Basic Billiard Techniques
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This section aims to give you hints and tips on each fundamental aspect of the game. You can
either choose to work through each section methodically or use it for trouble-shooting to address a
particular weakness. The basics are:
either choose to work through each section methodically or use it for trouble-shooting to address a
particular weakness. The basics are:
| Grip Approach Bridge Stance Potting Angle Eyes Cue Action Cue Ball Control |
Grip
The purpose of the grip is to deliver the cue in a straight level plane on the line of the shot. Gripping the cue up into the “V” formed between
the forefinger and thumb can do this. The thumb and all fingers should wrap snugly around the butt of the cue making as much contact
with the cue as possible. For general play the grip should be firm enough to resist the cue being snatched away but not so firm as to turn
the knuckles white. During the cue action the forefinger and thumb dominate the grip and the other fingers need to release in the back
swing to enable the cue to remain straight and level. Common faults involve gripping too loosely or too tightly. Too loosely leads to
sideways movement of the butt of the cue as more finger joints influence the cue action. Too tightly leads to unwanted tension in the cue
arm and the warning signals are increased downward pressure of the cue on the bridge in the back swing and/or lifting the cue (even
hitting the lampshade) in the follow through.
Approach
The approach to the table should be a well-drilled routine, which brings the cue in on the line of the shot and delivers the player into the
stance in a reliable and consistent manner. The approach should only be initiated when the player has made a confident shot selection
and visualized a successful outcome of the shot. Common faults include an inconsistent approach, which denies the player the
opportunity of a reliable cue action because the body and the cue do not start from the same position. A hurried approach, often involving
the player turning into the shot rather than walking down the line of the shot, also reduces the player's chances of reliably getting the cue
on the line of the shot.
Bridge
The purpose of the bridge is to form a solid channel for the cue to pass through on the line of the shot. The forefinger and thumb should
form a "V" to form this channel. The fingers should be straight, well spread and braced at a suitable height to deliver the cue tip at the
desired height on the cue ball. For central striking this would mean sufficient room under the bridge hand to cover a cube of snooker
chalk. To achieve top spin or screw the bridge should be raised or lowered by bringing the fingers in towards the base of the hand or
spreading them further out, respectively. The bridge arm can be braced out straight or bent at the elbow to suit the physic or comfort of the
player. The distance of the bridge from the cue ball should be dictated by the amount of back swing required for the selected shot.
Common faults include movement in the bridge hand and poor formation of the "V". Ensuring a firm grip of the cloth can reduce
movement. This can be achieved by watching for the amount of pressure required for the skin under the fingernails to turn from pink to
white at the ends. Holding a small piece of paper between the forefinger and thumb during practice shots to ensure that a firm “V” is being
maintained throughout the shot can check poor formation of the “V”. Unlike many other hints on this site, both of these can be practiced far
away from a snooker table.
Stance
The purpose of the stance is to form a consistent, comfortable and solid base from which to deliver the cue on the line of the shot with
minimum movement in the body. The right foot (for right handed play) should be comfortably on or near the line of the shot and the left foot
comfortably square or ahead of the right foot. The hips should swivel (left hip forward and down) and the right leg straight (or near straight)
and the left leg comfortably bent. This allows room for the cue to pass above the right foot and alongside the right hip. The cue should be
placed on the bridge and the chin and chest lying as flat to a horizontal cue as the table and position of the balls allow.
Potting Angle
I'd describe the potting angle as the angle between the line along which you need to strike the cue ball and the line that the object ball
takes to the pocket. Two mental images can be helpful:
(a) The point on the object ball that needs to be struck to pot it is the point furthest away from the pocket (the point you would strike with
your cue tip if hitting the object ball into the pocket with your cue); and
(b) place a ball touching this point on the object ball. The line of the shot will be through the center of the cue ball and through the center of
the "dummy" ball. The line of the pot is through the two touching balls to the pocket.
Recognition of potting angles is best achieved by practice alone and by visualizing the "dummy" ball described above, as a guide. You
may find benefit in practicing the four shots that many textbooks quote (quarter ball, half ball, three quarter ball and full ball) although,
because there are obviously potting angles that fall between these, a random approach can be more realistic.
Eyes
The position of the eyes is vital in the stance and cue action. The eyes will provide constant feedback during the approach, stance and cue
action, that the cue is being delivered in a straight plane on the line of the shot. For normal vision, the eyes should automatically be placed
either side of the cue as a natural consequence of placing the chin on the cue. There is scope for accommodating a dominant (or master)
eye during head positioning and sighting and this is covered under master eye. The important aspect of sighting to focus upon is the
need to look alternately at the position of the cue addressing the cue ball and the point of impact on the object ball. Only the combination
of these two sighting points can confirm the line of the shot. Crucially, before the cue is delivered, the eyes need to be focused on the
object ball during the execution of the shot. Some players, additionally, get their eyes to the pocket as a third sighting point. This is not an
essential and is entirely down to personal preference and routine. A common fault (in fact, the most common fault during my time
coaching) is for players to be looking at the cue ball during the execution of the shot. The single biggest improvement that most players
can make is to address this fault. It is quite a radical change to undertake and is best done during a close season break for competition
players. It is entirely possible that players can play to a reasonable standard by looking at the cue ball. This is because they are probably
competent enough in other aspects of their game to play reasonably well with their eyes closed during the execution of the shot! But it is
obviously better that the eyes are open - and it is better still if they are looking at the object ball during the execution of the shot.
Cue Action
The purpose of the cue action is to deliver the cue in a straight, level action along the line of the shot. Everything covered above this
section comes together in the cue action. The cue action requires that the player has had the correct, well-drilled approach to the table
and adopted a comfortable solid stance. The cue action also requires that the bridge has placed the first "V" on the line of the shot and the
grip has the second "V" on the line of the shot. The cue action involves a rehearsal (called feathering) of moving the cue back and forth
keeping the second "V" of the grip (and therefore the cue), on the line of the shot. The feathering should adopt a rhythm and length in
keeping with the shot about to be played. During the feathering, the eyes will be alternating between the cue ball and object ball (and
possibly pocket) to provide reassurance that the cue is on the line of the shot. On or before the final back swing, the player’s eyes should
fix on the intended point of contact on the object ball. On the final back swing there should be a momentary pause, providing the player
with the final opportunity to be focused on the object ball. The player then delivers the cue along the line of the shot by moving the second
"V" (of the grip) directly towards the first "V" of the bridge.
Cue Ball Control
Cue ball control is all about influencing the path of the cue ball, generally speaking, after the point of contact with the object ball. There are
three main groups of factors to think about:
(a) Follow-through, stun and screw - by striking the cue ball on the top, middle or bottom;
(b) Side - Generally used to influence the angle of travel from a cushion but the effect on the baize also needs to be considered;
(c) Strength of shot - by striking the cue ball harder or softer to depending on how far the cue ball needs to travel.
Its best to learn the basics of these factors in simple practice routines before introducing them into your game. Two of the practice
routines on this site specifically mention cue ball control or target position and should only be attempted after you are confident with the
exercises before them. One tip I've always found to work quite well in encouraging the right stroke is to envisage the cue ball as being like
a hard boiled egg! The stroke should break the shell on the near side and go through the shell on the other side. This sets the right
visualization to ensure that you follow through with your cue action, regardless of the effect you are putting on the cue ball. It sounds wacky,
but give a try. Side is perhaps best attempted at first with no other balls on the table. Place the white on the brown spot and play it down
over the spots. Vary the amount of side and aim to get the cue ball into each of the baulk pockets - and even the middle pockets if you're
looking for a stretching challenge. The practice routine called Getting Away from a Ball Over a Pocket is a good one to introduce side into
because the pot is less likely to be affected and the side can really help to control the cue ball into position. Strength of shot is also best
practiced with just the white, at first. Start with the cue ball on the brown spot and play it up the table to touch the top cushion; and then aim
to play it to the top cushion and back to land touching the baulk cushion. You can then introduce a pot to the challenge. A good one would
be a cut into the middle pocket with the cue ball in the D. Aim for position on the black after bouncing on the top cushion or, played
stronger, back for the blue.
The purpose of the grip is to deliver the cue in a straight level plane on the line of the shot. Gripping the cue up into the “V” formed between
the forefinger and thumb can do this. The thumb and all fingers should wrap snugly around the butt of the cue making as much contact
with the cue as possible. For general play the grip should be firm enough to resist the cue being snatched away but not so firm as to turn
the knuckles white. During the cue action the forefinger and thumb dominate the grip and the other fingers need to release in the back
swing to enable the cue to remain straight and level. Common faults involve gripping too loosely or too tightly. Too loosely leads to
sideways movement of the butt of the cue as more finger joints influence the cue action. Too tightly leads to unwanted tension in the cue
arm and the warning signals are increased downward pressure of the cue on the bridge in the back swing and/or lifting the cue (even
hitting the lampshade) in the follow through.
Approach
The approach to the table should be a well-drilled routine, which brings the cue in on the line of the shot and delivers the player into the
stance in a reliable and consistent manner. The approach should only be initiated when the player has made a confident shot selection
and visualized a successful outcome of the shot. Common faults include an inconsistent approach, which denies the player the
opportunity of a reliable cue action because the body and the cue do not start from the same position. A hurried approach, often involving
the player turning into the shot rather than walking down the line of the shot, also reduces the player's chances of reliably getting the cue
on the line of the shot.
Bridge
The purpose of the bridge is to form a solid channel for the cue to pass through on the line of the shot. The forefinger and thumb should
form a "V" to form this channel. The fingers should be straight, well spread and braced at a suitable height to deliver the cue tip at the
desired height on the cue ball. For central striking this would mean sufficient room under the bridge hand to cover a cube of snooker
chalk. To achieve top spin or screw the bridge should be raised or lowered by bringing the fingers in towards the base of the hand or
spreading them further out, respectively. The bridge arm can be braced out straight or bent at the elbow to suit the physic or comfort of the
player. The distance of the bridge from the cue ball should be dictated by the amount of back swing required for the selected shot.
Common faults include movement in the bridge hand and poor formation of the "V". Ensuring a firm grip of the cloth can reduce
movement. This can be achieved by watching for the amount of pressure required for the skin under the fingernails to turn from pink to
white at the ends. Holding a small piece of paper between the forefinger and thumb during practice shots to ensure that a firm “V” is being
maintained throughout the shot can check poor formation of the “V”. Unlike many other hints on this site, both of these can be practiced far
away from a snooker table.
Stance
The purpose of the stance is to form a consistent, comfortable and solid base from which to deliver the cue on the line of the shot with
minimum movement in the body. The right foot (for right handed play) should be comfortably on or near the line of the shot and the left foot
comfortably square or ahead of the right foot. The hips should swivel (left hip forward and down) and the right leg straight (or near straight)
and the left leg comfortably bent. This allows room for the cue to pass above the right foot and alongside the right hip. The cue should be
placed on the bridge and the chin and chest lying as flat to a horizontal cue as the table and position of the balls allow.
Potting Angle
I'd describe the potting angle as the angle between the line along which you need to strike the cue ball and the line that the object ball
takes to the pocket. Two mental images can be helpful:
(a) The point on the object ball that needs to be struck to pot it is the point furthest away from the pocket (the point you would strike with
your cue tip if hitting the object ball into the pocket with your cue); and
(b) place a ball touching this point on the object ball. The line of the shot will be through the center of the cue ball and through the center of
the "dummy" ball. The line of the pot is through the two touching balls to the pocket.
Recognition of potting angles is best achieved by practice alone and by visualizing the "dummy" ball described above, as a guide. You
may find benefit in practicing the four shots that many textbooks quote (quarter ball, half ball, three quarter ball and full ball) although,
because there are obviously potting angles that fall between these, a random approach can be more realistic.
Eyes
The position of the eyes is vital in the stance and cue action. The eyes will provide constant feedback during the approach, stance and cue
action, that the cue is being delivered in a straight plane on the line of the shot. For normal vision, the eyes should automatically be placed
either side of the cue as a natural consequence of placing the chin on the cue. There is scope for accommodating a dominant (or master)
eye during head positioning and sighting and this is covered under master eye. The important aspect of sighting to focus upon is the
need to look alternately at the position of the cue addressing the cue ball and the point of impact on the object ball. Only the combination
of these two sighting points can confirm the line of the shot. Crucially, before the cue is delivered, the eyes need to be focused on the
object ball during the execution of the shot. Some players, additionally, get their eyes to the pocket as a third sighting point. This is not an
essential and is entirely down to personal preference and routine. A common fault (in fact, the most common fault during my time
coaching) is for players to be looking at the cue ball during the execution of the shot. The single biggest improvement that most players
can make is to address this fault. It is quite a radical change to undertake and is best done during a close season break for competition
players. It is entirely possible that players can play to a reasonable standard by looking at the cue ball. This is because they are probably
competent enough in other aspects of their game to play reasonably well with their eyes closed during the execution of the shot! But it is
obviously better that the eyes are open - and it is better still if they are looking at the object ball during the execution of the shot.
Cue Action
The purpose of the cue action is to deliver the cue in a straight, level action along the line of the shot. Everything covered above this
section comes together in the cue action. The cue action requires that the player has had the correct, well-drilled approach to the table
and adopted a comfortable solid stance. The cue action also requires that the bridge has placed the first "V" on the line of the shot and the
grip has the second "V" on the line of the shot. The cue action involves a rehearsal (called feathering) of moving the cue back and forth
keeping the second "V" of the grip (and therefore the cue), on the line of the shot. The feathering should adopt a rhythm and length in
keeping with the shot about to be played. During the feathering, the eyes will be alternating between the cue ball and object ball (and
possibly pocket) to provide reassurance that the cue is on the line of the shot. On or before the final back swing, the player’s eyes should
fix on the intended point of contact on the object ball. On the final back swing there should be a momentary pause, providing the player
with the final opportunity to be focused on the object ball. The player then delivers the cue along the line of the shot by moving the second
"V" (of the grip) directly towards the first "V" of the bridge.
Cue Ball Control
Cue ball control is all about influencing the path of the cue ball, generally speaking, after the point of contact with the object ball. There are
three main groups of factors to think about:
(a) Follow-through, stun and screw - by striking the cue ball on the top, middle or bottom;
(b) Side - Generally used to influence the angle of travel from a cushion but the effect on the baize also needs to be considered;
(c) Strength of shot - by striking the cue ball harder or softer to depending on how far the cue ball needs to travel.
Its best to learn the basics of these factors in simple practice routines before introducing them into your game. Two of the practice
routines on this site specifically mention cue ball control or target position and should only be attempted after you are confident with the
exercises before them. One tip I've always found to work quite well in encouraging the right stroke is to envisage the cue ball as being like
a hard boiled egg! The stroke should break the shell on the near side and go through the shell on the other side. This sets the right
visualization to ensure that you follow through with your cue action, regardless of the effect you are putting on the cue ball. It sounds wacky,
but give a try. Side is perhaps best attempted at first with no other balls on the table. Place the white on the brown spot and play it down
over the spots. Vary the amount of side and aim to get the cue ball into each of the baulk pockets - and even the middle pockets if you're
looking for a stretching challenge. The practice routine called Getting Away from a Ball Over a Pocket is a good one to introduce side into
because the pot is less likely to be affected and the side can really help to control the cue ball into position. Strength of shot is also best
practiced with just the white, at first. Start with the cue ball on the brown spot and play it up the table to touch the top cushion; and then aim
to play it to the top cushion and back to land touching the baulk cushion. You can then introduce a pot to the challenge. A good one would
be a cut into the middle pocket with the cue ball in the D. Aim for position on the black after bouncing on the top cushion or, played
stronger, back for the blue.
