The Zone. For such a popular place it's awfully hard to find. I usually just find myself there like I was beamed down, and then some time later just kind of wake up, with no idea how it happened or how to make it happen again. It's clear that the ability to play at that higher level is within me, but equally, maddeningly clear that I can't summon it at will.
I find myself in The Zone more often now than before, and I've discovered and worked on some simple focusing techniques to make it more likely to happen - but I still have to try to coax it out of its hiding place rather than go directly to it.
From what I gather, that's true of everybody else too, but I'm hoping some of you are better at it than I am, or at least have some tips and techniques to share that I haven't thought of.
So spill it - how do you get there? Is it all about focus, or are there other identifying features of being in The Zone that might be followed like breadcrumbs to its secret location?
pj <- waiting, like Smorg, with bait on my breath
chgo
I don't know that there's any reliable way to get into that fugue state we call "dead stroke," other than constant study and practice. And then there’s the issue of “dead stroke” as a moving target.
IMO, dead stroke happens because on certain days many small physical things happen to sync up for us. Some of these little things are seemingly insignificant, but actually quite important to whatever idiosyncratic quirks make up our individual body mechanics and stroke. The mental state is just a manifestation the confidence we end up feeling and perhaps mild euphoria.
So I think dead stroke visits us when we're doing one, two, or maybe more things, differently than before. Perhaps a bit more of a step to the left, establishing contact between bridge hand and cue shaft with different motion, a slightly longer or shorter bridge, a longer or shorter grip, a slightly turned wrist there, a higher or lower head, a more level cue, a longer back stroke, a more relaxed or tighter bridge, and so on. On occasion, all this comes together to produce a precise stroke and the ability to do what we will with the cue ball.
Then, the mental part of dead stroke comes to us and we become absorbed by our ability to execute shots with sharpened precision. The next day, we go to the table and, because we're not machines, we do it a bit differently, and end up with different results.
Way back when, I would notice that if I just played very quickly, without thinking, I could play "very well." I would run around the table, collapse into a stance, throw a hodge podge of sometimes unorthodox bridges on the table, and zip the balls into the pockets. I could run a lot of balls this way. The problem was that this "system" wasn't reliable enough to count on.
Nowadays, it's more the opposite. I find that it's when I'm concentrating on the balls and table, considering every nuance of the upcoming shot, position play, table layout, and using a very studied technique, that I play "very well.
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So why the difference? I think it’s because the words "(play) very well" have a different meaning for me now than before. The lack of reliability that I experienced as a younger player was because I just wasn't good enough and didn’t have the knowledge I have today. The failure of my earlier "system" was actually my failure as a player. I could only play so well and missed the balls and position plays I was suppose to miss -- at the time -- not knowing I was suppose to miss them and blaming the "system."
Now, I think I have a better appreciation for how difficult the game can be, and can more clearly see what I don't know and might not be able to execute. I also now know, with much more accuracy, what playing "very well" means. Many times in the past, I thought I was playing "very well." Now, I have a much more narrow definition of those words and they require a much higher level of precision and consistency in execution than I would have used just six months ago.
So what does this mean? I dunno. Perhaps it's just that "dead stroke" means different things to different people, and different things at different times in our lives. Certainly, "dead stroke" for a player that has only been playing for a year or two, means something quite different than to a player with twenty or thirty years of playing experience. And because we keep "raising the bar," dead stroke always remains elusive and a very hard place to get to.
Lou Figueroa