Today's Golfer (UK)

HOW TO MAKE YOUR TIME WORK FOR YOU

- By Steve Astle

Whether we are working on long or short games, we can split practice into two categories:

Training a new movement pattern or technique.

Testing ourselves through some score/ pressure-related challenge.

If you want to become a better practiser, you need to find the discipline to keep the two apart. If you are worried about shot quality while training a new move, you will fall back into your old patterns. Similarly, if you are thinking technicall­y while trying to score, your performanc­e will suffer.

So in 2023, make sure every ball you hit falls into one of the following three categories: you can even split your balls into groups to mark when you switch from one mode to another:

1 TECHNICAL MODE

In technical mode you are working repetitive­ly, to train new mechanics and movement patterns. Your focus can only be on one thing at a time, and here it should be on the new move you’re working on. Contact with the ball and the shot’s result should take a back seat. Don’t worry where the ball goes… or what the guy in the next booth thinks of you.

2 TOURNAMENT MODE

At the other end of the scale, practice in tournament mode is all about scoring. Games such as ‘Par 18’ – nine shots around the green, how low can you score? – or creating a 25-yard ‘fairway’ on the range and seeing how many drives out of 10 find it, are the order of the day. This time you should ban technical thoughts, focus on the shot and result, and use the score to discover how well a new move is holding up.

3 TRANSITION­AL MODE

While you’ll ideally stick to one or the other modes, there is room to blend them on occasion. Consider these two options:

1. Three Technical practice swings before one Tournament-based shot.

2. Alternatin­g between Technical and Tournament shots.

Just make sure that, before you hit each ball, you know what your purpose is – technical improvemen­t, or performanc­e. Keep the two apart and your practice will become far more effective… and enjoyable.

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