Defining Roles with Three Things on a Notecard

There are many times when players are unsure of their role(s) on the team, especially early in the year while the team is still forming. The "Three Things on a Notecard" technique is a good way to quickly clarify roles for our players. The Three Things on a Notecard technique is quite simple - write three things on the notecard that you really want the player to concentrate on. These should be different for each player and tailored to their abilities and skills. These notes can be as simple as rebounding or something more complex such as where you want them to get their shots from.

Now, the three things you write are not the only three things the player should do, it should just give some direction to the player. Also, make sure your roles are written in positive, instructive talk - the instructions should be what you want the player to do, not what you don't want them to do.  

They are quick to make, and I have felt that they've made a difference when helping players to realize their roles. Hopefully they can work for you!

Great Majerus Set Pick and Roll Play

A number of years ago I attended a clinic with Rick Majerus on the pick and roll. It wasn't the best clinic that I had been to, but I did get a gem. This pick and roll set is great because if it's simplicity. You can draw it up as an end game set or put it in during 5 minutes of practice. Lastly, it gives you the slip look which is hard to guard when teams are aggressive.

The set works best when you have a post (or player) who can shoot it and a bigger post who is normally your screener. It also helps if you have one more shooter to be the wing that fills to the top. It is also a great set if your point guard is your best player




The set starts with a point, two wings, and a stack on the left block. The point guard (1) dribbles away from the stack. The wing being dribbled at (3) on that side circles under and comes back to the point. The backside wing (2) cuts down, off the stack (double screen) and across to the opposite corner. 

Both backside block players (4,5) start to come up to the ball with the big post (5) coming first and the shooter (4) trailing. The first player to the ball, the big post (5) slips the screen to the rim and the guard (1) looks for him.

As the big post (5) slips the shooting post (4) sets the ball screen. The player at the point (3) fades to the opposite wing. The guard (1) comes over the pick and roll and the screener (4) pops. Look to kick across to the opposite wing (3) for a shot, hit the player on the block, or hit the screener for a three.

Cutting Down on Ankle Injuries

If you were to ask any coach what the most common injury is, it's the ankle. For many coaches, the answer is ankle braces. I used to be an ankle braces guy, but then I started reading Alan Stein's articles on ankle injuries. In his articles he says that ankle braces are not the answer, the answer is properly stretching and strengthening the ankle.

Last year at Como Park we decided to try it on the JV. No ankle braces, just strength and flexibility exercies. Low and behold we only had one ankle issue all year. We had a few minor rolls, but they didn't affect the players and were a lot less frequent than previous years. Below is a video by Alan Stein's Stronger Team.Com with some of the exercises we used. Hopefully they help you out as well.

Players and the Test

Photo courtesy of hawkhoopclub.org

Last week I was attending an AVID conference in Philadelphia for school and I had the once in a lifetime opportunity to sit down with Coach Phil Martelli of St. Joe's University. I respect Coach Martelli a lot for his knowledge and passion for the game. He's old school in his willingness to share his thoughts and ideas with other coaches. We talked for almost two hours and he was very open with his answers - he wasn't hiding anything and was very honest.

One of the best pieces of knowledge he shared was his approach to game time. I've heard him say it before in articles and videos, but it was great to hear it again. He made the analogy of a teacher and a coach. The teacher works hard to prepare the students for the test, but when the test comes how do they act? Are teaching running up and down the aisles screaming at the players "REMEMBER YOUR TIMES TABLES!!!!" or are they quiet and relaxed? Coach Martelli went on to explain how so many coaches are crazy on the sideline but are they really doing any good? Is all the yelling and screaming sinking in or simply floating out the opposite ear? He went onto explain how great coaches prepare their team all week for the game - even having to yell and scream at times, but when it's game time they relax and let the players play. Great coaches make a few, calm, adjustments as the game goes on as opposed to stalking the sidelines in a rage.

For me this really hit home. I used to be a huge yeller and a screamer on the bench. I would have hated to play for me - although I felt like the guys played hard.  Over the last few years I have mellowed, but not enough. Every game I go in saying I am going to be calm and laid back, however that usually isn't the case. So this year I am going to make an even greater effort to relax during the games and be a true teacher during the "tests".

Quick Pin: Set for a Secondary Shooter

When looking at set plays, there are two powerful ideas: mis-direction and combo actions. The play below encompasses both of these. It's a 2-3 high set where your shooter is actually the five man. We use the five man to screen and then get him open when the defense is preoccupied with defending the first action. The set includes some interesting counters you can use to play with the defense.

Note: I wouldn't run this with your best player at the five, but I would run it with a secondary shooter at the five that the defense isn't going to key on right away.


Quick Pin
The set is a 23 high with the post on the ball side at the first hash mark, just below the FT line. On the guard to guard pass the post (5) sets a curl screen for the backside wing (4) who cuts over the top of the screen. If they really cheat it, the wing (4) can reject the screen and backcut in a Princeton or Dana Altman 2-3 High fashion. That look because very effective against an aggressive team.

As the wing (4) comes off the screen the guard who passed the ball (2) sets a quick downscreen for the screening player (5) in a flex like action. The inside man (5) pops up for the shot. Again, this screening action makes it look as if we are looking for the curl. The defense is going to help on the curl and become an easier target for the downscreen.

 Backscreen Counter
An easy counter to this set is having the shooter/post (5) backscreen the passing guard (2) after setting the curl screen for the wing (4). After setting the screen backscreen the shooter (5) pops back for the shot.

Back and Screen Counter

This counter is similar to the counter above, except the guard (1) swing it to the wing (3) on his side and then screens the screener for the shooter (5) who is setting the backscreen. 

Flair Counter
Another simple counter is to have your guard pass the ball, V cut and get it back. As that happens the wing (4) pins the shooter (5) who pops to the wing for a shot.

As usual, nothing new or revolutionary here, but  this set is an interesting way to get a secondary shooter some looks without drawing immediate attention to them. This would be a helpful set if you ran Princeton, a 2-3 High, or even a 4 Out Motion offense as it starts that way and you can run it right into the offense. Either way, I like the idea of using the shooter as a screener first, then getting them open for a shot. It puts their defender in a tough spot - help on the first action or stay with the shooter.

Stretching and Fixing Relationships

Photo courtesy of UWGB Website

Got the chance to watch Getting Players to Play Hard: Revised Edition by Coach Divilbiss and loved it. The most outstanding point of the entire video was when Coach Divilbiss talked about the idea of constantly "stretching and fixing" your relationships with players. "Stretching and fixing" is the process by which you stretch your players comfort level on discipline and playing hard and then build the relationship back up after the stretching is over. You push them farther than they want to go, they get mad at you, you build the relationship back up within that stretched comfort zone, and then you proceed to stretch it even farther. It's a great concept and one that I think all master teacher's use. They maintain the delicate balance between pushing players forward and building them up.

 I've never heard it put this way, but it's a great way to explain how to coach! It's why I constantly remind our players that I'm doing this (pushing them) because I care about them and want to make them better, not because I am trying to be a jerk. This process is something that I want to improve upon this year as I think it's the one single key to getting players to play hard out of motivation not fear.

Power Flex Continuity

Photo from Dalethoughts.com

Introduction

This is a continuity that I discovered while writing more sets for my first HoopsU Insider post. It started out as a set play, but ended up being able to be run as kind of a slick continuity. Some of the ideas come from watching a lot of Princeton Offense lately as well as watching some of the concepts that were employed by high school coaches this winter. This isn't something that you would use as your primary offense, but is something you could definitely use as a secondary offense. **I have never used the offense but it does look like it could be successful in theory.**

The offense is designed to be run if you have a stud post player and at least one shooter. There is a constant stream of cross screens for your big to try and get him open, the best part is that your smaller players are doing the screening, so that makes it tough for switching defenses. It also gives you down screens for your shooter(s). Lastly there are many back cut options for your perimeter players which makes it hard for players to pressure your team. Lastly it gives you an option to isolate a second post player (or good driver) in the high post if you pass the ball into the high post.

Entry: Getting Into the Offense

The offense starts out in a 1-4 high look. The point guard (1) dribbles at a wing (2) and away from the stud post (5). The wing (2) backcuts to the rim and then sets a back/cross screen for the stud post (5) on the backside elbow. The back/cross screen is one of the best looks that you have to get a post the ball in an offense, so we want to take advantage of that in the entry. We always look for a post up right off the bat. If they are fronting the post we go right to the high post and look high-low or run our high-low action (shown farther below).

The backside wing (3) sets a flair screen for the player who set the back/cross screen for the post (2). The cutter (2) fills the wing and the flair screener (3) pops to the top of the key and gets the ball. If the player coming off the flair (2) is a shooter we can skip to him (2). If a skip happens the post (5) and high post (4) just come across and we are still in the offense. If we don't skip the ball, we pass to the separating screener (3) at the top of the key.

The Continuity 

When the ball is swung to the top the player at the top, that player (3) catches the ball and dribbles to the wing opposite the pass (2). The player at that wing (2) backcuts and we look for the backdoor pass. If it's not there, the cutter (2) continues across the lane and sets a cross screen for the stud post (5) on the backside. The stud post (5) comes across the lane and looks for the post up. If he doesn't get the ball right away (there needs to be an emphasis on entering the ball early), the high post (4) sets a down screen in a screen the screener action.

 The cutter (2) comes off the down screen in the screen the screener action and the screener (4) pops back to the elbow. We can again look to enter it to him and look for a high low again if the post is fronted. If we don't get the ball into either post we swing to the top and we continue with the continuity.

 The player at the top of the key (2) again receives the pass and again dribbles at the opposite wing (1) player. The wing player (1) backcuts, looks for the ball, and then continues across the lane and sets the cross screen for the post (4) who comes to the ball.

 The high post (4) sets the down screen. The player who set the cross screen (1) comes up to the top of the key. The player setting the downscreen (4) pops back to the high post and we swing the ball to the top to start the continuity again.

Other Options

High Post Entry

The ball can be entered to the high post (4). If that happens we have two immediate quick looks. These should take 1-2 seconds at the max. The first look is for the high post player (4) to dump the ball into the low post (5). Then high post (4) can look to take his defender one on one to the basket away from the stud post's (5) side.

If none of those looks are there, we go into our high post action. The wing player who passed the ball in (2) gets a backscreen from the post (5) and cuts to the basket. The stud post (5) stays on the wing and pretends like he's watching the play.  If the back cut isn't there, the backside wing player (3) sets a flair screen for the player at the point (1) who flairs to the backside wing. The screener (3) pops to the point. We look to get the ball to the player coming off the flair (1) by either skipping the ball or swinging it through the top. Either way the ball needs to end up on the opposite wing.

 After the pass is made the high post (4) sets a curl screen for the post who cuts to the rim and block. The player who came off the backscreen (2) fills the backside wing.

 The high post (4) fills across and we look for another high-low or we swing the ball to the top and get back into the offense. The player with the ball at the wing (1) passes up to the point (3), point dribbles at the opposite wing (2), who backcuts, etc. If they are denying the wing/point pass, the point (3) can screen away for the backside wing (2).

Low Post Entry

The whole idea of the offense is that we want to get the ball into the low post, right?! Well what do we do when it's there??

As the ball is passed to the low post, the high post (4), sets a curl screen for the entering wing (1). The entering wing (1) cuts off the elbow screen, to the backside block, and out to the opposite corner. If his man doubles we give him the ball and he gets a layup on the cut.

If the post doesn't score, and we don't get anything off the elbow screen, the player at the point (3), starts to cut to the rim and cuts to the wing off a flair screen. The other two perimeter players (1,2) fill to the ball.

Cheating the Dribble Over

Some teams will try to cheat the dribble over and by sagging off. If this happens we can run a Euro Screen to attack the defense. You can also do this action if the player at the wing is a stud that you want to drive. You could have a rule that you run the euro screen action anytime player X is dribbled at.

In this call/look, the player that has the ball at the point (3) dribbles at the player on the wing (1) as we normally do in our continuity. Instead of backcutting however, the player on the wing (1) cuts at the dribble and we perform a dribble handoff. The wing coming off the dribble handoff (1) gets a ball screen from the high post (4). The driver (1) can attack the rim and then dumps to the post (5) or kicks out. if the drive is not there, the driver (1) can dribble across, at the opposite wing (2) and we are into our offense again. A nice addition would be your stud post (5) backscreening the ballscreening post (4) but is not shown.

Conclusion

As I said in the beginning this is not something I have ever used, and am not sure how well it will work. I am more of a motion coach anyway, but it appears that it could be useful, especially if you have a stud post you want to get the ball to. Hopefully if you are a continuity coach you will give it a try and have some success with it!