English Amateur Billiards Association

EABA : The Billiard Monthly : June, 1912

The Billiard Monthly : June, 1912

A Few Cue Tips

  • A pretty and useful kiss stroke is obtained with the object
    ball against a cushion and the cue ball at right angles to
    the object ball and the pocket or cannon required. The aim
    is dead central with check side, and played gently.
  • The habit of striking the cue ball high for all manner of
    plain shots should be overcome. “Top” is only necessary
    when plenty of rotation or travel has to be got on to the
    cue ball. Remember that cueing with top can never be so
    accurate as dead central striking.
  • Practise assiduously gentle strengths, but without hesitancy.
    Unless gentle striking is done with confidence a
    freer stroke pays better.
  • Have two identical cues if you can afford it and never
    play (if avoidable) with a cue other than your own. Handling
    your own cue should give you the same comfortable
    feeling as grasping an old friend’s hand.
  • Don’t pride yourself on bringing off a series of short
    jennies into a middle pocket. More than one in succession
    argues bad play, as the contact, in the first instance, should
    have been made fuller in order to leave an ordinary in-off.
  • It is usually sound play to go out for the all-round cannon
    when the white is within a few inches of a baulk corner.
  • The full run-through from hand into a corner pocket with
    cue ball clinging to the side cushion should ordinarily be
    slow and that down the table fast for position purposes.
  • Get used to a set series of strengths by playing up and
    down the table both without and with an object ball. For
    example: Play first from a little wide of the centre baulk
    spot over the centre table spot with two length strength and
    then use the same strength full on a ball placed on the
    middle spot, and note how far both balls run. Afterwards
    try one length strokes similarly across the table.
  • Sometimes better play than losing one for a miss is to cue
    your ball gently in front of, and close to, your opponent’s.
  • Some characteristic features of slow “side” should be
    closely studied. For instance, when playing half-ball up
    the table the cue ball is influenced both before and after
    contact, but when playing dead across the table it is only
    influenced after contact. Down the table the side must be
    reversed or thick aim exchanged for thin, and vice versa.
    The allowance (roughly) is ¼ inch for ¼ length, ½ inch for
    half length, and so on.
  • The great art in the use of side is (1) to do without it
    whenever unnecessary; (2) to use no more of it than is
    actually required. Superfluous side may hide its hurtfulness
    in a pocket and even look pretty, but on the completion
    of a cannon it may easily ruin position. Remember
    that, apart from the actual cue delivery many degrees of
    side are obtainable between centre and edge of the cue ball.
  • The crowning error of many good amateurs is the frequent
    endeavour to quickly force position by a difficult
    stroke when a series of easy scores would bring about the
    desired result naturally.

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