works for you.
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the rail bridge
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the cue shot
THE CUE SHOT From time to time, as you develop and become a good pool player, you will run into shots you cannot see. For one reason or another, you will be unable to see the mark on the object ball. You just plain don’t see the angle. This is where your practice of the fundamentals pays off. You’ll need to rely on your stroke and experience for these blind shot. Feel and instinct play a big part in these shots. At times, especially in a slump, you must push yourself to feel your way around the table. We all have our “dreaded” shot. For some people, it is the cut shot in the side pocket. Others hate the long shot, and still others will not shoot rail shots. For me, it is the long cut shot into the corner pocket.
For some reason, I can’t see this type of a cut shot. Hours upon hours of practice has not helped me to see the angle for full table cut shots. If you cannot see a shot, then you will have to trust your stroke. I make this shot 85% of the time, and in the league, this is good enough. My method gives me the best chance to succeed when I can not see the angle. First I walk around the table to my object ball and line it up. While I am standing near the ball, I can readily see the mark. Then I place my chalk in a direct line with the cue ball. Now I return to the cue ball and assume my stance. I aim at the chalk. Next I bring my sightback to the cue ball. Now I look at the tip of my cue to see if it’s lined up with the chalk. Since I cannot see the angle on the object ball, I simply focus in on the chalk and stroke with my best stroke. I succeed over 80% of the time. What I have done is bring my target closer to me. The spot on the object ball is far away. The chalk is bigger. When I sight the cue ball, my target then becomes an easy mark. Here I have the target directly in front of me. It’s as if I’m standing just three feet away from a huge dart board. Your instincts and your sense of feel will have a lot to do with your making the top ten in the league. You can measure your ability to feel a shot by practicing a simple procedure. When you use english, you must be able to sense where the cue ball is will end up after it makes contact with a rail. I will discuss english in another chapter. But for now, I would like you to absorb this information in your computer banks. The use of it will be developed in time.
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DEVELOPING YOUR SENSES
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developing your senses
vertical plane
Let me give you an example. Strike the cue ball using left english and send it to the rail as illustrated. See diagram page 53. Hit the number seven diamond. If you can predict whether the cue ball will rebound towards the number one or two diamond on the long rail, you have
right
developed a sense about what you are doing. You have to be able to horizonatal plane
determine this information before the cue ball strikes the rail. Sounds difficult, but it’s not. We all have this type of instinct. Once when I was, on the golf course, I hit an errant drive into the rough. I then had a shot of one hundred eighty yards to the fairway, so I used my three wood and hit the ball well. I didn’t see the ball leave my club, yet I was able to sense that I had hit it two hundred and thirty yards, a little to the right. When I reached this spot, I was amazed to find my ball. My
Sometimes I use phrases to create a sense of peace and relaxation. In a dificult match, I may say to myself, “With a gentle undulating swell, the spring sea rose and fell, rose and fell, rose and fell.” instincts are fully developed. I can tell whether I have missed a shot just by the sound of my cue tip hitting the cue ball. The center fielder leaves at the crack of the bat, races to the spot where the ball will land,
SIDESPIN INTERACTION WITH RAIL
and makes a one handed running catch. How does he know where the ball will land so soon after it was hit? There is a lot of information available to us through our senses. I will show you how to locate this feedback information, and your shooting will improve dramatically. That will come later. For now, we are working on the fundamentals.
sideways rail force opposing spin
rolling direction along rail
And, in order to master these fundamentals, we must practice them until they become a natural piece of our game. There is no class of people more bullheaded and stubborn than pool players. Most want to take short cuts. After two years of practice, I went back to the basics in order to improve my game. I was stuck in a rut and could not get
deflected motion
any better. If you decide to take the short cut and do it on your own, keep this book, you will definitely come back to it when you really want to master the game.
Strike the cue ball using right english and hit the number seven diamond at the opposite end of the table. Will the cue ball rebound towards the number one diamond or the number two diamond?
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practice session
SIDESPIN DEFLECTION OFF A RAIL
PRACTICE SESSION While you have read about the fundamentals of pocket billiards. It is now necessary to practice them. During the practice session, make it a conscious effort to go through a checklist before each shot you take. An airline pilot won’t take off until he checks his plane, so you should
left English
not take your shot until you’re ready. Once you shoot, it is too late to correct any errors. A Buddhist Monk once told me that, “You cannot retrieve an arrow once it’s in fight.” The first thing to check is your balance and stance. Be sure that you are comfortable. Then check your bridge. Pay close attention to your grip. Make sure it’s not too Light. One more thing you must do is pay close attention to your legs and left English deflects the rebound to the left
buttock muscles. Are they tense and tight? Let go and relax. You can not deliver a smooth stroke with tense and tight muscles. In addition, you will tire out in long matches if you are uptight. You must practice these fundamental elements until they become as natural as breathing. Sometimes I use phrases to create a sense of peace and relaxation. In a difficult match, I may say to myself, “With a gentle undulating swell, the spring sea rose and fell, rose and fell, rose and fell.”
A Buddhist Monk once told me that, “You cannot retrieve an arrow once it’s in fight.”
right English
no English
At this point, you are practicing the basics. You will not necessarily make a lot of shots if you are concentrating on your stance and bridge. right English deflects the rebound to the right
Although if you succeed in standing well balanced, and with a solid bridge, holding your cue loosely and relaxing at the table, you’re successful at this practice session. If you make the shots after all of this, then you are really on your way. It doesn’t take long to command the basics to your system. If you will work on them first, you can develop great potential in just matter of months. Gaining the ability to make shots is what takes time. Many beginners make the mistake of thinking they must make a shot to be a good player. Stick to the basics first, and the shot making will follow. The wayside is strewn with more than a few frustrated pool players who never practiced the basics.
no English deflects the rebound straight off the rail
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grace under pressure
GRACE UNDER PRESSURE As you progress, you’ll enter matches and be inclined to choke under pressure. I once went to a psychologist to see if he could help me overcome my tendency to choke in pressure situations. This problem had become serious. I’d make a great run only to miss an easy hot on the money ball. He told me that some people have it and some do not. “The ability to perform under pressure is a gift,” he said. I really feel I should have gotten my money back. He was truly dead wrong. We can learn to overcome choking by exercising the basics and believing in ourselves. This method will work well when you reach the money ball or the key ball in a run. Decide on your shot and assume the proper stance. Say to yourself “ready” and determine if you are, then say “set, go.” On the word set, draw your cue back. and on go, stroke it forward
PERFECTION THE NEVER-ENDING ROAD TO
YOU MUST NOT OVERLOOK ANYTHING. STRIVE TO IMPROVE YOUR GAME, YET ACCEPT YOURSELF AS YOU ARE NOW.
through the cue ball. “Set” (back). “Go” (forward through the ball). Time this to your stroke. As a child, I’m sure you were familiar with this phrase. “Ready, set. go!” You learned to react to it and to trust it. When you use these words on a shot, you will find your self relaxing
YOU’RE ON YOUR WAY
and getting ready to shoot.
Now for the game it self. The first thing you do when you approach
You are on the never-ending road to perfection. You must not over-
the table is to decide on a shot. Then you must sight it. At this point,
look anything. Always strive to be better, yet accept yourself as you are
you will get into position to shoot. Visualize the shot as already being
right now. You are doing your best and there is nothing more you can
made, creating a mental picture of the ball smoothly sailing into the
ask of yourself. If you are unable to run the table and lose, be kind and
pocket. Imagine the pockets as wide as barn doors and then send it on
believe that you did your best. Sure you could have made that shot,
its way. This is really the fundamental game of pocket billiards. If you
but you didn’t. Don’t be your worst enemy. When I became friends
master these and still do not make balls, at least you will look nice at
with myself and stopped beating my own brains out, I really started
the table. Perhaps you can scare your opponent to death. They’ll say,
to perform. Shoot only the shots you can make. Build your game one
“He must be good. Look how smooth he is.” If you master the funda-
step at a time. No one can stay in the top ten in his league without a
mentals and go no further, then perhaps you should consider selling
good foundation in this game. You will need this solid foundation to
your cue. There’s more to this game than basics. You’re just beginning.
survive your season.
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the game within
The game of pocket billiards embraces the inner soul and brings you face to face with yourself. It is a miror which reflects both your fears and insecurities, and your courageous spirit. If you pursue this game, you will see very clearly how your feelings can affect your performance. This is a chapter on that inner person who is your real self where we will begin to examine those traits which help you win the games, or cause you to lose. This section is reserved for those fearless ones who want to go far beyond the boundaries of mediocrity and into a world elevated by challenging performances. The pleasures of the harbor can destroy you and leave you defenseless. When the storm’s about, you’ve got to ride it out if you are ever to sail again. And into the storm you go. Especially when you face the “man in the mirror.” Certain shots at certain times cause us great concern. We tense up and become timid and unsure. Sometimes it isn’t even the critical ball in a run. We come to a situation where we simply cannot perform. We cannot rely upon our performance. The game has rendered us helpless. Like a man stands helpless before the firing squad, we await the final blow. For us however there is no relief in death. We must live to see our failure to make an easy shot. What baffles us most is that after we miss, we know that we could then make the shot ten times in a row. Here is where we leave the fundamentals of shot making and take up the fundamentals of shot maker and the game within. When you enter that pool room and pick up that pool cue, you have become a warrior in the field of battle. There are many weapons in this war, although the most important tool is the one centered around the human emotions. If you are to succeed, you must get these emotions under control. Here is where the road thins out. It is not too heavily travelled. With just a few warriors here and there trading a sparsely travelled path. A pool is a mirror of the individual, those who go on are not afraid of what they see.
into the storm
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into the storm
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“WE ARE ALL ON THE ROAD. I’M JUST ANOTHER STRAGGLER.”
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The game weeds the weak from among its field. The most common
Who are you? What is your game? As you improve in pocket billiards,
thread that holds pool players together is the knowledge that we are
a unique style will emerge. Once you have reached this level, you will
willing to recognize ourselves as we truly are. The bond is our ability
then have something to rely on. Irving Crane was a defensive genius.
to accept ourselves and function within those limits. When one player
He was known for his safety play. He won world titles with consistent
knows another, they recognize each other instantly. Friendships that
runs of thirty and forty balls. Willie Mosconie, on the other hand, was
last a lifetime are formed within minutes, fostered by the knowledge
an offensive great. His high run titles still stand today, and his many
that we’re on the same road together. You do not need to be a master
accomplishments are legendary. Yet when Willie Mosconie and Irving
pool player to tread these paths. We are all on the same road. I once
Crane played for world titles, the bet was even money. Both players
marvelled at a player who seemed to be in complete control of himself
had perfected their styles. If your style has worked for you in the past,
and remarked on how I would like to be at his level. He then told me,
stick with it. This will give you a sense of stability in tough matches.
“We are all on the road. I’m just another straggler.”
Some players get caught up in a search for a magic formula. There are
ACCEPT YOUR EMOTIONS
none. You are a performer who is uniquely different. Find your style and perfect it to your best ability.
Once you understand and accept your emotions, you are on the road
Subtle factors often cause us to miss. When we do, our self-defeating
to “pooldom come.” You then become, JUST another traveller .... And
personalities are magnified. Everything looks worse than it actually is.
where does this road lead? As Harry Chapin once said, “It’s got to be
We are liable to “overdrown.” I once had a friend pound his head and
the going, not the getting there, that’s good.” Because all good Pool
ask, “How can one human being be so bad?” The subtleties of our own
Players are always “going.”
human nature pick and scratch away at the pool game, until we find
The principle of emotional control is prevalent in every competitive sport. Your performance will always suffer when you are intimidated.
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accept your emotions
ourselves not even coming close to our potential. We’re far worse than when we started out. When this happens, we are in trouble.
In baseball, for instance, some relief pitchers employ antics to upset
My team is famous for second guessing. They always know the right
a hitter’ timing. When this works, a three hundred hitter becomes a
shot after I’ve missed. Even when I run the table, one of them will say.
meek two hundred hitter. Anytime you allow your opponent to intim-
“Gee, I didn’t see it the way you saw it. “This would unsettle me. There
idate you your performance will suffer. In order for your opponent to
were times when I wasn’t sure I was shooting the right shot. I would
talk however, you must listen. One does not carry on a conversation
miss shots I ordinarily made. Every time I made a mistake, one of my
with oneself. Those who can keep their emotions under control are
teammates would ask me, “Why did you take that ball?” How can you
generally free. They do not listen to their opponent.
argue with them? They are right and you are wrong.
EMOTIONAL THE PRINCIPLE OF
CONTROL IS PREVALENT IN EVERY COMPETITIVE SPORT
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the id
Perhaps they are not so right after all. I would not miss as often if they
SIDESPIN DEFLECTION OFF A RAIL
didn’t second guess me. If I could reduce the effects of their second guessing, I could make more balls. So I worked on this aspect. Once I did this, the results were much better. Still, there was another subtle voice whispering in my ear. Not only did the team second guess me,
cue ball motion slowing sliding force
I began to second guess myself. This was not so bad, except I second guessed myself before I took the shot! I was worse than the team. As I prepared to shoot, I would say things like ,”remember to hit this one
draw (bottom spin)
hard. You know you missed this shot before because your hit was too soft, and make sure you shoot it with follow. Don’t forget, follow is when you allow your wrist to go limp just as you hit the ball, so pay attention to your wrist to see if it goes limp. On second thought, why take this shot at all? You’re better at draw than follow anyway. Make sure you don’t miss this draw shot. The team will think you’re show boating. And you don’t want to be called a show-off, so better take the
no sliding force
follow shot even though it’s the wrong shot after all.” How would you like to have all that running through your head when you are trying to
nornal roll
win a game? I thought the entire team was having an argument in the corner of my mind. The game is difficult enough. We do not have to make it harder than it already is.
When we lose, the Id calls us “dummies and lame brains” and blames us for choking. It is a very vicious cycle that seems to go on and on. Freud called these little voices in our head the Id. The Id is the child within who wants control of our every move. This crafty little devil will be with us for the rest of our lives, but those who rise above the Id will be the ones who win the most games. You must learn to control the Id. You must stroke freely. Letting go and shooting is giving up the control the Id has. This is definitely not an easy task. You must learn
accelerating sliding force
to recognize the whispering voice from the Id and face it squarely until you have gained your freedom. In all honesty, I don’t know if the Id wants us to win or not. But I do know this - when the Id gets control, we are likely to lose. And when we lose, the Id calls us “dummies and lame brains” and blames us for choking. It is a very vicious cycle that seems to go on and on.
follow (topspin)
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the id
I’ve heard players cry and complain that they were better player, two years ago than they are now. They can’t help but scratch their heads and wonder what happened to their game. Why has it deteriorated? I once knew a man who shot par on the golf course simply because he expected to. He thought everyone did. He worked nights and played his golf during the daytime. He played alone and figured that he was supposed to make a four when on a par four. The sign said four so he made a four. His friends found out about his remarkable ability and urged him to quit his job and join the pro tour. “Make a career out of golf,” they said. “Take lessons.” Unfortunatley when he began to think about his game and ways to improve it, he lost his natural ability to make par. His game went downhill from there on. When we evaluate
They cause us to become discouraged. When we evaluate our performance and begin to compare, we open the door for the Id. Once we listen to that other self, we are in deep trouble, and for many these troubles are permanent. We eventually quit competition altogether as a result. The wayside is strewn with frustrated pool players who mutter evaluations and comparison. Instead or seeing things as they really are, we begin to blame the elements such as poor lighting, uneven tables, family problems, financial pressures, and even the dampness in the air. We start to make up all kinds of excuses. Tragically, we start to make excuses for losing even before we play the game.
I own a vintage 1909 Brunswick, Balke, Collender pool table. It is a
You’re leaning into your stance and getting ready to run the eight ball
magnificent piece of furniture. I paid four hundred dollars for it. It is
down the rail. This is a must game for your team, and it would be your
worth thousands and thousands of dollars. The previous owner had
third win in a row. Your average is going to soar. Then into your ear
lost all drive and enthusiasm. He was one of the many waysiders who
comes this unmistakable whisper. “Be careful buddy. If you hit the ball
wonders what has happened. At the time, I couldn’t understand how
before the rail, it will come out and give your opponent a shot. And
someone who was that good could quit. “I’ll never get better,” he told
remember, you missed this very same shot against the Log Jam when
me. “All I do is get worse.” Now I understand what has happened to
you hit the rail first. Do not hit the ball first either. That would be a
him. His Id is in complete control. I made a great purchase, however
disaster. Be careful. Don’t screw this up!” It all sounds like harmless
the league lost a good player. If you want to improve and continue to
advice. Sounds like a concerned friend who is trying to help you win a
enjoy the game of pocket billiards, you will have to face the man in the
game. But it is not. It is the other self trying to take complete control
mirror. When you do this, you will make the top ten and even go on
of you. If you miss, he’ll whisper, “See, I told you to watch out.” And
to some tournaments as well. One of the reasons why the comraderie
if you make the shot he’ll say. “It’s a good thing you have me because
is so strong at pool tournaments is because all the players understand
you would have blown this game on your own.” The Id takes the credit
what you have been through to get where you are. It’s without a doubt
when you win and blames you when you lose. This disruptive person-
worth the pain and sacrifice.
ality will cost you more games than you will win.
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the “siesters”
THE “SIESTERS”
control, 1 know I am going to blow a shot. Any time Herman rises up
Sometimes when you stand at the table facing a very makeable shot,
that. If your Herman literally rose up and you shined a bright light on
you’re suddenly seized with the uncomfortable reality that you cannot
it. would it stay up? My ld, like most trouble makers, does not like to
make this shot. You are going to miss. You’ve made dozens before, but
operate in the light. In many cases, he would leave me alone. If you’re
now you are certain that you will not succeed. You will lose this game.
going to miss a shot, at least do it out in the open. Shine the light on
Even when you miss the shot, you just cannot understand why. You
the troublemaker and let him demonstrate his devious methods out in
are powerless. Few players survive this experience. This is the dreaded
the open for all to see. You may be surprised by the sudden return of
“siesters.” Once this happens, you are just about finished. Or worse still, you will be relegated to playing inferior competition. If you are infested with the “siesters” you’ll choke on the key ball almost every time. Under pressure in a match, you’ll play below your capability. The “siesters” are caused by that other sell’. It is the ld. You can get the “siester” in other experiences in life. Once a beautiful girl shook me up so bad that when she said good-bye at the store, I said “you too,” I do not care for Sigmund Freud. His theories are nothing more than theories. Socrates and some of the great Buddhist master pounded on those ideas long before Freud came along. Jesus was aware of our dual personalities as well. And I don’t even like the word Id. So I named my
to offer advice, I turn this bright imaginary light on him. Think about
Don’t think you will ever get rid of your other self. You will deal with your ld the rest of your life. Don’t think you will ever get rid of your other self. You will deal with your ld the rest of your life. This inner battle has been going on since the beggining of time. The Christians have their God and Devil. The Greeks have a variety of good gods and bad gods, and the Indian are caught up in many good spirits and bad spirits. This form of dualism has plagued mankind forever.
other self Herman. My Herman likes to get into very tight places and
There is no God on one side and another power on the other playing
usually when he does, trouble follows. Especially with the emotions.
tug of war with your emotions. This is all happening inside of you. It
Herman does contribute some good at times, however. Still, once the
is within ourselves where we deal with the turmoil of two selves. If we
other self gets control, we are helpless.
can become our real self, we’ll perform better on the pool table. When
The other self is like a child. Do you remember when an adult told you to do a certain job and you did not want him around while you performed the task? This way you could take a short cut and do it your way. Well. the only treatment I have found for the other self is to turn the big bright light of reality on his every move. When Herman is in
you truly come into your own, the light will be to bright for the other self to operate effectively. A champion does not have the other self rattling around in his head when he is running the table. He is free, and gaining this freedom is what we’re working for. We get there by never giving up and continuing to practice, practice, practice, practice.
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“pin pullers”
FLAWS IT’S NOT THE PLAYER WHO SEES
SUCH AS POOR LIGHTING, TABLES THAT ARE NOT LEVEL, WEIGHTED CUE BALLS, WORN FELT, ETC. IT’S THE ID.
“PIN PULLERS” Sometimes, there are those who enjoy the other self controlling them.
It’s not the player who sees the flaws, such as poor lighting, tables that
They have been acclimated to this destruction and actually are quite
are not level, weighted cue balls, worn felt, tough pockets, etc., etc. It’s
comfortable with this role. Winning is contrary to their nature. They
the Id. He looks for reasons to lose even before he gets to the match.
are not comfortable with winning, often make up excuses for making great shots. I enjoy playing these types of players because I always win. If you want to win money from one of these “pin pullers”, all you have to do is pretend to be just like him and play a little bit better. When they run the table, they claim to be just lucky. If they put together a modest winning streak, they will tell everyone they are playing over their heads. These “pin pullers” are actually quite talented. Their poor self image is ingrained so deeply within themselves that they simply will not allow themselves to perform up to their potential. How many times have you seen a player make a fantastic shot, only to blow the next one? There is always a joker in the crowd who says, “the same guy shot that one?” Overcoming the negative attitudes caused by our other self takes hard work. Herman had me convinced that I belonged in a barn shoveling shit, and even then I might not be qualified. You can overcome this tumbling block. You must understand your goals. If you want to make the top ten in your league, you must shed the other self and gain your freedom. To accomplish this feet, you have to practice gaining your freedom.
In order to gain this freedom you’ll need to understand and control your emotions. Here’s where the so-called fun is stripped out of your game. Do you think Irving Crane was having fun when he won those world titles? Some people call him the Undertaker. Willie Mosconie shows almost no expression when he is running rack after rack. Even the modern-day players are intense competitors with no time for emotion. The emotion is saved for after the rack. Not during the game. You cannot rely on emotion during a long contest. Pool is quite different from any other sport. Every shot is a pressure shot. You can’t retrieve an arrow once it is in flight, nor can you correct an errant pool shot. How you feel about yourself is critical. In the game of pocket billiards, every shot is a four-foot par putt or a two strike, ninety-miles-per-hour fast ball. Make a just a few mistakes in game of pool, and you will be emptying your pockets.
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sharking
Then there’s the player who wants everything to be perfect. Here you make subtle remarks about the poor lighting. How it is hard to see the edges of the shiny black eight ball. The table is not quite level and the cue ball does not draw right. “It’s one of those cheap weighted ones” you say. One rail is dead and you have forgotten which one it is. These are the players who look for reasons to lose before they’ve begun the match. You wonder why anyone like this would play for money. But they do. This reminds me of the Buddhist story, where the frog asked the centipede, “Hey fellow, which leg follows which leg?” When the centipede stopped to think about it and couldn’t walk any more. I would like to point out something of great importance here. We’re talking about psyching league shooters. You won’t get away with it if you try it on a pro. In fact, a pro can turn the tide on you. When some-
SHARKING I have several favorite sharking techniques, and one of them is the I’ll not appreciate the King routine. There are pool players who prance around the table pointing to where the ball will end up and generally
one tries to psyche me, it actually makes me perform better. As in all good psyching techniques, you must appeal to the other persons Id. One who is experienced in the heat of the battle will not respond to your approach. If you are unable to create doubt or confusion, then you should back off immediately.
Another one of my favorite techniques is to brag up my opponent in
Sometimes I use the you poor guy you approach. I act as if the player does not belong in my league. He has stepped out of his boundary and has gotten in over his head. If he accepts this concept, there’s no way he’ll be able to beat you.
front of his friends. This puts pressure on him to perform up to that
The last resort to psyching involves a more physical approach. This is
level. Then when he misses, ask him if something is wrong. Pretend
for the dirty pool players. For this approach you focus on upsetting
that you are concerned. ‘’I have never seen you miss that double bank
your opponent’s rhythm. An experienced shooter will not respond to
shot. Are you having trouble at home? Is something wrong?” Soon he
subtle remarks. He will be mildly amused. Since you cannot upset his
will believe there is trouble at home and you’ll have the game in hand.
psyche, you must upset his timing. When it is his turn to shoot, take
I once asked my opponent if his shoes were level and if he had trouble
your time getting out of his way. Apologize for various things. Humans
getting a solid stance? Once he became concerned with his stance, I
always respond to apologies. If you’re sure of a particular shot, stroke
knew he was in trouble. He had all my sympathy, believe me.
it a number of times before you shoot. You can imagine what is going
making a big deal out of a simple shot. The only thing they achieve is to make an ass out of themselves. These players actually think you are privileged to play them, and if you want to get the most out of your special moment, you had better pay close attention to just how they do the great things they do! When my opponent attempts a difficult shot, such as an easy combination or bank, I purposely turn my back to him and listen for the miss. It works every time.
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sharking
through his mind. First he’s tense because you are about to shoot, then
They have water and sand traps and blind greens on the golf course.
he relaxes because you draw back. His system is first tensed up, then
Out on the pistol range they have moving targets. The obstacles are
relaxed, tensed, relaxed, tensed, relaxed and on and on and on. By the
specifically designed to intimidate you. If we’re to achieve any measure
time you do shoot, hi heartbeat is out of order and he is half bald from
of success in this game, we need to avoid these distractions and rise
scratching his forehead. Another method for this type of player is to
above the obstacles. The greatest distraction in any sport is fear. And
miss shots you can make when you know he won’t have a shot. React
many obstacles are designed to strike fear in your heart. A sand trap
philosophically to your miss. These players hate sloppiness, and they
does this to me. Water on the golf course spells doom for a friend of
actually get sick watching bad pool players perform. I was once able to
mine. Fear has an effect on your swing or stroke. Any type of distrac-
beat a great player in Wisconsin because I used the first two games to
tion will affect your performance. Try playing someone shortly after
drive him crazy. I missed easy shot after easy shot and every time he
your spouse has asked for a divorce. The really good players know how
came to the table he had nothing to shoot at. Of course, I made the
to play within themselves. They don’t allow outside influences to affect
sincerest apologies and sympathized that it just wasn’t his day. When
their efforts. They keep the same composure during all matches. The
he missed the impossible kick shot I gave him, I would say something
player who gains his freedom makes the least mistakes. So you must
like “off your game today, eh?” One of his fans came over to the table
learn to play within yourself. Obstacles have no power on you unless
and asked him how he was doing. He was almost beside himself. “The
you give them power.
fucker gets lucky every time he misses. I don’t get a shot! I haven’t had a shot all match!” I ruined this poor guy for the day.
There are two elements which cause a person to get knocked out of a tournament or dropped from the top ten. Any time you are close to
If you are going to use sharking techniques, you must recognize the
reaching your goals, these two elements crop up. They are desire and
type your opponent will respond to. Be careful not to appeal to his
fear. Desire puts your mind in the future. You cannot perform in the
competitive nature. In other words, don’t wake him up. Sharking is as
present when you are thinking about the future. If you desire to win
much a part of the game as a draw shot or bank shot. In bar leagues
this game, you are, in fact, shooting all the shots at once. If you desire
the subtle techniques will add wins to your average. You are not play-
to win this tournament, you are playing all the matches at once. You
ing seasoned professionals. You’re playing Tuesday night warriors. Use
can only shoot one ball at a time. Fear inhibits your stroke. You can’t
all your weapons. Pull it off. Beat those players who are better than
make a commitment if you are fearful. Commitment breeds a good
you are. If you can get the Id’ s attention, you will gain the advantage.
stroke. Eliminate desire and fear and you will more than pay for this
Your opponent didn’t come all the way to your bar to be nice to you.
book. If this is the only thing you learn from me, I have done my job
He wants to beat your brains out. Take the game any way you can.
well. Shoot without emotion. Save it for after the game.
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sharking
The most important skill in becoming a champion level pool player
So stay in the shot at hand procedure. You’ll find that you are doing
is concentration. This will help you overcome the many distractions
what you want without really thinking about it. It is only when you
and obstacles. Practice concentration until it becomes natural. Before
allow your mind to think during the shot that you begin to miss. This
you take a shot, ask yourself, “can I make this shot?” Then answer, “Yes
is not an easy task. If it was, every pool player would be a world-class
I can.” As you utter the word “can.” go ahead and shoot. Do the same
shooter. Shooting without thinking is for the pros. However, we less-
thing on the next shot and the next until you run out of shots. Use the
than-greats can, and should, practice this wonderful method. And by
“back-hit” routine or the “ready-set-go” method. Continue to do this
practicing this non-thinking shooting, we will certainly reach the top
until it becomes natural and automatic. Soon, you will be getting the
ten and then some.
feel of the game, and the obstacles will lose their power. And when this happens, you will begin to dominate your opponent. Remember, that every match is a practice session where you work on ways to improve yourself. The ability to make shots is no mystery. It is the ability to make them in game situations which calls for the greatest skills. We have often seen players bang their heads and complain when they miss an easy shot. Why they do this is no mystery. They’ve completely lost their ability to concentrate.
At the core of the stroke in pool is our sensitivity towards awarenessbeing aware of the shot at hand. So there can be no outside obstacles. There is no such thing as an “intimidator.” Anything that disturbs us does so because we allow it. True awareness for the bar shooter is most often realized when there is little at stake. Did you ever notice how anxious you become as you get closer to the money ball. As each shot falls into the pocket, you lose a little more awareness with each ball. Your feel and sensitivity begins to decrease. In the game of nine ball
You can increase your awareness and sensitivity if you name some of
I was awesome in the one, two and three balls. But when I got to the
your shots. I use the pop stroke on all cut shots. I line up the shot and
even, eight, and nine, my position began to suffer. I think I hold the
then listen for the pop of the cue tip on the ball. When I get a good
record for how many times a player has ended up with a bank shot on
“pop,” I make the shot. Because I am intently listening for the sound,
the nine or eight ball.
my concentration is sharp. I find this automatically gives me a better chance to make the cut shot.
You’ll find that the closer you get to the win, the greater the anxiety. This anxiety can decrease your awareness and touch. How do you play
On long shots I use the flick stroke. Here, instead of worrying about
good position without good touch? When it counts the most, we’ve
the outcome of the shot, I concentrate on the little flick of my wrist
lost our sensitive stroke. It’s our personal awareness which determines
during the rhythm or my swing. I flick it forward at the last instance.
how sensitive we are. Acute awareness comes to those who can see the
As you perform, you will find techniques which will help you relax.
“shot at hand.” They don’t add all kinds of elements to it. It is a shot
After you have looked over the table following the break, you must make a decision on how you are going to run the table. Then forget about the layout and shoot the shot at hand. Stay in the one shot at a time mode. Remember, you’ve already looked at the necessary things you will need to do. This picture is in your mind. It is not going to go anywhere. You are now programmed for the run.
and nothing more, and the objective is to simply deliver a good stroke and put the ball into the pocket. When we use the same stroke on the one, two and three as we do on the seven, eight and nine, we are then using the “awareness stroke”.
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Awareness is a gift for all of us. We must be willing to train ourselves. Those who are not willing can forget it. The same applies to Buddhist enlightenment. It is for all, but not all pursue it. Stroke a few balls with awareness as your only goal. Once you have mastered what really feels good, add a little more pressure and wait until this sense of relaxation returns. As you acquire the awareness of the “shot-at-hand,” you will then be ready to tackle more difficult shots. When you feel the same sense of relaxation on the money ball that you do on the first ball in your run, you are then ready to go on the road and beat most shooters. This sense of awareness is what we strive for.
How you handle yourself at the table can add quality to your game. If you are timid and unsure of yourself, your game will reflect that uncertainty. It’s the other self who takes away our awareness. When we’re in a situation where we know in our heart of hearts that we are going to miss a makeable shot, our awareness is gone. We are unable to feel the stroke necessary to make the shot. One time when I turned the spotlight on
Your attitude at the table is vitally important. How you see things very
We only have room for one form of concentration at a time. Once I
often accounts for the amount of adrenaline in your body. And your
was studying the table to determine if I should go for the run or make
adrenaline determines the purity of your stroke. You must view things
a few balls and play safe. This was a critical game of eight ball. One of
as they are. There is never a time when you come to the table with no
my teammates exclaimed, “Look how good his balls look. The majority
shot. It is your turn. You have to shoot something. How you label it
of them are sitting ducks. Don’t you wish you had them?” In the first
does not change it. All you do by labeling a shot is make it much more
consideration, I don’t have them. Secondly, it makes no difference to
difficult. You don’t need to do this to yourself. It gives an edge to your
me what his balls look like, especially if I run the table. And thirdly, I
opponent. Understand your motives. You are at the table to shoot one
am studying my layout. Unfortunately I listened to my teammate and
shot and only one shot. See to it that you are centered and balanced.
I allowed all that “irrelevant” information to clutter my brain. Which
Give each shot your total attention and sight it into the center of the
made me become uncertain as to what I wanted to do. I had no clear
How you handle yourself at the table can add quality to your game. If
pocket. Make up your mind that you will have no wobblers. All balls
motive. I had no clear plan. I ended up with three clear makeable runs
you are timid and unsure of yourself, your game will reflect that uncer-
will be pocketed cleanly. Work on this attitude until it comes naturally
in front of me, but I blew them all. Give me just three chances to win
tainty. If you are cocky and confident, your game will reflect that also.
to you. Play the shot at hand. When you do this, go on to the next one.
today, and you’ll go broke.
If you glide to the table like Willie Mosconie, you may be surprised at
If for some reason you have to change your mind during a run, such as
how smooth your stoke is. The manner that you approach the game is
when you get out of shape, make sure you take the time to allow the
within your control. In one ultimate moment of desperation I ran the
former play to disappear and the new one to enter into your mind. It
table to avoid a painful loss. My opponent later told me that I walked
is important that you are clear about what you want to do and focus-
around the table like I was walking on eggs.
ing only on the shot at hand.
Herman I uncovered some interesting things. Every time I was into a long run, his jabbering voice would cause me to miss. I knew when it was coming. “You never run this many balls,” he would whisper. “Give the other guy a turn at the table. They think you are showing off.” A virtual war was going on in my head. It took me well over a year to win this battle. Finally I could run the table until I ran out of shots. I did not choke anymore. Once I admitted my tendency to choke and talked about it freely, I was on the road to winning. I shined the bright light on Herman and saw him for what he really was.
And now, I want you to understand that while there is that other self lurking in the darkness, ever ready to do his dirty work, there is also the real self which is what you are all about. This is the self that will amaze you at times, and will allow you to make shots consistently.
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goals & expectations
GOALS & EXPECTATIONS
tions. If you set a goal to win, then you play shooters you know you
Have you ever made a great run only to end up with a difficult bank
This will not help your game. Also, we tend to lower our expectations
shot on the money ball? You shrug your shoulders and say “to hell with
so they will be easier to reach. This is another way we limit ourselves.
it,” shoot the shot and it splits the pocket like you’ve been doing that
And, in addition, when we do better than our goals, we laugh it off as
all your pool career. Has that ever happened to you? Well, this is what
luck and claim to be shooting over our head. I find I would sabotage
letting go is all about. You have let go of the Id which thinks you can’t
my game if I was doing better than I expected. This was done subcon-
make the shot if your life depended upon it. Somehow you’ve gained
sciously so I did not have to live up to my performance. When we do
your freedom from your Id’s doubt and fear.
great, we feel pressure to repeat it. We do not like to disturb the image
The reason the Id does not bother you on a shot like this is because he
we have of ourselves. Good or bad, we are comfortable with it.
thinks you have no chance to make it anyway. Why bother you? After
Improving is a good way to disturb the image. In order to overcome
you have made it, however, he comes scurrying from his dark corner
this problem, we must learn to stay in the “one shot at a time” mode.
and all during the next game he is buzzing in your ear. You are lucky
Do not set goals. Reduce the game to its simplest form. One constant
if you can make a shot.
reality exists – you only have the one shot in front of you. Make it and
How many times have you made a fantastic shot only to turn around
go on to the one shot in front of you.
and miss the routine one? And, of course, that guy comes back from
You do not need the classic smooth stroke of the pros to make the top
the audience to say, “Gee, the same guy shot that one.” If you are able
ten. You do not need to be a great shot maker. If you could take back
to operate in the real self, you will not make these mistakes. True, you
half of the games you blew in the past year, you would be in the top
may run out of shots as all pool players do, but you will not be killing
ten. You need to get the most out of yourself and try to see things in
yourself with foolish mistakes and you’ll make the top ten with ease.
the proper perspective. Free yourself from the Id’s influence. Face the
When you set goals and expectations, you are simply playing into the
man in the mirror and learn to play the game within.
Id’s hands. It doesn’t do any good to set goals because you then only end up playing only those opponents who will not upset your expecta-
can beat. Here you’re playing those who are less talented than yourself.
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impossible becomes possible
CRITICAL
SHOTS In every person who engages in a manual art or skill there is an "eye, arm and brain computer". As one practices, that data is then fed into a their own memory bank; and suddenly, the artless becomes artful; the impossible becomes possible; and suddenly the most incredible shots are accomplished with unconscious ease. So it is with pool. And if you know the theory before you practice, your skill will grow with many times the speed. Not one player in a hundred can sink five, six, or seven balls without a miss–and yet it is easily within his power. He simply hasn't learned to "cut" balls, "throw" balls, use right and left English, draw balls, bank balls, set up key balls and break balls, get frozen balls off a cushion, use kiss shots, reverse draw, jump shots, "ghost ball" shots, or curved shots. He doesn't understand the Double Kiss, Semi-MassÊ Shots, Off-theCushion Shots, Cushion-First Shots, Cheat-the-Pocket Shots, or how speed affects English, or affects the very angle of his shots. Yet a high percentage of these shots are very simple to learn. The reason these shots were selected as critical is because underlying them is the entire theory of the game. What is more, theory aside, you must make nearly all of these particular shots, in one way or another, within the next hundred games-or you won't be playing a good game. Please note that if the balls were shown in actual size, in relation to the size of the table, they would be too small. The diagrams in this section are using enormously enlarged balls to more clearly illustrate the key shots discussed. However, if you will measure from the diamonds on the rail you will get an exact enough measurement.
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running english shot
SHOT NO. 1 THE RUNNING ENGLISH POSITION SHOT a
Here we have a simple cut of the object ball into the corner pocket.
82°
However, we want our cue ball to come down the full length of the table
object ball
in order to take up position for that second object ball. We cut the first object ball using right English.* This is “running English,” so that our
cue ball
cue ball “runs with the cushion.” To do this we strike the cue ball at
CUE POINT OF CONTACT
top-right
1:30 o’clock, and have the pleasure seeing the cue ball roll down the next object ball
table into approximately position “X”. The angle “a” is an open angle. It turns out not to have been a difficult shot at all! * When cutting a ball, and at the same time using English, the point of contact is slightly different on the ball. In this case the yawning pocket is so close that this may be ignored.
75°
SIDE VIEW
FOLLOW the added spin is in the rolling direction
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running reverse english shot
SHOT NO. 2 THE RUNNING–REVERSE ENGLISH POSITION SHOT Is there a basic pattern for underlying this use of running and reverse English for position? The answer is “Yes”! Let us set up two more balls,
70°
this time in a different position, and try all the running English shots
Re ver
(1;30, 3:00, and 4:30 o’clock) and all the reverse English shots (10:30,
sed
object ball
En gli sh,
Ru
alm ost
cue ball
Ru
tog
Ru
eth
nn
in
nn
er
gE
9:00, and 7:30 o’clock). nn
ing
ng
ing
En
lis
h:
gli
Eng sh
1:
lish
: 3 :0
30
70°
Notice! All of the reverse English shots, thanks to that closed angle, : 4 :30
0
come back to within inches of the same diamond! All of the running English shots, because of their open angles, fan out over the table! No one who practices this experiment should ever be at a loss, when
70º cut angle
playing position, on whether to use running or reverse English. Set up the position. Use a medium stroke, then a soft stroke, then a hard stroke. Speed, you will discover, changes the angles, however the basic pattern remains the same. Remember, too, that you can tum this pattern on it’s side. These are the same identical lines, except that you are now shooting to the head of the table. In a textbook we always see the table from one side only. It pays to turn all of these shots in your mind’s eye, or in practice, for you will be shooting from all sides of the table.
CUE POINT OF CONTACT
top-left left bottom-left
top-right right bottom-right
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shoot through shot
SHOT NO. 3 THE SHOOT THROUGH SHOT a
b
When a players “shoots through” a ball, they shoot the cue ball so that it rolls through where the object ball used to be. It is often an essential technique for getting position. To understand
1:3
0
it precisely, put the object ball 1/2 inch off the diamond. Put the cue ball 2 inches off the next diamond. Now sink the object ball by applying 1:30 follow. The cue ball rolls through the position of the object ball, comes off of the two cushions, 0 12:0
and stops at “X”, ready to sink ball “A”. If you were to shoot a center
CUE POINT OF CONTACT
ball shot, you would never achieve this position.
35.5°
top-right
If you try the same shot, using 12:00 o’clock follow, the cue ball will 66.5°
cue ball
stop at “Y”, ready to sink ball “A” or “B”.
object ball
TOP VIEW
ccw spin
RIGHT ENGLISH
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side pocket cheat-the-pocket shot
SHOT NO. 4 THE SIDE POCKET CHEAT–THE–POCKET SHOT Since the pockets are wider than the ball *(approximately 2 1/2 times
80°
wider), don't shoot the object ball straight in. Hit it at a slight angle,
110°
in order to get position on the cue ball for the next shot. object ball
For this shot cut the object ball slightly to the left, using 6:00 o'clock draw, 12:00 follow, and center ball. Use a medium speed. cue ball
Our cue ball goes to "A", "B", or "C"— and, depending on our speed, can be at any position on any of these lines, or even beyond! You can reverse the shot above, of course, by cheating the pocket on the opposite side. Notice the curve put on by the draw!
CUE POINT OF CONTACT
follow (top)
* The side pocket is actually wider that a corner pocket –5 3/8 minimum to 5 5/8 maximum, whereas the corner pocket is only 4 7/8 minimum to 5 1/8 maximum. The ball is only 2 1/4 inches in diameter, so we have ample room for cheating. Keep in mind in these diagrams we are using an enormously enlarged ball.
center (stun) draw (bottom)
slowing sliding force draw (bottom spin)
no sliding force normal roll
accelerating sliding force follow (topspin)
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in line frozen bank shot
SHOT NO. 5 THE IN LINE FROZEN BANK SHOT object ball
Can a ball frozen against the cushion be banked across the table, when the cue ball is directly in front of the obect ball? The answer is "Yes." In this scenario, shoot to cut the cue ball exactly in half. The simplest
14째
way to do this is to aim your cue stick through the center of the cue ball, at the left edge of the object ball. Make sure you shoot firmly enough to deflect the cue ball out of the way. If you shoot too softly, you are in peril of a double kiss, i.e, the object ball will spring back off the cushion resulting in hitting the cue cue ball
ball a second time.
impact height
Pause now, consider carefully what we are going to say:
normal roll impact height
1. In the exact position above, if you move your cue ball to "X", the shot looks easier, but-it's impossible! When you hit that point of
RAIL-IMPACT HEIGHT
contact, you get a double kiss. 2. If you move your cue ball to "Y", you can still make the shot! For you can still reach that point of contact, and with less chance of a double kiss! 3. If you move cue ball and object ball to the left (but still in line), each time you move them you will hit less and less of the object ball, to widen the angle. And obviously, if too far to the left the shot becomes impossible.
CUE POINT OF CONTACT
center (stun)
ball center height
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frozen cushion shot 1
SHOT NO. 6 THE FROZEN CUSHION SHOT 1 Here is a shot that comes up with amazing frequency. The object ball
object ball
is frozen against the cushion, and the cue ball faces it at a steep angle. Most players try to "feather" the object ball, i,e" hit with the slimmest possible cut. This is tremendously difficult. However, it is quite easy to sink the shot–by missing it! cue ball
Shoot into the cushion as close as possible to the object ball, without touching it. Strike the cue ball using right English at 4:30 o'clock. The cue ball will rebound from the cushion, hitting the object ball in the center, and roll it into the pocket. Make sure to shoot slowly enough
CUE POINT OF CONTACT
to get good English. With a little practice, you can make this shot when the object ball is
bottom-right
as far away as diamond No. 11 and 12!
direction of English–induced throw
RAIL–CUT SHOT THROW CANCELLATION 22°
cue ball compresses the rail before rebounding toward the object ball
natural (running) English
rebound cut angle
direction of rebound cut–induced throw
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frozen cushion shot 2
SHOT NO. 7 THE FROZEN CUSHION SHOT 2 Here again we find the cue ball frozen against a cushion along with the object ball, but the problem is a different one: object ball
If you try to shoot the object ball straight in, the cue ball will stay on the rail. How do you get the cue ball off the rail in this scenario, to get position on some other ball?
cue ball
TOP VIEW
There are three ways to do it:
cw spin
1. Shooting slightly inward (notice the angle of the cue!) strike the cue ball at 7:30 o'clock. By using this draw force the cue ball will
LEFT ENGLISH
advance to position "A". 2. Shooting slightly inward, stike the cue ball at 9:00 o'clock. The cue ball will come straight out to position "B". 3. Shooting slightly inward once again, strike the cue ball at 10:30 o'clock. The cue ball will come off two cushions to position "C".*
CUE POINT OF CONTACT
The draw shot, which is the easiest, is the one most used. However, since this shot comes up in game after game, it is a "must" on your
top-left
list of secret weapons. This is a positional shot which is known to
left
very few players. * On the opposite cushion, of course, all these shots would be reversed.
bottom-left
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cushion first shot
SHOT NO. 8 THE CUSHION FIRST SHOT Here we have a straight shot into the corner pocket, as shown by the
object ball
dotted line. We wish to play position, however, and have our cue ball stop at "X". However, there are two things against us: First, the cue
67°
ball is frozen against the cushion, as a result we have to strike the cue
accelerating sliding force
ball at 12:00 o'clock, which is a follow shot, and the cue ball might
follow (topspin)
follow the object ball into the pocket; Second, after sinking the object ball, there is no way of getting to "X". The solution? Make a Cushion First Shot! cue ball
To practice this scenario, place the object ball off diamond No.1 as shown. Freeze the cue ball against diamond No.7, and hit the cushion
75°
object ball 25°
145°
first, as shown. The cue ball will carom off diamond No. 18, and then
25º CUT ANGLE
roll over to "X".
25°
There are thousands of possible variations of this shot. Move the cue ball straight down line "a" to get a wide number, and then try varying the angle of line "a" slightly. The shot shown in the diagram is an easy shot. You should succeed in your first three or four tries. In fact, there are many fine players find it easier than sinking the object ball with a straight shot.
CUE POINT OF CONTACT
follow (top)
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draw cross table shot
SHOT NO. 9 THE DRAW CROSS TABLE SHOT Since a pool player should have every weapon in his arsenal, let's now cross the table with draw. Stroke the cue ball at 6:00 o'clock. Cheat the pocket slightly so that you cut the shot just enough to throw the cue ball into the cushion. Sink the object ball The cue ball will then move across the table to "X". This "deflect into the cushion with draw" is a technique that you will CUE POINT OF CONTACT
use again and again and again!
cue ball
Note: It is very difficult, in diagrams using enlarged balls, to show subtleties in position. Keep in mind the object ball needs to be placed within a 1/2 inch from diamond No.1, so what seems to be a straight-in shot in the diagram is actually not straight in. Hence the deflection of the cue ball into the cushion.
draw (bottom)
object ball CUE–BALL PATH CONTROL FOR A CUT SHOT NEXT TO A RAIL
d
a fast medium slow
fast medium slow
b c fast medium slow
fast medium slow
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curved ball shot
SHOT NO. 10 THE CURVED BALL SHOT If you tried to sink the object ball here, the cue ball would carom off the first ball, because the first ball intrudes on the path of the cue ball about 1/8 inch, You can see it peeping over the line of shot. cue ball
An impossible shot? No! It can be mastered in about thirty minutes, and it's a valuable secret weapon for your arsenal; for most players do not know it, and you run into it thousands of times! Begin by elevating the butt of the cue to a 45째 angle. Then hoot the cue ball downwards at 9:00 o'clock. The cue ball will swerve first to the left, just enough to miss the gray ball, and then swerve to the right to
CUE POINT OF CONTACT
sink the object ball! Keep in mind that you must have a very finn control over the cue. You object ball
must shoot downward with authority, but also softly enough so that
left
right
the English will have maximum "take".
right English elevated cue fast medium slow
curved cue ball path
left English
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jump shot
SHOT NO. 11 THE JUMP SHOT object ball
Is it legal to make the cue ball take to the air to clear another ball? The answer is "Yes!"窶電epending on how you do it. If you dig under the cue ball with the tip of your cue to jump, it is a foul. But if you strike the cue ball in the center or above center, the jump is legal.* Elevate the butt of your cue at a 45ﾂｺ angle, and strike hard downward on the cue ball. Hit one cue tip above center. The ball will take to the air with the greatest of ease. The dotted line shows where the cue hall leaves the table. The cue ball comes up just high enough to clear the horizontal axis of the two interfering balls, which are spaced too close together to shoot through.
CUE POINT OF CONTACT
cue ball * The Billiard Congress of America's rule on Jump shots reads as follows: "If a player causes a ball to jump. . deliberately, by elevating the butt end of the cue and striking the cue ball in the center or above, the jump is legal. If, however, a player digs under the cue ball with the tip of his cue, causing the ball to jump, the stroke is foul. Penalty: loss of one point."
follow (top) top-left left
the cue ball compresse the cloth and rebounds off the slate
top-right right center (stun)
the cue ball jumps over the obstacle ball
45ﾂｰ
the cue stick line of action is through the cue ball center
EXECUTING A LEGAL JUMP SHOT
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hook shot
SHOT NO. 12 THE HOOK SHOT object ball
While many players have seen this shot performed before by others, suprisingly it's unknown to 9 out of 10 players, despite its great power in position play. Put the cue ball on the spot, The object ball is 1/2 inch off the point of the side pocket, and 1/4 of it overhangs the pocket. It's simple to sink
cue ball
the first object ball in front of the side pocket, however how do you get your cue ball down the table for position? Belt the cue ball at exactly 12:00 o'clock, with only one object in mind, which is to sink the black ball. The cue ball deflects to the right of its
CUE POINT OF CONTACT
follow (top)
line of flight, but, since it has angular momentum, "hooks out" and runs down the table to "X". Watch your opponent blink!
RAIL DRIBBLE FOLLOW
the cue ball topspin keeps it close to the rail
NORMAL FOLLOW INTO A RAIL
the cue ball has enough speed to rebound from the rail
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glossary
1.09
GLOSSARY
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glossary
30° rule: the principle stating that a rolling
avoidance shot: is a shot where the cue ball
cue ball's path deflects by approximately 30º
path is controlled, in order to avoid hitting
after impacting an object ball (provided the
surrounding balls.
ball hit fraction is close to 1/2). 8-ball: the pool game where the objective is to pocket the 8-ball after pocketing all seven of your designated balls (stripes or solids). 9-ball: the pool game played with only the first nine balls (1-9). The lowest numbered ball must always be hit first. The person who pockets the 9-ball wins the game.
ghost-ball target, resulting in contact with the object ball at the desired contact point. aiming point: the center of the imaginary ghost-ball target resulting in contact with the object ball at the desired contact point. angle of incidence: same as "approach angle."
to leave the cue ball or object ball lying in a
small amount around an obstacle ball.
difficult position for your opponent.
cushion (aka rail): cloth-covered triangular-
deflection (aka "squirt"): the displacement
cross-section strip of rubber bordering the
of the cue ball path away from the cue-stick
playing surface, off which the balls rebound.
stroking direction, that is caused by the use
cluster: two or more balls close or touching.
ball is hit from behind the head string (i.e., in
general area of the table.
the "kitchen") into the racked balls.
ball-hit fraction: for a cut shot, the fraction
break-up shot: a shot where the cue ball is
which is caused by sliding friction between
of the object ball covered by the projected
directed, after it has struke an object ball, to
the cue ball and the object ball.
cue ball. For a square hit (0°cut angle), the
strike a ball cluster to scatter the balls into
ball-hit fraction is 1/2. For a half-ball hit, the
more favorable positions.
ball-in-hand: situation in which the cue ball can be placed anywhere as a result of a foul or scratch by your opponent. bank shot: a shot where the object ball is bounced off one or more rails prior to the ball being pocketed. billiard shot: a particular shot where the cue ball is deflected off an object ball to strike a second object ball. billiards: term for all cue games, including pool, snooker, and carom games.
angle to the pocket: ball's angle of approach
BCA: Billiards Congress of America, is an
to a pocket, measured relative to the pocket
organization supporting the development
centerline. A straight-in shot is positioned
of and participation in billiard sports. They
with a 0° angle to the pocket.
publish the "World Slandardized Rules" for
the angle at which a ball approaches a rail,
a ball, although if you miss the shot you try
massé action in order to curve the cue ball a
type (stripes or solid) which are in the same
angle of reflection: same as "rebound angle."
approach angle (aka "angle of incidence"):
defensive shot: shot where you try to pocket
cue stick and bottom side English to create
break: the first shot of a game, where the cue
cut angle) the ball fraction is close to 0.
cue, in the direction of the center or also the
reverse rotation of the cue ball which is the
curve shot: a shot using a slightly elevated
material covering the table's playing surface.
ball grouping: two or more balls of the same
ball and object ball will separate at 90°after
aiming line: the imaginary line through the
bottom spin ("backspin" or "draw English"):
cloth: (aka "felt"): wool or wool-nylon blend
result of a below-center hit on the cue ball.
ball-hit fraction is 1/2. For a hit (close to a 90°
object ball with no vertical plane spin.
bottom English: same as "draw English."
backspin: same as "bottom spin."
90° rule: the principle stating that the cue impact, provided that the cue ball strikes the
1.11
30° rule — duck
coefficient of restitution: technical term used to quantify the "rail rebound efficiency." collision-induced English: sidespin which is imparted to the object ball in a cut shot,
collision-induced throw: deflection of the object-ball path away from the impact line
bridge: the support for the shaft of the cue
of a cut shot, caused by the sliding friction
stick during a shot, either the left hand (for
between the cue ball and the object ball.
a right-handed player) or an implement. butt: the handle or grip end of the cue stick. called shot: a shot for which you specify the ball being targeted in addition to the target pocket (e.g. "9-ball in the corner pocket"). carom shot (aka "kiss shot"): a shot where
combination shot: a shot where the cue ball
cut-induced spin: is the same as "collisioninduced English." cut-induced throw: is the same as "collisioninduced throw."
diamonds (aka "spots"): markings adjacent to the table cushions (on the top surface of the rails) used as target or referencc points. There are three diamonds equally which are spaced between each packer. Diamond System: a multiple-rail kick and bank shot method which uses the diamonds
and pockets a different object ball, possibly
three people. Each of the players is assigned
as aiming targets.
after other intermediate ball collisions.
five balls to protect (1-5, 6-10, or 1-15). The
contact point: point of contact between the cue ball and the object ball at impact.
ball prior to being pocketed.
aiming three-rail kick shots.
center of percussion: technical term used to
crutch: slang for the "mechanical bridge.'"
the cue tip in order to help prevent slipping
line, for a cut shot.
speed and the amount of English.
cut-throat: a casual pool game played with
Corner-5 System: is a Diamond System for
chalk: the dry, abrasive substance applied to
ball aiming line and the object-ball impact
of English. The effect increases with cue stick
hits an incidental object ball, that then hits
an object ball is deflected off an incidental
describe the "normal-roll impact height."
cut angle: the angle that is between the cue-
cue: same as "cue stick." cue ball: white ball, struck by the cue stick.
objective of the game is to pocket the balls of your opponents. The last person with one or more balls remaining on the table is the winner of the game. cut shot: a shot where the cue ball impacts the object ball at an angle to the impact line (i.e ., the shot is not "straight-in"). dart stroke: stroke, similar to the throwing motion for a dart, which is used to execute
double hit: illegal shot where the cue stick hits the cue ball twice during a stroke (e.g., a shot when the cue ball bounces back from a nearby object ball during the stroke). double kiss: double hit of the cue ball and object ball during a bank shot of an object ball frozen or close to a rail. draw English: bottom spin put on the cue ball by a draw shot.
through increasing the friction between the
cue-ball angle error: the angle between the
a jump shot, typically using a shorter, lighter
draw shot: shot where the cue ball is struck
cue tip and the cue ball.
cue ball aiming line and desired aiming line.
special cue stick.
below center to impart bottom spin to the
pool and billiards. BCA website is located
cheat the pocket: aiming an object ball away
cue stick (aka "cue"): is the tapered wooden
dead stroke: when you are in a state ("in the
at www.bcapool.com.
from the center of a pocket, to alter the path
implement used to strike the cue ball.
zone") where you can't make a mistake and
cue tip: the fibrous or pliable end of the cue
your play seems effortless and automatic.
of the cue ball.
measured from the perpendicular to the rail.
body English: act of contorting ones body
Such as a ball driven directly into a rail has
in a feeble attempt to change the balls path
closed bridge: hand bridge where the index
an approach angle of zero.
of motion in a favorable way.
finger is curved over the cue stick, in order to provide solid support.
stick that comes into contact with cue ball.
cue ball, that causes the cue ball to pull back from the object ball, after impact. duck: slang term for a ball sitting close to a pocket which is virtually impossible to miss (i.e., a "sitting duck").
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glossary
1.13
effective pocket center — object ball
effective pocket center ("target center"): the
follow shot: shot where the cue ball is struck
head rail: the short rail that is at the end of
inside English: sidespin in the direction of
kitchen: slang term for the area behind the
mechanical bridge (aka "crutch," "rake" or
target line to a pocket which has the same
above center in order to impart topspin to
the table from where you break.
the object ball, in a cut shot (e.g., when the
head string, from where the cue ball is shot
simply "bridge"): a special stick with an end
margin of error on both sides. For a straight-
the cue ball, causing it to roll forward, after
cue ball strikes an object ball on the left side,
during a break.
attachment that helps guide the cue stick in
on shot, effective pocket center goes through
impact, more than it would otherwise.
the center of the pocket.
follow-through: the movement of the cue
effective pocket size (aka "target size"): the
stick through the cue ball position at the end
total margin of error to the left and right of
of your stroke in the direction of the aiming
the pocket center that will still result in the
line, after making contact with the cue ball.
pocketing of a ball. elevated bridge: a hand V-bridge where the heel (base) of the hand is lifted off the table to raise the cue stick (e.g. to clear an obstacle ball close to the cue ball).
foot rail: short rail at the far end of the pool table where the balls are racked together. foot spot: the point on the table over which the lead ball of a rack is centered, lying at the intersection of the imaginary lines passing
end rail: the short rail that is between the
through the second diamonds that are along
two corner pockets.
the long rails, with the center diamonds on
English: term usually used to refer to sidespin applied to the cue ball, but can also be used to refer to any type of spin applied to the cue ball (e.g., draw and follow shots). English-induced throw: deflection of the object ball path away from the impact line, resulting from sidespin of the cue ball. It is caused by sliding friction between the cue ball and the object ball. English transfer: the imparting of a small amount of spin from the cue ball to object ball, in the opposite direction of the cue ball spin (e.g., left spin on the cue ball results in a transfer of a small amount of right spin to the object ball). ferrule: a sleeve, usually plastic, on the end of the cue stick shaft to which the cue tip is attached (with adhesive). follow English: topspin put on the cue ball by a follow shot.
the short rails. foul: a violation of the rules of the game. frozen ball: a ball which is in contact with (touching) another ball. ghost ball: imaginary aiming target for the cue ball, where the cue ball needs to impact the object ball so that the line through their centers (the impact line) is in the direction of the desired object-ball path.
head string: the imaginary line at the head of the table, that you must shoot all break shots behind. hooked: same as "snookered."'
would be "outside English").
which player will break. A player must shoot the ball behind the head string and return it
place of a hand bridge. A mechanical bridge is used when the cue ball cannot be reached comfortably with a hand bridge.
insurance ball: an easily pocketed ball (e.g.,
as close as possible to the head rail after the
miscue: a stroke where the cue tip does not
a ball sitting in the jaws of a pocket) that you
ball bounces off the foot rail.
establish good contact with the cue ball, and
to the table surface that passes through the
leave untouched until you need it to get out
cue ball. By adjusting the cue-stick position
of trouble.
to left and right of the cue ball center, in the horizontal plane, it creates English. impact height: the height of the part of the rail cushion that comes into contact with a rebounding ball. impact line: the imaginary line that passes
leave: the position of the balls after a player's shot. A "good" leave is one in which the ball
results in poor transmission of force and an unpredictable cue ball path.
jacked up: slang for an elevated cue stick.
positions for the next shot are desirable.
miss: failure to pocket the intended ball.
joint: the mechanical connection between
leave an angle: the control cue ball position
money shot: a key shot in a game where if
the butt and shaft ends of two-piece or three
following a shot which leaves a cut angle on
pocketed, will usually result in a victory.
piece cue sticks (usually threaded).
the next target object ball, creating increased
jump shot (legal): a shot where the cue
opportunities for cue ball control position for the follow-on shot.
natural: a shot that is easy to execute with a normal stroke, and does not require English to be applied.
through the cue-ball and object-ball centers
ball is bounced off the table surface, with a
at impact. The object ball moves along this
downward stroke, to jump over an obstacle
line after impact (unless throw is involved).
ball.
impact point: the point of contact between
jump shot (illegal): an illegal shot in which
the cue ball and object ball during impact.
the cue ball is lifted off the table surface in
legal shot: shot where the cue ball strikes a
order to jump over an obstacle ball, hitting
legal object ball first, resulting in either an
the cue ball well below center.
object ball is pocketed or a ball strikes a rail
near rail: the rail cushion that is adjacent to
after contact with the object ball.
a pocket the object ball is approaching. normal roll: topspin resulting from natural
in-and-safe: a special safety shot in 8-ball, where a prior to taking shot a player declares
left English: clockwise sidespin imparted to the cue ball by striking it to the left of center. left spin: same as "left English."
"in-and-safe" or "safety", and you then return
jump stick: special cue stick, usually shorter
control of the table to your opponent after
and lighter, designed for jump shots.
long rail: same as "side rail."
kick shot: a shot where the cue ball bounces
makable region: area within which you can
off one or more rails before contacting the
leave the cue ball after the current shot, to be
targeted object ball.
able to pocket the next target ball.
kill shot: shot using draw or reverse English
luargin of error: a measurement of angle or
in order to limit the cue ball's motion after
position error in a shot, while still pocketing
contacting an object ball or rail.
the object ball.
relative to the aiming line. This results in the
kiss (aka "carom"): contact between balls.
massé shot: shot using an elevated and firm
cue ball imparting natural collision -induced
contacting the object balL
stroke with extreme bottom-side English, to
your shot, even when legally pocketing one
player) on the butt of the cue stick, used to
of your object balls. The purpose of the shot
support and transmit force to the cue stick
is to leave the cue ball in a difficult position
during a stroke.
for your opponent.
half-ball hit: shot where the cue-ball aiming
inside cue: a term that is used to describe a
line passes directly through the edge of the
bank shot where the cue ball hits the object
object ball. It results in a cut angle of 30°.
ball on the side toward the bank direction,
your hand to guide the cue stick.
would be called "inside English", left sidespin
lag for break: a skill shot used to determine
horizontal plane: imaginary plane parallel
grip: clutch of the right hand (right-handed
hand bridge: sliding support created with
creating cut shot to the right, right sidespin
English to the object ball.
kiss shot: same as "carom shot."
significantly curve the path of the cue ball (e.g., around an obstacle ball).
natural English: same as "running English." natural roll: same as "normal roll." near point: pocket rail cushion point closest to the object ball.
rolling motion of a ball without any sliding between the ball and the table cloth. normal-roll impact height (aka "center of percussion"): the height the cue ball can be struck so it rolls without slipping (i.e., it has normal roll) immediately. Height is at 7/10 of the cue ball's diameter above table surface. object ball: ball to be legally struck by the cue ball, or the current ball to be pocketed.
pocketbilliardstheopentable
5.0
glossary
object-ball angle error: the angle between
pocket centerline: imaginary line through
rack: a triangle or diamond-shaped device
the object-ball impact line and the desired
the center of the pocket which is precisely in
used to position the balls prior to break. The
target-line direction.
the straight-in direction.
term can also refer to the grouping of balls
object balls: balls other than the cue ball. one-pocket: a pool game where each player has a designated pocket in which he or she has to pocket more than half of the balls in order to win. on the hill: slang term used to indicate that you only have one more game to win before a match play victory.
pocket speed: the slowest you can hit a shot
rail: the side of the table's upper frame that
given just enough speed to reach and drop
supports the cushions bordering the playing
into the pocket.
surface. The term "rail" is also used to refer
one of the pockets. pool (aka "pocket billiards"): billiard games using a table with pockets.
open bridge: a hand bridge where there is
position (aka "'slupe"): the placement of the
no finger over the top of the cue stick. The
balls (especially the cue ball) relative to the
cue stick glides on a V-shape formed by the
next planned shot.
thumb and the base of the index finger.
position play: play that uses controlled cue
open table: a condition in 8-ball (e.g., after
ball speed and English to achieve good cue
the break) when neither player has pocketed
ball position for subsequent shots.
a called shot, and stripes and solids have yet to be assigned. outside cut: a term used to describe a bank shot where the cue ball strikes the object ball on the opposite side of the bank direction, which is relative to the aiming line. The cue
power break: a break shot, hit with a lot of force, resulting in active scatter of balls. powder: talc or fine particle substances that are used to reduce friction between a hand bridge and the cue stick.
ball imparts reverse collision-induced Eng-
problem ball: any ball which is difficult or
lish to the object ball.
impossible to pocket unless it or some other
outside English: opposite "inside English." over cut: when the object ball is struck with too large of a cut angle.
ball is moved first. push-out shot: a special shot allowed after the break in 9-ball where you can hit the cue ball anywhere on the table and your oppo-
Plus System: a Diamond System for aiming
nent has the option to shoot the next shot
multiple-rail kick shots in which an end-rail
or have you shoot instead.
is hit first.
after they have been racked.
and still pocket an object ball. Object ball is
point: the tip of a rail cushion that borders
1.15
object-ball angle error —  straight-in shot
to the cushion off which the balls rebound. rail bridge: hand bridge where the cue stick slides on the top of the rail, and fingers are used to support the stick sideways. rail impact height: the height at which the rail cushion contacts a rebounding ball. This height is usually marginally lower than the "normal roll impact height."
rail track: same as "rail grove." rake: a slang for the "mechanical bridge." rattle: multiple rail cushion collisions that can occur against the inner walls of a pocket which can prevent an object ball from being pocketed. When an object ball glances the near rail or rail point bordering the pocket. rebound angle: angle that a ball rebounds a rail, measured from the perpendicular to the rail. A ball heading straight away from a
rail grove: an imaginary line that is parallel to a rail which is half of a ball diameter away from the rail. This is sometimes visible on a worn table.
shark: an unscrupulous player who disguises his or her ability, in order to win money off unsuspecting gamblers. short rail: same as "end rail."
cue ball speed to achieve good position for the next shot. spot a ball: placing an illegally sunk ball on the foot spot. If there's no room to spot the ball directly on the foot spot without mov-
shot maker: a person who is good at making
spots: alternative term for "diamonds."
very difficult shots.
right English: is counter clockwise sidespin
right spin: same as "right English." run: a series of balls pocketed in succession during one turn. run the table: making all required balls and then going on to win the game before giving your opponent a turn at the table. running English: sidespin causing the cue ball to speed up after bouncing off a rail, and also resulting in a larger rebound angle. Spin is in the direction which results in "rolling" along the rail during contact.
push shot: a shot where the cue tip remains
rail throwback: reduction in bank rebound
pocket center offset (aka "offset"): distance
in contact with the cue ball for a period that
angle which is due to sideways compression
safety: defensive position play shot leaving
between the effective pocket center and the
is longer than appropriate for a legal shot.
of the rail, especially evident at high speed.
your opponent in a difficult situation.
actual pocket center.
speed control: using the correct amount of
and or "running" English). The spin is in the
right of center.
object ball.
shape: same as "position."
hitting a rail (i.e., the opposite of "natural"
cushion to spring back and then preserve a
kicked off a rail first in close proximity to an
solid: ball numbered 1-7 that has no stripe.
to the end rail.
slows and has a smaller rebound angle, after
imparted to the cue ball by striking it to the
rail-first shot: a shot where the cue ball is
the ferrule/tip are attached.
possible behind the foot spot, perpendicular
rail rebound efficiency: ability of the rail
the ball is cut.
ball, creating need for a kick or jump shot.
pocketing one of them.
reverse English: sidespin where the cue ball
along the rail during contact.
ball is frozen to the rail cushion along which
shaft: the bridge end of the cue stick, which
ing an obstacle ball, it is spotted as close as
a ball by a rail when the ball approaches and
rail cut shot: a cut shot in which the object
the cue ball is positioned behind an obstacle
any of the object balls with the intention of
rail has a rebound angle of zero.
direction opposite of the "rolling" direction
banked ball's speed.
snookered (aka "hooked"): condition when
during a shot.
shot: the action of hitting the cue ball into
rail-induced English: sidespin imparted to rebounds off the rail at an angle.
scratch: pocketing the cue ball by accident
side rail (aka "long rail"): the long rail that has a side pocket between it. sidespin: the clockwise or counterclockwise rotation of a ball.
squirt: slang term for "deflection." stance: the body position and posture made during a shot. steering: term used to describe non-straight follow-through when the cue stick is pivoted
skill shot: a difflcult shot that requires more
toward the object ball/target pocket, away
ability than a typical shot.
from the aiming line. Obviously, this is a bad
slate: the material that is (usually machined metamorphic rock slate) beneath the table cloth providing the base for the surface.
technique. stick: same as "cue stick." stop shot: a shot in which the cue ball stops
slop shot: a shot that is made with no clear
immediately after hitting the object ball. It
objective, usually hit hard in the hopes that
results from a straight-on stun shot.
something might go in.
straight pool: pool game where any object
snooker: the billiards game played with 21
ball can be pocketed at any time. A point is
object balls on a snooker table, using a larger
scored for each pocketed ball.
than a regulation pool table, with balls and pockets that are smaller, and the pockets are shaped differently.
straight-in shot: shot in which the cue ball is directly in-line with an object ball and the intended pocket.
pocketbilliardstheopentable
5.0
glossary
stripe: ball numbered 9-15 that has a stripe
triangle: a device that is used to rack all 15
through the number.
balls into a triangle shape.
stroke: the cue-stick and arm motion that is
turn: a player's stay at the table, which con-
required to execute a shot.
tinues as long as object balls are pocketed.
stroke steer: same as "steering."
two-way shot: a shot where you attempt to
stroking plane: the imaginary vertical plane containing the cue stick, dominant eye, cue ball contact point, aiming line, or the ghostball target.
pocket a ball and, at the same time, play for a safety in case you miss the shot. V-bridge: same as "open bridge." vertical plane: the imaginary plane that is
stun shot: a shot in which the cue ball has
perpendicular to the table surface that passes
no topspin or bottom spin (i.e., it is sliding
through the cue ball. Adjusting the cue stick
across the table cloth) when it contacts the
height above and below the cue ball center,
object ball.
in the vertical plane.
tangent line: imaginary line perpendicular
wing balls: two balls adjacent to the 9-ball
to (90° away from) the impact line between
(towards the side rails) in a 9- ball rack.
the cue ball and an object ball. target size: same as "effective pocket size." thin cut: a shot requiring a large cut angle, in which only a small fraction of the cue ball glances the object ball. throw: the object ball motion away from the impact line, due to relative sideways sliding motion between the cue ball and object ball caused by sidespin or a cut angle. throw shot: a shot where English alters the path of the object ball. top English: same as "follow English." topspin: forward rotation of cue ball, that is usually in excess of normal roll, resulting from an above-center hit on the cue ball. TP: see "technical proof." transfer of English: the same effect on the ball as "English transfer."
stripe — wing balls
1.17
pocketbilliardstheopentable
6.0
1.19
index
INDEX A
I
AIM 17, 19
ID 65, 66
ANGLE 36
B BALANCE 38
J JUMP SHOT 105
BANKS 7
O
BILLE 3
OPEN BRIDGE 44
BILLIARDS 12 BILLIART 3
C
P PATH CONTROL 101 "PIN PULLERS" 70
CAROM 7, 11
POOL 11
CHALK 7, 17
POOLROOM 11, 12
CHEATING THE POCKET 28, 91
POSTURE 38
CROUCH 17 CUE SHOT 51
Q
CUSHION 99
QUECUE 3
CURVED BALL 105
R
CUT SHOT 28, 31, CUT SHOT THROW 24
RAIL BRIDGE 47
D
RAIL IMPACT HEIGHT 33
RAIL DRIBBLE 107
DEFENSE 27
REBOUNDS 24
DRAW 20, 21
S
E
SHARKING 72–79
EMOTIONS 62
SIDESPIN 23, 52, 54, 55, 65
ENGLISH 7, 23, 24, 85, 87
"SIESTERS" 68
F
SLOP 31 SPEED CONTROL 32, 35
FIFTEEN BALL-POOL 12
SQUIRT 25
FOLLOW 20, 21, 32, 108
STANCE 40
FOLLOW THROUGH 17
STOP 22
FROZEN BALL 45, 46, 93, 95, 97
STRAIGHT RAIL 11
G
SWERVE 24
GHOST BALL AIMING 18
T
GOALS 80
THROW 23
H
THROW CANCELLATION 95
HABITS 38
V
HOOK SHOT 107
"V" BRIDGE 43
pocketbilliardstheopentable
1.21
credits
Information Provided By Dixon, Sydenham., History of Billiards. New York: Macritchie Press, 2010 Martin, Ray., The 99 Critical Shots in Pool: Everything you Need to Know to Learn and Master the Game. New York: Random House Puzzles & Games, 1993 Monk, The., Point the Way: The Only Book Devoted to the Inner Game of Pocket Biiliards. Orange: Samsara Publishing, 1994 Alciatore, David G., The Illustrated Principles of Pool and Billiards. New York: Sterling Publishing Co., 2004 Byrne, Robert. Byrne’s Complete Book of Pool. San Diego: Harvest Original, 2003 Byrne, Robert. Advanced Technique In Pool and Billiards. San Diego: Harvest Original, 1990 Illustrations Kevin Beutelspacher Photos Kevin Beutelspacher