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Revolutionary Tennis
Tennis That Makes Sense
Step 1
The Geometric Reality
of Tennis
� Mark Papas
Movement. The first step in establishing a
strong foundation with the body is by facing the
undeniable truth about this game. A tennis
player faces an angle of possibilities, which
means the ball angles, or moves, away from you
either to your right or to your left (1A). The
ball is not hit at you. (The court is drawn to
scale.)
The ball is moving away from you, and while
there are different directions to intercept it, you
want to hit the ball with some power and send
it back where it came from, you simply don't
want to run over and touch it or just stop it.
You've heard often enough that moving into the ball gives you power, that is getting your body's
momentum behind the stroke and into the ball equals power. Why doesn't that happen often
enough for you? Because if you either move parallel to the baseline, turn sideways, or pivot one
foot to the side, you're moving away from the ball and not into it. It's simple geometry.
To see this, imagine you're ready to throw a tennis ball at a friend's car going past you parallel to
the sidewalk on which you're standing (1B). If you throw the ball before the car is at a right angle
to your position, you're throwing the ball INTO the car and it hits with force. If you throw after
the car passes the right angle mark, the ball's moving AWAY with the car and catches up with it
later, hitting with less impact.
INTO THE BALL
Let's apply this to tennis. You're in the ready position behind the baseline
and a ball is hit to your left side (1C). Draw a line from your position to
form a right angle to the ball's flight line. If your movement pattern takes
you to the inside of that right angle mark, that is in the direction of the
net, you're moving forward and INTO the ball. And your ever so
important momentum is going into the ball, which means power.
Diagram 1C shows that by moving parallel to the baseline you're moving away with the ball,
catching up to it later. As a result your momentum is going off toward the side fence and not into
the ball, it takes more time to reach it, and there's little chance your body can structure itself to
support your contact spot because the ball has passed you by.
I know you feel you don't have enough time in which to hit the ball, but you can't give yourself
more time to hit it by taking more time to reach it because the ball is angling away from you and
getting lower.
DIRECTIONS
In what direction lies forward? To one side? Into the ball? Diagram 1D explains. You want to
move into the ball, you want your momentum into the ball.
The angle of your movement relative to the ball's flight line helps you reach the ball on time, Step
2, structure the body for a strong hit, Step 3, and helps you develop power in a simple manner and
not in one you're used to that is counterproductive to success, Step 4.
With your ready position three to five feet behind the baseline, moving into the ball means just
that, moving forward. Not at full speed, simply not away from the ball, not parallel to the baseline
or backwards. But this idea of moving forward won't happen if you first pivot one foot against the
ground, turn sideways, or step backwards as diagram 1E shows because, undeniably, the ball's
moving away from you. Less is more.
It's clear you need to move forward, into the ball, and not waste time or opportunity by pivoting
against the ground or turning sideways. How should the feet move to achieve this? Which one
first? Step 2 explains.
� Mark Papas Step 1 p.2 /3
OLD THINK NEW THINK
� pivot � move forward INTO the ball
� turn sideways
� step backwards
� move parallel to the
baseline or over to the side
� Mark Papas Step 1 p.3 /3
Revolutionary Tennis
Tennis That Makes Sense
Step 2
How The Feet Work
� Mark Papas
Footwork. Step 1 shows that moving into a ball
angling away from you means moving forward on an
angle less than 90 degrees to the ball's flight line (2A).
You don't move literally on a straight line as indicated
in diagram 2A, but the idea is not to move beyond the
90 degree mark. Basically, the movement pattern is an
arc (2B).
How should the feet move, which one first? There are
different ways and directions in which to move the feet, but two
things come to mind. First, you start by standing still at point A, the
ready position, and will move forward to the contact spot at point B
without compulsory steps, restrictions, or avoiding obstacles on the
court.
Second, human beings are bipedal. That means human locomotion,
our gait, works in two's, in pairs.
Child development literature explains the progression of motor skills involved when learning how
to kick a soccer ball. First, a child stands still and swings 1 foot to kick the ball. Some time later,
the child takes 1 step and kicks. This skill is considered fully developed when the child takes 2
steps and kicks the ball. This 2-step method prior to execution forms the basis of natural human
rhythm.
RHYTHM
If you're familiar with other sports that involve movement, such as basketball, soccer, or when
fielding a baseball, you know you take a minimum of 2 steps before shooting, kicking, or
throwing the ball. No matter how many steps are taken in the approach, the feet do a final 1-2
before executing the act: 1-2 throw, 1-2 shoot, 1-2 kick. An exception is shooting foul shots in
basketball, where you stand still.
Your 2 feet complement each other in everything you do, whether you're standing still and one
foot moves to shift your weight (the other follows), or walking. When running the feet work in
pairs: 1-2, 1-2, 1-2. That is steps 1 and 2 are taken, then 3-4, 5-6, and so on.
Tennis is a game of movement. Bipedal rhythm indicates there should be 2 steps prior to
execution, which means you take STEP number 1, STEP 2, and then hit the ball, not pivot, step
and hit.
2 STEPS PRIOR TO CONTACT, 1-2 AND HIT
When one foot pivots, and the other one steps before the hit, that's only 1 step prior to contact
and not 2. The same if one foot drags, or slides while the other steps. This is like taking 1 step
before kicking a soccer ball, it's both arrhythmic and underdeveloped.
TO STEP OR NOT TO STEP INTO THE BALL
THAT IS THE QUESTION
The debate is whether there's more power when you hit with an open stance, or when you step
into the ball with the front foot. As a teacher and player I feel there is more power when stepping
into the ball with the front foot, that is with the left foot on the right side, and the right foot on the
left side, than by choosing an open stance. Into the ball is key here. This is detailed further in
Steps 3 and 4, and is not the "standard method," a flawed representation of footwork structure.
All right. What do we know? We need to move forward, both feet step before contact, 1-2, and
we want to step into the ball with the front foot. What we don't know is which foot will move
first on which side. Luckily, our 2-step pattern of human locomotion can answer this.
When hitting a ball on your right side, your left foot will be the front foot that steps into the ball
prior to contact. As such, your left foot is the 2, or the second step, of a 1-2 pattern that occurs
prior to contact. This means your right foot is the 1, or the first step. Together they complement
each other and form a 1-2 (and hit). On this right side, your right foot is called the back foot, the
left your front foot.
It is the mirror image when hitting a ball on your left side. Here the right foot will be the front
foot that steps into the ball prior to contact, making the left foot the 1, or the first step, on that
side.
In everyday life you move your right foot first when moving to the right, your left first when
moving to the left, and your feet work in pairs. It's natural. Why not do this in your tennis?
MOVEMENT SHOULD BE SYMMETRICALLY EQUIVALENT
FROM FOREHAND TO BACKHAND
BACK FOOT FIRST / FRONT FOOT LAST
AND ALWAYS, ALWAYS, INTO THE BALL
Beginning from the ready position, then, the right foot moves first when moving to the right, the
left when moving to the left. And in what direction? Forward (2A, 2B), not to the side or
backward, not in-place by pivoting (1D). If you want to go backwards and hit the ball, then by all
means step back with your first step. But if you want to move into the ball, then your first step
must be in the same direction.
All right. This is what we know. Move forward, back foot first, a 1-2 before hitting. However,
� Mark Papas Step 2 p.2 /9
you can't hit groundstrokes well by taking only 2 steps. Either you'll stretch to reach the ball, or
your rhythm will be off because while you're ready to hit, the ball won't be there yet. Rhythm is
1-2 and hit, not 1-2 and wait, and wait, and hit.
4 STEPS 4 STEPS 4 STEPS 4 STEPS
I've found that 4 steps reaches most groundstroke situations. More steps and you're hitting
on-the-run.
When moving to the right, it's right foot first, followed
by the left, then right, then left, and contact. When
moving to the left, it's left foot first, then right, left,
right, and contact. In other words you take 2 sets of a
1-2 movement pattern, 1-2, 3-4. 4 steps (2C).
Contact follows the even numbered step, the front
foot.
You start with large steps, not small ones, because you need to get moving. Step #1 out of the
ready position is the most important because it gets you headed INTO the ball from the get-go.
Without it chances are good you won't reach the ball on time.
Tennis literature talks about footwork as small, adjusting steps, but you can't build a footwork
model based on adjustment steps. Perhaps the confusion lies in the fact that it is the last 2 steps
(of this 4 step model) that adjust their stride as needed, and the last one is completely on its own
depending on the efficiency of your movement angle into the ball. You need to MOVE, and
INTO the ball, and it has to be done efficiently. More follows.
Bear with me, I know you're thinking, "4 steps, way too many." Let me explain.
You don't take 4 steps like you're casually walking across the room, just 4 steps within the
amount of distance you have between your ready position and the contact spot. Sometimes they'll
be 4 small, quick steps; sometimes the last step will be a stutter step, sometimes it will be a long
step. Furthermore, one foot moves past the other and you don't sidestep, as if you were limping.
OLD FOOTWORK
For your amusement, I'm juxtaposing modern
day footwork as prescribed by the United States
Professional Tennis Association in their book,
USPTA Professional Guide, Official Handbook,
which teachers have to study to earn
certification, and a convoluted footwork pattern
from 1926, The Mechanics of the Game, by J.
Parmly Paret, as part of the Lawn Tennis Library
of instructional books. Though the placement of
the feet in the ready position has changed in 60
years, the idea of moving backwards first lives
on.
� Mark Papas Step 2 p.3 /9
SIDESTEPPING
Sidestepping, whether forward or off to the side,
is an inefficient movement pattern because one
foot fails to cover distance by dragging behind
and into the other (2D). Instead, both feet
should remain pointing forward and/or toward
the eventual contact spot as in 2C above, and
you shouldn't rush the ball. Sidestepping behind
the baseline on groundstrokes to then take one
step into the ball is both arrhythmic and finds
your momentum moving parallel to the baseline
and over to the side fence instead of forward
into the ball.
Your steps must continue forward and into the
ball (2A,1C). It's common to start forward but
veer off to the side and lose the advantage of
moving into the ball; it's common that step
number #3 becomes a short stutter step instead of
a full one, leaving step number #4 to make up
distance it shouldn't have to, and you reach,
losing balance and structure.
Adding a recovery step to your footwork during
your contact makes it harder to get ready, costs
you time, reduces your body's support, and
inconsistent results follow. Diagram 2E shows
the extra distance involved to get ready after the
hit when taking a recovery step during contact instead of holding the anchor foot down as best as
possible. It doesn't matter if you backpedal or turn and run back to get ready. This extra
� Mark Papas Step 2 p.4 /9
distance costs you time, of which there's never enough, and the ensuing lack of support from
body rotation that naturally accompanies the recovery step is responsible for mishits, as outlined
in Step 3 and 4.
A recovery step helps change directions and recovers balance, it is not a part of a footwork model
designed to end in contact. Your feet need to maintain their position when you swing to increase
the swing's speed, to support your contact spot, to produce more power, and to eliminate
upper/lower body movement during contact, the culprit behind stroke inconsistency.
What happens when you do move correctly into the ball but place
your anchor foot sideways prior to contact? Not only are you short-
changing your court coverage when your penultimate step works
inefficiently (2D above), but your momentum gets re-directed away
from the ball, 2F.
For returns and volleys you only take the minimum of 2 steps
because there's both less distance between you and your opponent's
contact, and the ball's never as wide away from you as it could be in
the backcourt (1A).
WHAT ABOUT THE GRAVITY STEP?
The gravity step, or drop step, finds the back foot moving first, followed by the front foot. In this
sense it adheres to the idea that the foot nearest the ball, the back foot, moves first.
But the gravity step finds the back foot moving in
the direction opposite the ball's. The back foot
moves backwards, beneath the body toward the
other foot, leaving the body imbalanced, almost
falling over. It is argued that you move faster by
imbalancing the body and having to catch up with
it, so to speak.
As I mentioned earlier, there are many ways we move our feet to get from point A to point B.
Our experiences have a lot to do with the way we move. I feel the gravity step has developed as a
result of turning sideways first, as a result of turning the shoulders, hips, or feet first instead of
simply moving (hopefully forward) to the ball.
When the body turns in place your body weight is placed on the foot closest to the ball, that is the
back foot. At this point it is impossible to move that foot toward the ball. The result is either the
other foot crosses over for the first step, or the back foot drops back under the body, creating
imbalance to jump start the body.
Pros have been taught to turn first, then move. The gravity step developed as a compensatory
technique to both turn and move, much like the open stance compensates for the fact that
stepping sideways doesn't allow the body to empower the stroke (Step 3). But you'll avoid
having to compensate if you first move forward to the ball because you turn automatically by
moving (Step 4). Less is more.
� Mark Papas Step 2 p.5 /9
BUT BEFORE YOU TAKE THAT 1ST STEP..... SPLIT-STEP
Before you take that first step you have to hop in-place, sometimes called a split step. You lift
both feet off the ground, you unweight the body, and when you touch down you move more
quickly to the ball because your body is in motion to begin with. Your response is much slower if
you stand dead still, notice where the ball's going, and then begin to move.
When you split step at the baseline or up close to the net try not to land with your feet too far
apart or you won't be able to push off well to get going into the ball. A wide stance means you're
holding ground, a narrow one means you're moving. Try to keep the feet closer rather than
farther away, a difficult task but one well worth trying.
With a split step you're likely to land and start leaning over to move into the ball, your torso
wants to get going before your feet. Moving too aggressively promotes imbalance, which lessens
the body's ability to act as a strong foundation for your stroke, Step 5. Your first step won't get
you to the ball, it simply gets you going. More importantly, your first step establishes whatever
vertical balance you will have throughout the routine, Step 5. Be balanced first, and then make up
the distance to the ball with the next step(s).
PLAYING AGAINST BALLS HIT DEEP INTO THE CORNERS
Stand back 5 feet from the baseline in order to keep the ball in front of you/defend against the
hard shots into the corner or deep to the baseline. If you take 4 steps on balls really deep and
hard into the corners, your body will be too turned to the side to effectively deliver its momentum
into the ball (instead, it goes into the side fence).
There is a limit on taking 4 steps into the ball while keeping the body structured well to support
the contact, but this limit can be overcome fairly easily.
That limit is roughly halfway to your singles sideline corner, and it can be overcome by translating
the ready position farther over to the corner before breaking into the 4 step pattern into the ball.
You do this by side-stepping, or shuffling to the side for one two-step pattern, then taking 4 steps.
This is the only time a shuffle is needed, it's an exception. Conventional tennis wants you to
shuffle all the time and then take but one step, which is arrhythmic, causes you to lose your
balance, promotes an open stance, and sends you and your momentum off to the side instead of
into the ball.
REPOSITIONING
Repositioning, the bane of all tennis players. It's easy to go and hit the ball, but you can't stay
where you are on the court because you'll be strategically out of position. You need to
reposition. That means for groundstrokes you need to get back behind the baseline in order to
face the center of your opponent's angle of shot-making possibilities.
Mathematically, you can always draw a straight line between you and your opponent's contact
spot. This line forms a zero degree baseline, away from which the ball angles either to your right
or left, no matter how slight or your position on the court. It's as if your ready position is at the 6
o'clock spot on a clock face, the opponent's contact spot is at 12, and the ball goes either to 5 or 7
o'clock. It's rare the ball comes directly at you, more often you move incorrectly and the ball goes
� Mark Papas Step 2 p.6 /9
right into your body.
In singles you reposition three to five feet behind the baseline
AND slightly to the right or left of the center hashmark, not
dead-center (2G). Your opponent's contact spot isn't literally in
the middle of his/her court as in diagram 1A, it's always off to
one side. If you remain dead-center behind your baseline you
won't be facing the center of the angle of possibilities against
you, you'll be off too much to one side.
Diagram 2G shows this repositioning effect. You are on the
side opposite your opponent's contact spot. In doubles you
simply reposition behind the singles sideline corner behind the
baseline.
When you're up at the net for singles you're on the same side as
your opponent's contact spot. I know it's a bit confusing, but it's
part of the same family. For diagram 2H I have simply drawn a
line from the ready position in the back court to the opponent's
contact spot (the zero degree baseline). If you walk from the
back court along this line up to the net, you cross over the
middle of the court and wind up on the same side as your
opponent's contact spot. For doubles you remain in the middle
of your service box and reposition laterally either toward your
alley if the ball is hit into your opponent's alley on your same
side, or toward the middle if it's hit into the alley on the side
opposite you.
THE FIRST STEP TO EMPOWERING YOUR BACKHAND
IS TO IMPROVE THE USE OF YOUR NON-DOMINANT LEG
One reason why your forehand is stronger than your backhand is because the foot that moves
first, the back foot, happens to be your dominant foot/leg. You easily move this foot first, and if
not, at least it manages to keep the contact spot ahead of you, in the direction of the net, and not
off in the direction of the side fence. On backhands, though, your non-dominant foot/leg fails on
both accounts, and it drags behind as the dominant foot tries to take over.
In everyday life there is no problem moving to your right or to your left, your feet move easily
and unencumbered. You don't make the distinction, "this is my backhand side, it's weaker, I
should go around and approach it from my forehand side." The first step to empowering your
backhand is to move your back foot first and forward and train it to keep you moving into the
ball. It's awkward at first, but you will get to the ball faster, your momentum will be directed into
the ball, and when combined with other elements to come, you will be establishing a strong
foundation with the body from which to empower your stroke. I used a ball machine. I held my
left foot in the air and moved it forward when the ball appeared. And I took 4 steps, making sure
my left foot moved forward on that third step.
Why is hitting open stance popular with the pros? Conventional tennis teaches the front foot to
� Mark Papas Step 2 p.7 /9
step first by doing a crossover step. Here the back foot pivots against the ground (1D) and the
front foot takes a step as step #1. The back foot becomes step #2 and contact is made in an open
stance.
An open stance is rhythmically sound when the first step is a crossover step (step #2 leaves you
on the back foot). Furthermore, pros starting with a crossover step avoid stepping into the ball
with the front foot because one more step throws the 1-2 and hit rhythm off into 1-2, 3, and hit.
And they've experienced that stepping sideways with the front foot doesn't empower the stroke,
as explained in Step 3.
ADDENDUM
Anyone watching Roger Federer has undoubtedly noticed he sidesteps once, or twice, then steps
to the ball with the front foot (or remains in an open stance), yet he also moves in the more
conventional 1-2 manner as described in this Step. He is not alone in this. Is this sidestepping
footwork pattern something to emulate?
I wrote earlier in the "Sidestepping" portion above: "Conventional tennis wants you to shuffle all
the time and then take but one step, which is arrhythmic, causes you to lose your balance,
promotes an open stance, and sends you and your momentum off to the side instead of into the
ball." I still believe this, especially when teaching how to play. And evidence for me remains
clear in both student and pro of the extra challenges created by a sidestepping movement pattern.
So why does Federer do it? The sidestep pattern is used when, ironically, the ball is coming fast.
Why? Keeping the ball ahead or in front of you increases the chances of hitting on time because it
opens the hitting window (visually, physically). Using the 1-2 pattern to move fast to a fast ball
can turn the body away from the ball, which also turns your head and momentum to the side,
whereas using the 1-2 pattern to move fast to a ball that is not so fast doesn't turn the body so
dramatically.
The sidestepping pattern on a forehand keeps you, or Federer, in an open stance, from which you
choose either to remain that way and hit open with the weight on the back foot or step the front
foot in-place (open forward stance), or choose to take a more forward step with the front foot
forward into the ball (forward stance). A one-handed backhand leaves little choice but to step
with the front foot (open stance is done better using the 1-2 movement pattern), whereas a two
hander has the same choices as with a forehand.
Lots of pros use the sidestep pattern, but when we do it something's amiss because it doesn't work
like with Federer. Why? The first drawback of this sidestep pattern is you don't cover distance as
you would using in a normal, 1-2 pattern, and pros attempt to overcome by being top athletes.
And though the sidestep pattern seems simpler there are other prices to pay besides getting into
shape like a pro athlete to help make up for this inefficient movement pattern.
With the sidestep movement pattern you to have to prepare the swing not only sooner but the
adjustments at the end are made more demanding; you have to fight harder to keep your balance
before and during the swing since your momentum's sideward direction is at odds with the
stroke's more forward direction into the ball; and with only one step before the hit the whole thing
is arrhythmic. This is all very difficult to do, it is far too easy to lose the prep work, the balance,
� Mark Papas Step 2 p.8 /9
the momentum redirection, or the overall rhythm using one step, let alone getting close enough to
the ball to begin with so you don't have to adjust/make up for distance. This explains why, even
when the pros do it, they don't execute like Federer. He alone remains well balanced and
stabilized during his shot, two cornerstones to his success his peers try to emulate but can't.
Federer's overall composure on the court is the reason he's number one, that is his talent in many
areas (moves well, balances and counter balances, stabilizes, vision, etc.). You can certainly
sidestep and hit the ball like he does but remember how challenging it really is because it taxes so
many other areas. And if your game is a bit off stop the sidestepping and work in a 1-2
movement pattern instead to re-ground your rhythm and get the feet moving again a little better.
OLD THINK NEW THINK
� move foot A first if ball is short � right foot first to the right, short or deep ball
� move foot B first if ball is deep � left foot first to the left, short or deep ball
� move opposite foot first if ball is far
� move closest foot first if ball is close � get going with large steps
� small steps, then large ones � 4 steps groundies, 2 on volleys
� get going with large steps
� stutter steps, side steps, crab steps or drag
one foot behind you
� Mark Papas Step 2 p.9 /9
Revolutionary Tennis
Tennis That Makes Sense
Step 3
Your Body's Power Zone
� Mark Papas
Steps 1 and 2 begin to explain how to structure the foundation, your body, to empower your
stroke. Move into the ball using your natural locomotion for rhythm and efficiency..
Step 3 explains the relationship of your feet and body to the contact spot and the result is a new
stance for tennis players: the forward stance. First, let me illustrate the popular stances known
today as outlined by a self-described tennis guru. Diagram 3A shows the closed stance, open and
semi open, and the neutral stance (also known as the standard method, the square stance).
The stances in 3A are all but derivations of a main theme. The main theme is based both on the
body's structure and our desire to move into the ball as seen earlier. First, let me explain a simple
thing about the body's structure before arriving at the main theme.
It doesn't matter whether you kick or hit a ball, tackle someone, lift a bag of groceries or a heavy
box, all of these actions take place in a zone common to us all. This common zone lies between
the width of the feet where the feet are for the most part parallel to each other, and you can see
this zone if you look at the act from a bird's eye view and extend lines straight away from the toes.
For example you don't stand sideways to a box and try to lift it, you stand facing it
where the box is between your feet and your feet are parallel, or identical, to each
other (3B). And, you wouldn't think of turning your body center to the side
before lifting.
I call this common area your body's power zone. Not exactly in the middle
between identical feet, simply in between them and not to the outer side of either
one, and the center of your body, the groin area, faces straight ahead in the same direction as your
feet.
For example, a golf ball lies between the width of the golfer's feet, and the body's center faces the
ball at contact. A baseball batter, standing sideways, takes one step and swivels both feet to
make them identical and to place the contact between them and in front of his center. This is,
initially, how your body structures itself to empower whatever it is you're doing with your arms
and hands, and the height of the action is secondary to this.
The contact spot for a tennis player is our task, and
as such the contact spot must line up between the
width of identical feet in front of the body's center
for the body to empower your swing into the
contact spot. This is the same as your body
empowering your arms to lift the box. But
diagram 3C shows how this fundamental alignment
does not occur when the front foot steps sideways
(and contact is made out in front/ahead of the front
foot), or when both feet face the net, often
misunderstood as the open stance.
Your strokes are unsupported in 3C because the
contact does not lie between the width of the feet, even though the feet are parallel or pointing in
the same direction. Diagram 3C is the tennis player's equivalent of standing sideways to a box
and lifting it.
You may think some of the popular stances shown in diagram 3A above may meet the dual
requirement of hitting the ball between the width of identical, or parallel, feet. You are half right.
Either the contact spot will not lie between the width of the feet (closed stance), or the feet are
dissimilar (neutral, open stance). Only the semi open stance meets the dual requirement of
contact between the width of identical feet, but, as with the open stance, you're standing still on
the back foot prior to swinging instead of stepping forward into the ball.
Each stance in 3A requires you to compensate for the fact you've been moving off to the side
instead of into the ball (1D). As a consequence you'll rotate the body to deliver momentum into
the ball to support your stroke, but that's a compensatory and counter-productive technique that
adversely impacts your swing, Step 4.
THE FORWARD STANCE
What is the forward stance? BOTH feet are identical,
BOTH feet have been moving into the ball, and you step
into the ball with the front foot prior to contact (that
occurs between the feet). The back foot is not sideways
because it's been moving into the ball per Step 2.
You've experienced this alignment structure when
hitting on-the-run moving forward into the court. The
feet here are never sideways or dissimilar during contact
(that occurs between the feet).
If you follow Steps 1 and 2 for groundstrokes and
volleys, the result is the forward stance, the result is
strength. With BOTH feet moving into the ball, or
� Mark Papas Step 3 p.2 /4
pointing into the ball, stepping into the ball with the front foot prior to contact finds both feet
identical and the contact between their width (3D).
Diagram 3D also includes what I consider a proper open stance, which is called a semi open
stance in 3A. Contact is made between identical feet, though very close to the back foot. You
won't be at full strength with an open stance because it's like placing the heavy box closer to one
of your feet instead of in-between them before lifting it, and you're not stepping forward into the
ball.
The forward stance, for a tennis player, is the main theme. You should plan to use it more often
than not. But, if you can't get to the ball in time, use the open stance. If the ball is just too close
and too fast, use the open stance. If you don't want to move into the ball to begin with or step
into it with the front foot before you swing, use the open stance, or the neutral stance of diagram
3A. If you need to compensate, go ahead, just don't make it the heart of your game. These
stances can work, but they make you work more for your shot. And with Revolutionary Tennis,
remember, less is more.
THE OPEN FORWARD STANCE
There is an open forward stance that accommodates fast balls
and high balls for a western grip which I'm seeing on
occasion in the pros. Prior to contact, 3E left, the front foot
prepares to take the last step prior to contact, the 2 of a 1-2
and hit rhythm of Step 2. It steps into and toward the ball,
3E right, but it doesn't take as long a step as with the forward
stance. Instead of planting your back foot before swinging,
the open forward stance allows you to take a (small) step
forward into to the contact.
HIT OUT IN FRONT?
What about hitting out in front, or ahead, of the front foot?
This is a old misconception brought by the closed stance (or
was it the other way around?). Today's tennis still urges you
to stand sideways and hit out in front/ahead of the front foot.
This means contact is made to the outside of the front foot,
which leaves you unsupported, and as a result the open stance
developed. Well, hitting out in front/ahead of the front foot
seems to be happening when you look at the contact spot from the side, 3F. But if you look at
the contact from the body's point of view, you would see it lies between the width of the feet and
in front of the body's center, not out in front/ahead of the front foot. This is the alignment
structure for a strong hit. "Out in front" really means don't hit late.
The contact zone has always been described as optimally located between the hips and the
shoulders, a location that suggests height is everything. I don't know about you, but the tennis
ball never sits at just the right height when I hit it. Instead, the contact zone should be seen as
lying between the width of the feet, allowing you to strike the ball at whatever height. After all,
there is only one moment in time when the ball can be hit on time, and height is secondary to the
contact's horizontal placement between the width of the feet. Contact too far ahead and you're
� Mark Papas Step 3 p.3 /4
too soon, and once past your body's center you're late, no matter the height. Step 7 elaborates
more.
I'm sure you've seen a photo or two of a pro's front foot almost pointing straight to the net on a
backhand, looking a little awkward. Next time you do, look at the back foot's position. It will
invariably be sideways, parallel to the baseline, pointing to the side fence, or even the rear fence,
indicating the pro has not been moving forward into the ball. At this point the pro opens his/her
front foot awkwardly to valiantly place the ball somewhere between the width of the feet. The
instinct is natural to do this, but it's hard to accomplish when sideways first.
Yet another difference between backhands and forehands can be seen here. There is a fudge
factor regarding the contact on a forehand. The ball can be hit later, or closer to the back foot,
because the racket arm is on the same side as your back foot. On the backhand there is no margin
for hitting later. The racket arm is on the same side of what is now the front foot, and the contact
spot lies almost even with the front foot. This is why a backhand open stance is becoming more
popular, you can hit later.
If you're sideways, should you then swivel one or both feet, like a baseball batter, to place the
contact between them and in front of your body center? If you're in an open stance, should you
rotate the body to generate momentum? You could, but you'd be adding layers of difficulty
unnecessary for tennis, as explained in Step 4.
Turning sideways, moving parallel, taking small steps to move, dragging one foot behind you,
stepping across or sideways, using an open stance, each one works against developing a strong
foundation with the body. No wonder your strokes suffer.
An even greater misconception is how to achieve power, Step 4.
OLD THINK NEW THINK
� contact out in front � contact between the width of the feet
� stand sideways � face the ball
� step towards the net � both feet point and step towards the ball
� step towards ball placement � both feet are identical
� face the net � forward stance
� neutral stance
� open stance
� semi open stance
� Mark Papas Step 3 p.4 /4
Revolutionary Tennis
Tennis That Makes Sense
Step 4
Your Body's Power
� Mark Papas
To step or not to step into the ball, that is the question.
Does your body empower you more when you move into and step into the ball, or when you
remain in an open stance? Or when you throw the back leg around from an open stance? Well,
try pushing someone away from you, or throwing a ball, without stepping into what you're doing.
The answer is clear: move, take that step. How about accuracy? Ever throw a ball while
aggressively swinging your back leg around? You have no accuracy.
Power means shifting body weight. The weight is shifted, creating momentum, into your body's
power zone to empower your arms or legs. There's acceleration with the striking mechanism
(hand. leg, bat) for more pop, but it's the weight shift that counts.
You can shift your weight in a variety of ways, and instinctively tennis players are always trying to
shift more weight into the ball. But what we want is a system that gets the most bang for the
buck and can be repeated easily. All athletes are trying to achieve power with the least amount of
energy expenditure possible because overdoing things leads to injuries and inconsistent results.
Two terms used for momentum: linear and angular. I know biomechanists would add minutiae to
my descriptions, but I want to keep it simple. It's angular momentum when the body rotates the
torso and/or hips, like a golfer or baseball batter during a swing, and it's linear momentum when
the body shifts straight without rotation, like moving straight into someone and pushing them
away from you.
Every tennis manual asks you to rotate your body for power like a baseball batter or golfer when
swinging, but consider this:
WHY DO YOU HAVE SO MUCH POWER HITTING ON-THE-RUN
MOVING FORWARD INTO THE COURT
WHEN YOU HAVE NOT ROTATED ANYTHING AT ALL?
You know the example I'm talking about. The ball's short, you're forced to run forward, you hit
while moving (on-the-run), and at times you have too much power. Absent rotation, what's
going on?
You're using linear momentum from the body for power when hitting on-the-run, not angular
momentum, AND it's being directed solely into the ball and not along the ball's flight line toward
the opponent.. (The swing is angular, yes, because it goes around, due to the arm.) By following
Steps 1 and 2, your momentum moves into the ball. Linear momentum shifts weight in a straight
line, and believe me, it's enough of a power supply for you or any other tennis player.
I know what you're thinking, this is crazy, but I'm not advocating hitting groundstrokes
on-the-run. I'm arguing what's right for tennis based on the game's point of view, and the body's
point of view. Let's compare tennis with golf and baseball to see if we're talking apples and
apples, or apples and oranges.
TENNIS GOLF BASEBALL
the ball angles away lies still thrown at you
the player moves to the ball stands still stays in a box
and back
1 point is many hits is one hit may hit once after
series of tries
playing area 39 feet long, 26 feet wide hundreds of hundreds of feet
and begins up to 39 yards away, long and wide
feet away from you 10's yards wide
Tennis demands movement into a ball and stroke repetition, all within a small playing field.
Except for the hand-eye coordination, a golfer or baseball batter's body technique during the
swing is of no use for a tennis player because their realities are much different. Body rotation for
power is required when the player does not or can not move, moves very little, or the field is
large. It's clearly apples and oranges when comparing tennis with golf and baseball.
Steps 1 and 2 describe moving INTO the ball with 4 steps on groundstrokes. When you move
INTO the ball your linear momentum is also directed INTO the ball, they go hand in hand.
Movement equals power. Movement into the ball automatically places the contact between
identical feet, Step 3, and delivers power into the ball (4A, 4B) without the need for
compensatory technique.
LINEAR MOMENTUM "INJECTS" POWER ON A STRAIGHT LINE
The back foot doesn't stay flat on the ground, it goes up on its toe when you shift into the ball.
You already know how to do this. Get up and walk s-l-o-w-l-y. Notice how your weight goes
� Mark Papas Step4 p.2 /8
from one foot to the next, and how each foot moves heel to toe. The back heel lifts, leaving only
the toes touching the floor when shifting onto the front foot.
On the tennis court keep moving into the ball to shift the weight into the ball. Don't hesitate,
pause, or pull back. I know that sounds obvious, but imagine you want to kick a soccer ball back
down field and you're told to run toward the sidelines, get "in position," and then kick it. Or
you're told to run up to it, turn, shift your weight back away from the ball, and then kick. These
two examples represent the standard advice on weight shifting for tennis players. Less is more.
WHY NOT BODY ROTATION?
Body rotation is designed to shift weight if you're not moving into the object to begin with, or if
you're standing still prior to contact. But a tennis player gets to move, and should take advantage
of this huge benefit by moving into the ball instead of to the side fence.
Body rotation by definition means the body rotates inward from the
contact spot, no matter the sport. From overhead, the trajectory of a
tennis ball is a tangent line, angling away from the player, and it continues
to angle away at contact. The direction of the body's rotation here is
inward from the tangent line, inward from the contact spot (4C).
Or look at it this way. Stand and face your computer monitor. Draw an
imaginary line perpendicular to it from your navel. This line has a fixed length to it. Rotate your
body to one side and notice how your imaginary line arcs inward from the monitor.
As a tennis player you face the reality of a ball angling away from you. If you rotate your body
during the swing, this means both your racket and your body are moving away from the ball at the
same time the ball is moving away from you. �Ay caramba!
Linear momentum is an easier and more reliable source of power than angular momentum. Its
mathematical equation is simpler as well. When a tennis player rotates, it's overkill,
counterproductive, and everything gets more complicated. What happens when a golfer or batter
tries to hit the ball harder? They rotate more, and their accuracy suffers.
LINEAR BODY WEIGHT SHIFT
The length to the linear shifting of your body weight is small.
This is the main advantage, there is very little "shifting" to do
since you've been moving into the ball. The tennis balls placed
below the center of my body in photo 4D represent this length,
and the arrow shows the direction of the shift. Aggressive
players will add more length to this shift by taking a longer
stride.
Let me show the direction in which your weight shift should
proceed. 4E shows the difference between shifting your weight
forward into the ball, or shifting it "forward" toward the
opponent in the direction of your stroke, which isn't forward
� Mark Papas Step4 p.3 /8
into the ball. You shift into the ball, and there is only one direction for that.
If you're like most players, often your momentum has
been going to the side fence. You're sideways, and to
compensate you'll rotate your body to redirect your
momentum more into the ball. Unavoidably, this
rotation adversely impacts your stroke.
Or, you'll rotate your body to generate momentum
from an open stance because you've stopped moving,
you won't step into the ball. Ironically, this momentum
from rotation will not go into the ball but away from it,
the largest single source of unforced forehand errors in the pros. On a replay after the pro has
netted an easy forehand, notice how severely he or she rotated the body inward from the contact
spot toward the opponent's side of the court, that is away from the ball.
I know the idea of no body rotation is different. It runs counter to the established method. Well,
if you move into the ball correctly with both feet, step into it with the front foot, shift your weight
linearly into the ball, and don't rotate the body during the swing, you'll be amazed at how strong
your contact is with linear momentum as a power source. Large muscle groups are still
responsible for transferring weight, only now their contribution is linear, not rotational. This is a
new idea. Revolutionary.
LESS IS MORE, SIMPLE IS BEST
Let's talk about turning the body, because I
know the popular idea is to "turn" the body
when you take the racket back. First,
when you move you automatically turn the
hips and shoulders, it doesn't work the
other way around, shown in diagram 4F.
Movement = turning, as illustrated when
hitting on-the-run forward into the court.
Very few students move across the court
with their shoulders parallel to the net.
Second, if you turn first, you've turned
the body and its momentum away from
the ball. With this over-turn, you'll have
to re-turn the body into the ball to
support the stroke at contact. All of
that adjustment, especially in such a
short amount of time, adversely impacts
any swing. Compensatory technique
should not be offered as a model.
Third, and last, what about the popular
idea of turning the upper body a lot
� Mark Papas Step4 p.4 /8