Billiards 2010 - NEW SPORT

APA’s Facebook page now exceeds 10,000 fans! The page is a great way for APA members to stay informed of all the latest APA news and happenings. Fans can view videos, photos, event information and much more! Looking for another team member? Need advice from your fellow APA members? It is also a great portal for APA members to interact with each other and for the APA to interact with members! If you are yet to become a fan of the APA page, do so today! You can find us at http://www.facebook.com/poolplayers.

The APA MySpace t-shirt giveaway continues in 2010! APA will randomly select 5 of our MySpace friends every 2 weeks until the end of the year to receive a FREE APA t-shirt. That’s 10 winners each month!  To win, you must have APA on your “Top Friends” list, and/or display an APA logo, banner or layout on your page. If chosen as a winner, you will not only receive a free t-shirt but also be added as one of APA’s “Top Friends” until the next winners are chosen! If selected, you will receive a message asking for a mailing address to send the shirt. It’s that simple! APA staff members and League Operators are not eligible.

APA now hosts more than 8,600 friends on MySpace! Please continue to visit the APA Pool Leagues page, http://www.myspace.com/apaleagues, for exclusive content, downloadable APA banners and wallpaper, to interact with fellow APA members and much more! Be sure to keep us at the top of your “friends list” and watch out for APA bulletins. If you are yet to add APA to your “friends list,” be sure you do so today! Also, don't forget to visit us on Facebook at http://www.facebook.com/poolplayers and YouTube at http://www.youtube.com/apaleagues.

Don’t miss a minute of the excitement of APA Leagues—form a Spring Session team now!  You don’t have to be a pro to play in the APA—with The Equalizer® handicap system, Everyone Can Play—Anyone Can Win!®  Also, don’t forget about the National Singles program!  The National Singles Championship Season 1 qualifying window opened on Jan. 1 and closes June 15.  Qualify by competing on a Local Qualifier Board, and then advancing and winning at the Regional Level. Contact your Local League Operator today to find out about the APA in your area!

Click here to find your Local League Operator

What do you call an 8-on-the-Break, 9-on-the-Snap, 8-Break-and-Run, and 9-Break-and-Run, all in one session?  In the APA, we call it pool’s version of the “Grand Slam!”

APA had the opportunity to attend the Riverside APA Extravaganza held at the Trevi Entertainment Center in Lake Elsinore, CA.   Now this was just a few days after everyone returned from Las Vegas  where we held the 2009 APA National Singles Championship….so we were lucky to have clean clothes to be honest!  Just as we’ve experienced in other trips to the Riverside area, we met a truly fun community of loyal pool players and friends.

• The new changes and upcoming events in the Riverside APA
• To watch, and even play, two Professional Poolplayers who came out (Thanks Dave and Rhiana!!!!!)
• Test their luck trying to win one of the numerous prizes Local League Operator Kim Pankonin was awarding
• And let’s face it, have a few drinks, a few laughs and shoot some pool!! 

During a visit with Charlotte Metro APA League Operator KT Thompson, the APA had the opportunity to visit “Rack ‘em Billiards” pool hall, packed to capacity with APA members competing in their Thursday night in-house division.  It’s also where we ran into long-time APA member Randall Burris who KT lovingly describes as “an old country boy from Oakboro who loves shootin’ pool, drinkin' beer, and hootin’ & hollerin’!”  She speaks from experience, having played with Randall as a member herself long before becoming an APA League Operator.

You can add to KT’s list Randall’s great sense of humor.  When the APA showed him pictures we took of him warming up before his match, he commented on how well we “captured his lack of hair,” which he of course thanked us for between a laugh and another swig of beer.

Arvad Kompanetz was player number 50 to sign up in what was known as the Brooklyn APA, now known as the Brooklyn-Queens APA.  Ask League Operator Ross Banfield about building a league that now boasts nearly 1,500 members, one member at a time, and he’ll likely share stories about Arvad and other dedicated members who helped spread the word about APA back in the day.  It’s no surprise then that Ross came up with the idea for a free 500-matches-played jacket as his way of thanking this exclusive group of APA players.

In this last article I want to focus on the absolute best tips I give during a lesson.  Some of what I write is fundamental things, but I want to relay some tips that you may not hear all the time.  I will let you know what to look for to play the smartest position possible, and offer a few tips that I figured out on my own after years of playing this game that help immensely during my pre-shot routine.

First, of course, are fundamentals. You know about stance, and what someone who is fundamentally sound looks like over the ball.  I am not going to talk about stance here, or grip, bridges or arm position.  There are hundreds of articles on those things, and I have always wanted to write something a little different than the standard information available anywhere. 

Instead, I am writing about addressing the ball properly in the line of the shot.  When I give lessons, only maybe 1 out of 20 players somewhat does this correctly.  That is why it is my Number One tip when giving a lesson.  In pool, like many other sports such as golf or bowling, consistency—doing the same thing over and over—is important.  A person who plays golf would never haphazardly step into their stance, and someone who wants to bowl a strike would never approach the lane at any odd angle.  Why do people do this in pool?  I often watch someone come off their previous shot, walk around to their next one, and slide right into the shot. 

You need to get down on each shot the same way, every time.  Step back from the shot, standing in the line of the shot, and then step in the same way every time.  Your approach to one shot should look exactly the same on the next shot you shoot. While you are standing up in the line of the shot, you should be looking at position for the next ball. Pinpoint where you would like the cue ball to end up and what angle you would like to have.  How can you do this when you get off one shot, walk around to the next, and instantly get down on the ball!?  Every time you are behind a shot, you should be chalking your cue stick, and formulating a concrete plan for that shot.  This is your pre-shot routine.  Giving yourself enough time to see the line, chalk your cue stick, and formulate a plan for the run out or safety play.  It is difficult to describe a pre-shot routine. I have posted a link to the YouTube video at the end of the article to illustrate this for you. 

In the video, you will hear me talk about visualization.  This is the most important thing I do when playing position.  It is one thing to see a shot and say to yourself that you would like to see the cue ball end up in a certain position on the table after your shot.  I used to do that for years until one day I added a facet to that.  Instead of just saying to yourself where you would like to place the cue ball in your pre-shot routine, actually visualize the cue ball moving along a path to where it needs to go.  Before I shoot l, I determine where I want the cue ball to end up, but I also see it hit the object ball in the pocket, and then I visualize how it will come off the object ball, where it will hit the rail, and the angle it will come off that rail to get to the place I want it to go.  When I first started doing this (after about seven years of playing), I saw that sometimes the end place where I picked for my cue ball to end up wasn’t reasonable.  After I took the time to visualize the path that the cue ball would have to take, I realized that it just couldn’t get there.  That is why adding the visualization part to playing position and not just identifying the end position of the cue ball is one of my greatest tips.

Next, when you get down on your shot, stay focused on the object ball and the exact spot where your cue ball needs to make contact to pocket the object ball.  Do not get down on your shot looking only at the cue ball!  Trust me, you will not hit the cue ball accurately with your cue stick if you do not get down and look at the entire length of the shot.  With the entire shot in your perspective, and as long as you are addressing the ball properly, stepping into it straight, your body will naturally get in line with the shot.  If you only get down on your shot looking at the cue ball, then the entire length of the shot is not within your sight, and you could get down on it on any sort of line.  

Lastly, when you are finally ready to shoot, always look at the exact spot on the object ball where you want the cue ball to hit.  You must never look at the cue ball last.  You must trust that you will strike the cue ball where you have aimed—and you will—if your stroke is straight.  If it isn’t, then you are missing and must practice to fix that separately.

The next part I would like to cover is playing smart position.  I am going to discuss the concept of playing “in-line” of the next shot.  There are generally two ways to play position for your next ball, and that is playing “in-line” or “crossing the line.”  Look at the diagram below.  You have ball-in-hand and you want to play the 1-ball first to the 6- ball.  You have two options in placing ball-in-hand.   The first diagram below is an example of one placement for the cue ball.  This would be the incorrect choice.  The line of the shot is the green line, the 6-ball.  When figuring out where to place ball-in-hand for the next shot, you always want to choose the path where the cue ball will travel more closely this line of the 6-ball.  You can see, if you were to place the ball as I have here and go to the two rails, you cross this line of the 6-ball.

This first diagram is an example of “crossing the line,” not what you want to do.

 

The second diagram below is where you would want to place the cue ball with ball-in-hand to get the best position on the 6-ball.  In this diagram, the cue ball more naturally follows the line of the 6-ball shot.  I added a little outside or left hand spin in this case, so the cue ball widens on the bottom rail and even follows the line more closely. 

You can see in the above diagram that the cue ball path marked in blue more closely follows the line.  This is important because that means that the shot is not wholly speed dependant.  No matter how hard or soft you hit this ball you will most likely have a shot on the 6-ball because you followed the line.  In the first diagram, you can see that you have to hit it perfectly to be on the line.  Also, hit it too soft and you are going to have to back cut the 6-ball; hit it too hard and you may come underneath it.  I go over these two diagrams on my YouTube video. Here’s the link:   http://www.youtube.com/watch?v=4pU5vBK3kvI

I have enjoyed writing these articles for you this year!  I hope that what I have written has helped you in some way, whether you are a SL3 or a SL7.  Please, if you have anything you would like to share about any of my articles, or have anything to say in parting, write to me at tina@tinapawloski.com.  Also, if you see me at an APA event, come up and say hello!

APA spokesperson, Jeanette Lee “The Black Widow” appeared on TLC’s “American Chopper” on Thursday, Dec. 17.  “American Chopper” features the custom motorcycle shop, Orange County Choppers.  Lee was filmed playing “American Chopper” star, Paul Teutul, Sr., at a game of pool and then was interviewed for the show.  The building of “The Black Widow” chopper is featured as part of the episode.

“It was great fun playing Paul Sr. in pool and hanging with all the guys at OCC,” said Lee.  “The bike is beautiful and I can’t wait to watch the episode.” 

“The Black Widow” bike was unveiled at the Seminole Hard Rock Casino in Fort Lauderdale, Fla., on Nov. 11. Earlier this year, LiquidWick commissioned Orange County Choppers to build the bike for Lee.   Lee became the official spokesperson for the APA in April, encouraging people to join an APA Pool League.  She appears in APA promotional materials, advertisements and commercials.

New APA segments featured on ESPN during WPBA events are now available for viewing on APA’s YouTube Channel.  These features include the 2009 National Singles Championships winners, 2009 National Team Championship winners and the 2008 Women’s U.S. Amateur Championship winner.  In addition, ESPN featured APA League Operator Ewa Laurance. 

You will also find FREE Tom “Dr. Cue” Rossman instructional videos and the APA commercial featuring Jeanette Lee “The Black Widow.”  Daily segments from the National Singles Championships and National Team Championships are also available. Visit http://www.youtube.com/apaleagues today! New videos are added often, so be sure you check back!

ESPN Features the 2009 National Singles Championships

ESPN Features the 2009 National Team Championships

ESPN Features the 2008 Women’s U.S. Amateur Champion

ESPN Features APA League Operator Ewa Laurance

Blue Ridge APA League Operator Vicki Catalano, and her husband Dave, turned their passion for pool into their life’s work in December 2006.  Since then, they’ve worked tirelessly to introduce APA in Asheville, N.C. and surrounding towns.  The area now has over 75 teams and nearly 500 members!  Ask Vicki what she likes most about her new calling, and she’ll happily share any number of stories, like this one involving APA members Steve and Beth Kasper.

The APA stopped at Fat Cat’s pool hall during Tuesday night league and snapped this shot of Steve Kasper during his 9-Ball match.  Schmelke Looney Tunes, as Steve and Beth’s 9-Ball team was known at the time, went on to win the Local Team Championship at the end of the Spring Session, earning the right to represent Blue Ridge APA at the National Team Championships this past August.  They decided to make the most out of their trip to fabulous Las Vegas and renew their wedding vows as a way of celebrating their five-year wedding anniversary.  Unfortunately, money was tight, and a Vegas vow renewal ceremony can be pricey, so they decided against the idea.

In this article I am going to tell you about the different equipment used in this game.  I’ll go over cue sticks, the differences between different shafts on the market, tips and other general equipment I would recommend, as well as other good information about it all.  I also provide links for you to find out more information on the items I am writing about, or so you can purchase them.

First, the Cue Stick!

I have many people ask me what kind of cue stick I recommend, what kind of cue stick I play with, and the differences between various shafts on the market.  I’ll start with how I came to play with the cue stick I use now.  In the beginning, I picked up a lot of cue sticks and hit balls with them to determine what kind of “hit” I liked to feel from various cues, and how much deflection each inherently had.

What is deflection you may ask?  Deflection is the amount that the cue stick effectively shoots out the cue ball when applying english. After playing with the Meucci, I moved on to a custom cue stick (meaning not production made, produced by hand by a person) made by Jerry Franklin, called a Southwest.  The Southwest has a much more firm hit, which I liked, and produced less deflection than the Meucci did.  Over the years, after I let go of the Southwest, I picked up everyone else’s cues to zero in on what I liked best. Cues also aren’t a matter of cost.  There was awhile in 1996 I played with an $80 Cuetec cue because I loved it from the first shot I took with it.  Currently, I play with a Bob Hunter custom cue.  Each cue built by him, in my experience, not only hits well, but also is a beautiful piece of art.  I have been playing with this cue for 13 years, and it will be the last cue stick I own.  When you find something you like, don’t sell it!  I am constantly reminded of how lucky I am to have something that is perfect for me. Even though I could sell it today for $2,000 – I would never dream of doing such a thing.

What would make a cue stick so expensive?  First, when a cue is made by hand and not production made, that adds to the cost.  Also, custom cue makers such as Mr. Hunter use exotic woods such as cocobolo, ebony, birds-eye maple, zebrawood and Indian rosewood. Many use precious metals such as silver and sometimes gold.  It is also standard to use ivory, which my cue has a lot of. 

For the beginning player looking for a quality, but a less expensive cue, I like the Cuetec brand and even have hit well with a couple of Lucasi brand cues.  You can get the Cuetec cue for less than around $100 for their introductory line, on up to around $250. The Lucasi is more in the $150-$250 and up range.  Cuetec cues are also made to cut down on deflection, so it may be easier to use for some. Don’t be afraid to bargain a little for your cue; most stores you go into will come down on the price. Please stay away from three-piece cues.  The more you cut into a solid piece of wood meant to be a cue stick, the less solid it is and you can feel this in the hit.

Bob Hunter Custom Cues: http://www.huntercues.com/gallery/main.php

Contact: huntercues@yahoo.com

Cuetec Cues: http://www.cuetec.com/

I have also been asked about buying separate shafts that promise to cut down on the deflection imparted to the cue ball.  I do not use these shafts myself.  I started playing pool (17 years ago) before companies started engineering shafts to take away deflection. The reason I personally do not play with these shafts is I like that I know how to account for deflection with my conventional shaft, and that my shaft produces a hit that throws the cue a bit more off the line.  I feel like I can do more with the cue ball because of this mastery of the amount of deflection.  For those starting out and/or just learning english, any one of these shafts may help you produce the desired results more often and faster than taking the time to learn how the conventional shaft imparts spin.  These engineered shafts make it so you can hit straighter at the contact point, taking away the need to judge so carefully, and making it so you have more successful shots more often.

Most people like having a break cue in their case.  I have never played with one.  I break with my regular playing cue, and have since I’ve owned it.  You will do no damage to your regular playing cue by breaking with it – unless of course it is a very cheap cue.  The only reason to have a break cue is that it may prolong the longevity and shape of the tip on your regular playing cue.  I would generally recommend you go with a heavier break cue than a lighter one.  Some players like to use those with a phenolic only or a phenolic/leather tip blend. In the end, you want to pick a break cue that is the most natural for you to yield in a power shot such as the break, while maintaining optimum control of the cue ball.

Let’s learn about the cue tip!

Ahhh, so many options!  What you need to determine first is if you want a conventional one layer tip, or a stacked, laminated tip.  A laminated tip is one that normally has 10 layers of either boar hide or pig leather, glued and compressed together.  The conventional tip is one that has been cut out of a various animal hide and compressed, but is only one layer.  The one layer tip such as Le Pro or Triangle tips are the least expensive options to have installed on your cue.  The layered tips can run up to $40-$50 installed.  The layered tips promise to deliver more of a consistent tip, and wear down slower than a conventional one layer tip would.  These tips will keep their shape longer, and tend to “mushroom” less.

There are many different layered tips on the market. Tiger Products makes many different kinds of layered tips, which you can find on a lot of Cuetec cues, called the Sniper, Everest and Dynamite options.  You may be asked about what shape you would like – either a “dime” or a “nickel” shape, when you have your cue tip replaced.  Dime means that you would like your tip more rounded, versus a nickel being less rounded.  What’s the difference?  A more rounded tip will give you more spin on the ball when hitting away from the center axis. Almost all professionals play with this shape of a tip. A less rounded tip will help impart less spin on the cue ball.  Also, tips come in various hardness levels: soft, medium and hard.  The softer the tip, the more it grabs the cue ball, the more spin it will impart.  Also, the softer the tip, the more propensity it has to mushroom out of the sides, losing its shape.  The harder it is, the less spin it may impart, the more it might miscue, but keeps its shape longer.  Most pros play with a medium-hard, or a hard tip.

Care and Maintenance of your Cue Stick…

I actually do not clean my shaft at all.  I like it to be semi-dirty, as I can feel the shaft run through my fingers.  The only time it gets cleaned up at all is when I get a new tip.  Keep in mind, any time you apply sandpaper, or the little green scrub pads – anything – you take material off your playing cue that cannot be put back.  I know people who have had their cues for 25 years.  If they took a little piece of 200 grit sandpaper on it every other month, they wouldn’t have much of a shaft left.  If you want to clean it between tips, using a towel to wipe it, it is okay as long as it has nothing on it.   It is simply not necessary to do this to a shaft often.  You can use all of those products out on the market, but just know you might be investing in a new shaft if you keep your cue for any lengthy period of time.  This also goes for maintaining tips.  I do not use any tip tools.  Anytime you grind, prick, or rub at the tip, you take away tip material and shorten the life of the tip.  Many pros I know just have a little square of 80 grit sandpaper that they either press (not grind!) into the tip or very lightly go over with.  This is truly all you need if you find the tip is a bit glazed over.  There is no need to scrape away this tip layer so vigorously. When you chalk your cue, try to be discerning about the cube of chalk you use.  Do not use one that is too pitted, as the edges can scratch and discolor the ferrule.

Equipment I love to own!

There are a few things in my case that I always have with me.  First and easiest are a couple of cubes of chalk.  You never know where you have to travel to play pool, so you should always have what you need, versus relying on the Host Location.  You don’t want to end up with those scratches in the ferrule mentioned above because you didn’t have your own.  Not relying on a Host Location’s bridge applies here also. I really like Tiger’s Corona Bridge Head.  This is a soft leather bridge that affixes on the end of any cue.  It is way better than the white plastic options you’ll find under most tables!  I also have a bridge that is very adjustable, just in case.  I have a bridge called the Justa Bridge that allows me the height that no other bridge does, so that I can jack up over a ball and still apply draw to the cue ball.  Lastly, if I absolutely need to smooth out something on my shaft, like a little nick or something sticky, then I have Tiger’s Shaft Smoother & Burnisher.  It has two sides, so I can clean my shaft without water.  Lastly, as the coach on my team, I have a neat little magnetic table so that when I want to explain a shot later, I can diagram it.  Samm’s Pocket also has a lot of other fun pool related items, since the holidays are right around the corner!

Tiger Corona Bridge Head: http://www.tigerproducts.com/store/product.php?productid=16187&cat=248&page=1

Justa Bridge: http://www.pooldawg.com/product/justa-bridge-billiards-bridge

Tiger Shaft Smoother & Burnisher: http://www.tigerproducts.com/store/product.php?productid=16195&cat=248&page=1

Magnetic Pool Table Diagram Tool: http://store.sammspocket.com/mac20.html

Finally, the Cue Ball!

The cue ball that is normally played with is called an Aramith red circle, because it has a little red circle on it.  It is incorrect to call this cue ball a “red dot.”  There is a different cue ball that actually has a red dot, so that moniker should be saved for when talking directly about that cue ball.  The “red circle” is the most accepted ball when playing in most arenas.  It is less dense than the measle ball, the ball with all of the red dots on it. The measle ball is also called the Aramith Pro Cup cue ball.  I much prefer playing with the Aramith red circle ball, as it reacts in a predictable way and generally plays “lighter” than the measle ball.  The measle rolls further, but draws less.  The pros play with the measle ball now.  It has been determined better for television, so they adjusted to learning how to play with it.  There has been a huge discussion on the differences between the two balls, and I could write another article just on that.  In the end, you can do more with a red circle, as it is more in line with the standard weight and density of the rest of the object balls, so I like it better.

I hope this article answered many of the questions regarding the many choices we have in the billiard industry! Please email me any questions or comments you may have at tina@tinapawloski.com.

Segal earned his spot in the finals with a 7-6 victory over Nikolaidis of Canada in the semifinals.  In the other semifinal action, Giumelli was up against Yow, winning 7-5.

Being no stranger to ESPN Trick Shot Magic, Andy is excited to have earned his first win. “This is my seventh Trick Shot Magic competition,” Segal said. “After finishing second twice, once to Mike Massey and once to Tom Rossman, it feels great to finally win this event.”

Some of Andy’s APA players were there to support him.  Two brothers, Dan Flynn and John Flynn of Hoboken, N.J., won a trip to the ESPN Trick Shot Magic competition by placing first in an 8-Ball Doubles tournament during the summer.  Andy said they had a great time.

Originally featured in the Fall 2006 issue of The American Poolplayer magazine.

2 Plus 2- For You!

DEGREE OF DIFFICULTY: 3.0

CONFIDENCE FACTOR: 6 minutes per day for 3 days

SETUP/POSITION: 4-ball on foot spot; 3-ball frozen to 4-ball and setup aim line to right edge of BR as we stand behind setup; Cue ball in straight line to 3-ball and on the straight line created by 1 diamond to left of TC and 1 diamond left of BC; 1-ball frozen to (c) aimed to left edge of TC and 2-ball frozen to (c) aimed to right edge of BC (toward BL).
DOUBLE CHECK SETUP!

BALL(S) POCKETED/OBJECTIVE: : Cue ball is aimed to (a) and shot straight with cue extension -- 1-ball in TC, 2-ball in BC, 3-ball in TR, and 4-ball in BR. Cue ball must not scratch and end up on foot half of table for shot to count. (Right of dash line -- foot spot to foot rail.)

It was my goal when writing articles for the APA to write specifically for players with higher skill levels, while in another part of the same article write directly for players with lower skill levels.  How and when to coach may appear to be only written for the higher skilled player. Advising the higher skilled players to ask questions—emphasizing the importance of coaching to one’s skill level and reminding coaches that they are merely helpers in a match that is not their own— ultimately helps both skill levels involved.

The ability for a player not shooting to be able to call a timeout is one of the reasons I like the APA over other Leagues.  Many of the lower skill levels that play on my team try to learn something from me by observing my play and getting instruction during timeouts. For these players to learn the most—and for you as a coach to learn the most about them—the following things should always happen.

One of the most important things I do is wait until I see what the player is going to do before I call a timeout.  Many times the higher skilled player sees a problem situation that the player is in and immediately calls a timeout.  When I join a new team, I tell my teammates that when I call a timeout, it may be when they are down on a ball.  It is wasteful to call a timeout before you give the player a chance to look at the layout.  Many times, they will come up with the right shot.  It may not occur as fast as you may have seen it, but they can come up with it.  It is wrong to assume that because you are a SL6 and they are a SL3, they are incapable of seeing what to shoot.

I didn’t start playing in the APA until I was a higher skill level player myself, so my experience with timeouts comes from when I used to play scotch doubles events with men that were champions.  I used to hate when they would come over to help me before I even looked at the table.  I would get so frustrated because in many cases I would have figured the shot out without help. I carried that experience with me when I starting coaching APA League members.  I will call a timeout before they are down on the ball, only if I see they are going to shoot the wrong ball.  Typically, I will wait until they are shooting at the right ball, but are cueing at the wrong axis of the ball.  I know it can be startling at first, but when they know why I call timeouts the way I do, they understand it is because I am truly trying to give them every opportunity to shoot assistance free and be their own player.

Next, whether they call the timeout, or I do, I always ask them what they were thinking and planning to do.  Do not just start saying what you want them to do!  You lose the perfect opportunity to understand your player and how they approach the game if you just start talking. Telling them something like this in the middle of a match is much more powerful than trying to set up balls later for them.  In the middle of it, while they are still thinking and seeing it, lasts longer than trying to recreate what occurred before.  You know what?  Sometimes, just sometimes, they have a better idea then I had.

When they tell me something that wouldn’t have worked, I use that coaching time to tell them shooting that ball would have resulted in a scratch, or shooting that stripe could have resulted in the cue ball knocking in the 8-ball, etc.  I then quickly show them the tangent in that case so they see it.  I then move on and tell them why I want them to shoot my shot.  I don’t just tell them what to shoot, I tell them why.  I then ask if they are comfortable with the shot I have suggested.  If they are, great!  If they aren’t, I really try to find another option for them.  The greatest suggestion of the right shot makes no difference if the player cannot execute it.  That brings me to my next point.

Do not ever, ever, coach above someone’s skill level!   I cannot tell you how many times I have heard coaches telling SL2s or SL3s, and even some SL4s, to spin this ball with left inside english, and come two rails over there.  Are you kidding me?  Invariably it is a coach who gave his timeout loudly enough (like he/she is on stage) so everyone can hear it.  This person wants others, including the player he/she is coaching, to be impressed with their knowledge of the proper shot.  The shot is only proper with a higher skill level shooting it.  It becomes the wrong shot when you tell a SL3 to shoot it.  You make the lower skilled player feel like a failure for not being able to execute your shot.  We are here to make their playing experience more successful—that’s it.  I have always found a shot during a proper timeout for a SL3 or SL4 by having them use the top, bottom or center of the cue ball.  The only time I may have one of these skill levels use a sidespin is if they are kicking at a ball, and they have to widen the angle or shorten it.  Using english this way is simple because you do not have to account for deflection in pocketing a ball.  All that happens here is that you hit the cue ball on the side and the ball goes to that side.

Coaches need to understand that this is ultimately not their match.  The suggestions we give for what shot to shoot should be in the end, just that, a suggestion.  I always tell players when I join their team that when I give a timeout, the shot I am telling them is the shot I would have them shoot.  It is still their match, and if they want to try some other reasonable shot, then that is their decision.  A timeout is about communication, and not the one-way kind.  The player getting coached should always be able to reject a timeout or voice when they are not comfortable with a suggestion. One of the only exceptions is if you know the shot they want to shoot is impossible. I will not allow someone to shoot something I know is impossible, because they do not know it is.  This person is still playing on my team, and even though the match is his own, he is playing for the collective. 

In the end, timeouts should help both skill levels.  The higher skilled player should gain an understanding of the lower skilled player at almost every timeout. And the lower skilled player should truly be helped by the suggestion given.  The shot suggested needs to be the right one for the player getting coached, not the right one for the coach. 

I love to hear your questions and comments!  Please send any you have to tina@tinapawloski.com.  I look forward to hearing from you.

Originally featured in the Fall 2006 issue of The American Poolplayer magazine.

3 Balls, 3 Pockets & 3 Cushions!

DEGREE OF DIFFICULTY: 2.9

CONFIDENCE FACTOR: 5 minutes, 48 seconds per day for 3 days

SETUP/POSITION: 1-ball slightly left and 1 inch out from pocket BC; 2-ball frozen to 1-ball and aim setup line for (1) - (2) is to left center of TC; 3-ball on center edge of pocket TR; Cue ball 1 diamond segment back of 2-ball and in a straight line with 2-ball as you stand behind it. Maintain good fundamental form! DOUBLE CHECK SETUP!

BALL(S) POCKETED/OBJECTIVE: Shoot cue ball (c) to aim point (a) on 2-ball. 1-ball will drop in BC, 2-ball will travel to BL and drop, and cue ball will travel to (r) on #1 cushion and make 2 more cushion contacts on head and #3 before making 3-ball in pocket TR.

What is the best way to prepare yourself to play a person with a skill level (SL) much lower than your own?  I'm a SL6, and I often have to play SL3s.

Many times during League play or at Nationals, we have to play people that are not close to our skill level, whether higher or lower.  It can be frustrating on both ends of the spectrum, so I will address the higher to lower skill level matchup, as well as what the lower skilled player competing with a higher skilled player should be thinking about.  It definitely can take you out of your comfort zone when you compete in a match with someone who is not near your skill level.

Viewpoints of a higher skilled player . . . When a higher skilled player competes with another higher skilled player, there is a certain amount of familiarity to the number of safeties—especially the safeties that are intended to be played—and the overall pace of the game. It is a longer race.  If you make a mistake (like making an early 8-ball), there is a whole match of either a 5-5 race, or a 5-4 race to "battle" back and play through this error. When playing a SL2 or SL3, that luxury definitely doesn't exist. If you make an error and lose a game, the other player at the lower tier may only have to win one more game. I know this puts many higher skilled players on edge. You start pointing out all of the rolls when the lower skilled player missed a ball and got safe (again!), or when a ball rolls in front of your hole for the 8-ball and/or clusters up your balls when previously they were all out in the open. I know. I have seen it happen during many of my matches with these players— many innings in a row!  All of this is just one facet of what happens. The mental side of this matchup can also have the higher skilled player playing much more wide open, or haphazardly. After seeing a SL2 or SL3 miss the balls they do, the higher skilled player will sometimes play faster, or try to run out when there is no out, sending the cue ball into a large cluster to break out balls without paying attention to how the balls would spread, etc.  When a higher skilled player competes with another player of their caliber, he/she will play more carefully.  We pay attention to exactly how to break out that cluster.  We do not make a ball until we know we can run out fully.  We play focused and at a steady pace.

Ultimately, what needs to happen is you have to play everyone the same. You have to play that SL2 or SL3 the exact same way you would against the best SL7 (in 8-ball) or SL9 (in 9-ball), or any other pro that you respect. I, myself, visualize playing Efren Reyes. If my goal is to play the best shot, the best way I know how, why would it matter who I am playing? If I'm playing Efren, you can bet that I am doing everything that I have written in previous articles—not caring about the rolls, staying even-tempered, and focusing with quiet, determined concentration.  I realize it takes a lot of discipline to watch a SL2 shoot the way they do at times, and then regard them the same as you would Jeanette Lee. It is not exactly respect for the other player you are showing by doing this, but ultimately a respect for the game itself. No matter the opponent, you take what the table presents you—no matter who positioned the layout for you that way— and do the absolute best option your knowledge and practice affords you. Do not readily assume a SL2 or SL3 cannot run out if the balls are open. We have all seen it happen, or have heard stories of it happening to other people. Don't let this happen to you because you rushed a shot, or took a "flyer" that you had no business shooting because the shot looked fun and impressive. Taking these shots would lose the game for you against Efren; it is better to assume the same when playing a SL3.

There are only a few instances I would approve of doing some things when competing with a lower skilled player that you may not ordinarily do when you compete against another higher skilled player.  One such situation is when you have only the 8-ball left and you are safe behind a ball. If you have to kick at the 8-ball and it looks like if you hit it at the wrong speed or on the wrong side that you might scratch, give the SL2 or SL3 ball-in-hand, and don't take the kick. Now, you don't have to just pick up the ball-in-hand and give it to them. You can shoot at one of their balls to tie up another one of their balls, or move an unfavorable ball of theirs out of the way of the pocket the 8-ball is positioned toward. Ideally, the SL2 or SL3 would have many of their balls on the table, in a cluster. Again, you could make one for them if they do not have a cluster already. This way, you could play to your opponent's weakness, where I have been advocating to only notice what is on the table. The difference is to do it intelligently and thoughtfully. You are playing to their weakness because that is a better option than kicking at a dangerous ball that could give away the game in one shot. There are almost always exceptions to most rules, and this is one.

Viewpoints of a lower skilled player . . . It is almost always nervousness that gets the best of you in this matchup. You often feel like the match won't be fun for you if you think this player will run out all the time, or this kind of pressure is just overwhelming at your experience level. You have to take this as an opportunity! Normally, when a SL2 is put up against a SL7 (8-ball), it is rarely with the expectation that you will be the favorite in the matchup. You do not need to feel any pressure that you have to win exactly.  All you can do, and all anyone on your team can (or should) expect, is that you will do the best you can to make the balls that you are able to make at the given time. I would hate to see you miss balls because you believe that there is added pressure. I know we all want to win, and you can! You will come to find out, the first step to winning more often is when you quit caring about winning so much. I'm not saying don’t be competitive. You should want to do as well as you can based solely on that, wanting to do well for you. Playing this way will result in a win more times than if you are focused more on winning versus playing as well as you can. Again, do not be focused on the "win," but instead be focused on playing as well as you can.

When you find out that you have been thrown up against a higher skilled player, welcome the challenge! So many SL4s and SL5s wish they had the opportunity to play these great players more often. As the saying goes, "The bigger they are, the harder they fall." It is almost always a greater victory to defeat someone who is widely respected, and I guarantee you, if you are the person to make a SL7 "fall," it will definitely make your night, and encourage you. To some, playing like that could definitely be viewed as a "risk." There you are, center stage in front of no less than 10 people, playing this highly skilled player. Again, with great risk, comes a great reward.  But what really is this risk to you? You get the opportunity to play this higher skilled player, with no true expectation (other than your own) to win. You really are in the best spot possible if you think about it. All the "glory" but really, no risk. The risk to some is their own ego; losing in front of these people. SL2s and SL3s need to be realistic here. If someone has an ego, it should be owned because someone truly has an ability worthy of having an "abundant confidence" about it. If you are a SL2 or SL3, you simply aren't there yet. It is like if I were to get upset or embarrassed trying to par a hole playing golf at Torrey Pines. I have only played golf sparingly; what business do I have getting upset or having an ego playing something I have not put that much practice into? I enjoy playing golf for the sheer fun of it, and you should feel the same way about pool.

If you come across a higher skilled player that is complaining that they have to play you, let them complain. This only makes them shoot not as well as you may have seen them play others of their caliber. There are many problems higher skilled players make for themselves while playing you; take advantage of that. Just try to play your game the best you know how. Do not get nervous because of who they are. Just try to make a ball.  Think of a way that you can move your ball in front of a pocket that would obstruct your opponent from pocketing a ball, something simple. Just push balls around if you can't make one, in a way that you feel would be the most difficult for them to run out. That's it.

In the end, it's about welcoming the challenge no matter what skill level you are. For the higher skilled player, it is accepting the challenge as presented and digging deep for the discipline to play everyone the same. You need to play "tight and right" against anyone you play. For the lower skilled player, it is about having the opportunity to really be the star that night, to stand out above all the expectations, and do what you may think is, "the impossible." How fun is that? That is why I have played pool for all of these years. I appreciate the "dare to be great" situations that I have been in, and many times, have risen above. My life has been enriched from being presented with these challenges in pool, and has helped me in many other facets of my life.

I welcome any comments or questions you may have!  Please email me at tina@tinapawloski.com.

Originally featured in the Summer 2005 edition of The American Poolplayer magazine.

Adjustment!

Great Falls, Montana… Rock Springs, Wyoming… Pueblo, Colorado… North Platte, Nebraska… St. Charles, Missouri… Decatur, Illinois… Indianapolis, Indiana… King’s Island, Ohio… Valley Forge, Pennsylvania… Las Vegas, Nevada… New Orleans, Louisiana… Utica, New York… Bangor, Maine… Jacksonville, Florida… Houston, Texas… Los Angeles, California… Moscow, Russia… Kiev, Ukraine… Malaysia… Singapore… Barbados… The Bahamas… and on, and on, and on! Wherever “Dr. Cue” goes or, better said, wherever “Ms. Cue” sends him, I have discovered a recurring necessity in each show, tournament, clinic, and challenge match — adjustment, adjustment, and adjustment!

Adjustments for the speed of the table… adjustments for cushion rebound angles… adjustments for clean versus not-so-clean pool balls… adjustments for different cue and tip experiences… adjustments for a headache or muscle pain… adjustments for loose and tight racks… adjustments for opponent attitudes… adjustments for the weather (which seems to affect everything) and a myriad of adjustments for hundreds of other environmental, human, and billiard physical properties!

With all these considerations, it is a wonder that we ever play well. All is not lost, however. I remind you of five key elements for game success, to help each of you overcome most problematic situations and/or conditions that sometimes appear too overpowering. Learning the following golden nuggets of an enlightened game approach will surely take you to new heights, and give you an understanding of how to handle the little and big things that cause us to stagnate and question our abilities.

Many of you have studied these principles as a positive and growing APA League player— gaining insight via the vast locations we have taught at and shows we have performed over the years, and at specific venues at the APA national events in Las Vegas. Whenever and wherever we meet, please don’t hesitate to ask me specific or general questions on these important instructional keys to game success. In addition, my RACK UP A VICTORY book and videos will help you in your journey to playing excellence. For instructional/product information and/or show/clinic tour details please visit my Web site or e-mail me: www.drcuepromotions.com; drcue@artisticpool.org

For those of you getting ready for the APA National Team Championships, this event is different than any tournament that I have ever prepared for. Every tournament I have ever competed in had been just me—not a whole team. Everything still translates of course, just a little differently. If I decide I want to play well, prepare with a lot of practice, and get a lot of sleep, I will do well. On a team, you can do all of these things individually and not win because someone else didn't take Nationals as seriously, or prepare as much as you did.

I write this post for all players who are serious about doing as well as they can at Nationals. In past events, I have watched a lot of players get a bit crazy about being in Vegas. If you truly want to win an event of this caliber, you have to forget that you are in Vegas and ignore the whole "party" atmosphere. Wait until the event is over for your team before starting to get involved in all that goes on other than pool. You are there to accomplish a goal—one that your team has been qualified to do based on the performance you have shown during the season. You have relatively the same shot at the National title as any other team that goes there. You are going to be playing the best of the best from around the country. Your team merely having the best SL4 and SL6 and a super SL7 probably won't be enough for you to just go in and win it. I guarantee you that there are at least a hundred other teams with that same formula. You can't depend on this or that player to always be the winner for you now. The thing that is going to be the big determiner is not necessarily skill or how good you are at your Skill Level, but the smaller things that aren't given as much credence as merely practicing. I am going to share those with you now.

So, how to prepare?

Everyone knows you must practice. This doesn't mean going out with a friend and playing some games. This means setting up balls for shots that you may be having trouble with, or working on your stroke or speed. This is serious practice that involves focus and at least an hour of your time every day.

Even when I am getting ready for a bar table tournament, I still hit balls on a regulation size table. I believe that loosens my arm up the best, and since the pockets are smaller and the balls don't seem to slide in as much, I am really getting the correct feedback on whether I am making the balls or not. You do not need to practice on a big table if you do not want to. Just putting in time hitting the balls is good for you. Not only do you benefit from the practice, but when you go into the event, you will know that you put in the time to succeed, and you will have confidence going into the match. You have worked on your game—you know that—and you will play better because you know that.

You do not want to be the person who says, "Wow, I missed that ball because I haven't been playing; haven't had the time." All I am proposing is one hour a day. That means if you have to miss your favorite episode of ER, this is what you need to do to get ready. You shouldn't approach a shot thinking to yourself, “I always miss this ball.  I hate this shot.” Set up those shots and shoot them over and over. I promise you if you spend just 20 minutes of focused practice on most shots, you will not think of them in that way again. This is a big tournament, and if you truly want to win, you need to do everything possible.

Once you are there . . .

When you arrive in Vegas, it is a good idea to call a team meeting. The goal of the meeting is to get everyone on the same page with the expectations you have for one another. Talk about how important it is to do well. You should tell each other that you expect everyone to get an appropriate amount of sleep, practice time, and familiarity with the equipment as much as possible—and do not drink too much! Everyone should be accountable to everyone else. If you want to drink waaay too much, and have a good time playing drunk, go to the SWC. Don't get that Vegas experience of the SWC confused with the Nationals. This is “go big or go home.”  You can drink too much and play some Mini's if you want to have a good time drunk while playing. At least the outcome only affects you, not your teammates. This is not the Southwest Challenge; this is the big show. Many teams shed a lot of blood, sweat and tears to try to get to Nationals.

When I am at a big event, I really try to spend as much time as I can on the tables I will be competing on with whatever cue ball I will be playing with. There is no way your team should be going into its first match without having spent a good amount of time getting acclimated to the tables. The cloth is newer, the balls cleaner, and the humidity is less than what you are probably used to playing on or with. Everyone should get familiar with those things, so the shot with follow on the 8-ball in the first game doesn't follow the ball in because they didn't understand that the table would play that fast. When I am at a tournament, I spend hours (and however many dollar coins that amounts to) to feel right with the equipment. You and your team should do the same.

More on the mental side of things . . .

When I know I have a match coming up at, say, 5:00 p.m., I start preparing hours before. I make sure that I have eaten something not very heavy (nothing fried for sure) at least 2 to 3 hours before; never right before a match. You do not want to be newly digesting something as you are playing. Food should never be a factor in anything while you are at the table.

While you are on your way to the tournament room . . .

When you are walking down that long hallway, imagine yourself playing your best pool. Prepare by seeing yourself make everything with that great stroke you have felt. Concentrate on exactly what it felt like to play that way. Playing great (really great) usually never involves someone just showing up, but by making oneself ready for greatness.

I never walk into the tournament room 15 minutes before my match. I want to give myself a chance to be a part of the environment, the smells, the temperature and the noises. I go early and watch a good match already in progress. I continue thinking about pool, being engrossed in only that. I get my mind ready for a high level of competition. I feel very calm and focused. I try not to talk to anyone at this point anymore. Of course, that is different when you on a team, but keep your conversations on the task at hand, not how troublesome your new dog has been at home, or how you just had some new floors put in.

While in a match . . .

There are many things you can do to keep yourself steady while in a match. This first thing is to NOT GET ANGRY. I know that you are feeling a lot of pressure, but getting angry only worsens it. Everyone knows that getting angry doesn't help them with the next shot, but people still have outbursts. I used to show emotion when I missed, but while reflecting on it I found I was doing that for everyone else, a performance within a performance you could say. Years ago I worked on sitting down and waiting for my next shot after a miss. I didn't curse or scream at anything. You need to remain on an even keel emotionally at all times. That means do not get extremely happy with the great shots, and do not grieve over the bad ones.

Between games, I smile with my teammates a little, and acknowledge a good shot on the 6‑ball or whatnot, but never in the middle of an inning or during the game. This concept might seem odd for many people. Try playing very focused and calm throughout the duration of a match, and I know you will see the difference. I have a good time at this game, not necessarily while engaged in it, but as I reflect on how good I played. Winning a match is not just making good shots, but knowing how to persevere and win through a match filled with bad ones. Staying even-tempered is one way to achieve this.

If you do miss a shot, when you go back to your chair, consider instead what happened. Do not waste your time saying some choice words to your teammates about the shot. Instead, think to yourself: “Did I stand straight up from the shot?”  “Did I change my mind during the shot (what english to use) and not get back up and readdress?” “Was I generally unsure of what to do and I shot anyway?” You do not need other people to help you to play better. If you spend your energy constructively by staying actively aware of yourself in your game instead of getting angry and cursing, you can fix most problems that happen on your own.

About the rolls . . .

When playing 9-Ball, I have heard many people complain about the "rolls." To me, there are none. Why? A long time ago, I would get upset when someone was slopping in balls or would hit a ball and got safe on me. Getting angry as explained above, would affect my game immensely. It was when I realized that the only reason that person got a roll was because I gave them the opportunity to shoot. I missed that position on the 5-ball because I rushed the shot, didn't make all the necessary decisions in my pre-shot routine, and so I missed. It makes no difference to me three balls later if they end up slopping a ball in or leaving me dead safe behind the 9-ball trying to shoot the 8-ball. I gave them the opportunity to shoot because of my mistake; therefore, my fault. End of story. Since then, I have never gotten upset at a roll, ever.

I think this post is long enough for now! Teams, just show up and be smart about why you're there. Do everything you can to make as successful a result as possible. I just wanted to share some suggestions of things that I did at pro events that helped me that you may not be aware of.

Originally featured in the Spring 2005 edition of The American Poolplayer magazine.

“I Think I’ll Transfer!”

DEGREE OF DIFFICULTY: 2.4

CONFIDENCE FACTOR: 4 minutes, 48 seconds per day for 3 days

SETUP/POSITION: Place cue ball (c) on center spot of table; 2-ball on center edge of pocket TC and 1-ball 12 inches from 2-ball, and on the straight line created by the cue ball and 2-ball. Good form and perfectly square hit on 1-ball required. DOUBLE CHECK SETUP!

BALL(S) POCKETED/OBJECTIVE: Shoot cue ball with maximum draw to target aim (a1) and additional aim target (a2), which is where the 1-ball must contact the 2-ball to not only make it, but also be made itself. With success both 1-ball and 2-ball will drop in pocket TC.

Originally featured in the Spring 2005 edition of The American Poolplayer magazine.

Ball In Hand “Shortcut!”

DEGREE OF DIFFICULTY: 2.3

CONFIDENCE FACTOR: 4 minutes, 36 seconds per day for 3 days

SETUP/POSITION: Place 8-ball on foot spot; Freeze 9-ball to (8) toward foot cushion side and straight in line with 8-ball as though you are spotting 2 balls one behind the other. With cue ball-in-hand due to a scratch or foul situation, place cue ball straight in line with 8-ball as we look at diagram and as close as possible to (8) without touching it. DOUBLE CHECK SETUP!

BALL(S) POCKETED/OBJECTIVE: With the elevated cue stick, shoot (snap) the cue ball (c) and use (a) as an aiming aid for the shot. (a) is exactly opposite the 9-ball as diagramed. The cue ball will hit the 8-ball causing the (9) to shift slightly, then carom (9) to TR!!!

APA Member Question to Tina Pawloski . . .

When I practice, my performance level is almost always better than my play in tournaments. Obviously, the desire to do well when it counts—for myself and my team—creates that tiny bit of tension that gets in the way of playing to my abilities. I would suspect that I'm not alone with this problem. Now we (in the APA) are just out there having fun. You have competed at the highest level, playing against the best in the world, for your livelihood. How did you deal with the pressure and what advice do you have for us?  Thanks.  Cliff — San Diego APA Chapter

Tina’s  Reply . . .
Thanks for the question, Cliff!   Getting rid of nervousness mostly is accomplished from good old fashioned seasoning, just playing a lot of matches and as many tournaments as you can.   That is why my playing on a semi-pro regional tour first, for as long as I did, really helped me. There is just no getting around good old-fashioned time spent in the heat of battle to get used to what that feels like. It was a combination of just playing a lot of matches and a few realizations I made along the way that ushered me along the path of getting to the point of pretty much not being nervous at all. I will share some of those realizations here with you today, and some general tips in the moment for dealing with nervousness.

Going to the bathroom!  
This is the good old standby most will advise you to do when they notice you being nervous. Okay, that is all fine and well, I guess, and in my earliest days I did go try to "take a breather." I would sit in the stall, trying to breathe, get my heart rate down. I'm not sure that this method helped me a good percentage of the time. It was what I learned later after the realizations I was having that allowed me to think about what I should be thinking to help me overcome my nervousness. I found that just going in there to get my heart rate down was fleeting, but once I was back at the table with the cue in my hands, it would invariably go back up again. This is a good place to start, but do not to stop just here.

Mental exercises during a match . . .
Do what you can while in a match to not get worked up. As I have said to some of my students, the way to play is to "not grieve over the missed shots, and not rejoice on the great ones." What this means, especially if you watch me during League play, is that I stay as emotionally even as I can the entire match. I do sometimes "ham it up" with my opponent during APA League play, because when I play in this arena I am simply trying to have a good time. But mostly, you will see me adhering to my old practices when I was playing in the semi-pro and professional tournaments.  When you miss [a shot], do not get mad or curse.  

Indulge me as I veer off on a tangent for a moment and give this piece of advice:  Use that opportunity while you are sitting down to go over in your head the true reason why you missed [that shot].   If you are a SL2 or SL3 and sometimes a SL4, the reason you miss most of the time is because you just aren't good at making balls yet. But any person above that rating really needs to use the time after a miss to think about why you missed it. I just had this conversation with Jason Yeagst (SL6 in 8-Ball) at the Library a week or so ago. He was telling me how he lost his match after missing a straight in ball and gave the match away.

"What made you miss the ball?" I asked him, and he replied, "Oh, I don't know, I just missed it."
And I said, “No really, what were you thinking about when you were addressing the ball?" and he replied, "I don't know." I asked, "Did you make sure you got in line and addressed the ball properly?" and he said, "Yes." So I let it go, and I started talking with someone else.  About 5 minutes later Jason turned to me and said, "You're right!"  And I said, “Yes, of course!"  “What about?"  Jason went on to say, "I was thinking about something on the straight in shot. I was thinking about how I didn't get the position I wanted to get on the next ball, so being a little angry about that, I just got down and shot it.  I mean, it was straight in!"   I smiled, "Hallelujah!"

A SL6 who missed a straight in shot. Should he have missed the straight shot? No. Let's explore why he did, and why higher skilled players will miss these balls from time to time. So the tangent part (that we are still on) is that he missed because he was thinking of something other than just pocketing the ball. When you are standing before a shot, before you get down on it, you need to make all of your decisions about what you are going to do.  What english to use or not, and visualize the path the cue ball is going to take to get to that destination. What happens is that sometimes we'll get down on shots we aren't sure of, such as you are not sure if after you hit the ball, trying to get position, if your cue ball will really hit the rail between those two balls to get position over there. You are afraid you will not draw the ball enough, or anything else that you have doubts about. Again, before you shoot the ball while you are standing, you have to have made a concrete decision before you get down. Fully commit to a plan that you are going to execute as you are standing. Do not make these decisions when you are down on the ball, because it was straight in. Indecision is what causes people to miss. Thinking of anything other than the shot at hand will make you miss. Make sure that when you are down, that shot is literally your world.

So even though I could write a couple of more thoughts about this, I will go back to the spirit of the post and off the tangent—the mental side of that shot.

Now, still on the Jason example, there is another reason he missed that shot. He was angry. He was perturbed he didn't get the perfect angle he was aiming for. He has the ability to put spin on this ball and get there another way, that isn't the problem. He could have gotten that same perfect shape on the next ball for sure! He missed this ball and the match because he was angry, and he took it for granted.

Angry much? 
Keeping "even" as I was writing above is really exemplified by my conversation with Jason. If you do not allow yourself to get angry, you do not make the mistake Jason did. You will notice if you ever watch me play that when I miss, even if it is the case 8, that I just simply go sit down and wait for my turn. While I am sitting, I ask myself why I missed that ball. Sometimes it’s because I adjusted when I was down, because I didn't think I was cutting it enough. So next time, I know that I will trust my fundamentals when I get down in line with the shot, that I am seeing it right, and not to second guess myself. I teach all my students how to address a ball properly, walk into a shot properly, and that there should only be the need to make the slightest adjustments while you are down. If you have to make more than just the slightest [adjustment], then you need to get back up and readdress [the shot]. Although I do this well, I am prone to some bad decisions myself at times. Because I take the time to constructively ask myself, “Why?” when I miss, instead of getting angry (which doesn't help you at all), I am reminded next time to get up and readdress, instead of potentially developing a bad habit.

Other questions may include, "Did I feel out of line, and shot anyway?" or "Did that waitress that walked right in front of me distract me, and I shot anyway?" or "Was I worried that I was taking the wrong shot, but did not make a concrete decision to shoot it, no matter the outcome?"

I used to be an angry player. When I missed, I made sure that whoever was watching on the rail saw the frustration.  It was like I was playing for them, that they needed to know missing that [shot] doesn't happen that often (when it did!), and they should know I was frustrated about it. Phooey!! I learned over the years what those people watching think of you is fleeting, and will change day by day. I quit playing to impress the people after that. I was inspired to change this initially by watching now pro player, Louis Ulrich, play over 12 years ago. Even when he was a teenager, when he was playing, you could never tell whether he was winning or losing.  If he was stuck 5K or up 5K, he looked the same sitting in the chair, during his match, gambling or otherwise. I recognized that is what it took to be a champion. It took me about two weeks to get out of the bad habit to wanting to make some sort of face either in anger or to the audience. I did it though, and it truly was transforming.

No rejoicing, either. What?!!
To stay even, you must also not get too happy when you make great shots. Many times people have watched me play and have seen me jump balls in during my match. It was a skill I learned out of necessity when playing in tournaments, and have been useful in a few of my APA matches. Those same people will also attest that they do not see me pumping my fist, or smiling or shouting a "woo hoo!" I shoot that shot, and then shoot the next shot. That is all. During a match, if you make a great shot, just keep shooting as if you made a ball straight in 4 inches from the pocket, and when you miss, sit down and calmly wait until your next shot, if you get one. If you lost the game because you missed a shot, own that, and go rack the balls. Remember it.  Practice it later so it will not be a reason that you lose a game again. You do not want to be in a game situation in the next week of play and that same shot that you missed (the game clincher!) comes up again. I am not saying that every time you miss it’s because of something mental; sometimes you just miss.  But if it was a truly easy shot [that you shouldn’t have missed], you need to ask yourself why. After a match is over, be really excited over a well executed shot and talk it over with your teammates—but only when the match is over!

Some realizations . . .
Nervousness, like any emotion, can be cultivated. When you realize you are nervous about something, you can either do all you know to squash it, or you can make it worse. Here are some ways to make it worse:

1. Tell yourself, "OMG, I am so nervous!"
2. Think to yourself what this match means to you or your team.
3. Treating the 9-ball or the 8-ball different than any other balls on the table, assigning them more value.
4. Seeing someone you respect watching your match and thinking, "OMG, I want to impress them!"

These are just a few of the ways that you can "cultivate" nervousness. If you sit and think to yourself how nervous you are, or talk to other people on your team while you are playing, you are not defeating it, but allowing it to take hold of you. Stop! Do not sit and think to yourself if you win this match you will win MVP, or your team will take over first, etc. This puts pressure on you to play when your whole perception of the situation should be different.

What I do is play the best I can shot after shot. If playing my best results in a win, then I win the match. I do not have the goal set in my mind that I want to "win this match." I just approach the table and each and every shot the best way I know how, and execute it to the best of my ability. I have lost matches when I really played the best I could, and that is okay!  I wholeheartedly congratulate [my opponent] on a job well done.

One of my pet peeves, when I am playing, is if someone is sitting in my line of sight as I am getting down to shoot either the 8 or 9-ball, and that person gets up and moves. Stay there!! What someone is doing is assigning value of a greater importance to those balls. To me, and to other higher level players, if I miss the 4 in the beginning of the game, I assume I have lost already. I always play—no matter who I am playing—if I miss, I lose. Moreover, when you are shooting (whatever level you are) and you say to yourself, "OMG, it's the 8; God, I better make this!" you are creating or making worse the nervousness! Don't do this! Treat shooting the 8-ball as calmly as when you shot the first stripe that started your inning.

I have had a lot of people say to me (especially my students) that I make them nervous when I watch them play. They are always wondering if they are taking the right shot, if I would approve, etc. First, I am usually not really watching you play. A lot of times I am just watching balls roll around and not judging anything. Even if I, or any other player/person you respect, were watching, you can't be nervous here either.

It's like a nightmare, isn't it . . .
I used to get nervous when players that I respected a lot watched me play/practice when I was in the poolroom. One of the realizations I made is that I knew playing nervous didn't help me. I sat there and just reasoned with myself. I knew I was missing balls that I would never miss because I was intimidated by them. I ended up just saying to myself, "This isn't helping me. I am going to play like I know how, and in the end, I will play right, how I am supposed to. No more  letting how I feel get in the way. Stop it now, and play through it."

So I did, and it worked! I remember one of the first times this thinking worked for me. Keith McCready still lived in LA at the time, and I was playing at Hardtimes, LA's premier poolroom. I was just warming up for one of their weekly tournaments, and he was sitting there talking to my friend near the table where I was shooting. I ended up breaking and running that rack before he walked away.  He said to me, "I hope I don't have to play you!"  Boy, I can tell you the feeling I had hearing that from a legend was better than letting that nervousness get the best of me!

Lastly, before this article becomes a full length novel, I leave you with this. The last kind of epiphany I have had while playing this game came about 6 months ago. It was when I fully realized that I was missing some shots because of some sort of lingering doubt I had when I went to shoot them. This doubt could be either caused from nervousness, or indecision. I declared to myself when I felt any inkling of this at all, "Remove all doubt, and shoot this ball. Remove all doubt, and do it clearly." I knew in all my years of experience how many times I missed because of these things, and I knew what they felt like even before a shot. Instead of now continuing to shoot it, I wait, take a deep breath, and shoot it as clear of mind as possible.

Please email me with your questions!  I am happy to help you with any issues you may be having with the game or general questions. 

• Do I have any problem balls?

The first thing you do when you come to the table during your inning is ask yourself if you have any problem balls.

If the answer is YES:

• The problem balls need to be addressed first. You have to see if there is a way to break these balls out. Is there a ball near the cluster that you can use to do this? If so, you must immediately play to get on that ball.
  
• Do not shoot a ball in the corner; shoot another in the side, then another in the other side to get yourself down on the foot rail for position to shoot the breakout you should have done in the first shot. You have just shot what I call your "saver" balls.
  
• When you shoot a ball to break out two balls that are tied up, you should not play position for the balls you are breaking out. One of those two balls is ideally not good to be your next ball.
  
• This is why it is good to have a "saver” ball—a ball that is up in front of a corner, or hanging the side. Something that you can shoot to get your position on something else or even one of the two balls you just broke out.
  
• I am telling you to play position for a known ball, versus an unknown (the clustered or tied up balls).
  
• To the higher skilled player, having many balls of your suit on the table are not obstacles, but options. It is very important for you to change your thinking on this. You do not simply start shooting your balls because they are there and out in the open when you have problems elsewhere.

If the answer is NO:
If you have no problem balls, and the balls are out in the open, you can proceed to the YES portion of No. 2 Can I run out?I have seen many people come to the table and start shooting various balls they have in the open and then save their problem balls for last. You cannot do this! Any ball you choose to start the inning with is to get you in position to break out that cluster.

• Can I run out?

If you have no problem balls, the answer to this should be yes for a SL5 or above.

If the answer is YES:

• Start at the 8-ball and work backwards. The game is played a bit like straight pool.
  
• First, look at where the 8-ball is, and then pick a key ball. A key ball is the easiest ball for you to shoot before the 8 that gives you the simplest shape for the 8. Ideally, you want to be able to shoot the ball straight in the side with stop, and with that, your cue ball position would be perfect for the 8.

• In the example posted below, if you have solids, the 1-ball should be used as the key ball. You would not want to choose the 4-ball or 3-ball as key balls in this situation because they are below the 8. You could under hit one of these balls trying to get above the 8, so shape would be speed dependent. The 1-ball is the choice because you could hit it in the side and stop, and you are perfect on the 8 without having to depend on speed or angle for the most part.

• So, continuing backward from the 1, the 2 looks like a good ball to get straight on the 1, the 3 looks like the ball to get on the 2, and the 4-ball would be the one to start with. So again, 4,3,2,1 then the 8.

If the answer is NO:

• The answer would be “No” if you cannot break out a cluster; there are no balls to get you there. In this instance, you would not hit one of your balls in until you knew you could run out. If you tried to break out a cluster, and failed, you must stop! Play safe here. Do not continue shooting balls if you find there is no other way to break out a cluster.

• Do not shoot 3 of your open balls in, and then play safe. You would be making it very easy for your opponent to play safe on you. Remember, these balls are options for you, and obstacles for your opponent.

The above strategy covers most of it.  I welcome your questions at tina@tinapawloski.com.

Orignally featured in the Fall 2004 edition of The American Poolplayer magazine.

The Doctor Is In – A Secret of Sorts

As each of you approach local, regional, and national events in the APA League system, I hope you are experiencing victory in your practice and competitive play modes. In this regard, I want to provide you with a secret of sorts to improve your league and tournament performance.

!@#$%^&*()_+ — Something is definitely wrong!!
L@o$o^k*S)h+arp — Better, but still not right!!
Lo#ok^Sh(ar+p — Warmer, keep trying!!
Look%^Sharp — You’re almost there!!
Look Sharp!! — Now you’ve got it!!

The above chameleon text holds within its pattern a golden nugget of instruction—to correct specific glitches in a player’s mechanical movements, before, during, and after a shot. The foundation of this analogy is based on an in the present mode by me, as I type each line, and then review it. Making the appropriate changes as I go, from line to line, is a necessity to eventually get the last line to Look Sharp!!

In a similar light, you can enter an in the present training mode to your game components. Back in 1913, Welton Harris, the grandmaster of billiard instruction, created teaching techniques that produced some of the greatest champions and teachers our sport has ever known. Maurice Daly, Walter Lindrum, and Joe Davis became crusaders for the champion’s wisdom of Harris, using this proven method. I have been using similar techniques for years now with player-friendly results in clinic presentations; therefore, I would like to pass these elements of training success and player improvement along to you in a written rendering for your reference and application to your game.

An instructor’s analysis/diagnosis of a student has minimal value, if some method of corrective remedy is not prescribed for an existing glitch or glitches. Pre-stance, chalking efficiency, alignment, stroke, and/or the obvious errant movements of grip, bridge, head, and other body parts can all cause a player to play poorly and look dull. A less than professional image can give away percentage points of confidence to an opponent who is a student of the game himself or herself. Many of the games we lose are the direct result of not looking sharp at the table in our preparation and execution skills.

What is truly amazing about this in the present training technique is that each of you has been using it most of your life— without a pool table in front of you. The secret? A mirror! How simple! The process of prepping yourself to Look Sharp occurs each morning; if something looks dull or out of place, you correct it in the present with a trustworthy feedback deep from within the mirror’s reflection.

Imagine looking in a mirror and seeing yourself chalking the wrong end of your cue, stepping erratically into a contorted body/stance position, swinging the cue in a wild twisting hand/wrist/arm movement, pumping oil with the lower arm in relation to the upper shoulder hinge, and/or jumping mightily up from a final stroke movement with your head or upper body. What would you think if you saw these glitches destructing your game? You probably would agree it would be time for a transformation to a new you in the game you love. You can correct any glitch of muscle memory or pre-stance by talking to yourself in the mirror until the correction is made with comfort in a reinforced subconscious image implant. Tuning yourself to Look Sharp in a mirror—with each mechanical component in its proper order and movement—will allow you to take the new you in the mirror to the table. It is okay to talk to yourself in the mirror as you correct each glitch. Do not accept the you in the mirror, just settling for second best in your poolplaying image! Note: Don’t be alarmed that the image in the mirror is reversed! It still works!!

Prescription from “Dr. Cue”: One to two minutes a day in the present with a mirror for 3 to 5 days, and then every 3,000 games or 3,000 miles, whichever comes first! Chalk consistently on each approach, align body with cue under shoulder, step forward into down stance position, maintaining the cue/shoulder relationship, balance yourself with a parallel to the cue rear foot movement, start swinging the cue in a non-twisting and unrestricted motion of the hand/wrist/lower arm, with no upper shoulder/body/head movement, make a final, slow back swing, hesitate, and free flight the cue forward to the awaiting tip in the mirror.

Goal: Straight alignment and straight stroke motions…under the shoulder…with “2 tips” in a gentle unified perfection to each other.

Result: A new, improved you—Look Sharp, Be Sharp, Feel Sharp!!

Until next time, when The Doctor Is In.

The American Poolplayers Association (APA) is proud to announce they have signed a sponsorship agreement with The Black Widow, Jeanette Lee.   The APA made the announcement Monday at their annual League Operator Convention in Las Vegas.

“We’re very excited to work with The Black Widow.  We believe her image transcends the sport of pool, and we believe she will encourage non-poolplayers to pick up a cue and give our leagues a try,” said APA Public Relations Manager Jason Bowman.

Lee will be the official spokesperson for the APA and APA Pool Leagues and will appear in advertisements, commercials and other promotional materials encouraging people to compete in an APA Pool League..

In this article, I will focus on strategy for the lower handicapped players. There is a different way to address 8-Ball for these players and those coaching these skill levels. As written in my article for higher skill level players, 8-Ball Strategy for SL5s and Above, there is definitely a difference in how a SL5 should consider their inning compared to a SL3.

First, a lower skilled player pockets balls less accurately and less often than a SL5. Because of this, we cannot teach someone who is under a SL5 the same strategy as a higher skilled player. Successful strategy for a SL5 and above is dependent upon the player’s shooting ability (once their suit is open) to clear the table.

This is not to say that you cannot help the SL2-4 play better 8-Ball! It is just as important that you play as defensively in 8-Ball as you would in 9-Ball when faced with a low percentage shot, or no shot at all. In 9-Ball, it is easier to decide what to do. It is easier to devise a plan when there is only one ball that you have the option of shooting versus the many options in 8-Ball. It should be standard that if you are faced with a very tough shot when playing 9-Ball and no reward for making it, (i.e., no position on the next ball) then you should play safe.

Often, I see this not being done in 8-Ball! I'll watch a player play smart 9-Ball, but then go over to 8-Ball and try to back-cut bank a ball because it is the only one they could see. Instead, they should push that ball in front of a hole controlled by the opponent's suit, or place it in a position to break out a cluster of their own balls where there was no ball previously in position. This is playing intelligent pool! If you push one of your balls squarely in front of one or more of my balls, you are almost guaranteed to get at least one more inning at the table. This applies when I am playing a SL3 or a SL7.

In reality, 8-Ball for SL2s, 3s and 4s is just a race to see who makes their balls first. When a SL3 plays another SL3, the game will be won 90 percent of the time by the person who has one ball left to make and the opponent has four or more. When I am coaching and watching lower skill levels play, I am more interested in helping them run the maximum number of balls. With a SL5 or higher, I would be more interested in them being able to run the full rack at the right time. Let me show you what I mean:

I would tell the lower skilled player to shoot the 5-ball first with a little top to drift down for the 6-ball. I would then hope after they shot the 6-ball, they could shoot the 4, and if we get a long run going, on to the 1-ball and 3-ball. I want them to make as many balls as possible, even though they have no feasible way of making the 8-ball.

I would tell the SL5 and higher to shoot the 4-ball and stop the cue ball right where it hits the 4. As explained in my strategy article for higher skill levels, you should never shoot a ball in until you know you can run out. Because the 8-ball is so obscured, with no ball in position to break it out, the higher skill level should not be shooting open balls until he can run out all the way. Shooting the 4-ball in this way puts it in position to break out the 8-ball in the next inning. Stopping the cue ball where it is leaves the opponent no good shot.

A lower skill level can incorporate a little of that into their game. Say that the SL3 can see 3 of his balls out in the open, but there is no pocket available for any of them. It is then that they should not try some back-cut bank, but instead say to themselves, "What ball can I shoot that would leave the cue ball in the worst spot for my opponent?" This is the basis for playing safe, but it doesn't mean that they have to completely hide the ball. When the SL3 is playing another SL3, sometimes it is good enough to try to get the ball to freeze against the end rail, so they would have to bridge flat on the rail. Sometimes a fair amount of distance is enough to earn another inning at the table when the other player only has one ball left. These are some things you can do as a lower skilled player without taking a time out. When you are thrown up against a higher skill level player that can make these long shots or rail shots easily, you would want to challenge yourself to come up with hiding the cue ball the best you can.

Another way of helping yourself when you have no shot is lagging your object ball in front of a hole, especially one that a ball of the opponent's suit is going toward. How much better is it for you when you have your object ball hanging in front of a pocket (and blocking one of their balls) instead of in the middle of the end rail? If you have no good pocket to shoot one of your balls in, consider banking it toward a pocket, or hitting the long rail above the pocket for you to get it closer.

Look at this example...

Monica Webb recently won the first WPBA Classic Tour event of the year at the Viejas Casino in San Diego in early April.  Webb captured her first ever Classic Tour title at the Florida Classic last November, and made it two in a row by defeating Ga Young Kim 7-5.

Webb overcame a three game deficit to defeat Kim in the final round.  The Black Widow Jeanette Lee and Gerda Hofstatter finished tied for 3rd Place in the San Diego Classic.

For more complete coverage of this event, visit www.wpba.com.

Originally featured in the Spring 2003 edition of The American Poolplayer magazine.

THE MOVE RULE!

DEGREE OF DIFFICULTY: 1.2

CONFIDENCE FACTOR:
2 minutes, 24 seconds per day for 3 days

SETUP/POSITION: 1-ball as diagrammed; Cue ball 4 inches from the 1-ball and placed so that it is aimed (a) at 1/3 of the 1-ball straight on line. The 2-ball is set straight in line with the cue ball on the TC-BC center line. The 2-ball is also 4 inches from the 1-ball. Maintain sound fundamental form and concentrate. DOUBLE CHECK SETUP!

BALLS(S) POCKETED/OBJECTIVE: Hitting cue ball at aim point (a) on
1-ball, the 1-ball goes left and the cue ball deflects to the right, leaving an open path for the cue stick to follow through to the 2-ball. The cue actually contacts the 2-ball for its make at TC!

ADJUSTMENT ANALYSIS: When striking the cue ball, if the contacted 1-ball hits the 2-ball, then your aim was faulty—adjust to the right slightly. If the 1-ball contacts the 2-ball again, you may not have the four inch spacing needed to be successful. Assuming all goes well with the cue ball and 1-ball getting out of the way and the 2-ball doesn’t move, extend more on follow-through. If you hit the 2-ball, but miscue off it or make a non-straight hit, then firm up that bridge! Raise your cue immediately and prepare to “move” out of town as you have just done the unthinkable. WARNING: FOR TRICK SHOT PURPOSES ONLY!

Straight follow-through cue extension causes cue tip to contact 2-ball! After contact with 2-ball immediately raise cue in air.

Given their love for the game of pool, perhaps it should have come as no surprise to Keith and Courtney O'Dell of Sharon Spring, N.Y., that their son, Keith Jr., would one day pick up a pool cue.  They probably just didn't expect that it'd be so soon!

Not only has 23-month-old Keith Jr. picked up a cue, but he's pocketing balls left and right!  Keith Jr. was recently featured in a segment on CNN for his amazing knack at pocketing balls.

APA League play is a family affair for the O'Dells, who had their first date in a pool hall.  Keith plays both 8-Ball and 9-Ball and is rated a Skill Level 5 and 6 respectively.  Courtney plays on the 9-Ball team Keith captains and is rated a Skill Level 5.  It might not be long before Keith Jr. joins the team as well.

First things first . . . First and foremost, you must hit the rack square, or head on. If you see your cue ball deflect to the right or left, you aren’t hitting the rack square. You want all of the energy from the cue ball to be transferred completely to the rack. Ideally, the cue ball should hit the rack and stop dead in the center of the table.  If this is a problem, here are a couple ways to fix it.
 
First, take 50% power off your break. Concentrate on hitting the rack as square as possible, so that the cue ball sits in the middle of the table after hitting the rack. Start by adding a little more power each time it appears you’re breaking well.  Repeat this process until you can hit the rack with maximum power, while still maintaining accuracy.
 
NEVER sacrifice accuracy for power. A big powerful guy can completely smash the balls, but should he? His goal is to be accurate every single time, not to demonstrate his power.
 
I hit the cue ball just below center like a powerful stop shot. I "pop" it. I normally use a long bridge when I shoot, but not when I break.  I shorten my bridge. The less distance the cue stick has to travel from my bridge hand to the cue ball means more accuracy, and when you are hitting the ball that hard, that small adjustment counts. One of the things I also do is look at the cue ball last. On any other shot, I teach that you have to look at the contact point of the object ball last. The break shot, and when you are jacked up, are the only exceptions where it is allowable. 

So as I get down, I look at the rack, so my body naturally gets in-line with the shot. Do not get down looking at the cue ball. As I am down, I am taking my practice strokes, getting comfortable, aiming. Once I feel I am ready, the last thing I do is look at the cue ball, and I imagine literally punching a hole through it with my cue stick. There are many ways to address the break shot.

One of my No. 1 tips . . . Most people underestimate the importance of a good rack.  After I win a game, I always make sure I'm at the head of the table watching my opponent rack. That doesn’t mean being obtrusive about it, or leaning over, or at the side of the table past the line that you would break from. Your opponent will always give you a better rack when they know you’re watching.  This is not to imply that people are inherently bad sports.  But, when you’re not watching, your opponent may let a ball that rolled off, roll off, because it looks good enough.  Generally if you’re watching, and they know you saw that ball roll off, they’ll always rack it perfect until nothing rolls, or let you know that they are having difficulty and where that difficulty is so you can adjust.  I cannot stress enough how important this can be. 

Cue ball placement . . . The cue ball should be placed wherever you feel is the most conducive spot for you to hit the rack as square as possible. In 9-Ball, most pros like to break from the side rail at the line, as it frequently makes the corner ball. This strategy is useless if you don't hit the rack square. If you do not hit it square from the side rail, don't shoot it from there! I don’t break from the side rail because I’m more accurate closer to the center of the break line. Because I hit the rack square, I still make the corner ball just as often as most do from the side. Again, accuracy is vital. 

The rack . . . When I played my first pro event, Tiffany Nelson and I were becoming friends. During practice, she asked if I knew what the professional way to rack was. She showed me how and why, and I'll share it with you now.  Look at the picture below. This is the order the balls should be racked in 9-Ball.

Wayne Sprouse was a member of the very first team to win an APA National Championship (then called the Busch Pool League National Championship). The team, called The Place II, was formed from a group of men that played pool out of a bar called The Place in North St. Louis County. The bar owner asked the gentleman to join the APA and they agreed. Wayne said most of the players on his team lived in Hazelwood, Mo. At the time, he was 31 years old and a Skill Level 3.

The National tournament was much bigger than Sprouse expected. He said his team had a great time at the event and enjoyed meeting a lot of new people. “There were a lot more people there than I expected,” Sprouse said. “There were both a lot of teams and spectators. A lot of teams from St. Louis were competing.”

The team played together in the League for about a year before advancing to Nationals. They were not expecting to win the inaugural tournament held at the Bel-Air Hilton Hotel in St. Louis January 31 - February 1, 1981. Twenty-five teams competed for $12,500 in cash and prizes, with the first place team taking home $3,500. “I was surprised to win,” Sprouse said. “Really, there were a lot better players than we were; we were just good on that day.”

According to Wayne, The Place II celebrated their win by using the prize money to have a party. The two-day tournament boasted more than 1,000 people and included trick-shot exhibitions by then Busch Pool League Commissioner Minnesota Fats and then Busch Pool Advisory Staff Pro Louis “St. Louie Louie” Roberts. For about 1-2 years after winning the National title, The Place II continued to play together.

Sprouse has been playing pool since he was in junior high; about 46 years now. He still enjoys playing for fun. Late last year, Sprouse moved from St. Louis to Louisville, Ky. where he currently works as the Chief of Prosthetics at a hospital. He has a wife, daughter and 2 grandchildren.

Originally featured in Spring 2003 edition of The American Poolplayer magazine.

CUE BALL — AWAY!

DEGREE OF DIFFICULTY: 1.1

CONFIDENCE FACTOR:
2 minutes, 12 seconds per day for 3 days

SETUP/POSITION: Place 1-ball and 2-ball 2 inches apart and each ball 1/8-inch away from head cushion. Center near name plate or middle diamond of rail the entire setup. Cue ball over edge of two balls from above and head (eye) over cue ball aiming downward at ball edges. Body should be rock solid stance and head motionless, with hold on (c). DOUBLE CHECK SETUP!

BALLS(S) POCKETED/OBJECTIVE: With the thumb on one side of the cue ball and the index on the other, hold the cue ball over the two object balls below... 6-8 inches from cue ball. Sighting with eye over cue ball to balls below, drop cue ball and make (1) in TL and (2) in BL.

Originally featured in the Fall 2002 edition of The American Poolplayer magazine.

A "Change" In Your Game!

DEGREE OF DIFFICULTY: 1.0

CONFIDENCE FACTOR: 2 minutes per day for 3 days

SETUP/POSITION: Cue ball as diagramed and 2-ball/3-ball on top of coin wrappers. One quarter coin wrapper standard length, while other quarter coin wrapper cut to 2 3/4" long. Note side view for placement as frozen object balls off table surface. Shoot cue ball under 2 balls on wrappers and make 1-ball placed on edge center of pocket TC. DOUBLE CHECK SETUP!

BALLS(S) POCKETED/OBJECTIVE: With a normal fundamental form shoot cue ball under 2-ball and 3-ball. Coin wrappers will fly out and (2) and (3) will drop to surface, carom off each other and 2-ball will go in TC plus 3-ball in BC. Cue ball makes 1-ball at (a) in TC first.

Originally featured in the Fall 2002 edition of The American Poolplayer magazine.

The Snake Shot (15 Ball Combination)

DEGREE OF DIFFICULTY: 0.9

CONFIDENCE FACTOR: 1 minute, 48 seconds per day for 3 days

SETUP/POSITION: 15 balls in a snakelike setup across the table surface. Start with the 15-ball 6 inches from the corner pocket TL. Set up the 14-ball 3 inches from the 15-ball and each successive ball 3" back from the previous. Align by developing each "mini" combination so that 2 balls next to each other aim to the 3rd ball on either side of that set. DOUBLE CHECK!

BALLS(S) POCKETED/OBJECTIVE: Placing cue ball in a setup position straight in line with the first 2 ball combination, which is the (1)-(2) link, shoot and listen. The snake will sound like a clicking machine as the respective "mini" combinations make one big one (15-ball-TL).