In men�s singles especially, the quality of net shots can often determine who wins

the match. Tight spinning net shots often force a short lift, which allows you to
attempt a winning smash.

The connection with drops and blocks

To truly understand net shot tactics, you need to understand how they are connected
to other shots.

Before you can play a net shot, you need the shuttle to be near the net. So think
backwards one shot: what must your opponent have done, that allowed you to play a
net shot?

The three most likely shots are: a drop shot, a block return of smash, or another
net shot.

Net shots after your opponent�s drop

If your opponent played a slow drop, then you can play a tight spinning net shot.
This is probably a winning shot, not a building shot!

We�ll assume that your opponent knows better than to let you do this. So he played
a fast drop instead. Here, you cannot play a tight net shot, because your contact
point will be too far away from the net and too close to the ground.

But after you play your net shot, your opponent can play a tight net shot
(providing he moves in quickly). He can do this because, after your net shot, the
shuttle will be closer to the net; and he will also be taking the shuttle from much
farther above the ground than you did.

This is the tactical essence of a fast drop. Fast drops can be deadly because they
allow you to play the first tight net shot. Here is a typical sequence of shots:

You play a fast drop shot.

Your opponent plays a net shot.
You play a tighter net shot, with spin.
Your opponent lifts the shuttle.
Because of this, you might think it�s better to avoid net shots when you respond to
fast drops, and play lifts instead. But playing a lift from this position imposes
huge movement pressure on yourself: you must recover to a position slighty behind
the centre of the court. Your opponent, however, is already in position!

When returning a fast drop shot, you will often be lunging and at full stretch,
reaching your racket out forwards and sideways. In this position, a straight net
shot is the easiest shot to play; at full stretch, any other shot is likely to be
inconsistent.

At high levels of play, a straight net shot is by far the most common response to a
fast drop shot. After you play a straight net shot, you are well positioned to
cover the next shot.

So it�s a compromise: by playing a net shot you protect your base position, play
the easiest shot, and apply more movement pressure to your opponent; but you also
give your opponent the opportunity to play a much tighter net shot.

Net shots after your opponent�s block

After your opponent blocks your smash, you can play a net shot. To do this, you
need to move forwards quickly after you smash.
This situation is more favourable than when your opponent played a fast drop shot,
because you can play the net shot with a much higher contact point and with better
balance. This higher contact point allows you to play a better net shot; and
because you could also play a very flat lift from this position, your opponent must
hang back and cover the rearcourt.

Consequently, it is often tactically sound to give your net shots some extra
height, so that they pass well above the net tape. This might seem like another
crazy idea, but it�s perfectly logical. By playing the net shot with extra height,
you cause the shuttle to fall back down tighter to the net.

Of course, you must be careful not to overdo it. If you give the shuttle too much
height, your opponent will have time to come forwards and kill it.

Most blocks are soft enough so that you can play your net shot from fairly close to
the net. This allows you to add some spin (spinning net shots only work when played
from near the net).

However, if your opponent plays a long block (a push), then your net shot will be
less tight; and spin will be much more difficult and less effective. But you may be
able to attack instead: although the shuttle is deeper in court, it�s also higher;
and this creates an opportunity to play downwards-travelling drives.

Net shots after your opponent�s net shot

These can be the most deadly net shots, but also the most risky.

If your opponent has just played a net shot, then he is well positioned to cover
another net shot. For this reason, it�s rare to see several net shots in a row.

Along with the risk comes a potential reward, however. Because the shuttle is
already tight to the net, you can play an extremely tight net shot, with lots of
spin.

It requires good judgement to know when to play another net shot, and strong
nerves! You should only play this shot if you are able to take the shuttle early,
and can threaten to play a shallow lift.

This kind of net play is a game where the stakes get higher and higher with each
net shot, because the net shots are getting tighter and tighter.

Hairpin net shots

These should only be played as a last resort, or if your opponent is very slow to
cover the forecourt.

Hairpin net shots are played from near the ground and close to the net, after your
opponent�s tight net shot or slow drop shot. You play them because, from this
position, you cannot lift the shuttle to a decent length.

You can apply some spin as an attempt to keep your net shot tight, but the spin
will have died off by the time the shuttle crosses the net (so it won�t disrupt
your opponent�s shot).

The effect of spin

Spinning your netshots decreases their accuracy, at least a little. But this is
compensated for by two advantages:
The spin makes your shot tighter (because of the added air resistance).
The spin makes it more difficult for your opponent to control his shot, and often
forces him to delay his shot by allowing the shuttle to drop.
Spinning net shots should only be attempted when you are close to the net. From
farther back, they lose most of their benefits, and are much harder to perform
accurately.

You can still slice your net shots a little from this position; just don�t try to
make them spin. I suggest a slight under-cutting action (a slicing movement towards
the net); but remember that accuracy and consistency are more important than
playing for a slightly tighter net shot!

Choosing angles for net shots

Straight net shots

Most of the time, you should play your net shots straight. When you play a straight
net shot, you are well-positioned to cover the angles of reply.

Perhaps the greatest advantage of straight net shots, however, is that you can use
spin. Because of this, and also because the straight shot is easier to perform,
straight net shots tend to be tighter than cross-court net shots.

Cross-court net shots

As with other cross-court shots, cross-court net shots are riskier than straight
net shots. The danger of playing a cross-court net shot is that you open up your
court to a straight reply, which you are not in position to cover.

As a general guideline, it�s best to play cross-court net shots when you are in a
good position and taking the shuttle early, or when your opponent will have
difficulty reaching the net early himself.

Played with deception, cross-court net shots can do a lot of damage, and set you up
to play a winning shot.

Cross-court net shots cannot use spin. Don�t try to spin your cross-court net
shots! You�ll just play a bad shot.

Using lifts defensively

Lifts are an excellent way to neutralise your opponent�s advantage.

If you are in trouble, try to play a high lift to the centre (not to a corner).
This gives you time to recover and limits your opponent�s shot angles, thereby
blunting his attack.

Using lifts to create an attack

If you have forced your opponent into the forecourt, then you can apply movement
pressure by playing a lift.

This can be effective even if your intention is obvious, but it�s much more
damaging when your opponent is uncertain what shot you are about to play.

Combining lifts with net shots

Lifts are most damaging when you are in position to play a tight net shot.

Let�s suppose that, after your opponent�s net shot, you take the shuttle early and
near the tape. You are now in position to play a tight spinning net shot.

Your opponent is compelled to cover the most dangerous shot?�?the tight net shot.
This tempts him to move in nearer the net, which makes your lift much more
damaging.

In this situation, you should play the lift shallow, not high; this deprives him of
time, and causes the maximum damage. It should be just high enough to prevent him
from intercepting it from his forecourt position.

Straight or cross-court?

Whereas cross-court clears carry a substantial risk of being intercepted, this is

less likely with lifts. This means that cross-court lifts are safer than cross-
court clears and can be played more often.

If your opponent just played a net shot, then he will be in the forecourt area and
is unlikely to intercept your lifts. If he just played a straight smash, then he
will not have recovered enough towards his central base to intercept a cross-court
lift.

A cross-court lift is not always a safe shot, however. If your opponent just played
a cross-court smash, then a cross-court lift should be the last thing on your mind!
You will be returning the shuttle to your opponent and practically begging him to
play a straight smash.

In order to make your opponent move the farthest distance, you can play cross-court
lifts after his straight shots, and straight lifts after his cross-court shots. If
you want to exploit his agility more than his raw speed, however, you could reverse
the formula: match his straight shots with straight lifts, and his cross-court
shots with cross-court lifts.

As with clears, lifting to your opponent�s backhand is a good tactic. It may be a

crude tactic, but it works; if in doubt, lift to his backhand.

Drives are not a common singles shot; nevertheless, you need to know whether to
initiate a drive war, and how to respond to drives from your opponent.

If you find that most of your rallies involve drives, then your singles tactics are
probably fundamentally flawed. This kind of play is common when doubles players
transfer to singles.

When to play drives

Before playing a drive, you must be aware of your position. How well can you cover
the likely response?

Assuming your opponent can reach the drive, he will usually have the option to play
a drive himself: drives invite your opponent to drive back! Before initiating this
battle, make sure that you have good chances to win it.

Even if you can play your drive downwards, this may not be enough to justify the
risk. It�s like playing a very weak smash, and your opponent has a good chance to
redirect the shuttle into the open space on your court.

The best time to play a drive is when you are balanced and in a good position,
while your opponent is off balance and has not yet recovered to a central base.
This most commonly occurs after he plays a smash.

Where to place your drives

When possible, you should place drives into the open space, away from your
opponent. If you can make him reach the shuttle late or at full stretch, then he is
likely to play a weak reply.

When attacking from the net against a centrally positioned opponent, drives are
usually best played directly at his body. This will make it difficult for him to
return the shuttle, because he cannot get his racket into an effective hitting
position. You can also try hitting drives to the sidelines, but beware: if it�s
within reach of your opponent�s desperate racket swing, he may steal the point from
you with a counter-drive!

After your opponent�s smash, drives should be directed away from him. Attacking his
body doesn�t work here, because the shuttle will be travelling upwards. So after
his straight smashes, your drives should go cross-court; and after his cross-court
smashes, your drives should go straight.

How to respond to drives

If you find yourself frequently receiving drives in singles, then you�re doing
something wrong. You should not allow your opponent the opportunity to play many
drives!

The most common shot to counter a drive is another drive. Try not to do this,
however, unless you believe you can win the resultant drive war!

Look for opportunities to play a lift, or block the shuttle to the net. Both these
shots can be played with two different tactical purposes: to create an attack, or
to neutralise the situation.

If you think you can attack successfully, make your lifts flat and, if possible,
aim for the corner farther from your opponent. Similarly, try to play your blocks
towards the farther net corner.

When attempting to neutralise the situation, play both lifts and net shots towards
the centre, and play your lifts high.

Smashes are not just a winnning shot, but also an effective building shot. Using
smashes as a building shot is an especially important idea in high-level men�s
singles.

The benefits of smashing in singles

Smashes encourage a block return to the net, which?�?if you are quick to move in?�?
creates a chance for playing tight spinning net shots.

It�s important to understand that this benefit does not exist unless you are very
fast to move in after your opponent�s block. If you are slow to move forwards, then
your opponent will gain the advantage instead.

Other returns of smash can also be used, of course: your opponent could play a
lift, drive, or long block (push). Yet these returns also offer you attacking
chances.
A long block is a risky shot with very little margin for error, and for that reason
is rarely used. If your opponent plays it perfectly, then you should probably lift
the shuttle (although you might consider entering a drive war instead). If his long
block is too high, however, it offers you an easy opportunity to win the rally with
a smash from the front midcourt (or at least a steeply downwards drive).

Continuing your attack after a lift

If you played your smash to the sidelines, then your opponent may not have
recovered to a central base. Consequently, a smash to the other side is a good
option. Clears and drop shots to this side can also take advantage of his position.

Continuing your attack after a drive

You must first assess the quality of the drive. If you are under pressure, it would
be unwise here to attempt to continue attacking. Play a lift instead, preferably
high and to the centre. The following tactics will usually only work if your
opponent did not succeed in directing his drive away from you.

Since your opponent�s drive must travel upwards, you may consider entering an
advantageous drive war by playing another drive yourself; you may be able to hit
your drive downwards.

You can also use the shuttle position in other ways: because your opponent is held
back from the net by the threat of a counter-drive or lift, you could block the
shuttle to the net. If your opponent does start to encroach on the net, play a very
flat attacking lift instead.

The downside of smashes

It�s important to understand that, although smashes can help you create an
advantage, they can also offer an advantage to your opponent.

After your smash, your opponent can simply block the shuttle to the net. If he is
able to play an accurate block, it may be difficult for you to reach the shuttle in
time to play a tight net shot.

If you are off-balance when smashing, then you may not be able to reach the shuttle
at all after your opponent�s block!

Where to smash

In singles, smashes are most commonly placed towards the sides. This is effective
because your opponent must cover the full width of the singles court. Unlike in
doubles, he cannot cover the court without moving first.

After you smash to a sideline, your opponent will have to take a quick step
sideways to reach the shuttle. He may be forced to take it at full stretch or
behind his body, making it more difficult to control his reply.

Smashing to the body is also a perfectly valid tactic. In this case, you�re hoping
that he will have difficulty getting his racket into an effective hitting position.
This is more usually played as an attempted winning shot, however; it�s generally
less effective as a building shot placement, because you don�t create any space in
your opponent�s court.

Straight or cross-court?

Straight smashes are the safer shot, because they limit your opponent�s angles of
reply more effectively. Straight smashes will also be travelling much faster when
they reach the opponent (because they have a shorter distance to travel).

To account for this, your opponent will bias his base towards covering the straight
smash, leaving more open space for the cross-court smash. Because of this open
space, cross-court smashes often do more damage than straight smashes.
Unfortunately, they also expose you to greater movement pressure if your opponent
is able to play a good reply.

Before attacking cross-court, consider your own position. If you attack cross-court
when you are off-balance, you will have great difficulty covering a straight block,
which forces you to travel the long diagonal.

Another disadvantage of smashing cross-court is that your opponent�s best reply is

also his easiest reply: the straight block. This is not the case when smashing
straight: your opponent would ideally like to play a cross-court block, but that
shot is more difficult.

When your opponent smashes, you can easily apply movement pressure by playing a
block to the net.

You also have the option of playing a lift, drive, or long block (push).

Blocks to the net

This is by far the most common response to a smash. Blocks are the only shots that
force your opponent to move into the forecourt after his smash, and they are also
the easiest shots to play.

If your opponent is very fast, then he may attempt to exploit your block by playing
a tight spinning net shot. But if your block is played accurately, you have good
chances of preventing this and seizing control of the net yourself.

You need to judge the speed of your block carefully. You might be tempted to play
it very softly, with a high, looping path so that it falls back very tight to the
net; but this gives your opponent too much time. As a rough guide, aim for your
block to land near the short service line.

Choosing angles

Blocks to the middle are rarely useful; their only benefit is that they limit your
opponent�s shot angles.

Straight blocks are the easiest shot, and the best choice when your opponent
smashes cross-court: after a straight block, he will be forced to travel the
longest possible distance. The only downside is that this shot is predictable: your
opponent will expect you to play it, and so can simply charge to the net in a
straight line.

If you feel that your opponent is anticipating your straight block, then throw in a
different shot to catch him off-balance.

After a straight smash, the ideal response is a cross-court block, because it

forces your opponent to change direction and cover more distance. The cross-court
block is substantially more difficult, however; when the smash is especially
fierce, it may be unwise to attempt this shot.

Lifts
Lifts often allow your opponent to continue smashing. This may actually be a good
thing if his smash is ineffective and you intend to tire him out; but if this is
your intention, you must make sure to get good height and depth on your lifts.

The main benefit of lifts is surprise. After a smash, strong players will look to
move forwards quickly so that they can play a tight spinning net shot. If you
always defend with blocks to the net, then your opponent can anticipate these and
move in faster.

Try to recognise when your opponent is doing this; then surprise him next time by
playing a lift. If he has gambled on your playing a block, then he will have
difficulty changing direction to move backwards; he will likely play a weak shot,
if he reaches the shuttle at all.

Trajectory of lifts

The more that you think your opponent has committed himself to moving forwards, the
flatter your lifts should be.

By playing the lift flat, you give your opponent less time to recover from his
error. You are taking a risk, however: if he is not surprised, then he will
probably intercept your flat lift with a winning smash.

If your opponent is quick to cover both lift and block responses, then you are in a
difficult situation. You must avoid playing flat lifts, because the risk of him
intercepting them is too great.

Lift angles

When under pressure, your lifts should be high and deep to the middle.

When you are trying to put pressure on your opponent�s movement, lifts are usually
best directed away from him: if he smashes straight, lift cross-court; if he
smashes cross-court, lift straight.

Drives

Drives should be played with caution. Playing a drive invites your opponent to
drive back; but while your drive must travel upwards to pass the net, his drive can
travel downwards. Your opponent has a good chance of winning this drive war.

If you can place your drive into the open space, however, it can be an extremely
difficult shot for your opponent to counter. If your opponent smashes straight, try
a cross-court drive; if he smashes cross-court, try a straight drive. This tactic
is similar to using attacking lifts, but even more aggressive.

Drives are best reserved for when your opponent�s smash is flat.

Long blocks (pushes)

Long blocks travel farther into court than ordinary blocks: they land well beyond
the short service line. The flight path of a long block is between a block and a
drive: you can also think of them as soft drives.

These are risky shots, because the shuttle continues to rise after passing the net
and may be attacked forcefully. Usually it�s better to play a block or a drive.

One advantage of long blocks is that your opponent cannot play a tight net shot in
reply?�?the shuttle is too far away from the net. Long blocks take the sting out of
your opponent�s net shots.

As with drives, long blocks should be aimed away from your opponent.

Why not play a drive instead?

In most situations, long blocks are inferior to drives. The aim of either shot is
to get the shuttle past your opponent so that he cannot play a tight net shot; but
drives travel faster, and therefore are normally more effective.

In doubles, long blocks are effective because they hit the midcourt space between
the two attackers: a (normal) block is easier for the front player to intercept,
and a drive is easier for the rear player. But this doesn�t apply in singles.

In my view, there is exactly one circumstance when long blocks can be superior to
drives: when your opponent smashes straight, and you play a cross-court long block.

The advantage of a long block in this situation is that you can use a greater
cross-court angle than with a drive. The angle of your cross-court drives is more
limited: since drives travel farther, you must be careful not to hit them out at
the side.

Of course, the angle can be even greater when you play an ordinary cross-court
block: the softer the cross-court shot, the greater the angle. But the ordinary
block, unlike the long block, allows your opponent the potential to play a tight
net shot.

When you have gained a big enough advantage in the rally, it�s time to start
looking for ways to win.

This may mean that you change your choice of shot, or that you alter the nuances of
your shots to make them more aggressive.

Why make this distinction?

The distinction between winning shots and building shots can seem artificial. After
all, aren�t you always trying to win the rally?

The reason for making this distinction is that you must learn how to capitalise on
your advantages: you must understand how to apply additional pressure when your
opponent is struggling.

Conversely, you must learn not to go for a winning shot unless the situation calls
for it. You�re not the only person trying to win the rally! If you play with 100%
aggression all the time, then you�ll simply lose: you will give your opponent
winning chances because of your ill-judged aggression.

The urgency of applying additional pressure

Don�t waste your chances! When your opponent is under pressure, you must look for
opportunities to win the rally. If you fail to seize these opportunities, then your
opponent will eventually neutralise your advantage.

When players have an advantage, they often make the psychological mistake of
feeling that they deserve to win the rally?�?as though winning the rally is the
inevitable reward for their previous good play. You cannot afford to patronise your
opponent like this. If you don�t pursue opportunities to win the rally, your
advantage can easily slip away.

It�s essential to understand how fragile an advantage is. To neutralise the

situation, your opponent only needs to play one good high clear or lift (to the
middle). After this shot, all of your advantages have vanished. These defensive
shots are like a reset button on the rally: everything that happened beforehand
becomes irrelevant.

When you have an advantage, you can take bigger risks

When your opponent is out of position, you can play shots that otherwise would be
too risky. Because he is not in position to cover these shots effectively, you are
much less exposed to a counter-attack.

There is a relationship between the amount of pressure a shot applies to your

opponent, and the amount of pressure his response can place on you. Generally your
most deadly shots are also your most risky ones. When your opponent is not in
position to counter-attack, however, you can play the risky shot in safety.

This doesn�t necessarily mean that you will play a completely different shot, but
you may modify your shots to make them more threatening.

Net kills are your main shot for finishing a rally at the net, but you can also
play extremely tight spinning net shots.

Winning the rally with a net kill

You must seize every opportunity to play net kills, as they are the most effective
winning shot in the game. A good net kill is very unlikely to come back.

Keep your net kills as steep as possible. If the kill becomes too flat, then your
opponent may be able to return it?�?and if he succeeds in flicking this return over
your head, then he will win the rally!

You must learn to recognise the opportunity for a net kill early. Net kills require
total commitment to a forwards position at the net. You must go for an outright
winning shot; if you are hesitant and worry about recovery for the next shot, then
you will miss the opportunity to finish the rally.

Don�t be disheartened if you make mistakes, or if some of your attempted kills come
back. No shot is 100% reliable; taking risks is part of the game.

Net kill angles

If you kill is extremely steep (landing before the short service line), then it
makes absolutely no difference where you place it. Just make sure it stays in
court!

If your kill is slightly flat, then you should be more careful about choosing
angles. Either play it directly at your opponent�s body, or play it into the open
space. Do not play it near him, where he might manage a reaction shot with a
desperate swing of his racket.

Winning the rally with a net shot

A very tight spinning net shot can be as decisive as a net kill, especially if your
opponent is not near the net.
Extremely tight net shots are preferable to flat net kills (when the kill is more
like a drive). You can also reach farther when playing a net shot.

Unless your opponent is at the net, these net shots should always be played
straight. If your opponent is at the net already, however, you may consider playing
a cross-court net shot instead?�?but remember this will not be as tight, because
you cannot use spin.

After playing a very tight net shot, stay close to the net: you should be looking
to play a net kill. Keep your right side angled towards the shuttle, so that you
are ready to leap forwards.

Smashes are the most common winning shot, especially in men�s singles.

How is a winning smash different?

You gain the chance to play a winning smash in two general situations:

Your opponent is out of position.

You are in a very good position.
When your opponent is out of position

This means that he has not yet recovered to an effective base position.

If your opponent is too far forwards, then any smash will probably win; but your
best winning chances usually come from hitting directly at his body, or hitting to
the side farther away from him.

If your opponent is too far to one side, then you should smash to the other side.

Your opponent may also have reached an effective base position, but without yet
recovering his balance; or he may not yet have brought his racket into an effective
position for defending. If your opponent is off-balance or still moving, you should
consider smashing directly at his body; if his racket is still on one side, you
should smash to the other side of the court.

When your opponent is out of position, you can play cross-court smashes with less
fear of counter-attack: he is unlikely to be able to reach the shuttle in time to
make a constructive response.

When you are in a very good position

This could mean that you are smashing from the midcourt (your opponent�s lift or
clear was short). Alternatively, you could be smashing from the rearcourt but in a
side-on position, well-balanced, and ready to hit a full-power smash.

In either case, you can attempt a winning smash. If you are smashing from the
midcourt, then any smash will do; but you should consider aiming directly at your
opponent: the raw speed of your smash will probably overwhelm his defences.

If you are smashing from the rearcourt, then you should usually avoid aiming at
your opponent�s body; aim for the sidelines instead, either straight or cross-
court. In this position, you also have the option of forgoing the smash: you can
threaten to play a powerful straight smash, and then play another shot instead,
such as a cross-court fast drop.

Although you can play drop shots and clears from the midcourt, this would usually
be a wasted opportunity. A powerful smash from the midcourt is so devastating that
it�s almost the automatic choice of shot.

Intercepting flat lifts and clears

This is a special case where you can attempt a winning smash immediately, without
having previously gained an advantage in the rally.

When your opponent is trying to apply heavy movement pressure with attacking clears
and lifts, you can sometimes win the rally by jumping out to intercept the shuttle
in the midcourt with a half-smash (this is sometimes called a stick-smash).

In this situation, you will be hitting the shuttle from behind your body, and you
will not be able to turn your shoulders. You cannot play a full-power smash, but
you don�t need to: just clip the shuttle down sharply into the open space, using a
half-smash.

Note that you are very exposed after playing this shot: you will land with your
right foot behind your left foot, which makes your recovery slower. Don�t play this
shot unless you see an opening!

It�s very risky to play this shot towards your opponent: because the smash is not
that powerful, he will probably be able to cope with the speed and block it to the
net. You will have difficulty reaching this shot.

Instead, aim for the open space. If your opponent�s clear or lift was played
straight, then hit your smash cross-court; if his shot was played cross-court, then
hit your smash straight. Accuracy is much more important than power for this shot;
aim it very close to the lines.

Following up your winning smash

You can never be sure that you�ve won the point. An attempted winning smash will
often be returned with a loose block to the net. After you attempt a winning smash,
you must seek to move forwards and finish the rally at the net.

The more vicious your smash, the more completely you should commit to moving
forwards.

A smash isn�t always the best way to win a rally. Often you can win simply by
increasing the movement pressure on your opponent.

Playing riskier shots

As your opponent falls farther out of position, you can change the style of your
building shots. His shots will become less effective because he is under pressure;
your shots will become more effective because you are not under pressure.

The general theme of these changes is that you will play riskier shots?�?shots that
normally would give your opponent an opportunity to counter-attack.

Changes of trajectory

Your lifts and clears should become flatter, depriving your opponent of time. In a
neutral situation, it is unwise to play very flat clears and lifts: your opponent
will jump out and intercept them. But because your opponent is late recovering to
his base position, he is unlikely to intercept these shots.

When your opponent is late recovering forwards, you can play slow drop shots.
Normally he would seize the initiative by playing a tight net shot; but now, he is
too far away from the net and will be forced to take the shuttle lower.

Similarly, you can play net shots with extra height, so that they pass well above
the net tape and fall back down tight on the other side.

Changes of angle

Now that your opponent is out of position, you have more freedom to use cross-court
angles for your shots.

For example, you can play cross-court clears more safely, because he is less likely
to intercept them successfully.

As a general guideline, you should increase your use of the long diagonals. When
your opponent is already under heavy movement pressure, it makes sense to force him
to move the longest distance.

Changing your base position

When you have established heavy movement pressure, your opponent�s possible shots
are limited and you can begin to anticipate a weak reply.

Recognise when this happens, and adjust your base accordingly. Typically this
involves moving your base somewhat forwards and towards the straight reply,
especially when your opponent is under pressure in the rearcourt (so you cover the
straight drop shot).

There�s no point covering all the corners when you are confident that your opponent
can�t hit them all. In extreme cases, you can narrow down your opponent�s possible
replies to one corner. So go there! Don�t wait for his weak shot to confirm your
prediction; get there first, so you can play a winning shot.

In most situations, your anticipation will be more subtle than this. If you�re less
confident of your prediction, then simply move your base slightly towards the
expected corner. For even more subtle cases, you can keep your base in the same
position, but change your foot arrangement or your balance so that you are biased
towards the expected corner.

To capitalise on your advantage, you must take informed risks. It�s not enough to
assess your opponent�s capabilities: you must act on that assessment!

Learning how to use deception opens up entirely new possibilities for winning
rallies.

If you successfully deceive your opponent, he will move in the wrong direction
before you hit the shuttle. Then, when you play a different shot, it will be
extremely hard for him to change direction.

Deception is often neglected by players and coaches; and never more so than when
players� practices are dominated by mindless shot routines.

This section does not explain technical details for playing deceptive shots (that�s
a topic for other articles). Rather, my purpose here is to explain the ideas behind
deceptive play, and some principles of deception in singles.

Technical tools for deception

Slices

Slicing the shuttle involves hitting it with an angled racket face: at impact, the
racket angle does not match the direction in which the racket is moving.

This causes you to hit the shuttle with a glancing blow, rather than a
straightforward punch. This glancing blow has two main effects:

It changes the direction of the shot.

It reduces the speed of the shot.
Slices can be used to give the appearance of playing a powerful shot in one
direction, when actually you are playing a softer shot in a different direction.

Creating power with a short hitting action

Most players need a big swing in order to get any power. If you can learn to
generate power from a short swing, however, then you gain many opportunities to
play surprising shots, especially from the front of the court.

The shorter you can make your swing, the greater your potential for deception. This
doesn�t necessarily mean that you should always play your shortest possible swing;
but it�s a useful tool.

Double motion

Double motion involves beginning a racket swing in one direction, before

withdrawing the racket and starting a new swing in a different direction.

Double motion is counter-intuitive and requires plenty of practise in order to

master the fine racket skills. Occasionally, very skilful players will use triple
motion; but this is comparatively rare. Triple motion is of no use unless your
opponent is adept at reading the more basic deceptions.

Deceiving or delaying?

A shot cannot truly be called deceptive unless the opponent is actually deceived.

When people talk about deceptive shots, however, they often mean shots that merely
delay your opponent. Clearly there�s a difference between delaying and deceiving;
but it depends on your opponent�s ability to read your shots.

Your deceptive shot may deceive a beginner, delay a strong player, and be
anticipated by a professional player!

Making your shots look the same

This is the basic method of delaying your opponent. The purpose is not necessarily
to deceive him, but merely to prevent him from anticipating your shot.

When possible, your body and racket movements should look the same for whole
families of shots?�?until just before you hit the shuttle. For example, you should
use the same preparation for drop shots as you do for smashes; that way, your
opponent cannot know which shot you are about to play.

If your preparation is very obvious, then your opponent can see what shot you are
about to play; and he will move to cover your shot before you�ve even hit the
shuttle.

Fooling your opponent

True deception relies on exploiting your opponent�s desire to anticipate your
shots.

While you are trying to make your shots look the same, your opponent will be
looking for subtle clues that reveal which shot you are about to play. You can
exploit this by feeding him false information: you want him to believe he has
spotted a flaw in your shot disguise, when actually this flaw is deliberate.

Deception is about communicating with your opponent?�?but the message you�re

sending is a lie. You are lying to him with your body and your racket.

This lie is a false action?�?you show him a shot that you�re not really going to
play. For most deceptions, the real action (your real shot) follows the false
action immediately; but some sophisticated deceptions involve showing a second
false action before the real action.

The false action must be obvious

When trying to deceive your opponent, your false action must be easy to see. You
need to give him enough time to observe your false action. He can only be misled by
an action that he observes!

If your false action is too fast, he may miss it; then your deception will fail.

The real action must be quick

After your false action, your actual shot must be played quickly. Don�t give your
opponent time to adjust to your real shot action.

Controlling your opponent�s experience

Deception doesn�t just happen in one rally, in isolation. Deception can be a story
that you weave through a match, or even through a series of matches. You are
showing your opponent patterns of play; and rather like telling a story, you create
expectations in your listener (your opponent).

Then, just when he thinks he knows what�s going on, you change the pattern. This is
rather like a well-timed plot twist.

Your opponent will adapt to your patterns of play. If you recognise that he has
adapted, then you should look for ways of changing the pattern. Ideally, you should
wait just long enough so that he is about to anticipate your next shot. This is the
moment when a change of pattern will do the greatest damage.

Of course, he may be trying to exploit you in the same way. This isn�t a perfect
story: you have a rival author! Both of you are compulsive liars; the question is:
who has the greater wit?

Practising deception

The techniques for a deceptive shot can be mastered in closed practices, where all
you need is a feeder and lots of time to develop your racket skills.

But this isn�t enough. You also need to practise these shots in a real game, or in
a game-like situation (an open practice). An essential part of deception is the
ability to understand and manipulate your opponent�s perceptions.

You must learn to observe his footwork rhythms, so you can recognise opportunities
to disrupt them with a deceptive shot; the exact timing of your shot should be
intimately connected to the rhythm of his movement. But more importantly, you must
learn how to discover what�s going on inside his head.

That might sound creepy; but your opponent is always giving you clues about what
he�s thinking. Look at his posture when he receives serve; look at the expression
on his face. Is he showing signs of frustration with your low serve? Does he look
like he might rush the next one? Perhaps you should play a flick serve.

Key tip
Become a student of body language. People are telling you things all the time, and
they don�t even know it.

To succeed at this, you must maintain a balanced emotional state yourself. People
are always giving you subtle messages, but you cannot hear them if your own mind is
making too much noise.

Of course, it�s always guesswork. You can never be certain what�s going on inside
your opponent�s head; but you can make some shrewd guesses.

If nothing else, you need to observe how he responds to your attempted deceptions.
If they work, keep using them; but be ready to change your tactics if your opponent
adapts.

The forecourt is the most fruitful area for deception, because you can play shots
with a short racket swing.

Forecourt deception usually involves faking a soft shot before playing a more
powerful one; but occasionally this is reversed.

Deceptive lifts

With all of these deceptions, the lift should be played flat. Besides requiring
less power, playing the lift flat deprives your opponent of time, thereby making
your deception much more damaging.

Hold and flick

The basic idea is to play your lifts with a very short hitting action. Your
preparation should look the same as a net shot, and you should hold this posture as
long as you can. This shot is often called a hold-and-flick; try to delay your
flick until the last possible moment, when your opponent has already started moving
towards the net.

Reversing the hold-and-flick

As an occasional variation, you can reverse this deception by making a larger

swing?�?as though playing a lift?�?before slowing down your racket movement and
playing a net shot. The downside is that your net shot will be less accurate; the
upside is that, because this deception is less common, it�s more surprising.

Another method is to use a three-part deception:

Fake a straight net shot (the hold).

Fake a lift, by withdrawing the racket (the flick, but this time it�s fake).
Play a straight net shot.
This deception is similar to a common cross-court net shot deception (see below).
What�s especially interesting about this version, however, is that your final shot
is the same as your original fake!

Because of this, it�s essential that your opponent has time to see the second false
action. If he misses this false action, then all you�ve achieved is to show your
opponent the shot you intend to play, and delay it slightly (giving him more time)
while reducing your accuracy (using a fancier technique)!

Double motion

This is mainly used for deceiving your opponent about the direction of your lift.

For example, you can start a racket swing in a cross-court direction, before
withdrawing the racket and quickly playing a straight shot instead (bending back
the wrist to help achieve the straight angle).

Slicing your lifts

This is technically very difficult, but it can produce spectacular results. As with
double motion, sliced lifts are used to mislead your opponent about the direction
of the shot; but they can be more deceptive, because they use an uninterrupted
swing.

The difficulty is achieving enough power on your lift: the slice takes away much of
the shot�s power. Therefore these shots are best reserved for when you can safely
play a very flat lift?�?almost a drive.

Deceptive net shots

There are several variations for deceiving your opponent about the direction of
your net shots. The most common variations involve faking a straight net shot
before playing cross-court; but this deception can be reversed.

The basic cross-court deception

Fake a straight net shot, and then drop your arm at the last moment, rotating your
arm so that your racket head turns to face cross-court. With this deception, you
are trying to play the shuttle at the highest possible point: your elbow and hand
drop, but your racket head stays at the same height.

A three-part deception, where you allow the shuttle to drop

A variation on the above deception is to first bring your racket head down, as
though trying to play a deceptive lift. But instead, you turn your arm and play a
cross-court net shot.

So this shot has three parts:

Fake a straight net shot.

Fake a lift.
Play a cross-court net shot.
The second part, where you fake a lift, actually makes the last part easier: it�s
easier to play this shot if you allow the shuttle to drop.

Although allowing the shuttle to drop might seem like a bad idea, this gives your
opponent time to see your second false action (faking a lift). So this shot can
actually be more effective when you allow the shuttle to drop slightly farther! You
need to judge how long it will take your opponent to notice the false action; if
you feel he�s quicker on the uptake, then you can make the drop shorter.
Reversing the deception

Angle your racket to play a cross-court net shot, but then roll your arm under the
shuttle so that you play a straight spinning net shot instead.

This deception only works if the shuttle is close to the net (in order to play a
spinning net shot).

Once you�ve established this deception, you can reverse it again by playing a
simple cross-court net shot. Remember: nothing is inherently deceptive! It depends
on what your opponent is expecting.

Deceptive net shots from the middle

These usually occur as a return of your opponent�s low serve (because this is one
of the few times he will play towards the middle at the net).

Use double motion to begin a net shot in one direction, then delay the shot a
moment while you withdraw the racket slightly and make a new swing in the other
direction.

Rearcourt deception usually involves faking a powerful shot before playing a soft
shot. This is the opposite way around from typical forecourt deception.

This method can occasionally be reversed, however.

Deceptive drop shots

Drop shots are your main option for deceptive rearcourt shots.

Try to make your preparation look the same as for a smash or clear. Ideally, you
would adopt a side-on position, ready to play a full-power smash. Your initial arm
movement should also be fast enough to maintain this illusion (although you will
need to slow it down at the end).

Use slice and reverse slice to take the pace off your drops and change their
direction. On the forehand, slice is mainly used for cross-court drops from your
forehand corner; reverse slice is used for most other angles. On the backhand,
slice may be used for the cross-court and reverse slice for the straight angle.

Body or arm deception

When attempting to deceive your opponent about drop shot angles, you can use either
your body angle or your arm swing (or both).

A typical example of using body angle is the forehand cross-court drop: usually you
would play this shot after getting behind the shuttle in a side-on posture, as
though about to play a straight smash. Here, your body is pointing straight, but
you use slice to send the shuttle cross-court.

A typical example of using your arm swing is the forehand straight drop: from the
same position, you can make a cross-court arm swing while using reverse slice to
redirect the shuttle straight.

Deceptive clears

Sometimes you can reverse the usual deception, by faking a drop shot and then
playing a clear.
Make a slow swing, and then accelerate it at the last moment. A more sophisticated
version of this deception involves introducing another fake:

Fake a smash (perhaps by exaggerating your side-on preparation).

Fake a drop shot by slowing down the swing. Make it obvious.
Play an attacking clear (a punch clear), using a short hitting action.
It�s not a good idea to apply slice to clears (in an attempt to deceive your
opponent about the angle). This deception isn�t especially useful, and it leads to
inaccurate clears.

Deceptive smashes

Smashes aren�t your most effective option for a deceptive shot, but you can use
slice to change the angle and slow down the smash, so that it lands farther in
front of your opponent than he is expecting.

Slicing the smash can upset your opponent�s defensive rhythm.