| Breaking To Win |
Considering all of the questions I have been asked pertaining to the break in 9 ball, I
will freely pass along to you what has worked for me in the past. Hopefully, if you try
the method I am about to explain, you can also benefit from the success that I have had
with my nine ball break.
I will first point out that when breaking the rack of balls during a game of nine ball,
power is not what you should be concentrating on. Control is essential when breaking
the balls, but most beginner, intermediate and advanced players attempt to drive the cue
ball through the rack, obviously trying to see how hard they can hit the rack without
scratching. This is not a tactic I would recommend. During the break, we should only
utilize the amount of power we can control, which will vary according to your skill
level. Smashing the rack to smithereens might sound intimidating and it might impress
the railbirds, but it's not very effective at all. The break that is diagrammed is a
controlled version of the side break.
NOTE: 1st Edition of Lessons in 9 Ball had color diagrams. The 2nd and 3rd
Editions have been in black print only.
I recommend this break, placing the cue ball about three to four inches from the rail and
even with the head string. I draw a line through the one ball, the second ball and the
corner ball. This will be the angle that I will be breaking towards, or, The Break Angle.
Drawing an imaginary line through this angle, we have our target point . Breaking from
this angle, I will attempt to pocket the one ball in the side pocket, having the one ball
deflect from (not off of) the second ball. The one ball will either go into the side pocket
laying in the direction of my break angle, or it will hit the rail short (either short or long,
depends on the speed of my stroke) and roll back towards my bridge hand and towards
the pocket where I am standing. If I make contact with the one ball where I am supposed
to, chances are that either one or both of the corner ball will rocket into the top corner
pockets. The balls should spread well, and the cue ball should stop dead in the center of
the table after contact with the one ball. If all of this happens, I should have a decent
shot on the lowest numbered ball.
Now that I have given you a mental picture of what the result should be, let me explain
how to properly execute it.
I do not use english on the break shot for two reasons:
1. Having the cue ball follow into the rack is reckless, mainly because I do not know
where the cue ball is going to stop. As the cue ball barrel-asses through the rack, it can
ricochet off of anything in its path, overall causing more damage than needs be. As a
rule, the cue ball should make contact with the one ball and stop. It should not touch any
other ball.
2. If I draw the ball, I increase my chances of having my cue ball not hit the contact
point on the one ball, by either slipping off of the one (as opposed to making contact
with the one) and scratching into the closest pocket. If I do not hit the one ball at the
proper contact point, I could draw the cue ball straight back towards either corner
pocket. Also, when drawing, most players have a tendency to stab downwards. We
want our cue as level as possible for maximum transfer of energy. If I am hitting
downward, the cue ball will jump off of the surface of the table. When this happens, our
cue ball becomes a runaway train headed towards the rack. You should never start off
the game with a train wreck. Our Break Angle dictates that drawing the ball should be
avoided. A level STROKE should be utilized to achieve the result we are looking for.
Our cue ball placement for this shot causes us to lift the butt of the cue to achieve a
draw stroke. This will shorten our follow through and affect the accuracy of the shot.
Upon breaking, the position I am looking for is the CENTER OF THE TABLE. I want
the cue ball in the center of the table for two reasons.
1. There are no pockets there.
2. I can expect a make-able shot on the lowest numbered ball from there.
So, with all of these factors taken into consideration, we are now ready to perform the
shot. I STROKE the cue ball at about 1 - 1.5 tips below center (not enough to impart
backspin). I line up my body with the Break Angle that I explained earlier. I aim at the
contact point which is the nose of the one ball. The one ball is a round object that is just
as round from any angle that you wish to observe it from. Only the shape of the rack of
balls is a triangle. I say this to you because round objects, or spheres, react like
spheres. The balls are not flat objects. To assist my aim, I look at the point where the
one ball meets the cloth at its base. Get down and look at this point and become familiar
with it. When the cue ball makes contact with the one ball (and only the one ball) the
cue ball should deflect from the one, naturally coming to rest three to four inches in from
the original position of the one ball, OR - THE CENTER OF THE TABLE.
My stroke should be a controlled, fluid movement, not a jerking blast. The balls should
"spread well", rolling around to give me a good chance at a run out. If I HIT the balls
too hard (as opposed to stroking them) I run the risk of having the balls spread to the
rails, then mushrooming back to the center of the table (which is where I want the cue
ball after the break, and will also be where I want to place the cue ball while running
the rack). Not a good thing.
We should stroke the balls firmly, but not blast them uphill to Arkansas.
We are trying to control what is happening between the rails, and that means that we
first need to control what is going on between our ears. We need to concentrate on the
break more than any other shot. In 9 ball, most games are won or lost from the break. If
you can break, make a ball, get a decent shot on the lowest numbered ball, and the pack
is spread decently, you can, will, and should run out. Practice the described break at
various speeds of stroke, and remember that all tables react differently, so always gauge
the table speed prior to breaking the balls.
Watch the video below to see an example of the controlled side break.
"But Blackjack, I hit the balls as hard as I can so that I can make a lot of balls on the
break!"
You do not have to hit the balls hard to make a ball on the break. Using this break, hit
the balls very softly. You will be amazed at how soft you can stroke the cue ball
towards the rack and still make a ball and get a good result.
The break is the most important shot of the game, Most players take the break shot for
granted and do not use it to their advantage. Many players concentrate on trying to
generate all power and no control. This is why you see a lot of scratches resulting from
sledgehammer break shots.
Now that we have gone over a proper break shot, here are a few break shots that should
be avoided, as their effectiveness is minimal.
The Shoveling Shuffle
This break is characterized by the player sweeping his/her cue up in the air and over
his/her shoulder after cue ball contact is made. Here, the player has generated so much
power that it raises him out of his stance, away from the table, and standing him/her up
straight. Upon standing up straight, the shaft of the player's cue is drawn over the
player's non shooting shoulder. This looks as if they are shoveling something up from
the surface of the table. Usually, the cue ball flies off of the table with this break shot.
An accurate hit is nearly impossible. Every once in a while the player gets lucky and
has something drop off this break, but the player will get out only occasionally - if ever.
An excellent example of this was the late, great Tony Ellin. Tony's break was
phenomenally powerful. It was one of the most explosive, powerful breaks I had ever
witnessed. Tony Ellin would consistently make two or three balls off the break. Tony
was a rare case. He was able to afford this flaw in his break shot because he somehow
managed to maintain his accuracy. Tony also possessed the ability to run out from
anywhere. The only drawback that this had on his game was the fact that if he did not get
an accurate hit on the one ball, the cue ball flew off of the table, or he did not pocket a
ball. When Tony Ellin broke well, he won. When he did not break well, he struggled.
This break is caused by not staying down on the shot, resulting in very little or no
follow through. This type of break is the perfect example of all power and no control.
The "Bull Through The China Shop" Break
This is the break shot where you see the cue ball go through the rack like a bowling
ball. This is caused by using follow english on the cue ball, along with an inaccurate hit
on the one ball.
Usually, the cue ball grazes the one ball (due to the player concentrating too much on
power and not enough on control) and the cue ball ricochets off of the one ball and into
the other balls in the rack. On the break, The cue ball should only make contact with the
one ball. It should make contact with the one and then park itself in the middle of the
table. On this flawed break, you usually see the cue ball hit about one quarter of the one
ball, causing the cue ball to go either through the rack, or to the rails. I don't care how
good you think you are, you should never let go of the cue ball on the break shot.
The Thunderbolt Blast
This break is the most common. This is the classic "power break" that you see novice
players trying to perform. It is performed by generating all of the power one can muster
up in the shooting arm. A good sign of this shot is when you see the player's elbow drop
below the rail on the follow through. When you see this happen, you can rest assured
that all of the power was not transferred to the cue ball, speaking of which, is usually in
the side pocket before the player can stand up straight.
The West Texas Lunging Thrust
The West Texas Lunging Thrust afflicts many of the players indigenous to the Southwest
Region of The United States. This break shot is characterized by a combination of all of
the earlier shots described. The player not only generates all of the power in the
universe for this shot, but makes sure that he gets his whole ass into the shot by lunging
towards the rack on the follow through as if he has been shot out of a cannon. Not only
does this look ridiculous to someone that knows better, it is downright suicidal. The
rack usually spreads very well, but God only knows where the cue ball is going. If you
want to leave the cue ball position up to the pool Gods, be my guest. Personally, I
would like to know where the cue ball is going before I shoot the shot. Also, if the pack
spreads well and you scratch, your opponent will have an obstacle free table, ball in
hand, and a smirk on his face while you watch him run out.
What is to be learned from all of this?
Control is more important than power!!!
An accurate stroke is the best kind of stroke and we need to know where our cue ball is
going before we shoot. We need to stay down on our break shot, and throwing our ass
into the shot or having our feet leave the floor is not only reckless, but a death wish as
well. When playing any game of the match, we want to be in control from the break to
the game ball. We should never take any shot for granted, and we should never blast
away at any shot and be willing to accept "pot luck" position. A seasoned player will
read that as a sign of recklessness and a lack of discipline and use it to his (or her)
advantage. In other words, if I see a player that has no control over his or her break
shot, I'm not worried about them stringing racks together. It's just not likely for it to
happen due their carelessness. I'm sure you have heard the phrase "never judge a book
by it's cover." Well, This is a situation where you can. Show me a careless,
undisciplined break shot, and I'm sure that I can find more careless, undisciplined, and
lazy characteristics existing within other areas of that player's game. It's just a matter of
time before these characteristics creep to the surface, and when they do, we can exploit
them for our own benefit.
will freely pass along to you what has worked for me in the past. Hopefully, if you try
the method I am about to explain, you can also benefit from the success that I have had
with my nine ball break.
I will first point out that when breaking the rack of balls during a game of nine ball,
power is not what you should be concentrating on. Control is essential when breaking
the balls, but most beginner, intermediate and advanced players attempt to drive the cue
ball through the rack, obviously trying to see how hard they can hit the rack without
scratching. This is not a tactic I would recommend. During the break, we should only
utilize the amount of power we can control, which will vary according to your skill
level. Smashing the rack to smithereens might sound intimidating and it might impress
the railbirds, but it's not very effective at all. The break that is diagrammed is a
controlled version of the side break.
NOTE: 1st Edition of Lessons in 9 Ball had color diagrams. The 2nd and 3rd
Editions have been in black print only.
I recommend this break, placing the cue ball about three to four inches from the rail and
even with the head string. I draw a line through the one ball, the second ball and the
corner ball. This will be the angle that I will be breaking towards, or, The Break Angle.
Drawing an imaginary line through this angle, we have our target point . Breaking from
this angle, I will attempt to pocket the one ball in the side pocket, having the one ball
deflect from (not off of) the second ball. The one ball will either go into the side pocket
laying in the direction of my break angle, or it will hit the rail short (either short or long,
depends on the speed of my stroke) and roll back towards my bridge hand and towards
the pocket where I am standing. If I make contact with the one ball where I am supposed
to, chances are that either one or both of the corner ball will rocket into the top corner
pockets. The balls should spread well, and the cue ball should stop dead in the center of
the table after contact with the one ball. If all of this happens, I should have a decent
shot on the lowest numbered ball.
Now that I have given you a mental picture of what the result should be, let me explain
how to properly execute it.
I do not use english on the break shot for two reasons:
1. Having the cue ball follow into the rack is reckless, mainly because I do not know
where the cue ball is going to stop. As the cue ball barrel-asses through the rack, it can
ricochet off of anything in its path, overall causing more damage than needs be. As a
rule, the cue ball should make contact with the one ball and stop. It should not touch any
other ball.
2. If I draw the ball, I increase my chances of having my cue ball not hit the contact
point on the one ball, by either slipping off of the one (as opposed to making contact
with the one) and scratching into the closest pocket. If I do not hit the one ball at the
proper contact point, I could draw the cue ball straight back towards either corner
pocket. Also, when drawing, most players have a tendency to stab downwards. We
want our cue as level as possible for maximum transfer of energy. If I am hitting
downward, the cue ball will jump off of the surface of the table. When this happens, our
cue ball becomes a runaway train headed towards the rack. You should never start off
the game with a train wreck. Our Break Angle dictates that drawing the ball should be
avoided. A level STROKE should be utilized to achieve the result we are looking for.
Our cue ball placement for this shot causes us to lift the butt of the cue to achieve a
draw stroke. This will shorten our follow through and affect the accuracy of the shot.
Upon breaking, the position I am looking for is the CENTER OF THE TABLE. I want
the cue ball in the center of the table for two reasons.
1. There are no pockets there.
2. I can expect a make-able shot on the lowest numbered ball from there.
So, with all of these factors taken into consideration, we are now ready to perform the
shot. I STROKE the cue ball at about 1 - 1.5 tips below center (not enough to impart
backspin). I line up my body with the Break Angle that I explained earlier. I aim at the
contact point which is the nose of the one ball. The one ball is a round object that is just
as round from any angle that you wish to observe it from. Only the shape of the rack of
balls is a triangle. I say this to you because round objects, or spheres, react like
spheres. The balls are not flat objects. To assist my aim, I look at the point where the
one ball meets the cloth at its base. Get down and look at this point and become familiar
with it. When the cue ball makes contact with the one ball (and only the one ball) the
cue ball should deflect from the one, naturally coming to rest three to four inches in from
the original position of the one ball, OR - THE CENTER OF THE TABLE.
My stroke should be a controlled, fluid movement, not a jerking blast. The balls should
"spread well", rolling around to give me a good chance at a run out. If I HIT the balls
too hard (as opposed to stroking them) I run the risk of having the balls spread to the
rails, then mushrooming back to the center of the table (which is where I want the cue
ball after the break, and will also be where I want to place the cue ball while running
the rack). Not a good thing.
We should stroke the balls firmly, but not blast them uphill to Arkansas.
We are trying to control what is happening between the rails, and that means that we
first need to control what is going on between our ears. We need to concentrate on the
break more than any other shot. In 9 ball, most games are won or lost from the break. If
you can break, make a ball, get a decent shot on the lowest numbered ball, and the pack
is spread decently, you can, will, and should run out. Practice the described break at
various speeds of stroke, and remember that all tables react differently, so always gauge
the table speed prior to breaking the balls.
Watch the video below to see an example of the controlled side break.
"But Blackjack, I hit the balls as hard as I can so that I can make a lot of balls on the
break!"
You do not have to hit the balls hard to make a ball on the break. Using this break, hit
the balls very softly. You will be amazed at how soft you can stroke the cue ball
towards the rack and still make a ball and get a good result.
The break is the most important shot of the game, Most players take the break shot for
granted and do not use it to their advantage. Many players concentrate on trying to
generate all power and no control. This is why you see a lot of scratches resulting from
sledgehammer break shots.
Now that we have gone over a proper break shot, here are a few break shots that should
be avoided, as their effectiveness is minimal.
The Shoveling Shuffle
This break is characterized by the player sweeping his/her cue up in the air and over
his/her shoulder after cue ball contact is made. Here, the player has generated so much
power that it raises him out of his stance, away from the table, and standing him/her up
straight. Upon standing up straight, the shaft of the player's cue is drawn over the
player's non shooting shoulder. This looks as if they are shoveling something up from
the surface of the table. Usually, the cue ball flies off of the table with this break shot.
An accurate hit is nearly impossible. Every once in a while the player gets lucky and
has something drop off this break, but the player will get out only occasionally - if ever.
An excellent example of this was the late, great Tony Ellin. Tony's break was
phenomenally powerful. It was one of the most explosive, powerful breaks I had ever
witnessed. Tony Ellin would consistently make two or three balls off the break. Tony
was a rare case. He was able to afford this flaw in his break shot because he somehow
managed to maintain his accuracy. Tony also possessed the ability to run out from
anywhere. The only drawback that this had on his game was the fact that if he did not get
an accurate hit on the one ball, the cue ball flew off of the table, or he did not pocket a
ball. When Tony Ellin broke well, he won. When he did not break well, he struggled.
This break is caused by not staying down on the shot, resulting in very little or no
follow through. This type of break is the perfect example of all power and no control.
The "Bull Through The China Shop" Break
This is the break shot where you see the cue ball go through the rack like a bowling
ball. This is caused by using follow english on the cue ball, along with an inaccurate hit
on the one ball.
Usually, the cue ball grazes the one ball (due to the player concentrating too much on
power and not enough on control) and the cue ball ricochets off of the one ball and into
the other balls in the rack. On the break, The cue ball should only make contact with the
one ball. It should make contact with the one and then park itself in the middle of the
table. On this flawed break, you usually see the cue ball hit about one quarter of the one
ball, causing the cue ball to go either through the rack, or to the rails. I don't care how
good you think you are, you should never let go of the cue ball on the break shot.
The Thunderbolt Blast
This break is the most common. This is the classic "power break" that you see novice
players trying to perform. It is performed by generating all of the power one can muster
up in the shooting arm. A good sign of this shot is when you see the player's elbow drop
below the rail on the follow through. When you see this happen, you can rest assured
that all of the power was not transferred to the cue ball, speaking of which, is usually in
the side pocket before the player can stand up straight.
The West Texas Lunging Thrust
The West Texas Lunging Thrust afflicts many of the players indigenous to the Southwest
Region of The United States. This break shot is characterized by a combination of all of
the earlier shots described. The player not only generates all of the power in the
universe for this shot, but makes sure that he gets his whole ass into the shot by lunging
towards the rack on the follow through as if he has been shot out of a cannon. Not only
does this look ridiculous to someone that knows better, it is downright suicidal. The
rack usually spreads very well, but God only knows where the cue ball is going. If you
want to leave the cue ball position up to the pool Gods, be my guest. Personally, I
would like to know where the cue ball is going before I shoot the shot. Also, if the pack
spreads well and you scratch, your opponent will have an obstacle free table, ball in
hand, and a smirk on his face while you watch him run out.
What is to be learned from all of this?
Control is more important than power!!!
An accurate stroke is the best kind of stroke and we need to know where our cue ball is
going before we shoot. We need to stay down on our break shot, and throwing our ass
into the shot or having our feet leave the floor is not only reckless, but a death wish as
well. When playing any game of the match, we want to be in control from the break to
the game ball. We should never take any shot for granted, and we should never blast
away at any shot and be willing to accept "pot luck" position. A seasoned player will
read that as a sign of recklessness and a lack of discipline and use it to his (or her)
advantage. In other words, if I see a player that has no control over his or her break
shot, I'm not worried about them stringing racks together. It's just not likely for it to
happen due their carelessness. I'm sure you have heard the phrase "never judge a book
by it's cover." Well, This is a situation where you can. Show me a careless,
undisciplined break shot, and I'm sure that I can find more careless, undisciplined, and
lazy characteristics existing within other areas of that player's game. It's just a matter of
time before these characteristics creep to the surface, and when they do, we can exploit
them for our own benefit.
