Encyclopedia of Pocket Billiards

Encyclopedia of
Pocket-Billiards
Johnny Holiday
Illustrations by the Author
Cover Design and Drawings by Paul Brunette
Jo-Ned Ltd.
Port Richey, Florida
1977
CONTENTS
Why A Dedication 6
As I Knew Him 7
To Begin 8
Instructors 9
Teaching Story 10
Style and Fundamentals 11
The Genius 12
Equipment 15
As It Is 16
Lengthy Explanations 18
Red JonesCue-Ettes 19
Grip 21
Think Of It 22
Bridges 23
Forming Bridges 30
Facts 33
The Universal Stance 34
Developing Your Stance 37
As Told To The Boys 42
Banks 45
English 47
Strokes 50
Sighting 53
Let's Play 57
Shooting Through 58
Follow and Draw Strokes 59
The Fallacy 61
Short and Long Shots 65
Throw Shots 68
Kill the Cue Ball 71
Control 272 73
Basic Position Play 74
Mental Picture 80
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Copyright 1977
by Johnny Holiday
Library of Congress Catalog Card Number

76-21431
All rights reserved, including the right to reproduce this

book, or portions thereof, in any form except for the
inclusion of brief quotations in a review
Published by Jo-Ned Ltd.

1st Printing, 1977
Printed in U.S.A.
CONTENTS
Why A Dedication 6
As I Knew Him 7
To Begin 8
Instructors 9
Teaching Story 10
Style and Fundamentals 11
The Genius 12
Equipment 15
As It Is 16
Lengthy Explanations 18
Red JonesCue-Ettes 19
Grip 21
Think Of It 22
Bridges 23
Forming Bridges 30
Facts 33
The Universal Stance 34
Developing Your Stance 37
As Told To The Boys 42
Banks 45
English 47
Strokes 50
Sighting 53
Let's Play 57
Shooting Through 58
Follow and Draw Strokes 59
The Fallacy 61
Short and Long Shots 65
Throw Shots 68
Kill the Cue Ball 71
Control 272 73
Basic Position Play 74
Mental Picture 80
Point, Lines, Angles 81
Talk 90
Study 92
Story 103
English Study 108
It's About Time 110
Reading The Table 111
Story 120
Game Time 125
Grin Story 139
Safety Plays 148
We Had A Friend 154
Energy 156
Break Shots 157
Talk 173
Point Lines 174
Stories 181
Self-Study 182
Trick Shots 195
Remember 202
Finalis: The Actual Strokes
Used in the Running of 106 Balls 204
Great Green Eagle 205
Encyclopedia of Pocket-Billiards
INTRO
Johnny Holiday the author of the Encyclopedia of Pocket-
Billiards has written a perfect companion to his well known book
Pocket-Billiards Position-Play for Hi-Runs.
The authenticity that distinguishes every Johnny Holiday book
is not achieved in any casual fashion. Mr. Holiday spends a good
year on research for each book.
His was the first book ever published that simplified the science
of position-play with the use of the diamonds. Now once again he
introduces a new concept of teaching, not only for the new
student, but for all.
This new concept is known as points, lines and angles, and is
adaptable to the game of three cushion billiards. It reveals the
nature of his thinking.
He has prepared what is the most readable, concise and yet
comprehensive work ever published on the subject.
What the author has done is to narrow his focus to just pocket-
billiards, and to expand his explanations to cover all aspects, both
theoretical and practical in a simple manner.
He is controversial on many fundamentals that have been
handed down from one to another without benefit of facts, even
the title intrigues one to glimpse of what's inside.
Undoubtedly destined to be in the home of every serious
minded student and advanced player in a short period of time.
His is not a book that you will put on your shelf to gather dust,
you will want to refer to it again and again, even should one be a
non-player.
3
To tell the complete story of this book or the author would

require another book. To list some of his achievements reads like
an adventure.
I'll list a few of them. Instructor of Celestial Navigation,
Athletic Instructor, Professional boxer and pocket-billiard
player, Guitarist and boat captain.
It was my pleasure to see him in action when he played five 150
point games in 1973. He completed two games in two innings
each, and had runs of 95, 102, and 126 in the three remaining
games.
These runs were accomplished on a tough table. This is the
same table he challenged one of the U.S. open players to a special
match game on a winner take all basis, but the player declined.
A project of this enormous scope requires an intimate
knowledge by the author so that the laymen follows attentively in
his footsteps.
Johnny Holiday is an artistic and most unusual skillful
instructor, one that has given me over the years a great deal of
pleasure to know.
NED SKINNER
4
PREFACE
In compiling this book I have tried to give the new and
advanced player the correct type of information to enable them to
improve their game.
I have dealt with the many fundamentals needed, plus
explaining the manner in which one develops his own individual
stance, not a universal one.
The title of the book explains that I deal with teaching the game
from the beginning to its end. The basics of position-play is
described in detail, it continues in a step-by-step procedure to the
technique of learning the highly advanced point-line and angle
system devised by me.
The book is a lucid guide that adds to the enjoyment of learning
the many fundamentals never published prior to this book.
The text of explaining diagrams has been kept short and in a
simple manner so that it can be understood by all.
From my years of playing and teaching, I have seen numerous
promising players remain stagnate due to carelessnessor relying
on advice from a friend who is in need of instructions himself.
Books, articles and professional instructors tell you what to do,
but they don't tell you How. I not only tell you what to do, I tell
you How.
Many refuse to change, yet it is the only thing that has brought
progress.
With the teaching methods that prevail, students are re-
quired to solve problems for themselves. Fortunately, times are
a'changin, and with my books on the subject matter, this is
a'comin about fast.
It is my earnest desire that all enjoy reading and absorbing the
knowledge contained in this book.
While compiling the book, my thoughts drifted to the many
millions of tables in private homes, and of children-teenagers and
mothers, therefore stories that are humorous but do not relate to
the subject matter have been included.
5
"WHY A DEDICATION"
Many reasons exist that compels one to write a dedication, and
all are valid. I recall writing one with these words, "If you cannot
learn to play pocket-billiards after the study of this book, maybe
you should sell or give your cue away."
That of course was said in jest. But when one purchases this
book, no reason exists why one cannot master the science of the
game.
When the study herein is completed and you continue to have
difficulty learning, perhaps then it would be best to sell your cue,
or give it away.
This book presents fundamentals, principles and concepts
never published before; then there are over 170 illustrations
packed into 210 pages that take the student through the basics as
no other book does, it continues into the advanced technique of
learning the science of the game.
For clarity and detail they're the best I've seen anywhere. The
book is divided into many sections, with comments, facts and
stories for all to enjoy, plus controversial subjects.
Everythingand I've only hinted at some of the subject matters
involvedis presented clearly and comprehensively.
In fact, if this was not the best book I've ever seen on learning
the game of pocket-billiards, I would not have written it.
My wife agrees with me, my sister agrees with me, therefore I
dedicate this book to them.
6
AS I KNEW HIM
Two large round protruding blue eyes, a jolly red face that
reminds me of Santa Claus, and a happy smile about him
whenever my position for the next intended object ball was to his
satisfaction.
Yes, that is as I remember him, my teacher and good friend in
pocket-billiards.
He was a rather short barrel chested man of approximately 5
foot 6 inches in height, but to me, a man 10 foot tall.
Whenever I faltered position-play for another object ball, he'd
spring to his feet and tell me to re-set the same shot, then in a soft
voice he would explain the manner in which the play should have
been executed.
Today, I still see his large blue eyes circle about as he outlined
the procedure needed.
He would explain that the object ball was to be played with a
particular stroke, so that the cue ball carom off the object ball
would strike a designated point on the cushion, this in turn
allowed the cue ball to travel a particular track line to a
predetermined location.
Somehow it always did exactly what he said it would. To me, at
the time, it seemed a miracle happened.
As time passed I came to understand what this kind man
imparted to me. The knowledge gained from his instructions was
the beginning of learning the science of pocket-billiards.
All this transpired in 1925, now in 1975 I still see a jolly red face
with large protruding blue eyes circling and looking down on me
whenever I err.
His name? Well, not many will recall it, but I'll never forget it.
Harry Hart
May he rest in peace

7
TO BEGIN
Prior to delving into the subject matter, a word of appreciation
is in order to the many thousands who have purchased my book
Position-Play for Hi-Runs since its publication in 1973, and to the
many who have expressed themselves to me with such wonderful
unsolicited testimonials, I thank all of you.
One of the first steps towards learning to become proficient in
pocket-billiards is having the will to be serious if any degree of
skill is to be attained.
Another beginning is to start in the proper manner, for to begin
improperly the chances of reaching one's potential becomes
limited. It must be remembered that the road to success depends
upon the foundation in all endeavors.
The foundation of pocket-billiards begins with the study of the
table, this includes the twenty diamonds placed strategically on
top of the six rails.
To master this technique, and to acquire the knowledge needed
in pocket-billiards, the table must be understood. This then
becomes the first fundamental. It is the structure of all position-
play.
When students or advanced players become aware of this
knowledge, they become intent on learning.
Prior to the publication of my book Position-Play for Hi-Runs,
no book simplified the science of position-play with the use of the
diamonds, or the method needed to execute the various strokes.
Often when giving lessons, my students have been amazed at
the ease and simplicity with which, after a suggestion or two from
me they have been able to play position for another object ball
that, prior to my suggestion seemed impossible to them.
There is nothing intricate about learning the science of
position-play or stroking, it merely is a matter of teaching
students properly.
8
INSTRUCTORS
The most important asset to a student is the instructor. It is his
responsibility to impart his knowledge and experience to the
student until he understands.
There are instructors in all sports, and thousands seek their
service, yet, in pocket-billiards there are few who deem it
necessary to seek this service.
This sort of view is ridiculous; the game of pocket-billiards is
without a doubt the most scientific of all sports.
Throughout the world there are larger numbers of people
playing this game than any other national sport.
When students have absorbed the knowledge contained in this
book, it does not infer that they all become champions. Though
all students become knowledgeable, it is the one who executes the
play properly most often that becomes the champ.
The twenty diamonds placed strategically on top of the six rails
were not placed there by chance, nor for ornamental purposes,
but rather the result of geometry, defined as points-lines and
angles, and that is precisely what position-play is all about.
Another feature of the diamonds being, they help the player to
predetermine the direction of the cue ball track to a location on
the table for his next intended object ball.
The principal application of the diamonds, or point lines and
angles are for solving any position problem, therefore they are
arranged for an essential purpose, and extremely precise.
Knowing the technique of predetermining the point line and
angle for position is the difference between winning or losing.
Position-play is not guess work, feel, or natural ability, nor is
one born with this knowledge. There are players who adapt faster
than others, but make no mistake about it, position-play is an
exact science.
9
TEACHINGSTORY
The method of teaching that was/is can best be explained with
a story.
In the year 1966 I entered a billiard room where I hold the hi-
run record of 243 balls to this date on a 4 x 9 table with 4 inch
pockets.
After the usual greetings to old friends, I noticed a professional
friend of mine instructing a student, that is, he was at the table
pocketing balls while the student stood close by. No words were
being exchanged between them.
This silence continued until the instructor had run 39 balls. At
this point the student asked a question, and to my surprise was
told not to interrupt until the run was completed.
The student complied with the request, and when the run ended
at 52 balls he walked towards his instructor, no doubt to inquire
about some points that were of interest to him, but when he
approached the master he was told to select a table and practice
for at least two hours everything he had observed.
This was the end of the lesson. I came to the conclusion that the
instructor had a one hour practice session for himself, while the
student had the pleasure of paying $20.00 to observe.
There was no teaching. It reminded me of a private exhibition
game at $20.00 a seat for spectators. Many stories such as this can
be told, but I believe you get the point with this one true story.
10
STYLE & FUNDAMENTALS

In the past few years many students have asked me to define the
difference between them.
Style is defined as movements of doing something in grand
fashion, or with a flare of the dramatics.
Fundamentals are movements that are necessary to execute a
play no matter what the player may have in mind. The difference
then is that style is an individual mannerism, while fundamentals
are a necessity.
The player who lacks style, but masters all fundamentals is a far
more effective player than the stylist. To acquire both requires the
will for perfection, and the only player I ever knew who possessed
both of these qualities was Ralph Greenleaf.
To master all strokes, the student must understand that the
fingerswristforearmbicepsand deltoid muscles are re-
sponsible for the execution of them. For different strokes these
muscles function differently, but what remains constant is the fact
that in every shot, these same muscles control the action of the
stroke.
All players do not use the same muscles to execute the same
stroke. This is explained in greater detail under the section of
strokes.
11
THE GENIUS
The following words are to elaborate on a previous touched
upon subject. I refer to the fact that no one is born a genius,
natural or gifted player, though sometimes it seems they were. All
are born, and all must learn, and the brighter you become the
more you have to learn.
It is interesting to note that all great champions of pocket-
billiards were/are great three cushion experts. An oft debatable
subject as to which game is the most difficult is answered in this
manner.
Pocket champions have won the pocketless table crown many
times, while no three cushion champion ever won the pocket title.
The three that might be mentioned, Alfredo D'Ora, Thomas
Hueston and Johnny Layton were first pocket champions.
To those who may not be aware of the various types of players
among professionals, the following will enlighten them.
The first type is the position-player, the knowledge he possesses
allows him to position his cue ball close to his next object ball.
The second type is called a pocket man. The name is derived
due to his ability to pocket an object ball unsurpassed by no one.
The pocket man controls the cue ball to some extent, but not in
the manner of the position-player.
The pocket man in many instances is at a greater distance from
his next object ball, and his knowledge of diamonds is limited,
and in instances completely void of them.
To sum it up, the pocket man relies on his ability to pocket an
object ball no matter its location.
But should his sharp eyes begin to fade, he no longer is a threat.
In days when match games were played on 5 x 10 tables with
A inch pockets, the pocket man could never win a title.
12
To clarify thoughts of the knowledge possessed by the greats
from the year 1887 to the present, it requires a short resume.
The first great champion was Alfredo D'Ora. This fine
gentleman captured the pocket title 16 times, then not being
satisfied with one title, he sought the pocketless table crown, and
needless to say, he captured it 10 times, quite a feat. It has never
been duplicated.
The second gentleman was Johnny Layton, considered by
many as the greatest of all three cushion champs prior to an
accident that prevented him from regaining his former ability, but
he also held the pocket crown first.
Prior to mastering the diamond system, Hoppe the world's
greatest three cushion billiard champion of all time was
considered just a fair player.
Thomas Hueston was a pocket-champ prior to winning the
pocketless crown. The next gentleman Ralph Greenleaf needs no
introduction, he still remains a household name.
Greenleaf possessed both style and fundamentals. The many
stories about him are worth repeating, no one tires of hearing
them again and again.
World champion 14 times until he passed away at the early age
of 47, this handsome man in his first and only attempt for the
pocketless crown finished third.
Remember this all began in 1887, and to conclude the subject,
the greatest of them all, Willie Mosconi. When one begins to
compare him to present day players, keep in mind that his grand
average of 15.85 is for a 2000 point game, and an average of 19 for
a 1350 point game.
These averages were made on tables with no rounded edges on
the slate of the inner pockets, as is customary today. I could write
a book about him, but that's another story. A not too well known
fact concerns a contest with Hoppe at three cushions, yes, you
guessed it, won by Mosconi. What more is there to say.
13
To this list the name of Irving Crane must be included, to me he

represents the last of the great position-players. It is my belief had
he competed for the pocketless crown, his efforts would have been
rewarded many times.
There are others that can be mentioned, such as Taberski and
Rudolph, but to do so would require many pages.
The purpose of all this is to enlighten the readers that the use of
the diamonds by the greats has been known and applied to their
game, but never released by them for the public until the
publication of my book, Pocket-Billiards, Position-Play for Hi-
Runs.
To repeat myself, I know some adapt faster than others, I also
know that no one is born with this knowledge.
In years gone by when Mosconi was 22 or so, his game was not
the most outstanding. But after his tour of over 100 games with
Greenleaf, it doubled.
With diagrams illustrated precisely, and explanations that
teach properly, all can improve, not all can become a Greenleaf or
Mosconi.
The days of looking in awe at a professional controlling his cue
ball is over. The science of the game as presented by me changes
all that has been. The secrets kept exclusively by professionals
these many years is now an open book.
To this point I believe the facts stated prove beyond a doubt
that champions who predominated for many years, were/are very
knowledgeable in all aspects of the game.
In conclusion, I hope this review will remind all that the
fundamentals needed to further their game is worthwhile.
Certainly, many other subject matters could be covered.
To this point the writing has been just that, with no work
involving the student, but the transition from the general to the
particular must soon be made.
14
EQUIPMENT
I do not intend to discuss repairing a table, installing new cloth
or repairing a cue. The know how to accomplish the above
requires qualified tradesmen.
I do intend to let you know that all billiard tables come in many
sizes. They are twice as long as they are wide. The standard
professional table being 4l/2 x 9, though tables can be purchased in
various sizes from 3 x 6 to 5 x 10.
Most all good tables consist of a slate bed approximately 1 to
1 inch in thickness. Tables are covered with a felt cloth
preferably colored green, though colors come in GoldBlue
Red.
The accepted height of a table from the floor being 30 to 31
inches. Table lights should consist of at least three eight foot
fluorescent lights at a minimum height of 35 inches above the
table bed.
Most tables have 20 pearl dots called diamonds placed
strategically on top of the six rails, and are purchased with fixed
rubber cushions attached to them, this allows the balls to rebound
quietly and with elasticity.
Object balls are numbered from 1 to 15 and come in varied
colors. The cue ball is always white.
Pocket-billiard balls are 2 1/4 inches in diameter, three cushion
balls being 23/8 inches, all other essentials will be discussed as you
progress.
15
AS IT IS
The many letters received by me requesting my opinion on
subject matters as to the validity I place upon them, leaves me
with only one alternative, and that is, to give a direct and truthful
answer as best I know, no matter the question.
In all replies I tell it as it is, not as someone would like to hear
it. I have read articles by self proclaimed important people who
continue to use the term pool.
When someone persists in a terminology he cannot define, I
know his only outlook in life is for himself, not towards the game.
With over sixty million people participating in this sport,
including eight million tables in private homes, the time has
arrived to discard egotists and yokels who babble, and then seek
to become leaders.
Today with the game of 9 ball at its height, many players who
don't belong are known as professionals. But by careful
observation, you will note that the outstanding players are all top
position-players of the game 14.1
With the pocketing of only 9 balls, many lesser players are apt
to win a tournament.
Prior to Andre Segovia, the guitar was strictly a "plunk-plunk"
box with six strings used to play simple chord structures.
But Segovia, the greatest player of this instrument the world
has ever known, transposed the works of Beethoven, Bach,
Puccini and other great composers to conform to the guitar.
With the knowledge he possessed, all has changed. They said it
couldn't be done. When someone introduces something new, the
skeptics are the first to condemn it, though they have no
understanding or knowledge of the transformation, this applies to
anything new.
To become proficient one must understand why a cue ball
travels a particular track to a predetermined location. This is not
guess work, it is a science that is also applied to the game of three
16
cushion billiards.
In the study of Celestial Navigation there are two books known
as Bowditch and Dutton, combined they contain over 3,000
diagrams n i t r a t e d precisely, to do otherwise the navigator could
be one thousand miles from his planned destination.
This also applies to the game of pocket-billiards, though some
may think otherwise. Remember a table is twice as long as it is
wide therefore it presents geometric lines that can be solved, no
matter the location of the cue ball or the object ball.
Position-play in pocket-billiards requires the player to under-
stand carom-one-two-three cushion billiards to some degree. This
not being a study of three cushion billiards, the need to know
more is not necessary, though when one knows more he possesses
greater knowledge.
When a player remains stagnant something is wrong, that
something is called knowledge. But try to educate one who
believes no fault exists with his game. Not too long ago, Jack
Nicholas was having some difficulty with his golf game. He wasted
no time in seeking the advice of a competent professional
instructor who corrected his newly acquired fault, but heaven
forbid a pocket-billiard professional seeking help.
One day in 1973 an old time pro friend Frank Grasson and
myself were watching the U.S. open finals with one of the
principals prepared to execute a rear break shot.
The set up was so that only a slight hit could be made off the
outside end ball. I remarked that the shot was identical to one in
my book (Position-Play for Hi-Runs) and called for a soft hit,
otherwise the cue ball could end up in the side pocket or close to
the bottom short rail.
"Well lo and behold!" the shot was executed with force and the
cue ball located itself off the bottom short rail.
That play cost him the game. Remember any thin hit off an
object ball allows the cue ball to travel further than many
anticipate.
17
LENGTHY EXPLANATIONS
There are times when 1 believe my explanations too lengthy,
when this occurs I devote my time to reading books of others.
The remarks that follow do not refer to all books, but there are
too many that leave me with subject matters unanswered.
It is then I am convinced lengthy explanations are necessary to
enlighten students what is being explained to them. Remember
students have no knowledge of fundamentals.
When students are told to strike a cue ball (no matter the
stroke) and use a follow-through motion on all shots, I sometimes
wonder how a novice can relate that to what actually takes place.
When strokes do not relate to the action required, there is no
identity. The purpose of a student instructional book is that it be
understood by him and the professional.
Many students have mailed me diagrams requesting my
opinion as to their accuracy. The ones received by me were
definitely conceived by someone not qualified to illustrate. How
can anyone learn with inaccurate illustrations?
I recall reading an article in the past of someone who tried to
compare the voice teacher who cannot sing, to a pocket-billiard
instructor who cannot play. The inference was made to explain
that instructors need not know how to play the game to teach it.
When one seeks to explain their qualifications, they always
refer to the voice teacher who cannot sing. This to me infers the
fact that they not only lack intelligence and ability, but that their
knowledge of music is limited.
I know many self-proclaimed professionals with self imagina-
tive big names who cannot play or teach, and in the long run
depend upon assistance from friends, or articles written by others
to solve their problems, then brag about their greatness and
believe it.
Though one is a great player it does not necessarily follow that
he possess the qualities to teach, no matter the name. Unqualified
instructors are detrimental to the game.
18
The Pasadena Cue-Ettes from the Pasadena Billiard Lounge in
St. Petersburg Fla. are a welcome addition to the pocket-billiard
playing community. Composed of five young ladies, ranging in
from 14 to 21, they have been amazing billiard veterans, as
well as making new converts for the game, with their exhibitions
of some 50 fancy and trick shots.
They are the brain child of Red Jones who has been active as a
professional player, instructor, referee and room operator for
almost 50 years. Organized in late 1975 the Cue-ettes' primary
objective was two fold; first to entertain the public, and second to
promote the game of pocket billiards. They have played exhibi-
tions all over the Southeast for various city, county, state recrea-
tion departments, colleges, fraternal orders, veterans organiza-
tions, condominium complexes, public billiard rooms and
numerous charity benefits. In addition they have made 3 televi-
sion appearances which led to their playing at the 1975 annual
convention of the Bowling and Billiard Institute of America in the
Disney world complex at Orlando, Fla. They will also appear in
special exhibitions before the 1976 Billiard Congress of America
U.S. Open championships at the Sheraton Hotel in Chicago, 111.
Suffice to say their scrapbook reflects nothing but praise for
their expertise at the billiard table and the ladylike manner with
which they conduct themselves. They practise daily and are now
concentrating on improving their 14.1 pocket billiard game. I am
proud to say that their primary textbook is my book "Position
Play for Hi-Runs." I have also been monitoring their progress
towards more advanced play and predict they will add to their
individual laurels as they begin tournament play in the near
future.
Members of the Cue-ettes are Dawn Marie Loose, 14, high
school student; Lita Weingart, 17, high school student and mem-
ber of the National Honor Society Academically; Judy Curtis, 17,
restaurant hostess; Cindy Prosser, 19, boat refinishing operator,
and Vickie Andrews Seroor, 21, housewife.
Aspiring pocket billiard players could well take a cue (no pun
intended) from the Cue-Ettes. It is a game the whole family can
play with a high degree of challenge, self satisfaction, and recrea-
tion.
IS
CUES OF THE PROS

It is interesting to note that most professionals use a cue that is
almost identical in weight, shaft thickness and length.
The weight preferred varies between 19 to 21 ounces. The
shaft diameter for the short stubby fingers to be 12 to 12
millimeters, the long slender fingers prefer a shaft between 13 and
13 mm, total length 58 inches.
Most all prefer wrappings of cotton due to its absorbing
qualities. The tip preferred is called a French Elk tip. This is a
rather hard tip and requires chalk often, but it also has good
qualities in that once shaped it maintains itself longer.
When your cue requires a new tip, it is best to seek the service of
a billiard room proprietor.
To the many who might be interested in my cue, the following is
a fairly accurate description. Starting from the top of the tip to a
point approximately 12 inches back, the diameter is 13 1/4
millimeters with no variations.
This gives the same feel to the fingers of the bridge hand when a
slight extension is needed forward.
I prefer a cue weight of 21 ounces and advise my students to
purchase one of that same weight or close to it.
Though not spoken of to any degree, weight definitely improves
ones stroke. The added weight when compared to a 19 ounce cue
steadies the stroke of many players.
To clean your shaft from grit, dirt and powder, do not use sand
paper. I do not recommend it.
Enter any hardware store and purchase a sheet of crokers cloth.
This material not only removes the powder build up and grit, it
also leaves it smooth and glossy.
Personally I never use powder, my hands never sweat, but to
those who do, a bag mixture of powder and resin that bowlers use
can be purchased in any bowling establishment, it is more efficient
than powder.
Periodically the entire cue should be polished with a good hard
wax. This can be purchased in most all retail stores that sell
billiard equipment. 20
encyclopedia of Pocket-Billiards
GRIP
Prior to discussing where and how to grip the butt end of a cue
(the bottom thick end), it is important to know that no matter the
stroke, or what a player intends to do, it is the butt end that
executes all strokes.
Therefore it is of great importance to know why different
positions are preferable. I have heard it said that the position of
the grip is unimportant. To answer such a remark would entail a
rather lengthy discussion of weights and forces.
Knowing the butt end is the controlling factor of all strokes, the
proper location then becomes a vital fundamental.
Good cues have a balance point approximately 18 inches
upwards from the butt end of the cue.
To locate this point, place the cue across your finger and adjust
it until it balances itself. This determines the starting point of the
grip-
To begin, grip the butt 3 to 4 inches below the balance point,
there is a good reason for this.
The early lessons for students are designed for short shots and
short strokes. The shorter the stroke the more accurate the
delivery.
When you see a top professional in action such as Irving
Crame, take note of the extension of his shaft from the bridge
hand on both short and long shots, plus the grip.
The pressure required to grip the butt is similar to holding an
empty cup. The illustration demonstrates the pinky off the butt
completely. The thumb and first three fingers grip the butt lightly,
not in a vice like grip.
The third finger is curled around the butt in a relaxed position.
This is as it should be, it allows the muscles to function subject to
the stroke required.
it
22
Head in Line
Stance: Head and eyes over the cue
and in line with your aim.
Head in Line
The mechanical bridge
BASIC BRIDGE
The basic bridge will be used mostly during your playing days,
therefore time should be devoted to mastering this fundamental.
This bridge is similar to any structual bridge in that it must be
solid. Too many players neglect to concentrate on forming just
such a structure.
To form the bridge place your hand flat on the table with all
fingers slightly apart, then raise your index finger and move your
thumb and middle finger towards each other until they are
parallel.
In this maneuver do not move your fourth and pinky fingers.
To accomplish this, press downward with your fingers. The next
step is to place the cue shaft over your thumb and middle finger,
then draw your forefinger and thumb towards each other until
they meet.
As this move is being accomplished, your thumb will rise from
the table bed approximately to 3/4 inches. At that point you
have formed the basic bridge.
Repeat this procedure again and again until you are able to
form it without any difficulty. Take note of the position of the
middle finger after the bridge is formed.
FOLLOW BRIDGE
The basic bridge is a very versatile one. To adjust your bridge
hand for the follow bridge simply form the basic bridge, then
draw your fingers inward toward yourself until the height of the
cue tip is pointed above the center of the cue ball.
Under no circumstances do you lower the butt end to
accomplish this. The cue in all of these movements must remain as
level to the table as possible.
30
DRAW STROKE
Form the basic bridge, then extend your fingers forward (this
lowers the bridge) until your cue tip is below the center of the cue
ball Do not raise the butt end to accomplish this effect.
VEE BRIDGE
The purpose of this bridge is to avoid touching an object ball
when the basic bridge cannot be formed. It occurs when an object
ball is close to, or frozen to the cue ball.
This bridge is similar to an upright river span in that your
fingers must be in an upright position with your thumb extended
upwards and out, this allows the cue shaft to glide between your
thumb and forefinger with stability.
The first step is to place your fingers on the bed of the table and
form the vee bridge.
The next move is to set the cue shaft in position. The stroke
required for all vee bridges must be a smooth one, no jabbing and
no english.
The grip to be approximately 3 to 4 inches forward of the
balance point. The explanation for this move is in the vee bridge
exercise.
CLOSED RAIL BRIDGE

Place your hand flat on the table rail and raise your forefinger.
Slide your thumb over until it touches your middle finger. Now
place the cue along side your thumb and middle finger, then lower
your forefinger over the cue until it comes to rest on the rail.
Repeat this same procedure a number of times to acclimate
yourself to forming this bridge.
There are other positions of rail bridges, but at this particular
time they are not needed. As you progress and participate with
other players, they will automatically be formed by you with no
difficulty.
31
FLAT HAND BRIDGE

Though it's the simplist to form, it is the most dangerous. It
should never be used when a forceful stroke is needed.
Place your hand flat on the bed of the table with your four
fingers slightly apart and your thumb placed close to your
forefinger.
The next step is to draw your four fingers inward until your cue
is raised to the position required. The thumb is then pointed
upwards and outward to support the cue.
FLAT HAND RAIL BRIDGE

This is similar to the flat hand bridge. The picture demonstrates
it clearly.
MECHANICAL BRIDGE
It is used primarily to reach the cue ball when its location is out
of your reach. The arm of the bridge is to be placed flat on the bed
of the table whenever possible and held firmly.
The grip on the cue is to be held close to the butt end with your
thumb and first two fingers in a forward position. To elevate the
mechanical bridge, turn it on its narrow side. This is done when
an object ball is close to the cue ball. Its use is similar to the vee
bridge.
When addressing the cue ball, your head must be over the cue
and in a direct line with your aim. The cue shaft to extend forward
of the metal arm similar to a short shot.
The most important thing to remember when using this bridge
is not to overstroke, or to elongate your stroke on the final
delivery.
32
FACTS
Most all instruction books stress the importance of a center ball
hit then go on to explain to the new student stanceposition
playenglish and all sorts of strokes, this in a few pages with no
method of teaching these fundamentals.
I believe it logical to approach the subject matter step-by-step,
with diagrams and illustrations, plus text that helps the student to
understand what it is you are conveying to him, and How he can
succeed in developing these fundamentals. Pictures alone is not
the answer.
The fundamentals beyond his comprehension will not be
discussed at this time. Most everyone is impatient, they all desire
immediate results, therefore it is important that the student study
and practice all diagrams as illustrated.
To become proficient it requires total concentration plus the
will to succeed. The diagrams are illustrated precisely. My method
of teaching is a new concept for learning. The old instructional
methods are passe, time marches on.
I guess the basic problem for most players when they encounter
position problems is the fear of hitting the shot itself. But this fear
stems from a feeling of inadequacyfirst, they haven't evaluated
the situation so that they're not convinced of the shot they're
trying for is the right one.
Secondly, they don't know the correct techniques to hit the ball
high, low or with left or right english. Thirdly, they have never
practiced the shots concerned. To understand and learn, I can't do
the playing for you, but I can eliminate the fear.
To encourage and help you achieve your goal, the following
words are to be remembered. Have positive thoughts. Confidence,
not over-confidence. Determination. Confidence in pocketing
your object ball. Confidence in selecting your next object ball. Be
constructive rather than skeptical. Be definite. Be concerned with
playing the table, not your opponent. But above all, have
confidence in your ability.
33
STANCE
This is a very controversial subject. 1 don't know of two
professionals who have the identical stance. How then can one
basic stance be interpreted to all students as the universal stance?
The correct stance is one that helps you to be perfectly balanced
and comfortable, with your head and eyes over the cue and in line
with your aim.
To acquire this stance, students require illustrations that are
precise, and text that explains How to adjust to a stance suitable
to you.
A major fault with many players is their tendency to emulate
someone they admire, when they should be developing their own
talents.
When a habit is formed the effort to correct it becomes almost
impossible.
To substantiate what 1 say concerning the one universal stance,
two of the greatest players of all time, Willie Hoppe and Ralph
Greenleaf had the most unorthodox stance ever seen in the game.
My only comment is, I'm glad no one tried to introduce the one
universal stance to them. This applies to all sports.
Most all books describe the basic stance, this book I'm glad to
report has no basic stance. It does have my stance, one that
conforms to me. The description of it is short.
I stand approximately one foot from the table subject to the cue
ball location, with my left foot at approximately a 10 angle, my
right foot is located foot back at a 15 angle. This position
allows me to bend forward from the waist and align my head over
the cue and in line with my aim.
The important movement in my stance is the placing of the
right foot back to a point that allows me to position myself as
stated.
34
Too many players neglect to extend their foot back to a point

that allows this, they seem to favor (unknowingly) an upright
position. The player who has difficulty in sighting properly would
do well to experiment with this procedure.
When after many hours of applying the corrective measures
suggested in this book, and the student continues to have
difficulty in adapting to a proper stance, he/she should consult
a qualified professional instructor.
The instructor has the knowledge and capabilities of adjusting
and correcting the students faults.
For as the bridge hand on the table requires rigidity, so does the
stance. There is to be no swaying of the body to compensate for
an improper stance.
All corrective measures require the complete movement of the
body, this includes your feet.
I have witnessed too many players who resort to swaying the
body when their stance does not coincide with their aim; take note
of this fact as you observe other players.
35
8 7 6
1 1
2 2
3 3
4 4
5 5
6 6
7 7
6 7 8
DEVELOPING YOUR STANCE

Diagram 1: The student having completed the study of the basic
fundamentals will now begin to develop and master them.
With the playing of each ball, the student is required to readjust
his stance, in this manner he becomes accustomed to repeating the
procedure needed to acquire a stance suited to him.
The difficulty with any endeavor is to begin. Place six balls
numerically numbered on the table as illustrated. I have placed a
cue in line with object ball 1 and the top corner pocket.
Place your cue exactly the same way by positioning yourself in
the rear of the cue, bend forward until you can determine if the
cue, object ball and corner pocket are in line with your aim.
When you believe they are, try to hold the cue as best you can in
that alignment while placing yourself alongside of it.
I realize your first few attempts may not be successful, but with
constant practice you'll get the hang of it.
The basic bridge and the short stroke is to apply for this
exercise. In playing ball 1, should it strike the right long rail, it
indicates your stance needs to be adjusted with a shift of your
body to the right. Should it strike the top short rail, then a shift
to the left is required.
In adjusting your stance there is to be no swaying of the body.
This exercise is to continue until you pocket all six balls. The
shaft extension forward of the bridge hand to be approximately 5
inches, and the grip on the butt 3 to 4 inches below the balance
point.
While addressing the cue ball, repeat the phrase forward and
back four times, then deliver the stroke with the word forward
and through. The stroking process must be a rhythmic one, no
hesitation is to take place. This is very important.
37
Diagram 2 is a continuation of adjusting your stance. It also

acclimates the student to adjust himself at various locations about
the table.
When you believe your movements in positioning yourself to be
more positive, try to step the pace up.
Basically it is similar to your first diagram in that 6 balls are to
be placed almost in the identical locations. The exceptions being
balls 1-6, these two balls are placed approximately 4 inches off
the long rails and must be played with the rail bridge.
Remember short shots, short strokes, all of the diagrams to this
point have short shots, no matter the distance they travel. Each
ball is to be played in a pocket with a corresponding number.
This concept of teaching with illustrations, explanations, and
the numbering of dia-
8 monds has never been
introduced to the public
prior to my books.
It is a method of
teaching devised by me,
and I must say, it is the
best ever written on the
subject. I teach the
science of the game as it
has never been taught.
38
Diagram 3: As stated in preceding text, the first step towards

becoming proficient at pocket-billiards is to make up your mind
that the game must be played seriously.
The proper stance enables you to stroke properly and to direct
the cue ball towards your sight of aim. By concentrating totally
the sooner new found skills can be mastered.
We begin by placing 9 balls as illustrated. Balls 1678 are
to be placed off the rails approximately four inches. The diagram
is designed to help the student adjust to the various bridges and
stances required in playing the game.
Each numbered ball is to be pocketed in a pocket with a
corresponding number.
The bridge required for each shot is as follows. Ball 1 rail
bridge, ball 2 basic
bridge, ball 3 mechani-
cal bridge, ball 4 basic
bridge, ball 5 mechani-
cal bridge, balls 678
rail bridge and ball 9
mechanical bridge. The
bridges suggested are to
be used regardless of the
object ball location.
39
Diagram 4: The Vee bridge is your final diagram of bridges

needed to proceed with your studies. You are to pocket each cue
ball in its designated pocket.
I have left this exercise last for a very good reason, it is the most
difficult bridge of all when attempting to pocket an object ball.
A method of helping oneself when confronted with this type of
shot (though it's not infallible) exists.
While addressing the cue ball, the motion of the stroke extends
from the hip to the forward part of the waist, when one elongates
the stroke, it allows for an erratic thrust.
When players are confronted with the vee bridge they raise their
arm to a point well above the hip while maintaining the same grip
on the butt. This alters their natural stance and stroke.
But when the grip is brought forward by three to four inches,
the natural stroke is maintained.
To witness what has been said, observe other players and take
notice of this action. In this execution the stroke must be a
smooth one, do not attempt to apply english.
The method I employ when using the vee bridge is to first
address the sight of the object ball, then the cue ball.
The diagram has four vee bridge plays. While addressing the
cue ball should you accidently touch either ball, the penalty is the
loss of one point and your turn at the table.
40
401
AS TOLD TO THE BOYS

It has always been my conviction that some form of humor be
injected to disrupt the continuous drone of study. Work is the
greatest thing in the world, but we should always save some for
tomorrow.
Over the years many classic stories have been told about the
greats in pocket-billiards, the one to be told now is a companion
to them.
Prior to beginning this story, a short resume of "shortstops"
must be told. The word shortstop is a term applied to players that
are below the level of top professionals, but of course this thought
never occurs to the shortstop, who believe their talent equal to the
best. It matters not how often they are defeated.
Shortstops have varied reasons for their defeats, not for a
moment do they consider their knowledge of the game limited.
The lengthy explanations of their losses reflect the fact that they
actually offer excuses.
Many remarks expressed by them are "Gems". I'll quote a few.
"If I had one more shot I'd of won the game" (though he had at
least 20). "He made a lucky kiss shot and ran out." "I never played
on such a lousy table" (this is the same table he won many games
on). "My cue is no good, I'm going to get rid of it." (This is the
same cue that brought him many victories). "The next time I play
him, I'll beat him easy, he was lucky that I had one of my bad
days" (against top professionals he's always had bad days).
There are so many "Gems" told by shortstops one could write a
book on them. All this is to inform you that Harry Hart my
teacher listened to this sort of conversation again and again.
42
43
the cue ball and" at this point Harry decided he needed a drink of
soda to quench his thirst.
When he returned he remained silent until the silence became
unbearable. At this point someone cried out, "What the hell
happened Harry?"
That was the cue he waited for, and with an air of contentment
continued. "As I was saying before I was rudely interrupted by a
bottle of Soda, 1 began addressing the cue ball and decided to
apply a moderate stroke in pocketing my game ball," again Harry
stopped talking, it seemed he had no intention of continuing.
This of course was as he planned it. The tension began to build,
and once more a voice cried out, "Get the hell on with it, what the
hell happened?"
Harry seemed to be smiling as his large blue eyes twirled about,
and then in a harsh voice he replied. "I'll tell you what the hell
happened. I hit the damn object ball and to my surprise it split in
two, one half going into the pocket, the other half remained on
the table. The referee hesitated in rendering a decision as this was
a new experience to him.
The crowd began to whisper in unison, until it seemed as
though they were shouting, when suddenly the referee silenced all
and announced he had arrived at a solution to this problem.
His verdict stated that, in view of the fact that one half of the
ball was pocketed, I was to receive credit for that half, but the
other half being on the table, I was to lose my turn.
Now I've lost many games, though I never expected to lose that
one. "Yes, I lost that game by the score of 125 to 124"
Needless to say everyone joined in the laughter. To this day, I
still hear Harry telling that one to all shortstops up there.
44
45
ENGLISH
It is known by many names, such as, spin-slide-twist and of
course english. The diagrams illustrate the various points to strike
the cue ball.
There is no method of explaining the correct amount for any
given shot. The book only suggests the approximate amount toapply, this helps the st
desired results are obtained.
Many factors exist that prevent one from suggesting the exact
amount. I'll list a few of them. Make of cue ballrail height and
elasticity of the cushionsclothdampnessstrokeslate and
other ailments too numerous to ellaborate upon.
When english is applied to a cue ball it effects the cue ball and
object ball.
To become a good player it is necessary to understand the
function of it. The ability to master fundamentals is more
important than applying just english; approximately 75% of shots
require off center hits on the cue ball, and as you progress you will
come to realize this fact.
When you delve further into the science of position-play, you
will come to understand that it is the stroke that controls the cue
ball, not the english.
The diagrams illustrate the location of points to contact the cue
ball with an assortment of hits, they are to be studied carefully.
No explanation will be given at this particular time concerning
the application of english. My method of teaching injects it when
you have progressed and not before.
The illustrations are to be used as a reference guide when a
diagram suggests the amount of english to apply, therefore, when
a play suggests 1/16 more or less of english, you are to refer to the
illustrations.
Remember any track of a cue ball that is altered from its
natural direction is not a center ball hit, I say this regardless of
what has been said to this period in time.
49
STROKES
The first stroke to be discussed is the center ball hit. Most all
books stress this hit as the one most often used in playing.
At this particular time, I concur with all of them. But as you
progress the term center ball hit will have an added meaning. No
lengthy explanation is needed at this time.
STICK SHOT
I have received many letters from students informing me they
are stymied by this fundamental due to the lack of information,
though they have read many books.
My first thought was that they probably misunderstood the
explanations. But after researching the subject, I had to agree
with them. I know many books explain where to strike the cue
ball, but none explain what takes place in the execution of the
stroke.
This does not infer that no book explains the action. It does
mean 1 haven't been able to locate any book that does. I stand to
be corrected, but until then, I concur with my students.
All strokes must have a name that suggests the action required
to execute them, and the stick-shot is no exception. The name
stick-shot by itself implys nothing.
To execute this stroke students will understand what is
expected of them when they are told to apply a snap stroke. This
indicates a forward snap of the wrist. That's all there is to the
stroke, it is exactly what must take place to execute it.
When you first attempt it, place the object ball and cue ball
approximately two feet apart, then strike the cue ball 1/16 of a
cue tip below center.
As you progress lengthen the distance until you are able to
control the stroke from one end of the table to the other. As you
lengthen the distance the cue ball requires a lower hit, plus a
harder stroke.
My pleasure is delving into little known facts, proving their
accuracy and sharing this knowledge with others. 50
FOLLOW STROKE
To master this stroke strike the cue ball cue tip above center.
This is accomplished by drawing your fingers toward yourself
until the desired height is achieved.
The stroke calls for a forward thrust of the wrist. The motion
must be a loose one with all muscles relaxed.
This stroke differs from others. Most all strokes require the
muscles to become taut when executing them, but not the follow
stroke.
There is an article in the book that explains the action of
muscles and their relation to all strokes further on in your studies.
DRAW STROKE
This stroke must be mastered if one intends to become a good
player.
To execute this stroke strike the cue ball one cue tip below
center and apply a snap-back stroke of the wrist. Many players
have difficulty with this particular stroke. To me it is a very
controversial subject.
All instructors recommend striking the cue ball one cue tip
below center and to be sure and apply a follow-through motion.
They all imply that this imparts a reverse spin to the cue ball,
which in effect creates the draw stroke. This concept has no
foundation.
The term follow-through as applied to the game is used much
too loosely, not only in pocket-billiards, but in other sports as
well.
The draw stroke exercise further on in your studies delves into
this controversial subject with facts that all can prove to
themselves as to the authenticity of what I say. I know all will
enjoy reading the subject matter.
51
PUNCH STROKE
This in all likelihood is one of the most widely used strokes. All
professionals know of it and use it, but somehow it has been
omitted in instructional books.
But as in all strokes there is a way to describe the action
required to execute it.
The name punch stroke implies the action, it's execution is
similar to a fast job, such as a boxer delivers, and can be executed
with or without english.
To acclimate yourself to this stroke, strike the cue ball 1 /16 cue
tip below center with a snap stroke. Do not become confused
between the snap stroke and the snap back stroke. The
application of english alters the direction of the cue ball when it
contacts a rail.
SPIN STROKE
This is another stroke that has never been explained thorough-
ly.
No matter the amount of english applied to a cue ball it spins.
But the name spin stroke differs in that it allows you to apply
more spin to the cue ball than the normal procedure of applying 1
cue tip.
Many times players have remarked that, I apply more spin to a
cue ball than what normally takes place when others execute the
same stroke. I inform them of an old phrase once spoken of
frequently.
It goes this way, "a twist of the wrist." The twist enables one to
apply a greater spin to the cue ball. To witness this, the student
must stand in the rear of the instructor or anyone that can execute
the stroke.
The object is to observe the motion of the wrist as the stroke is
being executed. Refrain from looking at the object ball or the cue
52
Encylopedia of Pocket-Billiards
ball that's not the place where the action occurs.

I have taught many players this stroke. Remember a left twist
for left english and a right twist for right english.
SIGHTING
The importance of sighting an object ball correctly cannot be
overstressed. It is one of the most important fundamentals. The
success of all players to pocket an object ball depends on sighting
it properly.
The diagrams are provided to help you to understand the
printiple of this fundamental.
The path of the cue ball contact point advanced to the sight of
the object ball (dot) demonstrates the points that must contact
each other to pocket the object ball.
Let us assume the sight of the object ball requires a 1/8 hit, this
means 1/8 of the cue ball is to contact the sight of the object ball.
This procedure of sighting must be applied to all shots, for they all
present sighting points.
A feather type hit denotes a very thin hit. It means the edge of
the cue ball is to strike the edge of the object ball.
The diagrams have been illustrated to impress upon you the
value and technique of sighting. Each shot presents a different
sight, but all are played with the identical technique. I have
refrained from explaining the track of the cue ball at this
particular time.
The need to add confusion only retards one's progress. It is the
instructor's responsibility to instill confidence to the student.
What needs to be understood at this time is the principle of
sighting, and the procedure needed to accomplish the impact of
both sights that is required to pocket an object ball.
In playing any object ball, the sight is to be looked at constantly
until you have delivered your stroke.
53
The three steps required to sight properly are, first, sight the
object ball, secondly, position yourself properly and address the
cue ball, thirdly, should any corrective measures be necessary to
your stance do not sway your body to compensate for it.
The swaying of the body distorts your line of aim, but when you
adjust your complete body the rigidity of the stance is restored,
and your line of aim corrected.
Make no mistake, all top professionals sight prior to playing a
shot. At times you will not notice this for top players sight as they
seem to be sizing up other shots, or just walking about, but no
matter what they seem to be doing, you can be assured that they
have sighted their next object ball.
All players have their own individuality and so will you.
The student would do well to remember that to sight properly it
requires your head to be over the cue and in line with your aim,
therefore the proper stance is necessary.
To adjust your stance should you have problems in sighting
correctly, extend your right foot back to a point that allows you
to bend forward at the waist.
At times this move improves one's ability to sight properly.
Remember vision is only a part of the game, one need not have
perfect vision to play well.
What may be forgotten is the fact that many shots are pocketed
by using a simple procedure of sighting the angle between the
pocket, object ball and cue ball.
Remember when pocketing an object ball you sight it first, this
then is your first sight. The line of the pocket towards the sight of
the object ball forms an angle of equal degrees towards the cue
ball.
By adjusting your stance to conform to this angle, the object
ball can be pocketednote the angles in the illustrations for
Sighting.
55
LETS PLAY
This is your first attempt at pocketing an object ball with the
cue ball. It is the beginning.
To arrive at this point suggests that you are prepared to further
your knowledge. In viewing this diagram, remember to sight the
object ball to the top right corner pocket, then sight the cue ball to
the sight of the object ball.
After these preliminary steps, position yourself in line with the
cue so that your aim will deliver the cue ball to the sight needed to
pocket the object ball.
Place 6 balls as illustrated. Track lines show the designated
pocket for each ball.
To assist you in adjusting your stance, I have placed a cue in
line with the cue ball, object ball and the top corner pocket. The
two dots signify the contact points.
Before you begin, remember to bend forward at the waist until
your head is over the cue and in line with your aim.
- Should you encounter difficulty in sighting, extend your right
foot back to a point that allows you to aim more precisely.
The sighting of an object ball is no different than sighting a rifle
in that the head is over the rifle in line with the aim.
., Adjusting to a correct stance is a. continuing effort and must be
worked on until it becomes a natural thing to do.
: The basic bridge is to be used and being a short shot, the short
stroke is to apply. The grip is to be held lightly with the thumb
and first three fingers, the pinky is to be as pictured in the
drawing.
The wrist motion is to be a loose movement, and the forward
and back phrase is to be applied. Strike the cue ball close to the
center, be sure that your bridge hand remains on the bed of the
table until the stroke is completed. This is very important.
Your eyes are not at fault when you miss, it's your stance. Use a
soft stroke.
57
SHOOTING THROUGH
The diagram informs students of the procedure used to execute
position-play with the use of the diamonds.
This method of mine has been acclaimed the greatest step
forward ever taken. The many testimonials received by me from
all parts of the country attest to this.
I have had many requests to explain this complete system as it
applies to the game of three cushion billiards. There is no need to
comply with an explanation of it, as a complete book on the
subject would be needed.
The diamonds as applied to that game is well known, but I have
incorporated the highly advanced point, line and angle system
devised by me into this
book, and when proper-
ly understood, it be-
comes a simplified meth-
od of learning the
science of position-play
or three cushion bil-
liards.
The placing of three
cue balls demonstrates
the procedure. Though
all three balls contact
the cushion at different
points, they all shoot
through the diamond as
the extended track lines
illustrate.
58
FOLLOW EXERCISE
To execute this stroke the basic bridge is to be used. Strike the
cue ball cue above center, be sure to use a soft stroke.
The method of raising the cue to the position desired is
accomplished by drawing the fingers of your bridge hand towards
yourself until the height required is reached.
The purpose of this diagram is twofold. First, to develop your
follow stroke; secondly, to develop speed of stroke and control of
the cue ball.
As you progress, you are to concentrate on speed of stroke so
that the cue ball stops at the track arrow for each shot.
The effort needed to become a good player requires practice
sessions with total con-
centration.
Your next exercise on
page 60 takes in the
learning of the draw
stroke. But before you
become involved with it,
read the Fallacy first,
this is on page 61.
After you have com-
pleted the reading, re-
turn to the study of the
draw stroke on page 60.
59
DRAW STROKES
When executing the draw stroke the grip on the butt must be
held loosely, the wrist is to swing in a relaxed motion.
None of your muscles are to be taut until the tip of your cue
strikes the cue ball. The cue shaft is to be held snugly, and your
bridge hand is to remain on the bed of the table until the stroke is
completed.
Ball 1 requires cue tip below center, ball 2 one cue tip, ball 3
1/4 cue tip.
By elevating the amount of english from 1 cue tip to cue tip
below center the reverse spin is reduced. In each play the cue ball
is to return to the asterisk mark.
Now all this will not
just happen, you will
have to experiment with
your stroke, and the
point to contact the cue
ball until you acquire
the speed of stroke need-
ed.
Remember, apply the
snap-back stroke, do not
place the object ball or
cue ball further than
illustrated until you
master these distances.
60
THE FALLACY
The fallacy of the follow-through as applied to every stroke in
pocket-billiards.
When the draw stroke, stick shot, punch stroke and others are
executed, many factors are responsible, such as fingers, wrist,
forearm, bisceps and deltoid muscles. In the execution all of these
muscles become taught to some degree.
To prove a point, enter any billiard room in the country, then
select a player or two who cannot execute the draw stroke. Every
room has at least 1 or 2 such players.
No matter how often they strike the cue ball below center, or
how forceful a stroke they apply, they always fail in their efforts,
why? There must be an explanation.
I once asked a professional to explain what takes place when he
executes the stroke. His answer was a classic. It went along these
lines. "I can't explain what I do, all I know is I do it."
Now an answer such as that has a familiar ring to it. It reminds
me of an old saying: "He knows so little and knows it so fluently."
In today's world, all can know what takes place with all strokes.
The muscle action between a follow stroke and a draw stroke,
or stick shot, and I could go on, is as different as day from night.
When a student is told to apply a snap-back motion to his
stroke, he understands what must take place.
The word snap indicates a forward snap of the wrist, when the
word back is used in conjunction with it, the explanation is
completed. It explains the action needed, and that is exactly what
transpires in the execution of the draw stroke, be it the muscles of
the wrist or the fingers.
Most all instructional books of learning advise the student to
strike the cue ball below center and follow-through on the stroke.
This they say imparts a reverse spin to the cue ball which in effect
creates the draw. The term follow-through is thrown around too
loosely. As stated in preceding text, many players strike the cue
:ball low, but with no results.
61
The follow-through theory rates a story that occured in the year

1878. In that year it was considered a fact that horses while
running had at least one leg on the ground at all times. This
theory was handed down from generation to generation until H.
E. Muybridge the well known artist and photographer placed a
number of cameras at intervals around a California race track,
and photographed horses in full gallop with all four legs off the
ground.
This revelation proved that what had been accepted as fact, was
in reality only a belief. This also applies to the follow-through
being applied to every stroke. The word and its meaning as used
in pocket-billiards contradicts itself, and until someone thinks of
an appropriate name, I must refrain from using it loosely. I
believe my book of explanations to be a more scientific method.
To describe strokes, the student must be told of the action
required, the words follow-through describes nothing.
No matter the book or name, they all read alike, follow-
through, follow-through, and follow-through on all strokes. This
reminds me of a primer book, which in effect is repeatishly
teaching a child to read.
The follow-through is demonstrated in all books, including this
one. Note the extension of the shaft after the stroke is completed.
Can you visualize anyone being told to draw a cue ball that is
approximately three inches from the object ball with the follow-
through stroke?
62
To execute any stroke students must be told of the action

required. It is not merely the low hit that creates the draw, nor is
it the follow-through motion, it is the muscles.
To experience the action of muscles involved in different
strokes, strike the cue ball with a follow stroke, just a short follow
of 4 feet, then execute the draw stroke and have it return the same
distance.
Repeat this a few times, then satisfy yourself as to the different
muscles involved in both of the strokes. They are as different as
the moon and the sun.
When two strokes are different they cannot be called the same,
nor be executed alike. They must be named subject to the muscle
action required.
: I believe if someone researched the origin of the words follow-
through as applied to pocket-billiards, he would discover that the
term was taken from an old English book on the strokes involved
With the pocketless game.
SHORT-LONG SHOTS
Short shots are to be played with short strokes. This means
your cue shaft is to extend no more than 5 inches forward of the
bridge hand, and your grip to be held approximately 3 to 4 inches
below the balance point.
All shots at a distance of three feet or less are to be considered
short shots, regardless of the distance they travel.
Long shots require an extension forward of the bridge hand
from 5 to 6 inches. The grip on the butt to be held back to a point
that compensates for the added extension forward.
When addressing the cue ball your stroking must be a rhythmic
one. Repeat this phrase as you address the cue ball, forward back,
forward back, forward back, forward and strike. Do not hesitate
or elongate your final delivery stroke.
The elongated stroke is responsible for an erratic delivery, and
the reason why players miss long shots and break shots.
A confusing point to me is why players neglect to sight object
balls. In observing average players they seem to ignore this
fundamental completely.
When a football quarterback is prepared to release the football,
he must sight the receiver, or a particular location prior to
releasing the pigskin.
The baseball batter or fielder must sight the ball, be it coming at
the batter or the fielder. What compels pocket-billiard players to
believe they need not comply with this fundamental, when they
must hit an object ball 2 1/4 inches in diameter that might have to
travel 7 feet and then drop into a pocket opening of from 4 7/8 to 5
inches: I suppose I'll never know.
65
HITTING THE SIGHT

Contrary to what one may think or say, most shots are not
pocketed with center ball hits. There is no point in telling players
that all they need do is think mostly in terms of striking a cue ball
center.
The center ball hit as expressed by most instruction books is a
far cry from the reality of what takes place in playing position for
another object ball.
The sooner one understands that the science of this game
entails learning what actually takes place, the sooner skills can be
acquired.
When someone strikes a cue ball close to center, the inference is
made that a center ball
stroke was applied, no
matter the carom off the
object ball.
On page 201, I have
entered the actual
strokes used in the run-
ning of 106 balls. I know
you will find it very
interesting.
To return to this exer-
cise, place object balls as
illustrated, then pocket
each ball with a draw
stroke, the carom of the
cue ball is to travel the
track line.
66
RAIL SHOTS
To name one shot that players fear most, it would have to be
the rail shot. The question asked mostly by students is, "do you
strike the cushion and object ball simultaneously?"
I always reply in this manner. The rail is not a playable object,
therefore pretend no rail exists.
Lets assume the object ball is1/4 inch off the rail, how would you
play the shot? There is only one way, sight the object ball then
play it.
No rail was considered in this last play, and no rail need be
considered for the rail shot. The important fundamental to
remember is speed of stroke when playing rail shots.
Place object balls as
illustrated, then pocket
each ball by striking the
cue ball 1/16 below
center. After you suc-
ceed in pocketing them,
reset the same shots and
play them with follow
strokes and short draw
strokes; be sure to use a
medium stroke for all
rail shots, be it now or in
the future.
67
THROW SHOTS
When two or more balls are touching each other, they are called
frozen. Play 1 demonstrates two balls frozen and in a direct line
towards the top short rail. By striking ball 3 (head ball) the throw
is to the right as dashes illustrate.
When the head ball of any two frozen balls is hit on the right,
the throw is to the left, a left hit reacts the opposite. The
application of english to a cue ball creates the same effect upon an
object ball.
Here's a phrase for all throw shots. Left goes right, right goes
left.
Play 2 demonstrates three balls in tandem. When three or more
balls are aligned as illus-
trated, no throw can
take effect.
Play 3: By applying 1
cue tip english left to the
cue ball, the object ball
can be thrown to the
right. In this type of shot
the normal sight is to be
discarded. The cue ball
is to contact the dot on
the object ball.
68
Diagram 2:
The illustration shows balls 4 and 5 in a direct line towards the
bottom short rail, with ball 3 frozen to the right of ball 4. No
matter the number of balls in this cluster, ball 5 can be pocketed
by merely striking the head ball (2).
In this same play, cue ball 2 is at a location that need not
contact the head ball, by striking ball 6 the throw will take.
The principal of all throw shots depends on the head ball
having a solid chain reaction to the correct side of any two frozen
balls.
Play 2 illustrates two frozen balls, 1 and 2 with no solid chain
when playing with cue ball 3, therefore no throw will take effect.
But when the cue ball is located in the area of diamond 1 off
the long right rail, the
throw will take by mere-
ly striking ball 7. It can
plainly be seen that this
play has a solid chain.
Remember this
phrase, left goes right,
and right goes left.
Diagram 1:
Though the shots illustrated seem to be throw shots, they're not.
The two sets of frozen balls present opportunities to pocket the
object ball and scatter the cluster of balls.
Remember when two balls are frozen and in a direct line
towards the pocket, the sight to contact is similar to sighting one
object ball.
The rule of right goes left and left goes right also applies to
these set ups. Dashes indicate the end result should you contact
any one of these shots to the right or left.
To know the amount of throw to any two frozen balls, set up a
number of them at various distances, then experiment by striking
them with thin hits to almost full hits. Do not use a constant speed
of stroke, vary them.
Remember that a soft
hit allows for a greater
throw, the sharp hit nar-
rows it.
70
KILL THE CUE BALL

This is a term expressed by professionals when a difficult cut
shot is played, and the intent is to retard the rebound of the cue
ball off the rail to such an extent that the words "kill the cue ball"
are used.
The diagram presents two such shots. They are to be placed
approximately one inch off the rails. Position must be played for
each break shot ball.
The lines indicate the exact location of the cue ball and object
ball; by noting the direction of each line as it pertains to the
diamonds, the exact location can easily be determined.
Play begins with object ball 1. Keep in mind that english affects
the direction of the cue ball and object ball, and that right throws
left and left throws right.
The concentration required to execute these plays should be
applied to all shots, including the easy ones. The word concen-
trate will have added meaning after you successfully execute these
shots.
This is said for a very good reason; the shots involved are not
simple to execute, they require spinning the cue ball excessively,
plus aiming at a sight contrary to the usual sighting procedure.
I have placed sighting dots on each object ball to help you.
These sights can vary subject to the amount of spin applied.
Here's another helpful suggestion. When applying the stroke, a
twist of the wrist can be applied, the added twist allows for a
greater spin. Twist right for right english, left for left english.
These shots require very soft strokes. Take note of the curva-
ture of the cue ball track as it travels on its way towards the sight
of the object ball, this curve must be compensated for.
When you can execute the spin stroke, your knowledge of
throw shots will vastly improve. With the study of diagrams and
explanations provided in this book, all can become knowledgea-
ble.
The wish to attain depends on the will, not the wish.
CONTROL - 2 - 7 - 2
No matter how many books I might write, none would be
complete without this very important diagram.
The many letters received by me expressing the help derived
from this center table control of the cue ball is beyond descrip-
tion.
No other diagram has been commented upon more than this
single one.
The reason being, as explained to me from testimonials re-
ceived, is that it helps tremendously in learning speed of stroke,
control of the cue ball, and the technique of soft stroking. As you
progress, you too will realize the importance of this one single
exercise.
Place the cue ball as
illustrated, then strike it
with one cue tip english
left, the cue ball is to
stop within the dotted
area. This area is ap-
proximately 12 inches in
diameter.
Stay at this for a pe-
riod of 10 minutes, then
go on with your studies,
but every so often return
to it, the purpose being
to remind you to brush
up on your soft stroking.
73
BASIC POSITION-PLAY
Diagram 1: To understand and master the technique of
position-play, it requires the student to start from the beginning.
This diagram illustrates why the cue ball travels a particular
path or track. Remember position-play as explained in this book
is a science, not guess work, or the usual hap-hazard methods of
yesteryear. And as such, it can be understood and mastered by all.
Reading the table. This is a term expressed by professionals. It
means looking at a group of balls and determining the correct
method of pocketing them so that the cue ball ultimately will be at
the proper location for the break shot ball. This is the science that
must be understood to achieve hi-runs, and as stated, is called
reading the table.
The book has many such diagrams that help the student to
learn this highly advanced science. But first the basics of it must
be understood.
Place the object balls as illustrated. Then pocket ball 1 with a
draw stroke by striking the cue ball cue tip below center.
When counting the diamonds from the side pocket to the top
right corner pocket, the total number of diamonds including the
corner equals 5. When bisecting the 5 diamonds you find that
diamond 2 on the left long rail becomes the bisecting point.
The draw stroke allows the cue ball to return to diamond 2
where it rebounds and follows the track to the track arrow. This is
the procedure used to predetermine the track line of a cue ball.
74
Diagram 2:
To continue the study and science of position-play with the use
of the diamonds, I have provided a number of diagrams with
illustrations and explanations to help you to understand the
principal of using them for position-play, therefore do not skip
over them lightly.
Place object balls and cue ball as illustrated, then strike the cue
ball 1 cue tip below center using a draw stroke.
The cue ball is to return and travel the track to track arrow for
position on ball 2, which is then played in the bottom right corner
pocket.
In observing the diagram, note that the diamonds are involved
in predetermining the location of the cue ball. When counting the
diamonds on the long
right rail, the bisecting
point on the left long rail
is easily determined and
the location of the cue
ball predetermined.
Take note of the angle
(A), it will become an
important part of your
lessons.
76
Diagram 3:
To become proficient at pocket-billiards, the application of
english must be mastered. The use of english is to be applied only
when needed.
Place the cue ball and object balls as illustrated. Position-play
is required for ball 2 to be played in the bottom right corner
pocket.
The draw stroke is to be used to allow the cue ball to return and
travel the track as illustrated.
To accomplish this, apply cue tip english bottom left, then
apply a draw stroke. Dashes indicate the track when too little or
too much english is applied.
In all shots, concentrate on the area you intend to strike the cue
ball. Don't make the er-
ror of playing a shot and
forgetting what was
done, but above all,
keep your eyes on the
object ball sight.
77
Diagram 4:
A cue ball is a sphere, and as such travels a greater distance
than many players anticipate.
The application of english has a two fold function. The first one
is to adjust to a track line you predetermined. The second one
concerns speed of stroke, together they teach cue ball control.
Place object balls and cue ball as illustrated. In this play the
track is to be altered. This is accomplished by applying 1 cue tip
english bottom right with a draw stroke.
When the cue ball returns to the left long rail after pocketing
ball 1, the right english applied to the cue ball attempts to travel to
the left. Remember right goes left and left goes right.
The english not only alters the track, it also retards the speed of
the cue ball.
78
Diagram 5:
This is your final diagram prior to being introduced to a new
concept of teaching from any other published method.
Place all balls as illustrated, then strike the cue ball with cue
tip english right center. Use a very soft hit, as the intent is to
position the cue ball for your break shot ball.
Having received a number of requests to define a carom, I have
decided that a brief explanation will clear the air.
The hit off any object ball creates a carom; the carom off any
ball forms an angle, it is this angle that directs the cue ball to a
designated point on the cushion.
Prior to pocketing an object ball, you should decide the direc-
tion the cue ball will travel, it then is a matter for you to adjust
your stroke to what you
deem necessary to
achieve your ultimate
goal.
79
MENTAL PICTURE
Pocket-billiards is a mental game, as well as physical. The need
to develop fundamentals requires the student to master the mental
aspect of the game.
Visualizing is also an important part of the game, it erases guess
work and stimulates positive thinking.
In playing any shot you must concentrate totally to visualize
the outcome of a play. When a player concentrates totally, he
functions under tension and competition with much more ease.
He becomes relaxed, but most important he makes accurate
decisions.
One of the most intriguing questions asked in pocket-billiards
is, what secrets do professionals have to accomplish their hi-runs.
The answer is, what are your faults? What is impeding your hi-run
potential? Can it be your stance, sighting, stroke or mental atti-
tude?
I would like to point to something all professionals do when
faced with a position-play. First, notice their facial expression as
they size up the shot. They appear prepared to execute the play,
but only visually.
What takes place is the mental process that is not discernible.
What they're doing is visualizing the track of the cue ball in their
mind. They see themselves executing the shot, and they see the cue
ball locate itself at a predetermined location.
To master this technique one must first learn the fundamentals.
The learning of this will not happen overnight, it requires months
of study and practice, no quick method exists.
Remember no matter the shot, the mental process always goes
on. Therefore I repeat, what are your faults? It is best to know
them and to work on eliminating them.
In conclusion let me say that your game will improve, your
knowledge will increase, and your hi-run output will double.
When this occurs, there will be sheer joy in playing the game,
for it then becomes a delight to you.
80
SCIENCE OF POSITION PLAY

Points, Lines, Angles:
To all who desire to learn the science of positioning a cue ball
for another object ball, the table and application of english plus
strokes must be understood and mastered.
It is important to know the table and speed and angles of the
balls and ball movements, plus being aware of what kind of stroke
and english will do exactly what.
Most players lose position because of problems with english;
they lose position because their stroke doesn't really know how to
do what they want it to do.
To play effectively, one must think of solving a problem prior
to playing it, once? stroked it's too late.
The attitude of many players has been of feel, instinct, and
confidence. Though I agree with them, but only after correct
knowledge has been gained, and never apart from knowledge.
The top professionals must know exactly where the cue ball will
carom to,, and know that 1/4 cue tip english bottom right will give
them something different than 1 cue tip bottom right.
This kind of knowledge gives confidence and not the other way
around. The attitude that instruction books are good only for
those who lack natural talent and feel and instinct, know not what
they speak of.
The subject to follow is a study of all that has been said to this
point. To learn requires one to think. No subject can be under-
stood if one refuses to study.
Most people are smarter than they think on two levels; smarter
than they believe themselves to be, and smarter than they habitu-
ally allow themselves to function. Those who have the desire and
will to learn, will.
To study only in place of participating and action is as bad as
not studying at all. It is the same as reading about life but not
living it.
81
POINTS, LINES
This not being a study in geometry, the words one equals the
angle of incident and two equals the angle of reflection will be
discarded. Words such as point-lines P.L., angles - A, pre-lines
lines of parallel - L.P. and predetermined lines - P.D. will be
substituted.
Diagram 1 illustrates the cue ball about to pocket ball 1 in the
side pocket, when it does, the carom off the object ball travels
towards diamond 6 on the top short rail. The moment it contacts
the rail it is known as the point line.
Diagram 2 illustrates the rebound traveling in the direction of
diamond 1 on the right long rail. When it strikes the rail it forms
the angle - a - and the beginning of the pre-line.
Diagram 3: Prior to explaining this diagram, the following
words are important to remember. Most all point lines and pre-
lines in the game of pocket-billiards form lines that are almost
parallel. It is the pre-line that determines the P.D. line.
We now return to diagram 3 which illustrates the end of the
pre-line at diamond 7 on the left long rail, and the beginning of
the P.D. line in dashes.
By knowing the direction of any pre-line, you can determine the
beginning of the P.D. line, and the final location of the cue ball.
This fact is known to you because the point line is responsible for
the pre-line, and as stated previously, most point-line and pre-
lines form lines of parallel.
This may seem a bit confusing at first, but with the practice of
these diagrams and explanations, you will in a short period of
time realize the value of these instructions.
82
As stated from the beginning, this is not a method of teaching

as in days past, it is a scientific study long overdue.
In a sport that has approximately sixty million players with
eight million tables in private homes and the numbers increasing
each year, something different and new had to be made available.
With this vast amount of people engaged in playing this game, a
book of higher learning was needed. This book was published
with that in mind.
Though the study of points lines and angles is a short one
concerning diagrams, the many interpretations that can be de-
vised would require a complete book on this one subject.
The study of this method includes the need to interpolate plays
from all locations about the table. Therefore one can readily
understand that it erases
the need for a complete
book.
85
Diagram 5 illustrates a different track line with the identical

method of predetermining the final location of the cue ball.
It can clearly be seen that the point line and the rebound
formed the angle - A. This angle determines the starting point of
the pre-line. Remember most point lines form angles of almost
equal degrees.
Knowing this, you can pin-point the beginning of the pre-line.
Before going any further, it is best to digest what has been said to
this point.
Diagram 6 illustrates tracks of a cue ball when stroked with a
center ball hit, cue tip and 1/4 cue tip of english; remember the
speed of stroke must remain constant.
When a cue ball is stroked softly it widens the angle, the sharp
hit narrows the angle. The student should experiment with num-
erous strokes.
The need to jot down the track line and english applied to the
various strokes as a reference guide will be invaluable to you.
There are times when the diamonds cannot apply to a position-
play. When this occurs, the point, line and angle system is to be
used.
By understanding both methods of obtaining position for
another object ball, you begin to make hi-runs frequently.
86
Diagram 7 is a study of an extended point line. This is called an

interpolated diamond play. It means that the natural carom off
the object ball has been altered.
When interpolated position-plays are executed, the direction of
the pre-line changes, it no longer forms lines of parallel, the pre-
line travels away from the point line but this can'be calculated
with constant study. All angles can be thought out, no matter what one intends to
do. Note that lines 1 and 2 form lines of parallel. This determines
your P.D. line. I have provided two diagrams for you to study, one shows an
interpolated play, the other illustrates a diamond play. You can
plainly see that the interpolated play does not form lines of
parallel, while the diamond play does. Your homework consists of placing the correc
every line and angle to identify the meaning of them, this includes
lines of parallel no matter where they occur.
By checking diagram 5 on page 79, you will note that the carom
off of ball 1 travels only a few inches to form a point line.

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To tell the complete story of this book or the author would

May he rest in peace

STYLE & FUNDAMENTALS

To this list the name of Irving Crane must be included, to me he

CUES OF THE PROS

CLOSED RAIL BRIDGE

FLAT HAND BRIDGE

FLAT HAND RAIL BRIDGE

Too many players neglect to extend their foot back to a point

DEVELOPING YOUR STANCE

Diagram 2 is a continuation of adjusting your stance. It also

Diagram 3: As stated in preceding text, the first step towards

Diagram 4: The Vee bridge is your final diagram of bridges

AS TOLD TO THE BOYS

ball that's not the place where the action occurs.

The follow-through theory rates a story that occured in the year

To execute any stroke students must be told of the action

HITTING THE SIGHT

KILL THE CUE BALL

SCIENCE OF POSITION PLAY

As stated from the beginning, this is not a method of teaching

Diagram 5 illustrates a different track line with the identical

Diagram 7 is a study of an extended point line. This is called an

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