Toe-to-Heel Weight Distribution

Proper Weight Distribution

Weight distribution in the address stance involves not only inter-foot distribution (i.e., weight distributed between the right and left foot) but also intra-foot distribution (i.e., vertical weight distribution within each foot); this post will discuss how the weight should settle within each foot vertically, from heel to toe, to create a balanced, stable stance during the setup capable of eliminating many potential downstream errors. Jack Nicklaus is correct: Most golf swing errors (90% or more) occur during the setup (i.e., GASP - grip; alignment/aim; stance/setup; posture/position); golfers should spend more time on GASP and takeaway than they spend on anything else because all that follows is a consequence of a good setup.

A quick Google search illustrates the most common bit of advice from various golf authorities regarding this subject: Most seem to advise the student to position more of their weight in the balls of the feet. For the anatomically challenged, the ball is the fleshy, firm part on the bottom of each foot located below the toes and just above the arch. The bottom of a normal foot contacts the ground primarily in three general areas: the heel; the toes, and the ball; the inside arch, in a normal, standing anatomy, is raised above the ground between the heel and ball of the foot, with the toe pads lightly touching the ground. (Actually the outsole of the foot also contacts the ground, but you should NOT feel that--especially in your golf setup.)

The theory behind the advocacy for positioning weight in the balls of the feet is always explained in terms of other sports; baseball, tennis, and basketball require ready positions that call for more weight situated in the balls of the feet to facilitate reactionary, springlike movement forwards, backwards, or to the sides. The obvious problem, of course, is that golf doesn't require any such sudden "reactions" from its "ready" position, so the reasoning is weak.

Then, of course, are the problems that can arise when skewing weight into the balls of the feet (and thus engaging the toes). As your weight shifts more towards your toes and away from your heels, the toes will begin absorbing body weight and you will notice that your upper body and arms tip excessively toward the ball, creating an unbalanced stance, and so the hosel of your club head will inch ever closer to the ball, introducing an increased risk of shanking. The address shaft angle will steepen, and you are more prone to be steep coming back down. If you go too far, you may unconsciously attempt to regain balance by shifting towards the heels during the downswing, which can move the club head across the line, cause early extension (loss of posture), and an increased chance of hitting pulls and slices. You can also tip further forward if you lose your balance; again, you'll see shanks and fat shots. None other than golf great Tom Watson advocates for this "athletic setup" with weight in the balls of the feet, but I wonder if he doesn't just mean "weight away from the heels." Hank Haney also states emphatically that more weight shoiuld be in the balls of the feet, not the heels. Jim Flick, the coach who helped Nicklaus in his later years, advocated for weight in the balls of feet, while his famous student, Jack, did not (see below). I had a recent local golf lesson from a PGA teaching professional who actually told me to shift more weight into my toes without any explanation!

There are a few who seem to advocate shifting more weight into the heels and with seemingly little in the balls of the feet, but this can cause the opposite problems as described with the "balls of the feet" crowd: Hooks, pushes, toe strikes, thin shots, and an unconscious downswing move that shifts weight towards the toes in an attempt to regain balance, or if unsuccesful, falling backwards. One particular "brand" of instruction in this cohort advocates "balancing on the ankles," though it's possible they actually mean being balanced between the heels and balls of the feet; it's hard to know because they never describe what "ankle balance" is. Too much weight in the heels produces an extremely flat shaft angle and a "sit down" look in the golfer at address, with a very erect posture.

The next largest (and most prestigious) group of golf gurus and professionals unambiguously advises amateur golfers to balance their weight evenly between the heel and ball of each foot. Shawn Clement uniquely describes such weight distribution by asking the student to imagine that the arch of each foot is a "suction cup" gripping the ground. And since we've already established that a healthy arch doesn't really touch the ground, Shawn is actually describing an equal distribution of weight between the heel and ball of each foot. None other than the great Jack Nicklaus advises golfers to distribute their weight this way--evenly between the ball and heel--in his great book, Golf My Way. When utilizing such a stance, you will easily be able to raise your toes very slightly off of the floor of your shoes and leave them that way throughout your swing, because the toes should have no weight on them. Other notable proponents of this advice include Ben Hogan, Jim McClean, Sean Foley, and Nick Bradley.

Japanese Geta Sandles

I believe this last group--Nicklaus's group--has it right: The best way to address the ball is to vertically distribute your weight in each foot evenly between the ball and heel. To find this position if you have address balance problems, you will need to shift away from your tendency; if you tend to concentrate weight in the balls of your feet (probably most golfers because of what traditional golf instruction has preached for years), you will need to rock back away from your toes at address until you feel your heels engage and your toes disengage. You should imagine you're wearing traditional Japanese Geta wooden sandles. Some of these sandles have raised wooden extensions that are roughly located at the ball and heel of each foot; they approximate how you should feel--both the heel and ball of the foot carrying an equal amount of weight. If you've been a toe-leaner, you're going to feel way back on your heels; and if you've been a heel-leaner (less likely and less problematic), you'll feel the ball of your foot engage more.

Other things you may notice when redistributing your address weight in this manner include a taller feeling posture with arms that hang freer (you've created more space for your arms), lower hands that feel more inside your eye line, and a flatter club shaft while at address. You will need to definitely unlock and protrude your glutes with a straight back to remain balanced. Your toes will feel ever so slightly raised off the floor of your shoes. Your quads will disengage and your glutes will engage more. It's easier to produce greater downswing speed by twisting the lower body (knees and hips) forward (swinging more "from the ground-up") when starting down from this balanced heel-to-ball weight distribution.

A drill for ensuring you achieve this position (or at least verifying that you're setup correctly) is to get into your address posture and then hang an iron from under one of your armpits using two fingers, with the club head hanging down. The shaft should hang straight down and pass through your knees and point at the ball of your foot (your armpits are over the balls of your feet). At the same time, you can utilize this drill to ensure your feet are shoulder-width apart (as they should be at a minimum for all fall swings, regardless of club length); in this case, the club shaft will hang down inside the heel. If you're doing video analysis, you can use vertical lines to check these positions as well.

The only times you should favor the heels or toes at address is when you face uneven lies. In the case where the ball is below your feet, shift back into your heels by bending your knees more and try to stay that way through impact. When the ball is above your feet, shift into your toes by straightening your knees more and maintain that feel through impact. You'll hit better shots from those trouble lies when remembering to make these adjustments.

Finally, this method of weight distribution isn't only helpful in the full swing. You can use it to good effect in the short game (chips and pitches) and putting, as well. Try putting with weight concentrated towards your toes in your stance; you will notice that it's very easy to move the lower body unintentionally, while it's easy to keep the lower body stable with the weight balanced between the heels and balls of the feet.

Most traditional golf instruction tells us that your weight should be over the balls of your feet. You’ll read this in books and magazines, and hear it from teachers and TV golf pundits all the time. Not only is this instruction dead wrong, you’ll lose power and consistency this way, but it’s also potentially harmful to your body.

Golf Swing 102c. Setup: The Perfect Golf Weight Distribution and Balance

Your weight should be 50-50 on your left and right legs and between the balls of your feet (those cushioned pads just below your toes) and your heels. I'm surprised how many people think their weight should be supported by their toes. Starting with your weight too far forward is one of the worst mistakes you can make. It throws off all of the critical angles—spine, legs, hips, shoulders and head. That creates a domino effect, resulting in a weak swing and fat shots.

Jim McLean: Find Your Balance

Your weight should be distributed between the balls and heels of your feet and equally distributed between the two. You should be able to tap your heels and wiggle your toes. At this point you have counter balanced your weight. You should be able to draw a vertical line from the back of your shoulders through your knees to the balls of your feet. Now you are in balance.

Set Up for Success

Good footwork, too often overlooked, promotes balance, power, and consistency. Good footwork starts with balance at address. From the beginning of the swing, the weight moves from the middle of the feet back to the heels. When you finish the swing, your weight will finish on your front foot heel. The weight should NEVER be on your toes.

Learn to Squash the Ball at Impact

When hitting shots, you want to make sure that your weight is centered on your arch. Not the balls or heel of your feet. If your weight is on the balls of your feet (Because you're too far from the ball) as you address the ball, your hips will be prohibited. The result is that you'll straighten yourself up in your downswing.

How good is your balance??

The ball tends to be lined up off the heel [when the weight is on your toes] and can lead to pulls and hosel rockets. To set up properly you want to ensure you have the weight in the middle of your feet. I often like to bounce slightly up and down to ensure I have achieved this position. As I go through my swing I am cognizant of trying to keep my weight over my feet and not let it sneak out over my toes or lean back on my heels at impact.

Set up for Success

While developing a sound foundation in your golf swing, focus on where your weight distribution is located. Ideally, you would like the weight evenly distributed between the balls of the feet and heels at address. If you reach too far to get to the ball, your weight will go too much on the toes. If you remain upright and bend your knees with too much flex, your weight has a tendency to go back on the heels.

Golfers need to feel it in the feet

A golfer should settle into the arches of the feet and allow them to compress. This will activate the feelings in the ball and heel of the feet. They will really come alive! This notion that a golfer sets up or balances on the balls of the feet is nonsense! Sure, there is weight on the balls of the feet, but it is a result of compressing the arches. Tiger has this mastered this in recent months. Prior to that he was back on his heels. This one, simple adjustment has paid huge dividends for Woods.

Tiger Woods Golf Swing with Sean Foley

So I just gave it a try, basically going for the feeling that my armpits were over the balls of my feet, and it instantly felt better - more balanced, more relaxed. Then a number of things started falling into place: I actually felt torque between my upper and lower body; I stopped swaying; my tendency to "lift up" at impact disappeared (which I realize now was what my body had to do to keep from falling over forward because of how far I was bent over); and I stopped yanking the club way inside on the backswing and lifting it to the top, which I've always done.

Eureka!!! The setup change that has me BOMBING it - Golf Rewound

Optimally, a golfer's weight should be evenly distributed between the heels of the feet and the balls of the feet, and he should be able to lift up the back of his heels slightly (or lift up his toes) without becoming unbalanced if his body weight is evenly distributed over the feet.

Address setup

What happens when weight distribution is off? The first thing you may experience is a swing that feels out of sync or off balanced. More specifically, if your weight is too focused over your toes, you will lose the whip power of rotation in your swing. You are instead using the "shot put" method with your body. This creates a dramatic loss of power.

Fix Your Golf Swing: Solution 1: Correct Weight Distribution

In ‘five lessons’ he says “Your weight should be a bit more on the heels than on the balls of the your feet, so that, if you wanted to, you would be able to lift your toes inside your shoes.” When you look at him setup from down the line it appears as though that’s where he has his weight distributed. It certainly doesn’t look like it’s on the balls of his feet.

Ben Hogan Feet Placement And Positioning

Round Out the Swing Plane

Spine Angle and Face Angle

I recently posted on the so-called "twistaway" maneuver taught by Brian Manzella (and as it turns out, many others, going all the way back to Joe Dante's Magic Moves book in 1962). As a short review, this is an extreme way for teachers to get hackers and slicers to return to impact with a square to closing club face. It does work, but you can quickly discern that not too many professionals perform a takeaway exactly like that, though some do appear "closed" at the top and many before impact.

Whereas "twistaway" is extreme on purpose for the reasons stated above, there is a less-extreme--though related--school of thought that espouses swinging the club such that the leading edge of the club face stays parallel to the forward bend or "spine angle" throughout the swing. And you can find examples of many modern, professional golfers who swing this way, such as Hunter Mahan, Rickie Fowler, Luke Donald, Rory McIlroy, and Matt Kuchar to name but a few.

In the past, some would have called this "hooding" the club face or taking the club away "closed," but we've come to find out that the club face, when performing the takeaway like this, is actually square to the arc of the swing. The right palm can be thought of as a guide for how the club face is angled in the takeaway.

As an experiment, address the ball and perform your takeaway, stopping before the club shaft is parallel to the ground. Now stand up out of your posture and look at the leading edge of the face. If you performed the takeaway correctly (i.e., matching the face leading edge to your spine angle), the club face leading edge will be vertical when you stand erect. If you opened the face to get the toe of the club to vertical on your takeaway, you'll see that the toe, and thus the leading edge of the club face, is pointing right of vertical (assuming you're swinging right-handed). This means you opened the face going back. Now, many teach this conventionally and the club can be swung well this way, but it requires equal closure coming down to get the club face square again, which can introduce timing issues. Not good for the weekend golfer!

The reason I like this method of swinging the club is that I feel it actually helps keep me in the correct posture, both back and through. When I perform the takeaway and manuever the club face's leading edge to vertical, I tend to stand up out of my posture slightly. But when I keep the leading edge angled roughly 45-degrees to the ground on the takeaway, I have a mental marker for my spine angle. Therefore, I tend to get a slightly steeper shoulder turn (right shoulder pointing my downward), and thus my backswing is flatter (a flatter shoulder turn is usually associated with a more vertical swing plane).

After impact, the club face's leading edge is roughly angled 45-degrees to the sky (the right palm facing in the same direction), again matching the spine angle, when the club is parallel to the ground again (not completely toe-up as often taught), and my spine angle or forward bend again has a reference, so that I don't stand up too quickly out of my posture coming through. As a result, my right shoulder chases all the way through, my shoulders turn perpendicular to my spine angle (a'la Tom Watson's "secret"), and my finish--when performed this way--has my right shoulder pointing at the target and over my left foot! And I still have most of my forward posture, just like the pros. The chest has stayed covering the ball!

There's no need to consciously roll the club face closed through impact to square the face, because the club face is staying square to the arc all the way through; the club face is gradually closing all the way down and through impact. If you use too much hand action coming through (maybe left over from an old, conventional way of swinging), you'll pull or hook the crap out of the ball! Check your divots; a long, narrow toe divot means you're using too much hand action (either flipping or rolling the forearms too much or too soon).

Swinging this way flattens or rounds out the swing plane, without need to think much about it. I believe this is a more consistent way for weekend golfers to swing a club; it takes most of the timing out of the swing.

To check if your club face is square, take the club back until it’s about waist high, then pause your backswing and look at the club head. If the club face is square, it will match your spine angle.

How to Have a Good Takeaway in Golf

To improve your swing path and promote a square clubface at impact, practice making half swings so the club stops parallel to the ground on each side of your body. At these two positions, the leading edge of the clubface should be parallel to your spine. If it is, it means the clubface is rotating correctly and staying square to the swing path. Good path and a square face are the basic ingredients to straight, powerful shots.

Breaking 90: Match the leading edge to your spine angle

Test: Are You On Plane? One way to test your takeaway is by standing upright. If the toe of the club is vertical, your takeaway was on plane.

Shawn Humphries - Spine Angle

A narrow divot will mean the club has turned at impact; a hook or slice will be the probable result.

Golf Practice Drills: the perfect divot

 

Compression: Role of the Right Arm

Hang around online long enough and you'll discover a plethora of golf teachers with varied opinions on the role of the right arm in the golf swing. Some teach that the left arm should be dominant (players sometimes called "swingers" who pull with the left arm), some argue the right arm (players called "hitters"), and some both ("switters" or "swing-hitters"). Some say that both arms should be passive, neither pulling or pushing, and merely responding to gravity and body movement.

And you'll find examples of successful touring pros who use each one. In The Golfing Machine (TGM) parlance, the active straightening of the right arm (primarily driven by the right tricep) is described as using Power Accumulator (PA) #1 and is heavily associated with the "hitter" swing style.

Regardless of what is taught, used, or believed, there seems to be one universal truth, at least visually, with regard to the right arm in the full golf swing when we examine the swings of great players: The right arm folds in two places--the elbow and wrist--in the backswing, and the right arm gradually unfolds in the downswing, reaching it's fully extended, released position (right wrist and elbow straight) a foot or so past impact. The left wrist never breaks down or bends backwards (i.e., flips). The right arm straightening can be passive for swingers or active for hitters.

The first element of properly using PA #1 involves keeping the elbow and wrist of the right arm bent for as long as possible coming down. Ernie Els describes this as "keeping the box." The right elbow should still be slightly bent at impact, reaching a fully extended, released position only a foot or so past impact, with the right wrist still bent backwards (even just after impact). Doing both automatically extends the left arm fully and keeps the left wrist flat through impact. Pressure should be felt in the first phalanx or base knuckle of the right index finger from the top and through impact. In a sense, that phalanx or inside base knuckle of the right index finger can and should serve as a guide to the club face position throughout the swing. The right hand thumb and index finger should be completely loose around the club handle; you can even take them off! Only that phalanx or base knuckle is important.

If the right wrist straightens in a way that causes the left wrist to bend backward at impact, this creates a "flipping" motion and the club head will pass the hands (lag is lost and the effective loft of the club is increased). Instead of "flipping" or swatting at the ball with the right wrist (behaving as if it was merely a door closing along its vertical axis), the right wrist should only straighten WELL AFTER impact with the right palm rotated slightly downward through impact.

This reflects the TGM description of hitting down on the ball with the right palm and actively straightening the right elbow, feeling pressure in the base joint of the first finger of the right hand (Pressure Point #3) and pressure on top of the left thumb (Pressure Point #1) due to pushing on the left hand with the right. This creates a feeling of pushing down and out on the shaft with the right palm, and results in a flexed shaft due to the compression against the ground; a divot is taken well in front of the ball. The ball is often described as being powerfully "pinched" off the ground or "compressed against the ground."

Use this one swing thought: Aim to fully, dynamically straighten the right elbow a foot or so past the ball with your irons. Straighten it down, forward, and out. You can use this method to hit the driver; simply use less downward extension. Instead, extend so that the right forearm is more level with the ground coming into the ball. Straighten it out to the right slightly for a draw and out to the left slightly for a fade.

The best way to describe [Kenny Perry's] right arm on the downswing is that it is "pushing down and out." Pushing down allows the right arm to actively straighten while maintaining the bend in the right wrist. This feeling is no different than if you were to try to push something into the ground with your right arm.

Maintaining the bend in the right wrist is a fundamental you see in a good swing. It allows the clubshaft to return forward at impact, resulting in a clubhead that is descending and accelerating through the impact zone.

PGATOUR.COM - Instruction blog: Right arm the key to Perry's swing

"In essence, bending and straightening the Right Elbow will raise and lower the left arm and/or cock and uncock the left wrist without bending, flattening, or cocking the right wrist. Right elbow action either powers and/or controls all three elements of the Three Dimensional Impact, (downward, outward, and forward)." ~ Homer Kelley

www.chuckevansgolf.com

In a golf swing (whether one is a hitter or a swinger), the right wrist is always bent back and the right wrist never bends forward (palmar flexes) at any time point during the downswing - because it would cause the left wrist to bend forward (flip).

Whether one is a hitter or a swinger, the clubhead should never flip past the hands while the clubhead is moving through the pre-impact zone. The clubhead should always be lagging behind the hands during the entire downswing, which means that the right wrist is always bent back.

[A] hitter applies an active push-force at pressure point #3 by actively extending the right elbow during the downswing - as the right elbow actively straightens it applies an active push-force via the bent right wrist to pressure point #3.

PA#1 is only actively released in a hitter's swing action - when the right triceps muscle actively contracts with a large amount of isotonic force, thereby straightening the right arm in a straight line thrust action that thrusts the right forearm downplane and drives PP#1 [the left thumb]/PP#3 towards the ball (or towards a desired aiming point in the vicinity of the ball).

The release of PA#1 is due to a very active triceps muscle contraction that actively straightens the right elbow in a forceful thrust action that pushes the right forearm and bent right wrist towards their impact fix position.

How to Power the Golf Swing

Throw the club through the ball with your right hand. As Jack Nicklaus said, you can hit as hard as you want with the right hand as long as the lower body is leading.

Tom Watson: My power key never gets old: Golf Digest

That right hand does not stay as loose as it does on your backswing. You take it back loose, your hands are nice and flexible. But when you hit that ball, you’re adding power to it and you’re increasing your pressure all the way through impact.

Tom Watson Interview

 

Correct Shoulder Plane

I posted previously about my whacky left shoulder hitch on the downswing. But I have flaws that have exacerbated that problem.

My shoulders usually turn properly on the backswing, with my left shoulder moving DOWN under my chin and my right shoulder moving UP behind me (i.e., shoulder line maintaining a perpendicular relationship to my original spine angle). Note that the left shoulder should not point down early or it can cause the upper body to tilt toward the target; the left shoulder move across before pointing down. (Updated 1 Mar 15)

However, in an attempt to aid hitting from the inside and avoid an OTT (over-the-top or outside-in) move, I've developed a habit of having my shoulders see-saw on the downswing. In other words, the shoulders have too much up-and-down, linear shoulder motion with little to no rotational movement.

Therefore, my shoulder plane was rotating back correctly but changing directions and becoming too vertical on the downswing. It was going too much down and not enough around. This is the identical problem that Tom Watson talks about in his Lessons of a Lifetime; his right shoulder moved too much under and not enough around; his ball flight errors were pushes off to the right. He fixed it by feeling like he was coming OTT compared to what he had done before. For Tom this amounted to his "secret." It was his eureka moment.

In reality, the correct shoulder plane has the left shoulder pointing down toward the target line on the backswing and right shoulder pointing down toward the ball on the downswing; think of hitting the ball with the right shoulder--some call this "covering the ball" with the right shoulder.

The key move is to feel like the right shoulder on the downswing REPLACES the left shoulder's backswing position and points DOWN at the ball. In other words, the right shoulder must move DOWN, FORWARD, AND OUT. Too much of either isn't good. Keeping the head back behind the ball while using this motion allows one to hit from the inside instead of coming OTT. If the head (and spine angle) shifts forward with the weight shift to the left leg, this shoulder move will cause the swing to be OTT.

Another feel to go after is that the right shoulder stays higher coming through the ball; in other words, the shoulders feel more like that turning level to the ground (in reality they aren't). This provides a shallowing effect to the swing, resulting in a swing that's flatter and more "rounded" as opposed to "up and down."

The correct finish will have the right shoulder pointing at the target; if it's trapped behind the left in any way then the swing went unfinished--a stuck swing.

It's important to note that this is a feeling. With a proper setup, backswing, and throughswing, the shoulders will be only slightly open at the moment of impact. Because of the continuity of the swing's motion, the ball will be just departing and then the right shoulder comes through powerfully.

At the top, think of replacing your left shoulder with your right. That will help you turn through while keeping your right shoulder under your head instead of spinning out in front of you.

The Turn Secret You Don't Know | GOLF.com

'MOVE THE RIGHT SHOULDER TOWARD THE BALL'

When I start down from the top, I try to feel as if my right shoulder goes directly to the ball, and this improves my swing path. Chuck also says this makes the body square the face at impact, which is more reliable than trying to do it with a lot of hand action.

Golf Instruction: Jason Dufner: Duf's Moves To Hit It Solid: Golf Digest

If the right shoulder comes down (rocks slightly) as it begins to turn, it brings the upper right arm against the right side and the swing starts down on an inside line.

It is when the shoulders turn, throwing the right shoulder high and out toward the ball, that the golf swing goes outside. Keeping the head back helps the slight rocking action which brings the right shoulder down.

Golf Downswing: Third Magic Move

If the head comes forward at this point, we lose the tension and get ourselves, in a manner of speaking, "over the ball" as we hit it.

If we keep the head back we do in truth stay back of the ball where we should be.

Golf Downswing: Second Magic Move

The head must be set back as the golfer reaches half way down to ensure the golfer attacks the ball on the correct inside swing path.

Head Angle in the Golf Swing Helps Dictate the Plane of the Swing | Suite101.com

 

 

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.

 

Setup for a Draw or Fade

Considering the D-Plane and "new" ball flight laws, try this method to set up for your draw or fade. It's very similar to the way Nicklaus and Watson (see Lesson 1 Lesson 2 on youtube) set up to shape their shots.

GC: What about the pre-shot routine; is that something you think is important?

TW: I talked about the target line and aiming. That’s your pre-shot routine; if you can do that, that’s fine. Getting behind the ball and hitting that ball over a point like Nicklaus does, that’s all the pre-shot routine you need.

You’ve got to aim it with the club face. You’ve got to learn how to do that; a beginner has no clue. “Where do I aim it? Is the club face square?” How do you determine whether the club face is square? You see people play with a closed club face and an open club face. But then they make an adjustment in their swing to try to get their club face back to square.

[From Tom Watson | Golfconversations.com]

I call it "holding off the shot." I'm keeping my arms quiet with far less forearm rotation and delaying the closing of the clubface. I think of it as squaring the face with my body rotation. You can see here my hips have turned significantly toward the target before the club has reached the ball. That's a good fade feel for me.

[From Adam Scott: Steal My Feel: Golf Digest]

So you can see (in harmony with the "new" ball flight laws), Tom Watson understands that the club face should aim where you want the ball to start…not where you want the ball to end up! If he has a natural hook in his swing, he needs to aim right to bring the ball back to target. This is why most pro golfers you watch on television appear to be hitting the ball off to the right; they're drawing the ball back to the target.

Stand behind the ball and imagine the TARGET LINE--a straight line from the ball to where you want the ball to carry. Don't worry if some obstacle falls on this line (e.g., a tree, trap, or dogleg); your intention may be to use the curve to go around that obstacle! At the same time, imagine an AIM LINE--a straight line where you want the ball's flight to begin. I recommend starting with smaller curves, so the aim line should be relatively close to the target line. These two lines (if imagined to be infinite) will intersect at some point behind you, forming a small angle.

The best way to create these lines at setup is to pick two points on the ground a few feet away from the ball; use blades of grass, broken tees, and so on as the points on the line. You'll need these frames of reference for alignment. I never pick points on these lines that are more than 5 or 6 inches aways from each other.

Set the club down with the face pointing down the aim line (not the target line); in other words, point the face at that spot chosen on the ground. If you find yourself hitting pushes or pulls instead of draws or fades, try closing or opening the club face slightly, but NOT at the target line. Now, align the body slightly open to the left or closed to the right of the aim line, depending on which curve you're attempting to produce. Putting the ball back in the stance slightly will also encourage a draw or hook, and vice-versa for a fade, slice, or cut; I advise, when using the ball position in this way, to simply align parallel to the aim line the way Watson recommends.

If you don't use the aim line and close the club face coming through, you may hook the ball off the course (same with a fade--ball slicing off the course--if you don't adjust your alignment to the left).

In essence, the infinite, imaginary aim and target lines along with the line created by the setup (i.e., TOE LINE - imagine a straight line running from the toes of each foot) will intersect at some point behind you and the distances between those lines will increase gradually as they proceed toward the target. Once you've addressed the ball, forget the target line…concentrate on the aim line (where the club face is aiming) and swing either left of it for a fade or right of it for a draw. These are feels but in reality you can use an inside-out swing for BOTH (remember…it's the club face relative to the path that imparts spin).

As alluded to earlier, Watson teaches that the toe line should be parallel with the aim line; but we want to avoid hitting a straight push or pull, so I advise SLIGHTLY closing or opening the toe line to the aim line, depending on the shot shape desired (unless you use some other method for encouraging the correct swing path). Once again, these lines are only FRACTIONALLY offset from parallel, especially the toe line. If you're already adept at controlling the path of your swing, the toe line idea may not be useful to you. Also, don't forget the ball position: Forward encourages a fade and backward encourages a draw, so this alone may be enough for you to consider leaving the toe line parallel to the aim line. Also, don't forget the D-Plane: the club face must still be offset from the swing path to produce the desired shot shape.