Shaping Shots Consistently

I must have a ga-ja-billion posts on shaping shots (i.e., coaxing fades and draws), and that's because I'm always in search of the best way to do it. The best way is the way that is consistent and reliable for you to perform on the course (i.e., 90% of the time the ball bends as you intended). Click on the tags or keywords at the end of this post and you'll discover the numerous ways it's possible to influence the ball's starting line and follow-on ball flight.

I think this method--along with Jack's method--may be the easiest.

To fade the ball, tee up the ball LOW (even with the top of the driver) and on the right side of the tee box. Aim the club face towards the left side of the fairway (pick a tree or other target on the left); this represents the starting line. Place the club down aligned with this starting line. Make the address stance slightly open to the starting line; this means the hips, knees, feet, and shoulders should be aligned to the left. The upper body should still be tilted away from the target, and one must still shift the weight correctly and stay behind the ball for this power fade (sort of a push-fade, as you're still hitting inside-out ala Lee Trevino). Position the ball off the inside of the left instep (or roughly with the left shoulder). The further forward the ball position, the further left the ball should start on line before curving. Experiment with tee heights and ball position to get the right mix for the shot shape you want. Hit through the ball as if hitting four balls in a row on the starting line. Finally, use your normal grip, as most amateurs and high-handicappers hit with a slightly open club face even when trying to close it. Done correctly you should impart a nice, narrow fade on the ball.

To draw the ball, tee up the ball HIGH (one quarter to half the ball above the driver) and on the left side of the tee box. Pick a target on the left side of the fairway and place the club on that starting line. Make the address stance slightly closed to the starting line (pull the right foot back and align the shoulders and knees to the feet). Position the ball back in the stance (a few inches to the right of where it would be for the fade); the ball should be inside the left heel or roughly even with your shirt logo. Finally, rotate the club face slightly closed compared to the stance and then take your normal grip (most amateur golfers have trouble closing the club face enough for a push-draw, so manipulating the club at setup is easiest). Instead of hitting through all four balls, pretend you're hitting only the first ball of the four. Experiment to find the right mix; you will draw the ball (if you hook it then either move the ball slightly forward, tee it lower, lessen your closed stance, or try combinations of all).

A few notes. The lower the loft of the club (6-iron and up to driver), the easier it is to slice and the harder it is draw (another reason for manipulating the club face slightly closed for a draw). The higher the loft of the club (i.e., 7-iron and higher), the easier it is to hook and more difficult to fade. Draws tend to fly lower, further, and run more on landing. Fades tend to fly higher, shorter, and land with less roll. Take this into account when selecting a club. Don't be afraid to exaggerate adjustments to get the ball spinning like you want (i.e., if you lose your draw, get the ball hooking by standing with your back to the target and hitting balls).Full extension adds power and helps close the face (obviously useful for a draw but maybe for the fade too if the fade is too close to a slice). Hit both shots with the same swing shape--inside-out. And inside-out fade is called a power fade, and this was used by the greats like Hogan, Trevino, and Nicklaus.

Trevino’s swing is unorthodox, and so is his method for hitting the fade. The conventional way is to align the body left of target, aim the clubface at the target, and swing along the line of the body. Trevino follows the first two steps, but swings down the target line rather than with his body. The deviation actually produces a swing path that’s inside-to-out relative to the body, and directly down the target line. Trevino produces the left-to-right spin necessary for a fade by delaying the release (rolling over) of his hands through impact. According to Trevino, his routine produces more power than the traditional technique. He acknowledges that the ball will finish right of the target, but suggests simply lining up the body and clubface farther left to compensate.

Try Trevino's Unorthodox Power Fade Swing

Most players think of the swing as a circle. Trevino saw it as something different. Instead of folding his arms up after impact to remain on the circle, he chased his right shoulder toward the target to 
 the point where the club pointed straight down the line. He made this move with such force that it 
 looked like his right arm was going to rip straight out of its shoulder socket. It’s actually a move that most great ballstrikers have used over the decades.

Eventually, your left elbow must fold and get the club moving up the circle again, but try chasing down the line first, like Trevino did. I bet you’ll find yourself hitting the ball a little straighter and, if you can hold off your release just that much longer, creating a power fade. While the word “fade” has negative connotations for a chronic slicer, a controlled cut in the hands of a good player like Trevino leads to a Hall-of-Fame career, five Vardon Trophies and half a dozen major victories.

Johnny Miller - Lee Trevino signature chase move can help you hit it straighter | GOLF.com

"Inside out?" you might ask. "Doesn't that cause a draw?" Yes, it does, but only when your swing is inside out in relation to your target line. This swing is inside out in relation to the body alignment, but straight back to straight through in relation to the target line (see illustration). You won't draw the ball with this swing. If anything, you will contact the ball after the club has swung down and back to, the inside on the forward swing, thus putting a slight left to right spin on the ball .

So you have two big pluses here: First, you have an inside to outside attack in relation to your body. This is much more powerful than the outside-to inside swings that many amateurs use to fade the ball. Second, you have the club moving down the target line, producing either a straight ball or slight fade. You can't beat that combination.

Here's a trick that might help you understand this a little better. After you set up, imagine that there are three golf balls in front of the one you're about to hit. For the fade, you want to hit through all four balls. This will force your right shoulder down rather than around on the downswing, with your arms extending toward the target on the follow through. Keep in mind that the right shoulder doesn't dip. That would cause fat shots. Instead, the shoulder simply swivels underneath the chin. As a result, you will hold your release, keep the club moving down the target line, and push the ball to the hole, with very little sidespin.

I have, however, encountered one "problem" among people who have tried this method. They say to me, "Lee, when I swing your way, I hit the ball way to the right. I just tell them, "Aim farther left.” Don't open your stance more; just shift your entire orientation to the left. In other words, rather than aim the clubface down the fairway or at the pin, aim it at an intermediate target more to the left and shift your body alignment farther to the left as well. There's no rule that says you have to aim down the middle. Line up for the trees on the left and push it down the fairway. It's easy, when you know for sure that you can hit the push/fade.

The beauty of the balls in a line image is that you can use it to draw the ball, too. For the right to left shot, line up your body parallel to the target line and aim your clubface at an intermediate target to the right, to allow for the draw. Then, simply think of picking off the first ball in line, the real ball, without touching the three imaginary ones. This brings the right shoulder and club up quickly in the follow through, and whenever the club and shoulder move up, they go counterclockwise as well, which closes the clubface. Result: a draw.

You Can Learn to Hit My Fade - Lee Trevino - Golf Magazine - Dec 1979

Adjustable Drivers

Adjustable drivers are all the rage these days; golfers can adjust various attributes of the club to suit their swings and help correct ball flight errors. My Nike SQ Machspeed driver is a square-headed, thud-making monster; I keep it adjusted to a flatter lie with a slightly closed club face position (because my ball flight error tends to be a slice).

However, I've noticed that on days when I'm making a good turn behind the ball and using a reasonably strong grip (slightly more than neutral), I can start pulling, hooking, and hitting really low shots off the tee with it. This is why it's important to be able to diagnose what's going on while playing. Two primary components of ball flight are swing path and club face; the two are joined at the hip and synergistic.

When I know I'm making a good turn behind the ball (full shoulder turn) and getting an inside-out swing path and the ball is hooking, pulling, or going low, I know that my club face is too closed to match that swing path. Suddenly, my adjusted driver becomes an enemy. True, I'm not slicing…I'm just doing the opposite, which can be disastrous too.

In those situations, a slight grip change may be all that's needed to correct the ball flight. I've noticed that the stronger grip I use for my other lower lofted clubs (like the 3-hybrid or 5-iron) can produce low and/or left ball flights with my adjustable driver, if I'm swinging on a good inside-out path. So (and every day on the golf course is different), I will slightly rotate my grip to the left (V's pointing between my neck and right shoulder as opposed to directly at my right shoulder) as a fix. Usually, this small change will straighten my ball flight and produce a higher draw shape.

However, go too far with the grip (or start making an incomplete turn) and the ball will start fading or slicing again. Golf is great, huh?

Wrist Action at the Top

Wrists play an important role in the swing, to be certain. But this is one of those areas, for me, where I can unconsciously start doing the WRONG thing and end up with that slice creeping back into my rounds. Ball flight is always a result of a marriage between club path and club face position at impact. This means it's easy to misdiagnose what's happening to oneself on the course if one suddenly starts hooking or slicing the ball. I've posted before about the various characteristics of different ball flights; it's up to each individual golfer to figure out his or her tendencies in order to diagnose correctly on the course.

So, what's the correct wrist action at the top? First, let's define what's an incorrect wrist action. For the left wrist, an improper wrist cock would be where the knuckles move more backward towards the forearm (in essence, a left wrist hinge). This is what is defined as a cupped or dorsiflexed left wrist, and it's a move that opens the club face. If timing isn't perfect coming back down, the wrist will not fully flatten and the face will likely be open at impact, causing a slice or fade of some kind. It's important to note that this cupped position at the top might be useful for greenside bunker or flop shots, where an open face at impact is desirable. All of this is related to one's grip as well (a stronger grip can be more cupped at the top of the backswing and still allow for a reasonably straight ball flight). When the wrist is too cupped at the top, it opens the club face and lays off the club. At the same time, a left wrist position that is too bowed (like Dustin Johnson uses) could result in a club face that's too shut and could put the club in an across-the-line position at the top (associated with hooking the ball). Good players can get away with either if their timing is good and they can incorporate manipulations to return the club to the correct impact position.

Now the right wrist is really the opposite of the left. An improper right wrist action would have it too straight at the top of the backswing (knuckles moving away from the forearm), which, if you think about it, mirrors what the left wrist does in an improper action. And for both, there are variations in between. Much has been written and taught about the wrists in golf, and wrists actions among golfers will vary by individual. Some professional golfers, like Tom Watson and Shawn Clement, teach that you should have a slightly cupped left wrist at the top to get the maximum wrist load, wrist cock, or radial deviation (Watson says: 'with as strong a left hand grip as you can use without hooking the ball'). Others, like Hank Haney, teach that the left wrist should be flat at the top (like it should be a the bottom), which means the right wrist would be hinged backward more. The right wrist associated with a left wrist that's too bowed would have the right palm pointing to the sky at the top (like holding a tray or pizza). A flatter left wrist at the top is associated with a more neutral grip. In reality, the right wrist should be more dorsiflexed than the left; this would be kind of like holding a slanted tray--where anything on it would slide off onto the ground.

When I make a club face error these days, it's usually because of a left wrist that's too cupped at the top or not rotating or bowing it fast enough coming down; when I fail to lead with the left wrist, it leaves my club face too open. My outside-in path error is usually an incomplete shoulder turn.

Here's what I've found is a good wrist and grip drill to teach the correct wrist positions at the top. I take my address position with a club and then raise my body into an upright position. From there, I simply move the club straight up and down in front of me using only my wrists. The wrists should cock upwards and downwards, raising and lowering the club; Shawn Clement describes this as hinging on the 'anatomical snuff boxes.' Using the same drill, cupping the left wrist would result in the club moving left of one's head, and too bowed a left wrist would move it right of one's head. The proper movement using this drill would have the club moving upwards right between my eyes. The club face should return to the same position when lowering the club back down using the wrists; if it doesn't…the grip is either too strong or too weak. Once the feel of this is ingrained, it's simply a matter of keeping the arms in front while going to the top, turning the shoulders fully, and hinging the wrists along the same axis practiced in the drill. As with all things in golf, too much or too little can be a very small standard deviation: Too much cup or bow in the left wrist will lay off the club too much or put the club over the line too much (respectively) and will contribute to a slice or hook (respectively), if not corrected coming back down using some artificial manipulation.

 

My Golf Lesson: Laid Off

I recently took some online video lessons with famed teaching professional Bobby Eldridge out in AZ. I highly recommend giving Bobby a shout; he's very good!

To my surprise, Bobby immediately picked up on something I hadn't considered: I was too laid off at the top. In other words, my club shaft pointed well left of the target line instead of more parallel to my target line. This move was causing my pulls, pull hooks, deep divots, and slices, because one unconsciously corrects for this by coming over the top (OTT). This is something that is hotly debated among golfers and professionals, as there have been many great golfers who appear 'laid off' at the top of their swings. Ben Hogan has even been accused of this sin. For clarity, the opposite of being laid off is being across the line, meaning the club shaft points right of the target at the top, and this move supposedly leads to hooks and coming too much from the inside.

It's also important to note that having the club point left of the target doesn't necessarily mean that one is "laid off" in the negative sense. What's important is being "on plane." When you're on plane it's not neccessary to get the club to parallel (reference Hank Haney's 7-Steps book). A better description of being "laid off" is a swing plane that is too flat, regardless of where the club points at the top.

Bobby didn't think so, but from my previous Hank Haney online lesson, I know that I have failed in the past to get a full 90 degree shoulder turn; this can contribute to a laid off backswing. It's easy to comprehend that an incomplete shoulder turn will cause the club to point left at the top.

Now, what I'm describing flies in the face of a reversed loop swing that I've championed before; let's face it, a reversed loop swing is a correction (i.e., defeating a steep backswing with a shallow downswing). It works well for some professional golfers with impeccable timing, and it helped me too (for a while). But because it's a correction and requires timing, it's not easy to do (for me anyway).

As I'm a mere mortal (beginning golfer), how much better would it be if I could keep the club on plane all the way through? This is what Bobby was getting at with my backswing. The correct feeling has more to do with the arms and club staying in front of the chest, back and through. For me, it feels very vertical, but it definitely agrees with Shawn Clement's commentary on the arms "falling down the plane." It seems easier to hold the lag and allow the arcing motion of the club shaft to happen late (more due to arm rotation than shoulder rotation), thereby producing an inside-out club head motion. When I swing down this way, I focus on the inside of the ball, as if that's where I'm trying to hit it (the only way to do that is by this arcing motion with retained lag). Extension back and through seems more natural as well, and a 90 degree shoulder turn is important to get the club pointing down the target line (without the arms collapsing). And as you can see from Clement's explanation, the right elbow-right hip relationship is important too, with the right elbow falling down IN FRONT of the hip--not attaching or crashing into the side of the hip. The hips must rotate to shallow out the vertical motion.

One should feel as if one is pointing the club shaft at the target at the top of the backswing; if the club points to the left of the target, it will be too laid off, which can cause nasty slices and pulls on the way down, depending on the corrections one makes in the downswing. Here are some tests to determine whether one is laid off at the top:

Take a full backswing but stop at the top of your swing. Simply loosen your grip and allow the club to fall on you. If the club is on plane correctly, it should fall on the tip of your right shoulder. If the club falls too much toward your neck or head, your plane is too steep. If the club falls below your shoulder, your swing path is too laid off or flat.

[From Golf Swing Plane Tips]

Wherever your eyes are looking, your hands and the clubhead will want to go. If your eyes are looking at the back of the ball at address, then you are probably trying to square the clubface to the back of the ball at impact. Address and impact are two very different alignments in golf. Focus your eyes on the inside quadrant of the ball at address and your hands will strive to reach your new focal point. By making this small change, you will be well on your way to improving your downswing and obtaining much more manageable misses.

[From Classic Swing Golf School]

Following the takeaway, focus on folding the right elbow up, not out behind you. Your swing should feel much more vertical than before. More importantly, it should feel shorter. That’s a good thing since, whether you believe it or not, a good backswing is only 18 inches long. From setup to the top, your right elbow should move just about a foot and a half, from the center of your torso to just outside the right hip.

[From Golf Tips - Elbow Room]

The key is we have to fight this by trying to keep the shaft as vertical as we can in the transition and down to impact. If we let the shaft fall back it will lay off as much as parallel to the ground or more and also fall more inside. This will cause getting trapped behind the body approaching the ball, causing a big inside out swing path that will hit big blocks. To stop the blocks, big time over rotation of the arms hits big pulls.

[From Laid off at the top of the Backswing…Cures, Tests and Drills - Surge's Daily Golf Swing Tips]

One classic problem is leaving the club pointing left at the top or as we call it laid off. This can be caused by an inability or unwillingness to complete the turn on the back swing. If you only turn your shoulders 45 degrees instead of the preferred 90 degrees, the club will likely be 45 degrees left of target, a major cause of the classic pull or slice swing. Even players who typically do it correctly on the range may find that the tension of the golf course prevents them from completing the back swing and causing an improper path.

[From Club Position]

Think of yourself as a righthanded batter, with a golf ball sitting on home plate. As you move into impact, try to sling the clubhead toward right centerfield. Approaching the ball from inside the target line like this—as opposed to down the target line when you try to hit the back of the ball—relates the shallow arc necessary to make centered contact and compress the ball so it shoots off your clubface like a rocket. At impact, your clubface should strike the lower-left quadrant (the one closest to you) of the ball.

[From How to Max Out your Irons | GOLF.com]

When you reach the top of your backswing, allow your hands to drop the club straight down. If the shaft hits your shoulder, then great—you’re on plane. If the shaft missed your body and the clubhead falls behind you, you’re probably laying off too much and you need to keep your hands and shaft above your shoulder in order to get back on track.

[From No Layoffs! | GolfTipsMag.com]

 

Use Chalk During Practice

If you're like me and have a net in your garage for practice when the mood strikes you (or when it's freezing outside), here's a little trick that will determine your likely club face direction and even clue you to the path upon which you're swinging and thus determine whether the ball likely would have faded or drew (not all of us can afford one of those fancy-shmanzy OptiShot style simulators).

Take some chalk (I recommend colored chalk designed for kids to use outdoors) and rub it all over the face of your club (you can also use masking tape or other materials designed for this purpose). Now hit a ball into your net. You should see a nice impact spot somewhere on the club face. If it's in the middle…you've just pulled of a great shot (if the path of the club head was correct - see D-Plane). Pay attention to the blur of the arc down at the bottom of your swing for the other piece of information; if you're swinging inside-out (like you should be most of the time) then you needn't worry over this variable. However, the position of impact on the club face can clue you to the path you're swinging on as well.

More likely, you'll see an impact spot near the toe. Slicers (most golfers who swing outside-in for various reasons--i.e., chicken winging, coming out of posture, etc.) will tend to hit towards the toe, because that's a typical condition of an open club face and outside-in motion. Toe impacts tend to worsen a slice, because the club head will open slightly at impact. Hookers (golfers, not streetwalkers) will tend to hit towards the heel, due to the club face closing through impact and the inside-out motion. Heel impacts serve to close the face even more. Sometimes, the club face is so closed that a shank occurs, and the ball will shoot low and right or run along the ground straight (making you think you topped the ball)!

Where you address the ball on the club face can also affect the mark. It's technically correct to address the ball more towards the toe if you prefer to rest the club on the ground behind the ball (i.e., instead of hovering it), as centrifugal force will pull the club slightly away from your body on the downswing. If you suddenly see your practice shots go low and dramatically right, you're probably shanking off the heel. Use chalk to verify this and then adjust your address position accordingly: Address the ball towards the toe and see what happens to the mark. Note: This assumes you address the ball with the arms naturally hanging; if you vary the extension of your arms towards the ball then this is a variable that will negate learning where you typically impact the club face; work to ensure you address the ball with the same posture and arm position each time!

You may discover that the difference in the club and stroke imparts varying impact points on the club face, depending on the manner in which you stroke the ball. For example, I need to address irons more off the toe to get closer to the center, while woods require me to address closer to the heel (even hovering the club). The reason, I believe, is that irons (shorter clubs) require more of a downward blow, while woods and drivers utilize more of a sweeping action.

However, if you start seeing your ball marks move from the toe towards the heel, it's a GOOD THING. It means that you're learning to keep your extension, swing inside-out, and close the club face…ingredients needed for the draw. As a matter of fact, making changes to achieve an opposite result in golf is usually a good drill (e.g., if you sliced during a round, stop at the range and hit balls until you're hooking it).

Since the club is pulling in towards you, the ball is struck with a glancing blow and on the toe of the club resulting in a slice that doesn't go very far. Does this sound familiar? It is a very common fault, so here is a three-part drill to get you on your way to correcting the problem.

[From Get hip to drive the ball farther - Tips at GolfInstruction.com]

Most golfers think the shank and its violent, clanky offline flight are caused by an open clubface. However that is almost NEVER the case. In fact for most golfers the face is actually closed when the ball makes contact with the neck or hosel. The ball first contacts the rounded, angled portion of the inside of the neck and starts flying offline before any true contact with the flat clubface can be made.

[From Stop Shanking the Golf Ball – Herman Williams Golf Instruction]

Third, check your clubface. If the golf ball leaves an imprint on the inside part of your clubface (near the hosel), then you have most likely hit the ball from inside-out. If the imprint is on the outside of the clubface (near the toe), then you have most likely hit the ball from outside-in.

[From Golf Tips – How to Swing That Golf Ball From Inside Out! | ProgolferDigest]

 

Golf Height and Spin Influences

The following are often trumpeted physical aspects of the golf swing that are associated with particular ball flights, but it should be noted that they are not exclusive to those ball flights (one can hit a fade using an inside-out swing). Slice or cut spin (clockwise-tilted spin) is typically associated with high ball flights and hook spin (counter-clockwise-tilted spin) is typically associated with low ball flights, but that doesn't mean one can't hit high draws and low fades. Understanding these attributes can help one diagnose when something goes wrong on the course (because it inevitably will).

Hook Spin (Draw) and Lower Ball Flight Characteristics	Slice Spin (Fade) and Higher Ball Flight Characteristics
Setup further away from the ball; posture more bent over; elbow away from torso	Setup closer to the ball; posture more upright; elbows close to the torso
Flatter swing plane (more around the body)	More vertical swing plane (more up and down or down the line)
Stronger Grip (hands turned to the right) / lighter grip pressure	Weaker Grip (hands turned to the left) / firmer grip pressure
Knuckles down at impact (flat or cupped left wrist - closes and delofts club face)	Knuckles up at impact (bowed wrist or knuckles up - opens and adds loft to club face)
Swinging from in to out (swing plane tilted to right or swinging from inside)	Swinging out to in (swing plane tilted to left or over-the-top move)
Closed stance (shoulders, feet, hips aligned right of target)	Open stance (shoulders, feet, hips aligned left of target)
Back foot flared out, front foot perpendicular	Front foot flared out, back foot perpendicular
Closed or closing club face	Open or opening club face
Ball positioned further back (ball on the backside of swing arc)	Ball positioned further forward (ball on the front side of swing arc)
Grip more in the fingers (promotes club face closure)	Grip more in the palm (slows club face closure)
Posture more bent over from hips (promotes flatter swing plane)	Posture more upright from hips (promotes vertical swing plane)
Short thumb on left hand grip (promotes club face closure)	Long thumb on left hand grip (slows club face closure)
Lag retained excessively (hands in front of club head at impact)	Club casting or losing wrist hinge before impact (no lag retention)
Full shoulder turn (90 deg) = flatter plane/higher shoulder-hip turn ratio	Partial shoulder turn (<90 deg) = steeper plane/lower shoulder-hip turn ratio
More diagonal finish (club points more down behind the back)	Picture frame finish (club and arms form an open rectangle shape over the head)
Downswing begins with lower body ahead of upper body	Downswing begins with upper body ahead of lower body
Arm motion more active than body	Body motion more active than arms
Hands and arms extending out away from body past impact	Hands and arms pulling in toward the body past impact
Left arm straight through impact and followthrough	Left arm "chicken winging" (bending) through impact and followthrough
Ball tee'd up higher (high trajectory, hook)	Ball tee'd down lower (low trajectory, slice)
Smaller diameter golf grip (promotes earlier club face closure)	Larger diameter grip (promotes later club face closure)
Higher lofted clubs (easier to hook and draw) (e.g., 9-iron)	Lower lofted clubs (easier to fade and slice) (e.g., driver)
Gripping down on clubs (easier to release)	Gripping at full length (slower to release)

 

Of course, there are some outliers (it wouldn't be golf if there weren't):

Hook Spin (Draw) and HIGHER Ball Flight Characteristics	Slice Spin (Fade) and LOWER Ball Flight Characteristics
Ball tee'd up higher (high trajectory, hook)	Ball tee'd down lower (low trajectory, slice)
Head behind the ball at impact (high flight, hook)	Head forward of the ball at impact (low flight, slice)
Wide stance (especially with driver)	Narrow stance (especially with driver)