Wardlaw Directional's

Defending national champion University of California at San Diego was a heavy favorite to retain its Division III women’s tennis title.  A veteran UCSD team rolled into the 1995 championship match where it would face a young but talented squad from Kenyon College.  The upstart Kenyon Ladies bounced out to a 2-1 lead after doubles competition, forcing the Tritons to tighten their singles attack.  Intensity increased with every serve on every court as the singles competition produced a series of nail-biters from beginning to end.

USCD retaliated with a strong effort that seemed to swing momentum in the Triton’s directions Kenyon trailed 3-2 early in singles.  But, a victory by the Ladies’ first-year player Ali St. Vincent tied the match, setting the stage for one of the most dramatic Division III title finishes in many years.

Lori Mannheimer, Kenyon’s #4 player lost her first set 6-1.  B.E. Palmer, Kenyon’s assistant coach, and Lori had tried a variety of strategies throughout the first set with little success.  As B.E. related after the match, he had pretty much given up hope of Lori winning her match and was preparing to concentrate on closer but more winnable matches.  During the changeover following Lori’s first set B.E. knew he had to offer Lori a ray of hope before he left her.  But what could he say?  With the second set about to begin he finally said, “Lori, follow the Directionals.  Just follow the Directionals.”  Lori nodded in agreement.  She was on her own. 

B.E. returned to Lori’s court after the first five games of the second set to find Lori leading 4-1.  Lori followed the Directionals to a 6-1 second set victory, evening her match at one set all.  The third set started out close but Lori continued playing according to the Directionals and won 6-2, pushing Kenyon to within one match of a championship.  Moments later, teammate Amy Rowland pulled through an intense match, clinching a 5-4 victory for Kenyon and the Ladies second national championship in the past three years.

“JUST FOLLOW THE DIRECTIONALS”

What are these Directionals?  The Wardlaw Directionals were conceptualized in 1992 and have been the major component of the Kenyon tennis program ever since.  The benefits from the Wardlaw Directionals to the Kenyon women’s tennis team are clearly revealed by their results since 1992:

  • The 1992 team finished as National Runners-up, losing 5-4 in the finals.
     

  • The 1993 team won the Division III National Championship in decisive fashion, winning all three tournament matches after singles.
     

  • The 1994 team, consisting of only sophomores and freshmen (Kenyon graduated their top five players from the 1993 championship squad) finished 11th nationally.
     

  • The 1995 team won the Division III National Championship making a huge jump from 1994’s 11th place finish to 1995’s first place finish.
     

  • The 1996 team finished third at the Division III National Championships, losing 5-4 in the semi-finals in one of the best matches in tournament history.  Kenyon had five team match points.
     

  • The 1997 team once again won the Division III National Championship.  The team looks to repeat in 1998 with the loss of only one player.

The Directionals evolved from my work in 1992 with Kenyon’s #2 player, senior Kathryn Lane who went on to earn All-American status in singles and doubles.  Kathryn was a solid player with excellent ground strokes.  She had limited foot speed but used her aggressive strokes and serve to dictate matches and compensate for her lack of court overage.  Kathryn maintained excellent court position on or inside the baseline but she had a tendency to rush points and gave herself little room for error when attacking or closing out points.  Most of her errors were wide or in the net.  Tactically, Kathryn needed away of playing which enhanced the following:

  • High percentage shot selection.
     

  • Aggressive attacking play.
     

  • Court coverage and anticipation.
     

  • Natural Stroking – using natural hip and shoulder rotation.

Following Chuck Kriese’s premise in his first edition of Total Tennis Training that most errors were change of direction errors, Kathryn’s tactical decision on each shot became whether or not to change the direction of the ball.  At the heart of the Wardlaw Directionals is the question Kathryn learned to ask on each shot, “Do I change direction or do I hit the ball back to where it came from?”

To Change or Not to Change Directions?

What are the advantages of not changing directions?  As Kriese points out:

During a point of tennis, a player may choose to change or not change the direction of the ball’s flight.  Not changing the direction (hitting the ball back to where it came from) allows the player to hit the ball back at a right angle.  This is a very forgiving to slightly mishit shots and also for more difficult shots such as such as the return of serve, first volleys, passing shots, approach shots and balls placed so that a player is stretched and off-balance or out of position to return them.  It is a good rule to avoid changing the direction of the ball on any shot that cannot be controlled.
 

Changing the direction of the ball (hitting the ball to the open court), on the other hand, is a much riskier position.  Only a slight change in the angle of the racquet face can misdirect a ball out of bounds or into the net.  The temptation is to hit the ball out of bounds or into the net.  The temptation is to hit the ball to the open court, away from the opponent.  However, this is not always a good idea because of the greater risk for error and because a poorly hit ball will sit up, thereby giving the opponent for a put-away on his shot.

Not changing directions has tremendous benefits.  However, a major tactical goal is to hit shots which are natural – shots which don’t require fighting your body and allow your hips and shoulders to rotate naturally.  As you’ll soon see, there are some shots where changing the direction of the ball is the more natural and advantageous option. 

INSIDE AND OUTSIDE GROUND STROKES

The essence of the Wardlaw Directionals is found in understanding the difference between inside and outside ground strokes.  Forehands and backhands are no longer just forehands and backhands.  Forehands are either outside forehands or inside forehands, and backhands are either outside backhands are either outside backhands or inside backhands. 

Outside Ground Strokes

Examples of outside ground strokes occur when two players are in a cross court rally.  The ground strokes are called outside ground strokes because the ball crosses in front of a player’s body and is moving away or to the outside.

The players in the two diagrams below are in cross court rallies hitting forehand to forehand (Figure 10-1 below) and backhand to backhand (Figure 10-2 below).  The players are hitting outside ground strokes or more specifically, outside forehands and outside backhands.
 

Figure 10-1 Figure 10-2
Forehand Backhand
   
* Right Handed Player Shown In Diagram

Inside Ground Strokes

Inside ground strokes occur when the ball does not cross in front of a player’s body.  An example of an inside forehand is the following: P1 and P2 are in a cross court rally hitting outside backhands (Figure 10-3 below) until P2 hits a ball which doesn’t cross P1’s body and P1 must hit a forehand (Figure 10-4 below).  The forehand in Figure 10-4 is an inside forehand.  The forehand is an inside forehand because the ball is coming into or inside the body and doesn’t cross P1’s body.
 

Figure 10-3 Figure 10-4
Exchange Outside Backhands Hitting Inside Forehand
   
* Right Handed Player Shown In Diagram


An example of an inside backhand is the following: P1 and P2 are in a cross court rally hitting outside forehands (Figure 10-5 below) until P2 hits a ball which doesn’t cross P1’s body and P1 must hit a backhand (Figure 10-6 below).  The backhand in Figure 10-6 is an inside backhand.  The backhand is an inside ground stroke because the ball is coming into or inside the body and doesn’t cross P1’s body.
 

Figure 10-5 Figure 10-6
Exchange Outside Forehands Hitting Inside Backhand
   
* Right Handed Player Shown In Diagram

DIRECTIONALS: THE BASIC GUIDELINES

The relationship between the ball and the player (not the ball and the court) determines whether an inside or outside ground stroke will be hit.  If the ball crosses in front of a player’s body then an outside ground stroke will be hit.  If the ball doesn’t cross in front of a player’s body then an inside ground stroke will be hit.

Understanding the difference between outside and inside ground strokes is the novel insight which led to the development of the Wardlaw Directionals.  It’s important to remember that there are two types of modern players – those who split the court in half (players who equally play forehands and backhands) and those that play with a weapon (players who overplay a strength, usually the forehand).  The following three tactical guidelines are for those who split the court in half.  Directionals for players with a weapon will follow.

Guideline One: Outside Ground Strokes – No Change of Direction

The most natural and high percentage shot is to hit the ball cross court by not changing the direction of the ball.  This creates a shot that leaves the strings at a right angle.  Significantly fewer errors will be made, and your opponents will have fewer openings from which they can attack you. 
 

Figure 10-7 Figure 10-8
Exchange Outside Forehands Exchanging Outside Backhands
   
* Right Handed Player Shown In Diagram

Guideline Two: Inside Ground Strokes – Change Directions

Because your hips and shoulders naturally rotate, it is far more productive to change directions on inside ground strokes and hit to the open court.

Inside ground strokes are the shots which give you offensive control of the point.  Players should be alert to step into the court on inside ground strokes and take the ball on the rise.  Court position inside the baseline is the key to taking offensive advantage of an inside ground stroke. 

The initial difficulty in hitting inside ground strokes cross court is that this is one of the shots where you cannot see your target as you prepare to hit the ball.  Because you can’t see your target, mastering inside shots becomes a matter of learning to gain a feel for the court and a sense of the width of the court.

Figure 10-9 Figure 10-10
Exchange Inside Forehand
(Change Direction)
Hitting Inside Backhand
(Change Direction)
   
* Right Handed Player Shown In Diagram

 

Guideline Three: Changing Directions on Outside Ground Strokes – The 90 Degree Change of Direction

Again, on deep outside ground strokes the high percentage shot is to stroke the ball back to where it came from (not changing directions).  However, there are times when it’s important to be able to change directions on outside ground strokes – the most obvious being on cross court shots landing short.

When changing direction on an outside ground stroke, hit the ball so that it crosses your opponent’s baseline perpendicular to the baseline.  In non-geometric terms – if you contact the ball three feet from the sideline, the ball should cross your opponent’s baseline three feet from the sideline.  This is called a 90 degree change of direction (90 COD).

Typically, when players change direction on outside ground strokes they think, “hit the ball down the line.”  By thinking, “line,” they aim at the line reducing all margin for error.  By changing their reference point from “line” to “90 degrees” the player has room for error and since most 90 degree change of direction shots are forcing, the player has at the very least initiated an attacking sequence without taking a huge gamble.  In addition, the player can concentrate on depth as width or angle ceases to be a factor.  Increased depth then makes the shot more forcing or penetrating.

Figure 10-11 Figure 10-12
Forehand 90 Degree Change Backhand 90 Degree Change
   
* Right Handed Player Shown In Diagram

 

GUIDELINES FOR PLAYING WITH A WEAPON

Besides being the top players in the game, Steffi Graf, Pete Sampras, Andre Agassi, Jim Courier, Boris Becker, Monica Seles, Michael Chang and most professional players all have one thing in common; they all play to their strengths by setting up and controlling points with their forehand weapon.  By overplaying their forehands, running around their backhands, and being able to penetrate the baseline with their weapon, top players create many more inside ground stroke opportunities to capitalize on.  Two types of inside forehands must be developed and used when playing with a weapon

Inside Forehand One: Inside-Out Forehand – No Change of Direction

In order to successfully play with a weapon, the player has to be able to hit inside-out forehands.  Inside-out forehands are simply inside forehands hit with no change of direction.  Inside-out forehands are usually hit off of deep shots and are used to create opportunities for shorter inside forehands from which to attack.

This time the inside forehand by P1 is hit with no change of direction.

Inside Forehand Two: Inside forehand – 90 Degree Change of Direction

Because the weapon player is playing from the ad court, the inside forehand is hit as a 90 degree change of direction.  The emphasis is on depth and penetration rather than width.  This shot is usually hit off of ¾ depth or shorter shots.  Having court position inside the baseline is the cue fore when to hit the inside forehand 90 degree change of direction shot. 

This time the inside forehand by P1 is hit as a 90 degree change of direction.

Figure 10-13 Figure 10-14
Inside Out Forehand
(No Change of Direction)
Inside Out Forehand
(90 Degree Change)
   
* Right Handed Player Shown In Diagram

*Figures 10-13 & 10-14 are guidelines for playing with P1’s Forehand weapon

IMPLEMENTING THE DIRECTIONALS

Following the Wardlaw Directionals makes play natural and uncomplicated and creates numerous change of direction temptations for your opponent.  As you consistently make correct change of direction decisions, you will find your opponent continually takes the bait by hitting to the open court, making change of direction errors usually on deep outside ground strokes.  However, two temptations arise for the player using the Directionals.

  • Going for too much on inside ground strokes. - You’ve hit three or four outside ground strokes to your opponent and you’re finally ready to hit an inside ground stroke.  The court is open and you decide to end the point but you miss wide.  Inside ground strokes cannot be missed wide!  An inside error is equivalent to netting a ball.  Inside ground strokes give you control of the point and should be thought of as part of a sequence and rarely as a point-ender.  Having your inside ground stroke cross the baseline before the sideline will aid in resisting this temptation.  Again, emphasis should be on penetration through the baseline, not on width.  Don’t be tempted to overhit!
     

  • Changing directions on deep outside ground strokes - The shot looks easy and the court is open, but you are hitting a difficult, low percentage ground stroke.  If you miss your 90 degree change of direction shot you’ll either hit wide or hit more to the middle giving your opponent an inside ground stroke and control of the point.  You  must know your limitations and carefully choose when to change directions on outside ground strokes.  The shorter the outside ball to change directions on, the better!Don’t be tempted by the open court on deep outside shots.

BUILDING A GAME

Putting the pieces of the Wardlaw Directionals together requires a reasoned progression if tactical development is to coincide with technical development and match results are not to be sacrificed.  The best way to proceed is by teaching and emphasizing the Directionals in the following order:

  • Outside ground strokes.  (These are the safest to play and the fundamental base)
     

  • Inside ground strokes.  (These are the offensive opportunity to open the court)
     

  • 90 degree change of direction shots.  (These are the highest risk because of the angle of deflection, but are important for the high level player to master)

OUTSIDE GROUND STROKE 

Points typically unfold in the following manner: Cross court shots are exchanged until an inside ground stroke or a short outside ground stroke opportunity arises.  Cross court ground strokes, include the inside-out forehand, and the bedrock of most offensive and defensive games.  The first step in becoming a tactical player is learning how to hit outside ground strokes with the emphasis on patience, placement, depth, spin and pace in this order.  Even though outside ground strokes are the least offensive oriented shots of the Directionals, hitting deep cross court shots is high percentage tennis and entices the opponent into change of direction errors.  You won’t hit many cross court outside ground stroke winners, but your opponent will at least have to hit lots of balls and make many more low-percentage winners. 

Initially, location and depth are the essential areas of concern when hitting outside ground strokes.  Outside ground stroke rallies need to be diagonal rather than vertical with shots landing outside of the middle third of the court (Figure 10-15 below).  The concept of changing the rally from a vertical rally to a diagonal rally is called Shifting the Court (Figure 10-16 below).  Tennis is a diagonal game, not a vertical one.  Typically, less advanced play involves vertical rallies – rallies that take place in the middle third of the court.  Effective high level tennis requires diagonal rallies, those which take place outside the middle third of the court.  Shifting the court is just a matter of hitting away from the middle third of the court.  The concept is important in communicating to players that the rally is too vertical.  Most importantly, the Wardlaw Directionals are more effective when the court has been shifted diagonally.  Playing high level points involves a shifted court where ground strokes are hit through the baseline, not the sideline.  Again the emphasis is on penetration, not width.
 

Figure 10-15 Figure 10-16
Vertical Forehand Rally
In The Middle of the Court
Court Shifted to Diagonal
Forehand Rally
   
* Right Handed Player Shown In Diagram

INSIDE GROUND STROKES

Hitting outside ground strokes well will generate numerous inside ground stroke opportunities.  The key here is learning to take control of the point and take advantage of these inside opportunities by making your inside ground strokes pressuring shots.  The pressure is created by penetrating the baseline and not worrying about width.  Also, the inside ground stroke is your opportunity to change directions and hit to the open court forcing the opponent to hit while moving.

As discussed earlier, hitting the inside ball is one of the shots where you can’t see the target.  Therefore, learning to judge and develop a feel for where to hit the ball is half the battle in becoming proficient on inside ground strokes.  Players typically hit inside ground strokes well from the baseline since the inside ground stroke tends to be natural.  Inside ground strokes from the ¾ court area are more difficult shots to hit since the ball is hit on the rise and played from unfamiliar court position in no man’s land.  Establishing court position inside the baseline during rallies and taking the ball on the rise are two areas of development for most players.  Again, remember to focus on penetrating the baseline rather than striving for width or angle.

CHANGE DIRECTIONS ON OUTSIDE GROUND STROKES

Hitting outside and inside ground strokes well are really the essentials of a backcourt-based game.  The next area to focus on is the 90 degree change of direction shot on short outside shots.  The first step is for players to eliminate the mental image of aiming at the “line” when hitting 90 degree change of direction shots.  Like inside ground strokes, 90 degree change of direction shots should cross the baseline before the sideline.  The emphasis is again on penetration and not width.  These shots are usually part of a sequence and not point-enders.  The other difficulty here is realizing that hitting from the ¾ court area or shorter requires a different stroke from the baseline.  Players typically make deep errors on approach shots because they fail to adjust their stroke in the midcourt.  A baseline ground stroke and a mid-court ground stroke are technically completely different strokes.

Following the above progression will produce a tactically sound player.  Individually will develop as players gravitate toward their particular style as physical, mental, emotional and technical strengths and weaknesses become apparent.  Will the player split the court in half or play with a weapon?  Will a weapon be developed later?  Will the player be an all court player, a baseliner, or a serve and volleyer?

So far only baseline and some midcourt tactics have been discussed.  The Wardlaw Directionals have bearing on numerous other aspects from midcourt and front court play to return of serve.  The next area to be covered is front court play – the volley.

VOLLEY DIRECTIONALS

The Wardlaw Directionals also apply to volleys with some minor modifications based on the type of passing shot hit.

Outside Volleys

There are two situations that typically occur on outside volleys: 1) the passing shot is hit high or not too hard so that you can control the volley or, 2) the passing shot is hit low or with so much pace that control is difficult.

On outside volleys you can control you have the option to:

  • Not changing direction.
     

  • Hit a 90 degree change of direction.

The option here on balls hit above the net which you can control will require you to choose the best shot taking into consideration your opponent’s court position, whether your opponent is moving or not, your court position and closeness to the net, and the need for being less predictable (you can’t always hit to open court as opponents will begin to cover accordingly).

On low outside passing shots or heavy paced outside passing shots, no change of direction is preferred.  You are in essence acknowledging that your opponent has hit a good shot and as you aren’t in a position to control the ball, avoiding a change of direction allows you to close farther to the net, cutting down the passing angles.  Hopefully, the next shot will present a better volley opportunity.

Inside Volleys

As with inside ground strokes, inside forehand and inside backhand volleys require changing direction.

Figure 10-17 Figure 10-18
Outside Forehand Volley
No Change of Direction
Outside Forehand Volley
90 Degree Change
   
* Right Handed Player Shown In Diagram


 

Figure 10-19 Figure 10-20
Inside Forehand Volley
Change Direction
Inside Backhand Volley
Change Direction
   
* Right Handed Player Shown In Diagram

RETURN OF SERVE GUIDELINES

Every point begins with a serve and a return of serve.  These first exchanges dictate how points take shape and more than any other area affect the outcome of a match.  The importance of serves and returns are often overlooked.  In professional tennis the server has a clear offensive advantage and it’s understandable why set analysis focuses on breaks of serve – the true measure of server and returner effectiveness.  Using the Directionals on returns of serve will give structure to a difficult task and produce higher percentage tennis for the returner.

Return of First Serves

Imagine having to return one of Pete Samaras' 120 mile an hour serves.  With his pace and aim there’s no wonder it’s difficult to break his serve.  As the top professionals show, first service opportunities are the chance for a player to go for an immediate offensive strike.

Because the server has the advantage and typically tries to take the initiative on first serves the job of the returner when returning first serves is to neutralize the point.  Neutralizing the point means that the server does not gain a position in which to pressure the returner off the return.

Deuce Court Returns

On all first service returns, except inside returns, there is no change of direction.  By not changing direction you’ll create a larger margin of error on a difficult shot and set up a possible inside angle for your next shot.  On hard inside returns (serves at the body and to the backhand), a 90 degree change of direction return is best, therefore changing the direction of the ball.

FIGURE 10-21 and 10-22 and 10-23

Figure 10-21 Figure 10-22 Figure 10-23
Serve Up Middle, Return
Return With No Direction Change
Wide Serve, Return
Return With No Direction Change
Inside Serve
90 Degree Change of Direction
     
* Right Handed Player Shown In Diagram

Ad Court Returns

On all first service returns, except inside returns, there is no change of direction.  Again, by not changing direction you’ll create a larger margin of error on a difficult shot and hopefully set up an inside angle for your next shot.  On inside returns (serves at the body), a 90 degree change of direction return is best.  Ad court returners with a forehand weapon will hit either a 90 degree change of direction or an inside-out forehand on inside returns, therefore keeping the court closed as well.

Figure 10-24 Figure 10-25
Serve Up Middle, Return
No Change of Direction
Wide Serve, Return
No Change of Direction
   
* Right Handed Player Shown In Diagram


 

Figure 10-26 Figure 10-27
Serve Up Middle, Return
90 Degree Change of Direction
Inside Serve, Inside Out Return
No Change of Direction
   
* Right Handed Player Shown In Diagram

Second Serve Returns

When returning second serves, the job of the returner is to take advantage of the reduced pace of the serve and pressure the server by shifting the court (forcing with location) or by pressuring with pace and penetration.  Usually the smart play when forcing with pace or penetration is to hit through the middle of the net ( the center strap makes an excellent target) with no chance for wide errors.  However, if you are going to attack the second serve and come to the net, you will want to either hit the ball aggressively to the open court to take advantage of the opponent having to hit on the run or hit a slice or slower ball which is best placed to the closed court, allowing you have adequate time to get into the net further than a very aggressive shot would allow.  If you are not going to attack the second serve, you should get the ball on the outside of your opponent, so that he has to hit his next shot with an outside stroke.

Serving Implications

The server has to be cognizant of the tactical options of the returner when the Return of Serve Guidelines are followed.  When serving at the body does the server force the returner to hit an inside ground stroke or an outside ground stroke?  As shown above, serving at the forehand side of the body to a player with a weapon in the ad court gives the returner two equally strong options.  Likewise, if you serve and volley and serve at the backhand side of the body in the deuce court, you had better cover your ad court as this is most likely where the returner will pull the inside return.  Understanding a returner’s best options will make your service game much stronger as court coverage and anticipation improve.  The fundamental rule to follow is to serve wide or into the body if you are not going to serve and volley.  This will hopefully set up an inside ground stroke for your second shot.  You should serve to the body or the middle if you are going to serve and volley.  If you serve wide when serving and volleying, you had better close the net quickly to cut off the angle that you have created.  If you do so, it will be an effective play.  If not, you will be at your opponent’s mercy.

APPROACHING SHOT GUIDELINES

Approaching shots create volley opportunities and should be thought of as part of a two-shot sequence – approach, volley.  Approach shots are hit off of ¾ court deep balls or shorter and typically two situations arise – the player approaches off a short outside ball or off a short inside ball.  Besides following the Directionals, the key to successful approaching is to remember that baseline ground strokes and mid-court ground strokes are technically completely different strokes (on approach shots the backswing is to shoulder level and the stroke is down and through the ball).

Outside Approach Shots

On outside ground stroke approach shots, hit a 90 degree change of direction with pace or use your slice to go up the middle.

Inside Approach Shots

On inside ground stroke approach shots, players who split the court will change directions.  Players with a weapon will either change directions or not change directions on their inside-out forehand.
 

Figure 10-28 Figure 10-29
Outside Forehand Approach
90 Degree Change of Direction
Outside Backhand Approach
90 Degree Change of Direction
   
* Right Handed Player Shown In Diagram

 

Figure 10-30 Figure 10-31 Figure 10-32
Inside Forehand Approach
Change Directions
Inside Out Forehand Approach
No Change of Direction
Inside Backhand Approach
Change Directions
     
* Right Handed Player Shown In Diagram

TEACHING ANTICIPATION

In 1993 Kenyon had a first-year player with world class speed based on the USTA fitness testing standards.  She could fly on all the standardized tests, but when put on the tennis court her court coverage was average at best.  Her problem was not her inability to know when to move – she lacked anticipation.  Slower, less athletic players with good anticipation covered the court much better than the speedy, athletic freshman

The question for me became, “How do you teach anticipation?”  Because anticipation relies on intuition and experience, the common wisdom has been that the more you play, the better you’ll anticipate – exposure to repetitive situations will help you react quicker as these situations occur in match play.  While this is true to an extent, there is an option to waiting and hoping for better anticipation.  Anticipation can be enhanced and taught.

How do you teach anticipation?  Follow the Directionals!  The difference now is that you react to your opponent as if they play by the Directionals.  You can do this because most players play by the Directionals mirror natural play.  If you give your opponent an inside ground stroke, move to cover the cross court return.  If you give your opponent a deep outside ground stroke expect an outside ground stroke back.  Watch the professionals and you’ll see how common these patterns are.

Reading the play, moving and covering certain areas of the court before the ball is hit is the key to developing anticipation.  The Wardlaw Directionals give players sound reasons on which to base their court coverage options, and the immediate result is that anticipation improves

Important Note: In order to adapt your game into the Wardlaw Directional Guideline as quickly as possible, your paradigm must change from the habit of thinking “Where do I hit the ball?”, to “What shot can I hit from the ball that has been delivered?”

The Wardlaw Directionals address all these concepts and more.  Players learn to make correct decisions immediately and learn to react to situations with minimal thought involved.  Once you understand the Directionals, playing points becomes automatic as you simply respond by changing or not changing the direction of the ball.

The Wardlaw Directionals are tactical guidelines.  Guidelines are not rules.  The purpose of the Directionals is not to make tennis more rigid or predictable, but to instill and establish a base or foundation for players.  There is flexibility and freedom in mastering the various aspects and improving and expanding your range and abilities.  Ultimately, the Wardlaw Directionals allow players to learn functional and purposeful tactical tennis while at the same time encouraging natural and creative play.

SUMMARY

Benefits of the Wardlaw Directionals

  1. Players don’t have to think about instant shot selection.  By following the Wardlaw Directionals the only decision to be made is what depth and spins should be used for outside angles before changing direction of the ball’s flight.  Once you understand the guidelines playing points become automatic as you simply respond to where the ball is coming from instead of trying to make shots to different areas of the court from difficult positions.
     
  2. Players don’t fight their bodies as the Wardlaw Directionals allow for natural hip and shoulder rotation.  Think of a baseball player hitting an inside pitch.  The natural reaction for a right handed batter is to pull an inside pitch down the left field line because his hips and shoulders are rotating in that direction.  Going to the opposite field (right field) requires the batter to fight his body on inside pitches.  This is especially important on reflex shots and transition shots (first passes, first volleys, returns, and approaches).  They are also extremely useful when playing on very fast courts.
     
  3. Defensive tennis is played by hitting your opponent outside ground strokes.  The opponent then must change direction if he is going to attack the open court.
     
  4. Offensive tennis is played by waiting for a short ball or an inside angle.  By hitting your opponent outside ground strokes you’ll generate numerous inside ground strokes on which to open the court.
     
  5. Understanding the Directionals allows you to anticipate where your opponent is going to hit the next shot.  For example players naturally hit inside ground strokes crosscourt, therefore, you immediately cover the open court where the ball is going to be pulled to when the opponent gets an inside ball.  You learn to anticipate by following the Directionals.  You will considerably reduce the opponent’s ability to hit winners and force you into errors.
     
  6. You learn to play percentage tennis by avoiding change of direction errors and by overplaying the opponent’s best change of direction options baiting and tempting them into selecting more difficult shots.  Your accuracy and consistency will immediately improve.
     
  7. When following the Wardlaw Directionals, all shots have a purpose during practice and match play.
     
  8. You will never again fear an opponent’s weapons because the Wardlaw Directionals give the immediate and correct answer to any shot the opponent tries, no matter how hard it is hit.
     
  9. You can immediately evaluate matches and shot selection patterns of your opponents to make immediate adjustments for yourself under pressure.

“Use the Directionals and you will win more matches!!!”

- Nick Hummel  

Building Confidence By Bob Mosely

Many tennis coaches teach their players not to question line calls.  After all, it’s unsportsmanlike, right?

Gary Sailes, Ph. D., doesn’t see it that way.  He sees questioning line calls as a good way for players to build self-esteem and confidence on court.  “I want my kids confident enough to challenge line calls, but in a dignified way,” says Sailes, a professor of kinesiology at Indiana University and author of two tennis books, including “Mental Training For Peak Performance.”

“Challenging a line call tells your opponent, ‘I’m not afraid of you, and I’m not going to be cheated,’” he adds.

Sailes, a former high school and college coach, offered other tips for boosting player confidence at the 1997 USTA Tennis Teachers Conference.  Confidence, he says, all starts with self-image.

One key to building confidence in junior players is for the coach to give them more autonomy.  “You’ve got to cut them loose.  We have a tendency to over coach.  Sometimes you have to step back and let them develop on their own,” Sailes says.  “Let them make mistakes.  Let them experience the successes.”

Players will make mistakes and lose matches, but they’ll also learn to stand on their own two feet.  When players do lose a match, parents and coaches should not be too quick to console their charges.  Let them go through a period of mourning, but help take their mind off the match (ex: “et’s go have lunch.”).  Some players recover faster than others.

Later, ask the player “If you could play that match over, what would you do differently?”  The player should find the answers, not you.

Here are some additional tips from Sailes for building player confidence:

  • Develop your strokes through perfect practice.  “Consistency is the foundation for on-court confidence,” he says.
     

  • Increase your knowledge of the game.  For example, learn that the high-percentage shot is crosscourt or the importance of getting the first serve in. 
     

  • Get in top physical condition.  Many pros say their fitness is the basis for their confidence.
     

  • Visualize success.  Envision hitting a scorching backhand down the line.  Players should also write out a vision statement on a small card and carry it around with them.  A vision statement Sailes is partial to reads as follows: Today I am CONFIDENT , my greatest weapon as a tennis player.  I am not afraid to hit any shot.  I am a CONSISTENT player who focuses my opponent to earn every point.  Today I will put PRESSURE on my opponent by playing aggressively but under CONTROL.  I am FOCUSED on my intent and have it together both mentally and emotionally.  I am in the Zone and I VISUALIZE myself playing like the CHAMPION that I am.
     

  • Utilize positive self-talk.  Don’t tell yourself you stink after mis-hitting a shot.  “The brain is a gullible thing. You tell the brain something and it’s going to believe it,” Sailes says.
     

  • Play tough and easy matches.  A steady diet of easy opponents may help you build temporary confidence, but it won’t allow you to improve.  Emphasize performance over outcome.
     

  • Have a plan of attack.  Preparation builds confidence. [Directionals]
     

  • Develop rituals on the court.  “Rituals are like a suit of armor.  They have a calming influence,” Sailes notes.  Typically rituals are adjusting the strings on your racquet between points, blowing on your hands, or bouncing a ball three times before serving.  When you get into a “zone” and start playing exceptionally well, rituals help block out distractions.  Players fall out of the cherished zone between points, not during points.
     

  • Act Confidently. The fist pump, glares and walk of empowerment are all signs of confidence that players can learn. They send a message to opponents.

How important is confidence? “You can have the best strokes in the world,” says Sailes, “but you’re not going to win without confidence.”


FINDING YOUR ZONE   [Use this in Combination with Directionals]

All-court tennis requires players to be comfortable playing from different areas of the court. The court can be divided into three tactical zones – a point-building zone, a pressure zone, and a point-ending zone – that require different tactical decisions, strokes, and shot selections (see figure 4.1). The dimensions of each zone are relative to each player and his or her strokes; that is, Pete Sampras can easily pressure from the baseline with his forehand, whereas someone like Michael Chang, is more comfortable pressuring from midcourt. The point here is that where a tactical zone begins and ends depends on the abilities of the player.

Figure 4.1
Tactical Zone of a Tennis Court
 

Point – Building Zone

This zone typically begins just in front of the baseline and extends behind it. As the zone’s name indicates, point-building shots take place here and can best be described as aggressive, controlled ground strokes. When playing from the point-building zone, players can try to create weak replies that allow them to apply pressure. Players remain aggressive when playing from point building zone, but a premium is placed on penetration through baseline and net clearance (especially on the outside ground strokes). From a couching standpoint, net or wide errors are inexcusable when hitting point-building shots.

Inside ground strokes are one of the most productive forcing shots while playing from the point-building zone. Typically, an inside groundstroke creates other inside ground strokes or short balls that can be used to apply pressure.

Pressuring Zone

The object of playing from this zone is to pressure an opponent, not to end the point. Forcing shots from three-quarter court, approach shots, and approach volleys are all hit from the pressuring zone. This is the beginning of at least a tw0-shot sequence – usually the pressuring shot and then the point-ending shot. By moving forward and playing the ball on the rise, a player can turn a point-building shot into pressuring opportunity just by changing their court position. 

Point-Ending Zone

After a pressuring shot, the player has an opportunity to end the point usually with a volley, an overhead, or a combination of the two. Ideally, after a pressuring shot, the point should end in one shot, but players must be prepared for the ball to be returned. Losing a point after thinking it has been won can be a huge momentum shifter.

As the Agassi/Change match reveals, the player with the best court position controls the match and, most likely will be the winner. Of course, it is also a lot more fun to be controlling and dictating a match rather that just reacting.

From a tactical standpoint, players should not only be aware of their own court position, but of their opponent’s court position as well. Although this sounds obvious, it is amazing how players become self-absorbed and think their difficulties are always of their own making.

© Since 2005. Match Tough Tennis by Nick Hummel

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