- Instruction

Mind Game: Defeat Your Goliath

Fri, 12 Feb 2010 00:00:00 GMT

How do you beat the best player in your zip code?

Every once in a while you’ll come up against a player with a big reputation. This opponent might be the champ at your club or in your league, or a Division I college player home from school. While the player doesn’t compare to Roger Federer, he might as well be No. 1 in the world as far as you’re concerned. What should you do? Be respectful and take your licking, or try to take your game up a notch and hit harder and closer to the lines?

The answer is neither. Both responses are apt to get you beaten.

It’s important to remember that tennis is a game of percentages. There are no guarantees, only probabilities. Your task is to give yourself the best odds you can. That’s not going to happen if you’re preoccupied with your opponent’s intimidating reputation. Instead, concentrate on your game plan and assume that your normal shots are good enough. It’s OK to make small adjustments to your tactics and style as necessary, but keep them within your capabilities. Pushing your game to unsustainable limits will lead to disaster.

At the same time, playing only for a respectable score and worrying about what the opponent or spectators are thinking will be equally damaging. I learned this lesson in 1963 on my first trip to Wimbledon, where I played doubles with Arthur Ashe, who was also a first-timer at the All England Club. We faced the top team from the Soviet Union and, because our countries were in the throes of the Cold War, the match was put on Centre Court. The stadium looked huge to me. It was filled with a standing-room-only crowd and encircled by television cameras. We faced a very good Soviet team, and Arthur and I walked on court intimidated, as much by the situation as our opponents. Winning or losing became beside the point; we just wanted to have a good showing. Unfortunately, this attitude ensured we wouldn’t. The tennis was so appalling that the spectators who had been fighting to get into the stadium started fighting to get out.

The bottom line is that you must play your game and believe that it will be good enough. If you can get past your early jitters and keep the match close, you’ll have a chance. At that stage, don’t worry that your normally superior opponent is bound to do something special to beat you. If you think your opponent has a secret weapon, you’ll likely try shots you shouldn’t and make fatal errors. More than anything else, this is why higher-ranked players usually win crucial tiebreakers. It’s not because they do something amazing, but rather because the lower-ranked players try to step up their games in the fear that their opponents will either hit winners or never miss. Don’t give the match away or allow your opponent to bluff you out of it. If the score is close, the better player is, on this day at least, no better than you.

Former Wimbledon quarterfinalist Allen Fox, Ph.D., wrote The Winner's Mind: A Competitor's Guide to Sports and Business Success.

Originally published in the March 2010 issue of TENNIS.

How To: Run Around Your Backhand

Fri, 12 Feb 2010 00:00:00 GMT

Is your forehand your best shot? Here's how to use it more often.

When running around your backhand to hit an inside-out forehand, you can’t hesitate. Keep your hands relaxed and shuffle backwards, as a boxer might. Don’t use sidesteps; you won’t move fast enough and you’ll end up out of position. Remember, you’re moving past the point where you’ll make contact with the ball.

As the ball bounces, load up on your back foot and turn your shoulders. Use an open or semi-open stance, otherwise your front hip will stop you from uncoiling. Your off arm should point to your right (to your left if you’re left-handed), and your racquet head should be ready to explode toward the ball.

Moving past the ball gives you time to transfer your weight from your back foot to your front foot and accelerate the racquet through contact. Your shoulders should uncoil, while your head remains still. The hitting arm doesn’t need to be stiff or fully extended as you swing; you should have some flex in your elbow.

If you accelerate the racquet head through the strike zone, your racquet typically will come around your body and finish above or around your opposite shoulder. Don’t immediately pull to the side and finish your swing as if you’re trying to hug yourself. This will rob your shot of power. Instead, extend fully toward the target. When you’re done, your weight should be on your front foot and moving into the court, so you can get into position for the next shot.

Ajay Pant, a USPTA and PTR Master Pro, is the national tennis director of Midtown Athletic Clubs.

Originally published in the March 2010 issue of TENNIS.

Freeze Frame: Kim Clijsters' Slice Forehand

Fri, 12 Feb 2010 00:00:00 GMT

One of the best defensive players in tennis shows you how to get out of a jam.

1. Racquet
When you’re stretched out like this, you have to hit a slice. It’s the only shot you’ll be able to execute with control and some power. Clijsters uses a Continental grip and starts her swing with the head of her racquet above the ball.

2. Head
Balance is a key component to every shot, but it’s especially important when you’re on the run and don’t have time to set up. Clijsters is perfectly balanced here, as you can tell from the position of her head. It’s straight up, not cocked to one side, and locked on the ball.

3. Shoulders
Despite the extent of her stretch, Clijsters keeps her shoulders almost completely level and she has turned them toward the net. Her shoulder turn is something that most club players won’t be able to imitate. It takes a strong core and superior athleticism to turn your shoulders toward the net when you’re in full stride without doubling over.

4. Left Arm
Don’t neglect your off arm when you hit on the run. As she swings, Clijsters throws her left arm out as a counterbalance. This stops her from lunging and gives her forehand more control and power.

5. Legs
Most shots depend heavily on the legs for power. Not so here. On a defensive shot like this, your legs get you to the ball but don’t add much to the swing. Still, you need to bend at the knees so you’re not tense when swinging. Also notice that Clijsters’ feet are equidistant from her core, which gives her a wide, balanced base.

Tracy Austin, a former world No. 1, is a commentator for the BBC and Channel 7 Australia.

Originally published in the March 2010 issue of TENNIS.

Don't Fear Double Faults

Thu, 17 Dec 2009 00:00:00 GMT

Many players try to avoid them. Here's what you should do instead.

1. Be Confident
In 1995, Boris Becker promised me a big bonus if he won a top-level clay title. In the Monte Carlo final, he had match point against Thomas Muster in the fourth-set tiebreaker. Becker went for a 122-m.p.h. second serve and missed by two inches. He lost the fifth set at love, and there went my bonus. But Becker did the right thing: His serve was his biggest weapon, and he didn’t hold back. The second serve is a confidence shot, and no one hit it more confidently than Becker. That’s the attitude you need to strive for; you can only get there by learning to accept double faults.

2. Play On Your Terms
You can’t afford to be on the defensive when you serve. If you hit one dinky second serve after another, you’re not going to control too many points. Look at the double fault this way: If you hit one, at least you’re losing the point on your terms, not your opponent’s. You want to call the shots when you serve.

3. Go After It In Matches
You can hit thousands of second serves in practice, but once the match starts, it will feel different. There’s more pressure in competition. It’s important to go after your second serves in a match because that’s where you need this weapon most. You may lose a few matches on double faults and feel like pulling your hair out, but that's O.K. It's for your own good.

4. Take It To Tough Returners
The return game has improved immensely both on the pro tour and at the club level. It used to be that only Andre Agassi was a dangerous returner from both wings. Now almost every top pro can crush a weak second serve, no matter where it’s placed. At the club level, modern racquets and strings give the returner more stability, which in turn results in more power and fewer mishits. So if you hit a terrible second serve, it’s almost as bad as a double fault. You need to make your second serve as solid as possible. If that means a few double faults along the way, so be it.

5. Look Ahead
Losing because of double faults will make you miserable. But cheer up, you’re preparing for the future, not worrying about the present, and that’s the best way to improve. Some people call the serve the easiest shot in tennis, because you have complete control over it. But it’s the toughest shot, too, since all the pressure is on you. If you double fault, there’s no one to blame but yourself. It takes time and lots of setbacks to learn to believe in yourself. The sooner you get started, the better.

Nick Bollettieri has trained many collegiate and professional players, including 10 who reached the world No. 1 ranking.

Originally published in the January/February issue of TENNIS.

Fernando Verdasco's Running Forehand

Thu, 17 Dec 2009 00:00:00 GMT

Spain’s other southpaw has one of the best forehands in the game.

1. Hitting on the run is a particularly difficult part of tennis for many club players. You don’t have time to concentrate on your footwork or preparation, so you often end up off-balance and flailing at the ball. If you need help hitting on the run, Fernando Verdasco is a great model. In this picture, notice his compact, well-timed backswing, his full shoulder turn, and the position of his left foot. The left leg is going to help propel Verdasco into the shot.

2. Verdasco plants his left foot and begins to push off toward the net. Even if you’re stretched wide and running hard for the ball, try to get your weight moving into the court. That way, you don’t have to rely solely on your arm to generate power. Also, look closely and you can see that the butt cap of Verdasco’s racquet handle is aimed at the ball. This sort of rotation will allow him to use his shoulders and legs as much as possible.

3. Verdasco explodes off his back foot and into the ball. Normally, you don’t want to hit a forehand with a fully extended arm, but this on-the-run, crosscourt shot is an exception. The key is to make contact early. Verdasco hits the outside of the ball and strikes it well in front of his body. His balance is perfect: His shoulders remain level, his right arm begins to tuck in as his shoulders rotate, and his feet, though both are off the ground, are equidistant from the center of his body.

4. As he whips his follow-through over his right shoulder, Verdasco lands on his right foot. It’s tough to hit a flat, crosscourt winner on the run, so he wisely opts to add extra topspin to his shot. Even though he lands with great force on his right foot, Verdasco doesn’t hunch forward or fall over, another sign that he’s balanced and striking the ball cleanly. When club players are faced with a tough shot, they tend to rush or overhit. Verdasco shows why it’s important to remain calm and concentrate on making good contact.

5. A full shoulder rotation provides another benefit: It sends your body spinning back toward the middle of the court in preparation for the next shot. Verdasco pivots on his front foot and extends his left leg to stop his sideways momentum. His shoulders now face the net, and he can move in either direction, depending on his opponent’s reply.

6. Or, he can celebrate with a fist pump.There’s something to take away from this photo, too. In between points, whether you hit a winner or make an error, give your hitting hand a rest and hold the racquet with your off hand. It keeps the wrist loose and ready to whip more forehands on the run.

Paul Annacone is Britain’s Davis Cup coach and the head men’s coach for the Lawn Tennis Association.

Originally published in the January/February 2010 issue of TENNIS.

A New “I” Formation

Thu, 17 Dec 2009 00:00:00 GMT

Keep your opponents guessing with this baseline attack.

For many club players, a traditional doubles formation doesn’t work, especially if you’re more comfortable on the baseline than at net. If you’re looking for something new, try this variation on the “I” serving formation.

Prepare to serve in the deuce court as you would in singles, standing closer to the center hash mark than the sideline. Have your partner line up behind you, but clear of the likely path of your backswing. (Yes, this is legal.) After you serve, move to the side of your superior stroke; if it’s your backhand and you’re right-handed, like the server in this illustration, move left to cover the ad court. Your partner should move up to the baseline and cover the other side.

This formation can produce great results. If you prefer your backhand and your partner prefers his forehand, it will allow each of you to use your favorite stroke more often. This “I” formation is also an excellent option for righty-lefty combos if you both prefer the same stroke. And it may make your opponents press: When they see a lot of open court in front of them, they might try to crush the ball, increasing the chance that they’ll commit an error. Don’t worry about drop shots. Since you and your partner both move forward as soon as the serve is struck, you’ll be able to track down short balls without any trouble.

Ken DeHart, a USPTA and PTR Master Professional, is the tennis director of the San Jose Swim & Racquet Club in California.

Originally published in the January/February 2010 issue of TENNIS.

Agnieszka Radwanska’s Open Stance Backhand

Fri, 13 Nov 2009 00:00:00 GMT

Learn from a small player who has big-time strokes.

1. Radwanska weighs just 123 pounds, but her strokes pack a punch because she has exceptional footwork, balance and technique. As the ball arrives, she takes small steps to her left and begins to take her racquet back for an open-stance backhand. Notice that Radwanska has a healthy flex in her knees, which allows her to arrive at the ball balanced. She keeps her hands at a comfortable distance from her body and her arms relaxed.

2. This is the ideal setup for an openstance two-hander. As Radwanska prepares to plant her back foot, her head and shoulders are perfectly aligned over her hips and feet. All of the parts of her body work together: Her shoulders turn, her arms take her racquet back, and her feet establish a firm base so she can propel herself into the shot. Once her back foot hits the ground, her hips and shoulders will start to uncoil and her weight will begin to shift forward.

3. The open-stance backhand requires some space between your feet. You must step out far enough with your back foot so you can drive through the ball without having to reach for it. But open stance doesn’t mean that the whole body is open, or facing the net. Radwanska’s shoulders and hips are rotated back and they start to uncoil together, which helps her produce power. She lowers the racquet head so she can brush up the back of the ball to create topspin.

4. Radwanska pushes forward off her back foot and rotates into the shot. The racquet face is slightly closed and the ball is dead center on the strings. Her arms remain relaxed and her shoulders now face the net as she whips the racquet around. I love the position of her feet. A wide, firm base like this creates excellent balance and plenty of power.

5. This picture shows you how important Radwanska’s left hand is to her backhand. She drives through the ball and extends toward the target with her left hand, like she would with her right on the forehand. The height of her follow-through is perfect; rather than pulling off the ball and adding too much spin, she’s punishing it. Her body continues to rotate as she finishes her swing.

6. This is the perfect finish: Radwanska’s weight is going forward and she’s facing the middle of the court, where she’ll have to return to prepare for her next shot. Her knees remain relaxed and her opposite shoulder now points toward the net. You need that sort of rotation for a first-rate open-stance backhand.

Originally published in the November/December 2009 issue of TENNIS magazine.

How To: Hit a Wide Serve

Wed, 28 Oct 2009 00:00:00 GMT

Adjust your stance to turn your serve into a weapon.

The wide serve in the deuce court—or, if you’re left-handed, in the ad court—can be a maddening shot for many of us. One day you hit it well, but on other days you pull your serves too wide or drop them in the middle of the box, giving your opponent the chance to clobber the return. If you have trouble consistently hitting out wide, try adjusting your stance. Start in your normal position with your front toe pointing toward the right net post (if you’re right-handed). Then take almost a full step toward the right side of the court with your back foot, so your back toes are slightly closer to the sideline than the toes of your front foot. By doing this, your front hip will point to the outside of your opponent’s service box, rather than the middle, making it easier to hit the ball out wide. Don’t worry if you telegraph your intentions. If you can consistently swing your opponents wide, you’ll have the upper hand even if they notice your new stance.

To hit a wide serve, start with your normal stance (inset) and move your back foot toward the sideline (far right).

Paula Scheb, USPTA Master Pro, is director of tennis and fitness at Bonita Bay Club in Bonita Springs, Fla.

Originally published in the November/December 2009 issue of TENNIS magazine.

I'm Ahead? Oh No!

Wed, 28 Oct 2009 00:00:00 GMT

Do leads scare you stiff? Here's how to cope.

You’re ahead in the first set, or better yet, the second set. You’re two games away from victory, then one. Panic time. Does this sound familiar? You’re not alone: Most of us get more nervous when we’re ahead and about to win than when we’re behind and about to lose. Your anxiety may take different forms—a loss of focus, concrete elbow, temper tantrums—but the outcome will be the same: a blown lead.

There’s a reasonable explanation for this. Even though a set or match is within reach, we still know that victory is uncertain. We fear our opponents may wriggle free and snatch away the win. Fortunately there are steps we can take to avoid a disastrous finish.

First, be prepared for the pressure. Logic rather than emotion must run the show. This means striving to execute, as best you can, the game plan that gave you the lead in the first place. Unfortunately, when you’re under pressure this isn’t easy. If you’re nervous, it’s difficult to strike your strongest ground strokes or your biggest serves. Be patient and push your game to the top of your comfort zone, but not above it. This may require spinning in a few first serves rather than going for aces, or hitting a few extra strokes before going for the kill. If your crosscourt backhand is your most natural shot, stick with it for a few extra balls before attempting a down-the-line winner.

Second, make an effort to drive thoughts of winning or the score out of your mind. As the finish line gets closer, you might get that now-or-never feeling, which makes the next few points or games seem overly important. Counter this by telling yourself that you’ll have other opportunities to finish even if you don’t do so immediately. Instead of giving one point more importance than another, make every point feel the same. Concentrate on your rituals, like bouncing the ball or stepping over the lines, to help you relax and take your mind off winning.

Finally, reduce the stress of your lead by slowing down, moving between points at a deliberate pace, and managing your breathing. When a point ends, close your eyes and take a deep breath. Hold it for a second or two and exhale. Take deep, measured breaths as you walk into position. Before starting the next point, put yourself in a positive, aggressive frame of mind. Keep your thoughts simple and optimistic. These exercises help keep your mind occupied with useful thoughts and away from stressful ones about the score and winning. Above all, try to enjoy the competition.

If you do choke and make errors, it’s important to realize that you’ve done nothing horrible or abnormal. Don’t get down on yourself or think you’re a loser. Realize that nerves come and go, and though they may cost you a few points, you can still win the match if you don’t lose heart.

Former Wimbledon quarterfinalist Allen Fox, Ph.D., wrote The Winner’s Mind: A Competitor’s Guide to Sports and Business Success.

Originally published in the November/December 2009 issue of TENNIS magazine.

Roger Federer's Block Return

Wed, 23 Sep 2009 00:00:00 GMT

No one handles a big serve better than the smooth Swiss.

1. Knees
When a hard serve bounces up toward your ears, what do you do? Bend low. It sounds counterintuitive, but to handle a strong serve, you need a strong foundation. Federer isn’t just bending, he’s bracing himself for a forceful impact. This is why half-lunges, which work the thighs and glutes, are the perfect off-court exercises for tennis.

2. Feet
On the pro tours, you see mostly open stances and swings that propel players off the ground, but not on a shot like this. Federer steps sideways and keeps his front foot almost flat on the ground; he maintains his balance with the toes of his back foot. Federer doesn’t need to generate his own pace on this shot. Instead, he absorbs and redirects the power of his opponent’s shot.

3. Shoulders
On a return like this, you need a good shoulder turn, but at the same time you don’t have to uncoil into the shot as you would on an open-stance stroke. This is a control shot. Your shoulders must remain level and sideways so you can prevent the racquet face from twisting when a fastpaced serve hits your strings.

4. Swing Path
Federer starts with his racquet head above the contact point so he can carve down and through the ball to create underspin. At contact, his racquet face is slightly open and the ball is right on the W of his strings. Federer’s hitting arm is extended and his Continental grip is a bit more firm than usual. On a hard serve, you need to maintain control of your racquet at all costs.

5. Head
I call this the “no peeking” shot. Federer’s eyes are on the ball, and he won’t look toward the net until after the ball is on its way there. You can’t make good contact on a booming serve if you don’t watch the ball closely.

6. Off Arm
After bringing his racquet back with both hands, Federer releases it from his left hand and swings his left arm back to create a counter force to his forward swing. If your nondominant arm goes limp as you swing, your momentum will throw your shoulders out of alignment and ruin the shot.

Lynne Rolley is director of tennis at the Berkeley Tennis Club in California.

Originally published in the October 2009 issue of TENNIS magazine.

Grip Guide - A Grip on Your Game

Tue, 06 Jun 2006 00:00:00 GMT

Fluid, powerful, and accurate strokes are the combination of many factors. But it all starts with how you hold the racquet.

No matter how much time you spend finding the perfect frame to beef up your game, the most important part of your racquet just might be your grip—not what the handle is made of, but how you hold it. Although they’re largely overlooked, grips are the foundation of all the strokes in tennis. Where you position your hand on the eight-sided handle has a huge impact on each ball you hit. Your grip affects the angle of the racquet face, where you make contact, and ultimately the pace, spin, and placement of your shot. The difficulty with grips is choosing the right one for a particular stroke. The fact is, there is no perfect grip; each has its advantages and limitations. But some are clearly better-suited for certain strokes and styles of play than others. This guide will help you to (1) learn to grasp the racquet for each grip correctly, and (2) determine the best uses of each of the common grips.

FINDING THE GRIPS

There are various ways to explain how to find a certain grip, but the simplest and most reliable is to use the base knuckle of your index finger as the main reference point. The diagrams for each grip show the bottom view of a racquet handle (where the butt cap is attached), which has four main sides and four narrower bevels between the sides.

CONTINENTAL GRIP

The Continental is the one grip that you can use for every shot, but that hasn’t been standard practice since the days of long pants and skirts. The Continental is used primarily for serves, volleys, overheads, slices, and defensive shots. Find the Continental by putting the base knuckle of your index finger on bevel No. 1, which puts the V created by your thumb and forefinger on top of the handle. Lefties put the knuckle on bevel No. 4.

PLUS:
Hitting with the Continental grip on the serve and overhead is standard, as it allows your forearm and wrist to naturally pronate through contact. This results in a more explosive and versatile shot with the least amount of stress on the arm. It’s also the preferred grip on volleys since it provides a slightly open racquet face for underspin and control. Since you need quick hands at net, having the same grip for forehand and backhand volleys is also crucial. As mentioned, your grip affects the angle of the racquet face. The more closed the face, the higher and farther in front of your body your strike zone should be for proper contact. Since the racquet face is relatively square on a Continental grip, for ground strokes the strike zone is low and to the side of the body. That’s why it’s helpful for defensive shots, low balls, and wide balls that you’re late on.

MINUS:
You can hit flat or with slice using the Continental, but it’s tough to put topspin on the ball. That means hitting with power and keeping the ball in play requires you to aim the shot just above net level, leaving you little margin for error. And without that safety spin, returning a ball out of your strike zone can be difficult. So lack of consistency is often a problem.

PROS WHO USE IT:
Virtually all of them, on serves and volleys.

EASTERN FOREHAND GRIP

Place your hand flat against the strings and slide it down to the grip; put the racquet flat on a table, close your eyes, and pick it up; or shake hands with the racquet. These are just a few of the tricks you can use to find an Eastern forehand grip. The more technical way is to hold the racquet in a Continental grip and then turn your hand clockwise (counterclockwise for lefties), so that the base knuckle of your index finger slides over one bevel.

PLUS:
This is generally considered the easiest grip for learning the forehand. It’s versatile, allowing the player to brush up the back of the ball for topspin or flatten out the shot for more power and penetration. It’s easy to switch quickly to other grips from the Eastern, making it a wise choice for players who like to come to net.

MINUS:
The strike zone is higher and farther out in front than with the Continental grip, but it’s still not a great option for returning high shots. An Eastern forehand can be very powerful and penetrating, but because it tends to be a flatter stroke it can also be inconsistent, making it difficult to sustain in long rallies. It’s not the best choice for players looking to put a lot of topspin on their shots and outlast their opponents.

PROS WHO USE IT:
Tim Henman, Lindsay Davenport

SEMI-WESTERN FOREHAND GRIP

Moving your knuckle one more bevel clockwise (counterclockwise for lefties) from the Eastern forehand grip puts you in a semi-Western grip. This has become a prevalent grip for power baseliners on the pro tours, and many teaching pros encourage their students to use it.

PLUS:
The semi-Western allows a player to apply more topspin to the ball than the Eastern forehand grip, giving the shot greater safety and control, especially on lobs and short angles. Still, you can drive through the ball with this grip to hit a flat drive for a winner or passing shot. It also affords a player the option of taking a bigger swing at the ball since the topspin will help keep it in the court. With a strike zone higher and farther out in front of the body than the Eastern forehand, it’s good for controlling and being aggressive with high shots.

MINUS:
You can run into trouble returning low balls. Since the grip naturally closes the racquet face, forcing you to swing up from underneath the ball, it can be difficult to return lower shots. This, along with having to make a significant grip change to get to the Continental for a volley, is why so many power baseliners are uncomfortable coming to net.

PROS WHO USE IT:
Marat Safin, Svetlana Kuznetsova

WESTERN FOREHAND GRIP

From a semi-Western grip, shift your knuckle one more bevel clockwise (counterclockwise for lefties), and you’ve got a full Western grip. Looking down at the racquet, your knuckle should be on the very bottom of the grip. This puts your palm almost completely under the racquet. Clay-court specialists and players who hit with heavy topspin favor this grip.

PLUS:
This is an extreme grip that puts a lot of action on the ball. The positioning of the wrist forces the racquet to whip up the back of the ball severely, generating tremendous topspin. You can hit the ball well above net level and it will still drop into the court. The resulting shot will usually have a high and explosive bounce, pushing your opponent behind the baseline. The strike zone is higher and farther out in front than all other forehand grips. The ability to handle high balls is what makes this grip so popular with clay-courters and juniors.

MINUS:
Low balls can be murder. That’s why professionals with this grip generally don’t do well on faster surfaces, where the ball stays low after the bounce. Also, you need tremendous racquet-head speed and wrist strength to generate adequate pace and spin. Otherwise, your shots will land short and your opponents can attack them. For some, it’s also difficult to flatten shots out, so putting balls away becomes a problem. And just as with the semi- Western, transitioning to net and hitting an effective first volley is a major challenge.

PROS WHO USE IT:
Rafael Nadal, Amelie Mauresmo

EASTERN BACKHAND GRIP

From a Continental grip, shift your knuckle one bevel counterclockwise (clockwise for lefties) so that it’s on the very top of the grip. If you drilled a nail through that knuckle, it would go right through the center of the grip (just don’t try that at home).

PLUS:
As with the Eastern forehand, this is a versatile grip that provides good stability for the wrist. You can roll the ball for some spin or hit through it for a more penetrating drive. Some players can slice with an Eastern grip, but if not, a subtle grip change over to the Continental is easy enough to do. This grip also can be used for a kick serve, and it makes the transition to net for volleys a relatively smooth one.

MINUS:
While solid for handling low balls, an Eastern backhand grip is not ideal for hitting topspin shots from around the shoulders. It can be difficult to control these balls, and many times a player is forced to slice them back defensively. You see this most often when players return kick serves that jump up high in the strike zone.

PROS WHO USE IT:
Roger Federer, Lisa Raymond

EXTREME EASTERN OR SEMI-WESTERN BACKHAND GRIP

The backhand’s answer to the Western forehand (a reason some refer to this as a semi-Western backhand), the base knuckle of your index finger moves one bevel counterclockwise from the Eastern backhand (clockwise for lefties). It’s an advanced grip that only stronger and more accomplished players tend to use.

PLUS:
Just as with the Western forehand grips, this is a very popular choice with clay-court players. It naturally closes the racquet face more than a regular Eastern backhand and moves the strike zone higher and farther out in front of you, making it more conducive to handling high balls and returning them with topspin. Some of the most powerful backhands in tennis are held with this grip.

MINUS:
Its limitations are similar to those of the Western forehand. It’s not well-suited for low balls, and because it’s a rather extreme grip it’s difficult to make quick changes for a transition to net. Players with this grip usually have long, elaborate swings and prefer the baseline.

PROS WHO USE IT:
Gustavo Kuerten, Justine Henin

TWO-HANDED BACKHAND GRIP

There’s no doubting the popularity of this grip, but there is some debate about the ideal way to position both hands. One of the most accepted ways is to hold the racquet in your dominant hand with a Continental grip. Then take your nondominant hand and put it above your playing hand in a semi-Western forehand grip.

PLUS:
This is an excellent choice for players who aren’t strong enough to hit a one-handed backhand. A more compact stroke than the one-hander, the two-hander relies on shoulder rotation and an efficient swing to provide power. That’s why it’s particularly effective on the return of serve. It’s also good on low shots, and the extra arm lets you power through on balls that are at shoulder level.

MINUS:
Because both hands are on the racquet, the two-hander limits a player’s reach. So doing anything with wide shots can be tough, especially since it’s difficult to rotate your upper body when stretched. Also, two-handers can become dependent on topspin. Hitting an effective slice calls for extending through the shot with a steady front shoulder. This is unnatural for two-handers, who are taught to open their hips and rotate their shoulders. Taking the nondominant hand off the racquet to hit the slice or volley is also troubling for many twohanders; it’s the reason why they’re generally not comfortable at the net.

PROS WHO USE IT:
Andre Agassi, Maria Sharapova

The Incredible Shrinking Grip

Fri, 28 Aug 2009 00:00:00 GMT

As racquet handles get smaller, spin gets bigger.

Get a grip on this: Racquet handles are downsizing faster than General Motors among both pros and recreational players.

The tree-trunk grips of the Boris Becker (4 5/8 inches) and Monica Seles (4 1/2) era are out. Thin is in.

For example, according to Prince, the average grip size for racquets bought by recreational players has plummeted since 1980, when 58 percent of the company’s racquets sold came with either 4 1/2- or 4 5/8-inch grips. Now 69 percent are either 4 1/4 or 4 3/8, with only 5 percent of grips as large as 4 5/8. Head reports that 4 1/2-inch grips have been shrinking in popularity, so it now produces about the same number of 4 1/4- as 4 1/2-inch grips.

“It’s been a dramatic shift to smaller sizes,” says John McBride, who has worked at Prince for more than 30 years, including 17 years as the company’s purchasing manager.

The reason for the change? Thinner grips make it easier to play in today’s wild-Western forehand, open-stance, wristy style. Rafael Nadal has become the poster player of the skinny gripster set with his 4 1/4 grip, which allows him to snap his wrists into his ground strokes with more ferocity than Alex Rodriguez smacking a home run.

“Players like the thin grips because they can come over the ball much more and whip it,” says Roman Prokes, owner of RPNY Tennis in New York City and stringer to many pro players.

Wilson and Yonex estimate that almost two-thirds of their male pro players are opting for 4 3/8-inch grips these days, while the majority of women who use Babolat frames are going for 4 1/4-inch grips.

“No question, the trend to smaller grips is real,” says Rick Macci, who has coached Jennifer Capriati and Venus and Serena Williams. “The best of the best are using them and there’s been a trickle-down effect to recreational players.”

If you’ve got the skill to generate fast racquethead speed, a smaller grip might be for you. “It increases the whip in the racquet head, and allows you to wrap the heel of your hand below the handle to create more snap and speed on the serve,” Macci says.

Back in the day, thin grips didn’t make any sense. The heavy and clunky wooden clubs of yore required you to use the biggest grip you could hold to lock your wrist in place and prevent the racquet from twisting in your hand when you made contact outside of the small sweet spot.

“Trying to generate spin with those old racquets was practically impossible, like trying to swing a rock with a rope,” says TENNIS racquet adviser Bruce Levine. “Now frames are lighter and more aerodynamic, with open string patterns that put more grab on the ball, making it easy for just about anybody to generate spin.”

And today’s smaller grips make it even easier, helping players put action on the ball with their wrists.

Who has gone the lowest so far on tour? France’s Marion Bartoli plays with a light Prince Speedport Red with an open string pattern and—ready for this—a 4-inch grip, believed to be the thinnest handle used by a pro.

Badminton, anyone?

Originally published in the September 2009 issue of TENNIS magazine.

Age Before Beauty

Wed, 23 Sep 2009 00:00:00 GMT

Teach younger opponents a lesson they won’t forget.

As I’ve gotten older, I’ve found one strategy that guarantees victory: Don’t play anybody good, especially if they’re young. Sadly, I’m only partially joking. Losing puts a damper on the rest of my day, and since I’m not about to return to the professional tour, I see no point in pitting myself against anyone too strenuous. I carefully select opponents who can give me exercise and a bit of competition, but studiously avoid players who stress me so violently that I risk getting injured or, worse, beaten. My first advice to older players is, therefore, to choose your opponents wisely.

But if you insist on testing your aging body against hotshot sluggers, be sure to take the proper approach. First things first: Don’t be intimidated by how hard your opponent hits the ball or how good he or she looks doing it. Looks can be deceiving. Even the smoothest players have weaknesses that experienced eyes can uncover and exploit. You’ve seen a lot of players in your day, so there’s no need to be worried about this young hitting machine if you have the proper plan.

Next, be patient. Tennis is a game of percentages and controlled risk. Whacking the ball near the lines may maximize a young player’s probability of hitting a winner, but it also increases his or her chances of making an error and is rarely an ideal tactic. If your young opponent hits a few blinding winners, don’t give in to the temptation to show that you, too, are fit and still capable of murdering the ball. Stick with your normal high-percentage style. In fact, shots with little sting will trouble your opponent even more. Many young players are used to pace and mindless ball-bashing, so you should throw in slices and crafty shots that disrupt their rhythm and drive them nuts. As you get older, beating younger players is often about getting them to implode, rather than hitting them off the court. But a win’s a win, and a sweet one if your opponent asks, “How am I losing to this old-timer?”

Finally, don’t compare your young opponent with your younger self. You can’t hit shots as hard or run as fast as you once did. So what if you would have blown this guy off the court 20 years ago? Live in the now. You can’t play like a 30-year-old anymore, and you must accept this fact without qualm or regret. Don’t let this disastrous thought enter your mind: “I used to be able to . . . ” Understand that as much as you might like to, you can’t fly, either. Whining about what could be or what used to be is a fool’s errand.

Of course, these strategies for beating a younger opponent can only go so far. Eventually, we all reach an age where nothing we do can make up for declining physical skills. At this stage we must modify the rules. Here are a few of my favorite ways to handicap matches against younger opponents: no drop shots; no going for winners on serve returns; and, in extreme cases, allow your opponent to hit into just half the court (either to the deuce or ad side). If you try that one and still can’t win, maybe it’s time to take up golf.

Former Wimbledon quarterfinalist Allen Fox, Ph.D., wrote The Winner’s Mind: A Competitor’s Guide to Sports and Business Success.

Originally published in the October 2009 issue of TENNIS magazine.

Not This Time

Thu, 11 Jun 2009 00:00:00 GMT

You can beat the player who has your number. Here's how.

Everyone has a nemesis. He or she is your equal in terms of skills, and you have similar records against other opponents. Somehow, though, your nemesis manages to come out ahead in your matches. There’s no way you should lose every time, but you do, and it makes you doubt yourself. Maybe you have some mental flaw, perhaps a character weakness? Soon you don’t want to play against this person, because both of you know who’s going to win, and it’s not you.

I’ve been there. The same thing happened to me in my junior year at UCLA, and it made my college tennis experience miserable.

I had ended the previous year as the No. 1 player on the team and No. 15 in the country. Then my best friend in tennis, Larry Nagler, joined the UCLA team. He was a year younger than me, and we were evenly matched. I had beaten him the only time we had met in a tournament. But he was a great athlete who also played basketball for legendary coach John Wooden. My game depended largely on cunning, determination and speed, but Larry, though not as crafty (in my opinion, not his), was even faster, a little stronger and just as determined.

Our next three tournament encounters, all very close, went to Larry. Our coach, seeing these results, promoted Larry to No. 1. Seething at No. 2, I instituted a fanatical practice program. We met in the final of the next big intercollegiate tournament, and though I had an early lead, he won in three sets. The next time we played, I became very fearful, especially on big points, and started to make boneheaded errors. I lost badly and decided I never wanted to see Larry on the other side of the net again.

Knowing the problem was largely in my head made it devastating. Fortunately, there was a solution. I realized that I had to replace my lack of confidence with emotional discipline. When we played the following year, I decided never to look at Larry, but rather to force myself to look at the ball continuously, and to divert my mind from the score by mechanically repeating, over and over, “Watch the ball.” It was mentally draining, but effective, and I won the match convincingly. Over the years, Larry and I played three more times, and I won two of them. He remained a nightmare for me to play, but with discipline I had learned to defeat him.

You can take a similar approach to beating the player who has your number. First, narrow your focus. Between points, keep your eyes on your strings, the ball, your feet or anything neutral nearby. The objective is to stop thinking about your opponent by concentrating on things that won’t trigger negative or distracting responses.

Second, vow to have no emotional reaction to a lost point, no matter how silly the error or great your opponent’s shot. This player makes you afraid and uncertain to begin with, so you’ll have a propensity to get emotional. Be wary and fight it.

Finally, force thoughts about the score and winning the match out of your mind. This is difficult, of course, but try to think of ways to execute your shots and game plan. For example, tell yourself to watch the ball, keep your weight forward, or stay loose. The rituals may vary, but it’s best to keep them simple and unemotional. When thoughts about winning or the score intrude, shove them aside and return to your rituals. Sticking to this tactic for an entire match will take discipline and effort, but the results will be worth it.

Former Wimbledon quarterfinalist Allen Fox, Ph.D., wrote The Winner’s Mind: A Competitor’s Guide to Sports and Business Success.

Originally published in the July 2009 issue of TENNIS magazine.

Tame Your Inner Voice

Wed, 08 Apr 2009 00:00:00 GMT

More than three decades of work with tennis players has helped me understand that the real power broker, in terms of on-court performance and achievement, is your inner voice. The voice that can be brutal or supportive, discouraging or inspiring, childish or mature, is, in fact, the architect of your reality and provides the meaning and context for every experience you have.

Some players possess a voice that amounts to nothing short of an internal terrorist, full of relentless criticism, self-loathing and personal attacks. A dysfunctional voice—one that shouts, “I hate my backhand!” or “You’re so stupid!”—compromises performance in the long run. Others learn to navigate the inevitable storms of play with a positive and constructive inner voice.

How do you find the right voice? Start with the ratio of positive to negative messages you send yourself. Researchers studying athletes have discovered that a negative voice is more powerful than a positive one. What this means is that for every negative message you send, several positive messages will be required to undo the damage. I’ve asked many tennis players to take notes on their thoughts in between games; many come back to me with highly negative ratios, ranging from 1 positive to 2 negatives all the way to 1 positive to 10 negatives. As the ratio of positive to negative improves, the player’s performance gets better, too.

This is easier said than done, but here are five steps that can help you train your inner voice to speak positively:

1. Pay attention to the tone and content of your inner voice during practice and competition. Estimate your ratio of positive to negative thoughts in each.

2. Make a list of the major things that cause your inner voice to turn negative, such as bad line calls, unforced errors, double faults, playing pushers and choking.

3. Assess each situation where your private voice turns negative and write down a new, constructive script that you can use the next time a similar situation arises. Try to summon your wisest, most intelligent voice in your writing. A good reference point is what you would say to a friend or teammate to help him or her perform at the highest level. Develop your script, read it often and make a vow to follow it.

4. Hold yourself accountable for the messages sent by your inner voice. After every match, reflect on the extent to which your voice stayed “on message” and estimate the positive-to-negative ratio you achieved. This is a great way to measure your performance.

5. Rewrite your script from scratch whenever you fail to follow it. Every time you rewrite your script, you increase the probability that you’ll follow it in the future. The simple act of writing it down reinforces positive thoughts.

Every message sent by your inner voice is an energy impulse that can change how your brain processes incoming and outgoing data. The brain functions much like a word-sensitive computer. Different words have different impacts. If you have a dysfunctional inner voice, you’re fighting two battles, one with your opponent and the other with yourself. It’s much better to enlist your voice as a silent partner rather than an enemy.

Jim Loehr, Ed.D., is the chairman, CEO and co-founder of the Human Performance Institute in Orlando, Fla.