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STYLE

     If a pupil that is being coached can execute a stroke correctly, using a style other than what is considered to be perfect and appears comfortable and relaxed, contact a higher level Coach before attempting to change  the pupil’s style.

FOLLOW THROUGH

     Correct follow through, along the line of travel of the cue ball is essential at all times.

 THE STOKE

     As in all ball sports, distance from the ball is important, allow correct stroking of the cue ball.  A guide to
     this is to move in where your cue hand (right hand in this example) is at your hip, with the tip of the cue
     close in line to the cue ball, in a further straight line to the “point of contact” of the object ball.  Face the
     direction the cue ball has to travel. Standing in a slight boxers stance, leave the right foot where it is, and
     move the left foot forward for comfort and balance.  Bend forward from the waist, placing bridge hand on
     the table.  At the same time bend the left knee slightly at the knee, and thrust the right leg back at the knee,
     without moving the right foot.  This will have the effect of swivelling buttocks and hip in a rolling action to
     the left and creating a free area between the right hip and the chest for the cue to travel smoothly and almost
     parallel with the bed of the table.

     Address the cue ball with the tip of the cue, dead centre, aiming through the cue ball to the “point of
     contact” on the object ball.  With the cue arm at the “rest position”, commence one or two pendulum swings
     with the tip first stopping short of the cue ball.  At the same time, check that the tip is directed at  “dead
     centre” on the cue ball.  When satisfied that the preliminary action of the cue is correct commence the final
     backward stroke.  Pause slightly at the end of the backward stroke and then complete the forward stroke to
     strike the cue ball at dead centre, propelling it towards the “point of contact” on the object ball.

     It is most important during the final backward and forwards movement of the cue, the only part of the body
     or head that moves is the cue arm from elbow to hand.  There must be a slow pull back, minute pause,
     and smooth follow through.

     From the pause to striking the cue ball, the eyes must be looking at the “point of contact” on the object ball.
     If the body is still, the preliminary strokes are aimed dead centre on the cue ball, and the action is smooth, it
     is not necessary to look at the cue ball

THE CUE ARM

     Imagine the cue arm in two sections:-

 .  The shoulder to the elbow is the part holding the cue on the right level, and during the stroke there should be little or no movement.

 .  The elbow to the hand is the part that swings back and forth in a pendulum action to propel the cue “At rest” should hang in a vertical position and 90 degrees.

The aim of the cue action is simple and yet it is very difficult to achieve. The cue action should deliver the cue in a straight line along the line of aim. If the player has chosen the correct line of aim then the ball will go into the pocket. The cue action also ensures that the cue goes through the cue ball with maximum acceleration so that the player uses the minimum amount of effort. The pictures below split the cue action into 3 main stages. Again, I would recommend a session with a qualified coach as the best way to improve a player's cue action.

The player does some preliminary 'waggles' or 'feathers' up to the cue ball before stopping as close to the cue ball as possible. The player will probably switch his or her eyes back and forth between the cue ball and object ball. At this point the player can then pause slightly to allow the eyes to move to the point on the object ball to be struck. The picture shows the position of the back arm when the tip is up to the cue ball and the pause is taking place.   Next the cue can be pulled back. This should be done in a smooth manner and as this is done the wrist can be cocked and the fingers can be loosened. This ensures that the cue stays parallel. The player should also ensure that the elbow is kept high and not dropped. The player can pause at this point as this usually stops a player from rushing the shot and snatching.   Finally, the player can drive through the cue ball. The elbow can be dropped and the player will find that the grip tends to switch to the back of the grip rather than the thumb and first finger. This ensures that the cue does not go up and off the bridge hand. The player should ensure that he follows through the cue ball by a good few inches.

THE GRIP

      The grip on the back of the cue should be the same pressure as is required to pick the cue up by the butt end  from the bed of the table in a normal “handshake” position.  The grip however, does vary slightly according to the required stroke (see point 8, topside and screw back).

The grip in snooker is immensely important to a player's technique and the standard that they reach. At the same time there are many different grips and very few professionals share the same grip. A good way to begin is to form a ring with the cue inside the first finger and thumb. This should then form the majority of the grip. The other fingers can then be wrapped around the cue. The grip should also not be too tight and should be loose enough so that the player can feel the weight of the cue. Another important point is that the back of the grip should line up with the elbow of the cueing arm above it to form a line down to the player's right foot. The help of a coach is often needed to check this and to highlight and correct any faults

AIMING

     The ability to legally pocket object balls, relies on the ability to stroke the cue ball in a straight line from
     point A to point B.  Point B, being called the “Point of Contact”, is the position, which the cue ball makes
     contact with the object ball at the point of contact when both balls are touching and lined up on an
     imaginary line (or chalk line drawn on the table) that travels through the centre of the balls to the centre of
     the balls to centre of the pocket.

Sighting

SIGHTING

     Both eyes are open at all times, but with the stronger eye taking preference and the cue running directly
     Under the chin on the side below the stronger eye.  It does not necessarily apply that a person who is right
     handed is right eyed.  In fact a number of prominent competitors sight with the opposite eye, requiring a
     slightly different stance eg. Professional Graham Miles.

     A test for confirmation of stronger eye, involves holding a sheet of paper with a small hole in the centre,
     in one hand – at arms length, and sighting normally with both eyes open and focussing through the hole at a
     distant object, such as a light.  Then, without moving, alternatively covers each eye with the free hand.  It
     will be found that the pupil will always automatically sight through the hole in the paper with the strongest
     eye.  It should be noted that some competitors claim to aim at all times with both eyes.

BRIDGE

     Technique for forming bridge with free hand, either “open” bridge or “boucle” and reasons for using either. Bridge hand to form a firm rest on which the cue slides during the stoke.

The bridge is an important part of a player's technique and is often overlooked. To form a solid bridge place your hand on the table and spread out your fingers. Next, pull the tips of the fingers in and the knuckles of the hand should rise. The cue is placed between the thumb and knuckle of the first finger. If the bridge moves during the cueing process then the cue will come away from the line of aim and the player will not cue the white along the intended line. A coach can help to watch a player to see if the bridge is firm and if it is not then adjustments can be made.

STANCE

     Traditional boxers stance of tripod stance.  This is a way of standing which will allow the pupil to propel the Cue smoothly along a level plane, through the cue ball whilst sighting down the cue.  Pupils should make
     the stance to the cue, not the cue to the stance.

The stance is the base in a player's technique. It is important for a player to have a firm base because if the body is liable to move during the shot then the cueing and everything else will move off line. Every individual is different and there are many different stances but many share the same common features which I would recommend. I have outlined below the main characteristics for a good stance.

	The right leg (for a right handed player) should be in line with the line that the player is aiming along. Therefore the line of aim needs to be chosen before going down on the shot. It is usually easier to choose the shot and then walk into it, leading with the right leg (if right handed).
	The right leg should ideally be braced and straight but if the player is tall or has back problems then the leg can be bent.
	The left leg should then be placed about a shoulder width from the right.
	This left leg can then either be parallel to the right or slightly in front of it. This depends on what the player feels comfortable with. However the leg should not be placed behind the right.
	The player should lean into the shot slightly so that the left leg is bent and a slight push is needed to help the player stand up from the shot. This helps the player to follow through with the shot.
	The picture below shows an example of a good solid stance.

Accordingly the Australian Eight-Ball Federation’s National Coaching Accreditation Scheme provides co-ordinated training courses for coaches at three levels:-

LEVEL 1. Is an introduction to the principles of coaching and provides basic training in the skills required for teaching beginners, privately and in clubs.

LEVEL 2. Deals with the conduct of training programs for Club Competition players.

LEVEL 3. Involves the advanced theory and practice to develop Club players to reach National and International level and provide effective administration and guidance to Level 1 and 2 Coaches. Coaching courses do not, in themselves, provide everything the practising or prospective Coach needs to know and experience. However, by providing a frame work of fundamentals and a system of guidance and support, the Scheme aims to stimulate a process of self-improvement in coaching skills and knowledge.