The only way to know if it’s right for you is through good old-fashioned experimentation: testing it out on short putts (six feet and three feet in a circle around the cup) medium-length putts (10- 20- and 30-footers); and then long lag putts (35 feet and longer).
It’s not unusual for Shinnecock Hills to be swept by strong and gusting winds. What makes the design unusual is the way Flynn laid out the course to incorporate the breeze as a significant part of its challenge.
Once set step in and repeat the preview in every detail. More importantly feel good about it. A preview should fill you with confidence. I have no doubt that if you give your putting previews your best effort everything about your putting will improve from your sense of feel and touch to your ability to roll it in from anywhere on the green.
At our schools we incorporate rhythm into pre-putt rituals then carry that same rhythm through the stroke. Rhythm is the harbinger of consistency. You’ve got to find your own and groove it.
Then it hits you: “Wow what a tough hole!” At 484 yards it demands an accurate drive in the fairway and another 200-yard-plus shot uphill to an elevated green. Corey Pavin needed 4-wood to get home in two on No. 18 during the final round in 1995 en route to victory. Today’s players are a lot longer than Corey but so is the hole and there’s only so much you can bite off with your tee shot. The approach remains a bona fide killer.
The seventh hole at Shinnecock Hills is the ultimate example of why you need to leave approach shots below the hole on severely sloping greens. As you watch the Open count how many times the players who end up above or right of the pin on No. 7 wind up three-putting. It was a pivotal hole in the 2004 U.S. Open. Expect more of the same this year.
Think about how you usually go about putting. You look at the green between the ball and the cup and “read” how much you think the putt will break on its way to the hole. You then make a few practice strokes and putt.
The beauty of the punch shot is that you can pull it off with any iron in your bag from 3-iron to pitching wedge which gives you a wide variety of distance options. Remember trouble is out there and you will find it. But now you have more than a puncher’s chance of keeping the damage to a minimum.
Of course practicing ball position and wedge swings at the range isn’t exactly like launching scoring shots on the course. In practice every lie (or nearly every lie) is perfect. In actual rounds imperfect lies abound.
Raymond Floyd who grabbed his lone U.S Open here in 1986 recently tipped me off to this Shinnecock secret. If you moved every hole so that each tee box originated at the clubhouse you’d discover how Shinnecock forces you to play toward all points on the compass.
If you execute about a dozen of these escape swings on the range every time you practice you’ll quickly learn how punch shots typically react after impact. It’s critical to know—and be able to control—how far these shots fly and roll out. There’s nothing worse than hitting an escape shot “perfectly” only to see it carry too far or roll into even greater trouble.
To launch a good wedge shot it’s important to strike the little white ball (with the dimples) before you hit the big green one (the earth). And since every swing has a bottom to its arc you need to position the white orb just behind it so that your contact goes “white-then-green”—not vice versa.