Thursday, April 4, 2019

First Look – CNCPT BY TITLEIST CP-01 and CP-02

In 2016, Titleist debuted its first Concept line of golf clubs. Officially, the Concept platform provided an avenue for the typically reserved Titleist to explore cutting edge – perhaps even radical – designs and materials without the cost constraints placed on clubs intended for the mass market. Unofficially, PXG tapped into a market few in the industry new existed and its emergence in the previously untapped ultra-premium space, was eating into the bottom lines of mass market competitors who lacked a commensurate offering. Given that Titleist was largely regarded as the most premium of the mainstream, it’s reasonable to assume its sales took the biggest hit.

With that, Titleist produced a small quantity (1500 drivers and 1000 sets of irons) of Concept product as a litmus test to see whether this approach had any merit. Understandably, there was measurable uncertainty as to how the C16 driver and irons would be received given that PXG’s short-term success didn’t provide much of a sample set.

Niche products don’t always follow general market trends, and frankly, sales forecasts are entirely unpredictable because products target only a small segment of the population whose buying habits are often quirky and can change without obvious explanation.

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Limited quantities and elevated prices ($375/iron and $1000 for the driver) didn’t dissuade potential buyers. Most Concept product was spoken for before the general golfing population even knew it existed. Long story short, Titleist’s first small batch release fared better than even the most optimistic of internal expectations and served as validation that a conceptual line of equipment was viable (and profitable), even if ongoing research, development, and release cadence would be less predictable than mainstream offerings.

For 2019 (and beyond), Titleist is introducing CNCPT by Titleist as a formal brand-within-a-brand designation for equipment which it describes as … an idea, a promise. “It’s our answer to ‘What if?’, ” says Kelley Moser Jr., Brand Manager, CNCPT Clubs. The space following the What If proposition is an open-ended invitation to explore materials and processes which are typically cost prohibitive and thus more often used in pursuits where higher grade materials and production costs (aerospace) are an absolute necessity.

CNCPT CP-01 and CP-02

More expensive materials don’t guarantee better performance, but with the CP-01 and CP-02 (I was secretly hoping for a C3PO gold-plated version) Titleist believes it has created “the finest irons a golfer has ever played.” Finest is a subjective term, therefore, hard to dispute, but considering the standard criteria for irons (distance, forgiveness, looks, sound/feel, consistency) my hunch is the CP-01 and CP-02 work to limit the trade-offs inherent in most iron designs. The CP-01 is positioned as a supremely fast players-distance iron, whereas the CP-02 is a best-of-both-worlds classic muscle-back shape with game-improvement forgiveness – and yes, it’s also fast.

A trend in MyGolfSpy’s Most Wanted iron testing is that the best-performing irons aren’t typically the longest. Distance sells, but it doesn’t always correlate with lower scores. Often, maximum distance comes at the expense of distance control (front-back dispersion) and stopping power (the ability to land a ball on a green and keep it there). Titleist claims that by using a Super Metal L Face, which it bills as the thinnest unsupported, constant-thickness face in golf, it can produce ball speeds previously unseen from an iron. For now, Titleist isn’t, however, saying what exact flavor of alloy Super Metal is. It’s a stance similar to that which PXG has taken with COR2, the material which replaced TPE in its GEN2 irons. The idea is to keep the finer details under wraps for as long as possible to prevent copycats. This is, however, the golf equipment industry, so it stands to reason that if Super Metal works as advertised, it won’t be long before it goes to work for Titleist’s competitors.

What we do know is that CNCPT series irons will set you back $500/head. Titleist says the Super Metal material is expensive and buyers are required to purchase it in bulk. Even if we assume for a moment that the CP-01 and CP-02 are legitimately faster than anything else out there, we must acknowledge that engineering an iron to go farther isn’t necessarily groundbreaking work. Manufacturers have been strengthening lofts for the better part of the last decade in order to achieve more distance. Can CNCPT deliver on the distance promise without compromising the elements of the launch, spin, and descent angle equation required of a truly playable iron?

If it can’t then what’s the point?

To that end, to prevent increased distance from becoming a liability for CNCPT, Titleist is using what it describes as extraordinary amounts of high-density tungsten to push MOI (forgiveness) to perhaps uncharted territory. Specifically, the CP-01 averages over 100 grams of high-density tungsten and the CP-02 uses slightly more at 110 grams. Whatever else you choose to believe about CNCPT from a performance perspective, understand that we’re talking about a legitimately massive amount of Tungsten. That allows Titleist to place significantly more than the typical amount of mass low and deep in the clubhead, which should help produce launch conditions significantly higher than CNCPT’s otherwise jacked lofts would suggest. From that, you just might get the stopping power that’s an integral component of Titleist’s mainstream iron offerings.

The MyGolfSpy staff had a chance to demo the new irons at the PGA Show Demo day, and while we didn’t have the launch monitor running to verify what we saw (or what we think we saw), sufficed to say low bullets weren’t an issue.

On paper, the CNCPT irons are positioned to sit in rarified air in terms of price ($500/head), performance, and availability. That said, other than a dedicated CNCPT concierge which can be reached at CNCPT@acushnetgolf.com or 1.833.99.CNCPT, we don’t yet know how many of each model Titleist is producing or the specific distribution model. As that information becomes available, we will update accordingly.

Given the price point and the audience, big box distribution isn’t going to happen. One would rationally expect this to be a 100% custom fit offering. In fact, Titleist has gone so far as to say that if any of its PGA Tour staff wants to play CNCPT, they’re going to have to buy them. I suspect that’s more of a braggadocious talking point than anything else as there’s unlikely to be much Tour demand for an iron set that one highly ranked tour player not on Titleist’s staff reportedly carried 250 after Butch Harmon put a CNCPT 7-iron in his hands.

There was a time when $4000 for a set of irons was a ridiculous proposition and no doubt, there will be comments lamenting the price point as everything wrong with the golf equipment industry. There’s nothing inherently misguided about expensive items, but it’s fair to wonder what impact releases such as CNCPT have on the mainstream golf industry. There’s an argument the net result is upward pricing pressure on mass-market equipment, but innovation has to come from somewhere and if engineering quests like CNCPT help to drive new thinking while discovering new technologies, it’s all good, right?

For more information on the 2018 CNCPT line, visit Titleist.com.



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Wednesday, April 3, 2019

Callie Sutcliffe on How to Develop Characters Readers Will Love

How many times have you heard someone say a character in a movie or book felt “flat” or cliché? As writers, we want to create strong characters our readers will fall in love with. We don’t want readers to be bored or roll their eyes at the people we’ve created. Today we’re talking with romance author Callie Sutcliffe on how to develop characters readers care about.

Callie Sutcliffe on How to Develop Characters Readers Will Love

How to Develop Strong Characters

It’s tempting to choose a stereotype and go with it when you’re creating characters. They’re already formed for you. They’re familiar. They’re easy.

They’re also incredibly boring to readers. And honestly, they’re boring to write.

So I reached out to Callie Sutcliffe, author of Love is Messy, to talk about creating strong, realistic characters and relationships using case studies from her book.

Callie D. Sutcliffe received her Education degree from Texas Woman’s University in Denton, Texas. She lives in Fort Worth with her husband and her daughter who has CHARGE Syndrome. Callie has been writing short stories and entering contests since she was a child. After becoming a mother of a child that needed her at home, she decided to embark on a dream of becoming a published author.

She loves reading mysteries and romance novels in her spare time. When not typing away, she is advocating for special needs families and enjoying time with her family. You can get in touch with Callie through her website or follow her on Twitter, Facebook, or Instagram.

Now, here’s how Callie writes strong characters.

You just released your first novel, Love is Messy, which is the first in a series. (Personally, I love the premise of this series!) Tell me a little about the book and the series it opens.

The Finding You Again series walks readers through the lives and journeys of three women, Bridget, Katy, and Natalie. They are best friends and have been through everything with each other since college years over a decade ago. The series is about friendship, family, love, and community.

Love is Messy is the start of a series of trials the three friends walk through together. Tragedy strikes Bridget’s family sending her to the small town of Asbury Hills.

Katy struggles with the realities of becoming the wife of a billionaire will mean in Love is Surprising. When she spends time in Asbury Hills she’s given a glimpse of everything she’s ever dreamed of, but she’s afraid to take the risk.

In Love is Forgiving, Natalie’s world is thrown upside down when a questionable photo circulates the internet of her husband with his publicist. He swears he’s innocent, but she doesn’t believe him.

One of the hardest things to do is to write “real” characters that aren’t cliché. How do you start the process of character development? Do you “interview” your characters or spend a lot of time on character questionnaires?

I definitely interview my characters. When I first tried to create characters I would observe people around me. I even take mental notes on expressions and interactions between my friends when we go out nowadays. (That might freak them out if they knew but it works!)

I talk to friends that work in the professions that I write about as well. Like for Katy and Jake’s story in Love is Surprising, I have many friends that are in the nursing field and also my daughter spent a good portion of her first couple of years in and out of hospitals. I remember conversations with the nurses in those days, their routines, questions they asked, and I talked to a lot of night nurses.

From my friends, I’ve learned a lot about how they handle the emotional tolls the profession takes on them, the ins and outs of their days, and what they find to be rewarding about nursing. When I sit down to write my characters, I take all that with me: what I observe, real relationships I have, and I draw from the experiences in life from myself and others.

How are you planning on keeping your characters fresh and not duplicates of those in a previous book throughout this series?

I give all my characters their own batch of personality traits and demons. One of my biggest pet peeves (especially in the romance genre) is when an author uses the same storyline for every character in a series.

It becomes redundant. Especially if all the males are alpha-males and all the women are damsels in distress. These are cliché characters in romance novels.

I’d like to talk about drawing character traits from real life. I know I put tidbits from people I know into my stories all the time. Is this something you consciously do? Are you ever worried someone might recognize themselves in your characters and get upset?

I have been concerned a couple of times that people might recognize themselves. Especially Katy’s personality in my current work in progress. Her name, the spelling, Katy’s bashfulness, saint-hood-like goodness, and likeability is almost a complete replica of my oldest and very close friend that I’ve known since the first grade.

She was in my subconscious. I even called her and told her about the character.

What I DID do was make Katy’s background and everything else about her nothing at all like my friend. However, the way that Bridget relates to Katy is much like the way I relate to my friend. It made their chemistry as friends pretty special though and I know my friend is fine with it.

That is one example, but I do consciously draw from real life to make my characters relatable.

A trend I’m loving in the romance genre as of late is making the female protagonist strong and avoiding the two-dimensional “damsel in distress” trope like the plague. Taking Love is Messy’s main character, Bridget, specifically, can you talk about how you accomplish this with your female characters?

I completely agree! I’ve read too many romance novels that make women almost annoyingly plastic or weak and needy. Bridget is anything but that. In fact, she runs away from her husband for treating her that way. His hero complex is what drives a wedge in their relationship. At one point she makes this declaration to her husband:

“My life is being a mom by day, which I love, but that’s all I am anymore. And I’m a nightlife friend by night and shopping companion at Saks and Neiman Marcus on the weekends. I feel like I’m living in everyone else’s world’s and have no identity of my own. It’s like everyone else is living their dreams and passions, lives that suit them. And I’m just stuck going through the motions with no real purpose.”

That is essentially her biggest problem. Aside from the grief and tragedy that she’s running from, she has no identity of her own. At least that’s the way she feels.

These days I have seen this problem more and more with stay-at-home-moms, even myself at one point. It can become suffocating and lots of moms fall into a state of depression for years at times, because they have no real identity outside of being a wife and mom.

Bridget wants balance. She doesn’t want to leave her family and she is torn apart with this need for purpose and her love for her family. The tragedy is the thing that lights the fire under her to find that balance. But her husband’s need to smother her and worry about her constantly makes it impossible to achieve that goal at home — which is why she ran away.

The idea of the book isn’t to get women to run away from home, because essentially she couldn’t run away. Everyone and everything follows her to Asbury Hills. Her kids visit, her friends come to her, and even her mother-in-law pays her a visit. Bridget couldn’t run away from her demons any more than anyone else could ever do in her shoes.

But she does find a place to breathe in Asbury Hills and she does find her answers.

How do you keep your character relationships real and relatable?

I make them my friends and family. I ask myself, would these people exist in my world? I have a lot of quirky people in my life, so I do like to make quirky characters.

My moms tend to fall into two categories: overly involved and generous to a fault (like my own mother) or critical and demanding (I’ve seen these all too often). My dads tend to be similar. They are either their kids’ best friend or their kids’ worst enemy.

Families are generally dysfunctional or all over the place. No families are all perfect or all awful.

Friendships are the same way. Best friends want what’s best for us most of the time. Yet, they also disappoint, let us down, disagree with us at times. They also will cry with us and eat a pint of ice cream when we need one. A few of them will walk us through the fire and pick us up when we are down.

I like to create “real” people with “real” problems that have “real” relationships.

Can you tell me what inspires you to write romance?

Romance, real romance, inspires people. I like to see how two people from completely different worlds can come together and bring out parts of their hearts that have been hidden or dead for too long.

Pride and Prejudice did this with Darcy having felt lonely and hardened for so long that he didn’t know how to relate to a woman he was falling in love with. And Elizabeth had her prejudices against him and other men as well and she had to learn about herself and how to let the walls of her heart down in order to fall in love with Darcy.

In the end, it was more than just falling in love. They became whole people. They became the best versions of themselves.

I believe real love does this to people. Not just in a romance, although that is on the deepest level, but also in friendships and in family relationships. Relationships change us, either for the better or for the worse. I like to write about relationships, especially the most intimate kinds, where two people have to search the deepest parts of their soul to let go and believe in the scariest kind of love.

That’s real romance to me. Not just the hot and steamy stuff, but the molding of the hearts together.

Do you think you have to be romantic by nature to write romance?

Not at all. I actually am not a hopeless romantic. In fact, before I met my husband, I never even wanted to get married myself.

Not because I had some bitterness toward it, but I was just a very practical person that didn’t want to “need” a man. I liked my independence and had my own identity. Of course, I met my husband when I was twenty-four, so that may have changed if I was still single now at age thirty-six!

But that drive of mine at a young age fuels my passion to write about strong female leads that need their own identity. My motto has always been a woman needs to be a whole person before falling in love and getting married. Just like Bridget, in Love is Messy, she longs to find her own identity.

In fact, the title of my series, Finding You Again, is essentially about these three women finding themselves all over again in the midst of their relationships to each other and the men in their lives. I think I identify with Bridget the most out of my three leading women in this series.

I am more about building meaningful trust and connection between my characters. I love all relationships, especially romantic love. But I like other genres too; mysteries and thrillers are equally exciting to me as a romance novel. Romance to me is more than just flowers, chocolates, and sex. Those things are nice, but romance is about sacrifice and connection.

I will say, though, that you do need to be passionate about relationships to write about them. I used to say “let’s do life deeply, together” to all my friends back in the day. And that’s still pretty much the way I am. I may not be a hopeless romantic, but I do cherish the relationships in my life deeply and love what they all offer in my world.

I like to create real characters that bring more meaning into each other’s world and evolve them into the best versions of themselves. Because real relationships can make us better.

Any other advice you’d like to give aspiring writers out there?

To all those writing out there, my advice is to find what you are most passionate about and write about that and create multi-dimensional characters that resemble the people around you.

They don’t necessarily have to be just like the people closest to you. You can create a character based on a barista at a Starbucks and imagine what kind of life they lead. You can create a group of characters by going to a bar or coffee shop and watching the people interacting there. You can create a character based on several friends of yours that would make the coolest person in the universe to know with maybe the most unique background.

One thing I have found helpful is creating a world that my main character would either suffocate in or thrive in. And then build people they need and people that are toxic to them. Once you do that, you will find yourself a complex character that others can relate to. Think outside the box and have fun creating people!

What’s next for you?

Right now I am working on Katy and Jake’s story in Love is Surprising and I have big plans for Katy’s character that she is not going to like at first but essentially needs.

Katy hates surprises and her life is about to be full of them and most are not good ones. And the good ones are way too scary for her and that’s going to shake everything up for her. I think people will fall in love with Jake and Katy because they are down-to-earth everyday people with scars from their past that have to face hard self-truths in order to come together in the end.

I am also getting Nat and Chris ready for their own journey in Love is Forgiving. Stay tuned!

Get to Know Your Characters

It’s important to get to know your characters before you write. Otherwise it’s way too easy to fall back on stereotypes and your characters will end up flat and boring. And your book will be put-downable as a result.

Don’t know what to ask your characters? Check out this post and this post to get started.

Thanks to Callie for talking with us! Love is Messy is out now on Kindle and in paperback!

Do you “interview” your characters? Let me know in the comments!

PRACTICE

Today, I want you to take fifteen minutes to develop a character. Pretend you’re on a “date” with them. Ask them the questions you’d ask a date, like what they’re favorite ice cream is, what shows they watch, where they’re from, etc.

Share your character profiles in the comments and don’t forget to comment on your fellow writers’ creations!

The post Callie Sutcliffe on How to Develop Characters Readers Will Love appeared first on The Write Practice.



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A CLOSER LOOK AT THE TOUR EDGE EXS DRIVER

Tour Edge is making a habit of performing well in MyGolfSpy’s annual Most Wanted testing. Considering price, performance, and longevity, it has arguably the most complete lineup of metalwoods on the market. Last year, the CBX fairway wood beat out the big names to assume the title of overall winner and this year, the EXS driver was declared the “Best Value.”

Let’s start with a common definition. The value in this context is a function of performance per dollar spent and is what Tour Edge wants consumers to consider with the “Pound for Pound Nothing Else Comes Close” tagline. As such, the primary question isn’t how did Tour Edge create a driver which had both a positive-strokes gained value (meaning, overall performance was as good if not slightly better than the average of the 24 drivers tested) and ranked in the upper-half for total distance – it’s how did it do that and come to market at $299 – and of equal importance, why did it need to?

There was a time, not long ago, when OEMs relied on a two-driver approach to satisfy the range of potential buyers. A higher priced flagship model alongside a more budget-friendly offering allowed companies to showcase both its best technology and a scaled-back version, without alienating the more price conscious golfer. For example, TaylorMade had its R-series (R7, R9, R11) to cover the top-end and paired it with a less expensive Burner, Burner SuperFast or RocketBallz option. Similarly, Callaway’s Xhot (2013) at $299 and Razr Fit Extreme at $399 served as its one-two punch.

Eventually, the $300 driver became $340 and then $380 before finally going the way of “YOLO” and the landline. In 2019 there’s still a little price separation at the top (e.g., TaylorMade M5/M6), but as OEMs climbed the price ladder and moved away from tiered pricing, there was a near uniform absence of a $300 driver for the mass market.

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Tour Edge established a cult following with fairway woods in the mid-2000s, in part because it used more exotic materials (titanium faces) and more expensive manufacturing processes (combo brazing). Numerous tour players bagged Tour Edge fairway metals without any compensation, adding to the lore of the admittedly niche company. Brandt Snedeker used a CB4 model en route to winning the FedEx Cup and Tour Championship in 2012. Matt Kuchar, JB Holmes, Luke Donald, and Brian Gay all put Exotics by Tour Edge clubs in play, winning a combined ten times on the PGA Tour and making several Ryder Cup appearances.

Though its drivers have historically offered solid performance, Tour Edge struggled to gain any meaningful ground (retail market share) with drivers priced at or near the mainline brands. So, while it could have built a $450-$500 driver and continued to bang its head against the wall of insanity over and over, it made more sense to try and win at $300 rather than fight for table scraps against Callaway, Ping, Titleist, Cobra, and TaylorMade.

Price is at least half of the conversation when it comes to assessing how much value a product offers and by going with a $299 price point, Tour Edge suggests there are two primary buyers in the market. The first group is roughly 2 million in size and is a combination of early adopters (not price sensitive and tend to pre-order) and those who accept that driver prices have stagnated for some time and a price jump was overdue. OEMs are eager to capture as much of this pocket of golfers as possible because in part it signals to the rest of the market that whatever the new tech story is, it’s effective and worth purchasing.

The other 4 million or so are, according to Tour Edge, core golfers (15 HCP or less) who flat out won’t fork over $500+ for the latest and greatest, but still want a full buffet of technology and innovation – or at least as much as the can get for a couple hundred bucks less than the other guys. Citing statistics gathered from the 2019 MyGolfSpy Most Wanted driver test, taking retail cost and dividing it by average total distance, the EXS came out to $.78/yard. Drivers in the $450-$550 range had a cost per yard of $1.89-$2.20. It’s another way to try and quantify value, and while it’s not an all-encompassing statistic, it does give some indication as to the type of information which speaks to this core group of consumers. The takeaway here is while OEMs continue crafting an angle to sell consumers distance (Flash Face, Screw Face, Milled Face) a yard here or there on the course can be accompanied by a significant price hike. Take a couple of long steps across your living room and ask yourself this question: Is that space between worth $100? $200? $250?

It’s a fair question even if it’s born from an unconventional metric.

All of this is to say Tour Edge believes there’s a slew of ready and willing buyers who will eschew the category leaders who, by following PXG and others up the price ladder, left a significant void in the market – one which Tour Edge is more than happy to exploit.

WHY $299?

Consider Tour Edge’s conundrum. Option 1 – Play follow the leader and jump into the already crowded $500 market competing against companies with far greater market share, tour presence, and advertising budgets. Or option 2, follow the advice of baseball Hall-of-Famer, Wee Willie Keeler and “hit ‘em where they ain’t.”

TaylorMade ($550), Titleist ($500), Callaway ($530), Ping ($500), Cobra ($450) and Wilson ($500) all essentially target a similar buyer. At $400, Mizuno’s ST190 is a solid performer, and thanks to Keith Mitchell, it too can claim a win on the PGA Tour this season.

That said, at $299, the Tour Edge EXS enjoys a price-point monopoly. There isn’t another 2019 driver that offers the combination of performance and price within a $100 and yet, the question persists – how did Tour Edge get here?

The Cliff’s Notes version is it built a $400 driver and sold it for $300. It’s a great strategy and all, but as a standalone product, the math doesn’t add up. The stock shaft is Mitsubishi’s Tensei CK Blue (retails aftermarket at $130) and the tech story reads much like that of drivers priced several hundred dollars more: carbon composite crown, adjustable weighting, variable face thickness and a slip-stream sole for enhanced aerodynamics. Given the costs of production and an out-the-door price of $299, it doesn’t offer much in the way of profit for retailers or Tour Edge.

Golf retailers generally operate on thin margins to begin with, so Tour Edge first had to convince its major accounts that the pricing made sense. Regardless of cost, a product that doesn’t sell isn’t good for OEMs or retailers. To that end, Tour Edge painted a similar picture (albeit with likelier fancier graphics) showing evidence of that critical mass of golfers who, at least on paper, would flock to the EXS once it became clear just how much latent value it offers.

Additionally, by differentiating to such a degree based on price, it simplifies the conversation in terms of what makes the EXS driver unique from higher priced options (the primary talking point is same performance, much lower price) and according to Tour Edge’s research, a $299 driver from Tour Edge wouldn’t cannibalize sales of market leaders Callaway and TaylorMade because each is ultimately selling to a different golfer.

So, Tour Edge is treating the EXS as a bit of a loss-leader (not hugely different than the gallon of milk which goes on sale to get you in the grocery store). It’s taking a substantial hit on upfront margins on an admittedly underpriced driver with the hope that it will pull consumers into the brand and lead to additional sales of fairway woods and hybrids. Thus far, EXS driver per unit sales have outpaced any other Tour Edge driver release. That’s to be expected at $299, but ancillary sales seem to imply the strategy is working as fairway woods and hybrids have experienced a fortuitous early-season bump as well.

But this price point isn’t without risk and Tour Edge is aware that at $299 some consumers will feel it’s sending a mixed message as it rides the exceedingly fine line between affordable and cheap. It’s a departure for Tour Edge which has generally maintained premium pricing with its Exotics line of clubs. Prior to dropping the price by $50, the CBX and CBX T3 fairway woods retailed at $349. Even so, the current CBX 119 sits at the $299 – the same price as the EXS driver.

For now, there’s roughly a $200 chasm between Tour Edge’s first-class driver and the going industry rate of $550+. So how will Tour Edge maintain class-leading value while avoiding the pitfalls associated with most inexpensive products? Tour Edge founder, David Glod, likes to say, “The proof is in the hit” and so long as Tour Edge can get in the fitting conversation at the major retailers, Glod is confident that the results will speak for themselves and ultimately ring the register in Tour Edge’s favor. The hope is this will create a grassroots, word-of-mouth, marketing campaign which keeps Tour Edge on the low-end of the mainstream rather than the top-end of economical also-rans.

TOUR VALIDATION

At the professional level, the EXS has been well received with no fewer than six PGA Tour Champions players putting it in play this season. The tour made up of players 50+ years old provides a compelling look at what the EXS has to offer at a level where there’s still plenty of prize money on the table. Because equipment sponsorships aren’t nearly as lucrative – and thus, players aren’t as pressured to have the latest model in play, there’s plenty of bags with equipment several generations old. Such was the case for Duffy Waldorf and his 2016 TaylorMade M2 driver. Some players are notorious tinkerers, while others wait for a club to break before thinking about replacing it, but there’s little incentive to make a switch unless there’s a clear and undeniable benefit. Waldorf wasn’t in the market for a new driver, but he already bagged Tour Edge’s CBX 119 fairway and hybrid, so more as a “hey, why not” he put the EXS through the paces. The data was clear. The EXS gave Waldorf seven additional yards of carry and more consistent ball speeds and launch conditions. The switch was a no-brainer, and as is the case for tour players, cost never factored into the decision.

Tour Edge isn’t making any distance claims or trying to sell consumers on wonky physics or recycled engineering terms, but there’s plenty of evidence to suggest that in a year where just about every OEM turned up prices and churned out compelling stories on face technology and faster ball speeds, Tour Edge may have done more for the average consumer than any other OEM.

Sometimes you get what you pay for. On rare occasions, you get a little more.



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Vokey Wedgeworks Release: Limited Edition Slate Blue 64T Wedge

As you may recall, Vokey first released a Limited Edition Slate Blue Wedge – a 60T – through Vokey Wedgeworks last September. Just in time for The Masters, the Vokey Wedgeworks team is dipping back into its Slate Blue basket, and again pulling out a T Grind. This one, however, is 64°. If we’re being honest, you probably don’t need it. If we’re being equally as honest, you probably want it, and there’s nothing wrong with that.

I want it.

The backstory here is largely timing driven. 64° wedges tend to get a little extra love (and play) at Augusta where the greens are always fast and often elevated. The 64T is designed to provide the necessary height and trajectory while retaining enough bounce (6°) to be playable out of the bunkers.

As a quick refresher, Vokey’s T Grind features enhanced heel, toe, and trailing edge relief, and as you’d expect, is designed for versatility around the greens.

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Availability and Pricing

The Vokey 64T Slate Blue Limited Edition wedge is available beginning today through Wedgeworks on Vokey.com or by custom order. Pricing begins at $250 per wedge, which includes a custom VB grip, custom shaft band, and up to 10 characters worth of stamping.

And not for nuthin’, the Slate Blue finish is downright tasty, and damn near worth the price of admission on its own.

The stock shaft is a Dynamic Gold S200. The stock grip is a Vokey Golf Pride Multi-Compound Blue.

 

 



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Tuesday, April 2, 2019

First Look – Callaway Chrome Soft X Triple Track

Lines are science. That’s the premise behind Callaway’s Triple Track Technology which it first unveiled with the ERC Soft ball in early January. ERC Soft was the answer to the Titleist Tour Soft ball.

With this release, Callaway is bringing its line-based technology (YMMV) to an actual tour ball. The new Chrome Soft X flavor of Triple Track has been played by Callaway’s most eclectic staffer, Phil Mickelson. Three lines aside, it’s the same Chrome Soft X with Graphene-infused Dual Soft Fast Core and urethane cover that’s been on the market since early 2018. The ripple, of course, is the addition of scientifically-backed alignment lines, which cover half the circumference of the ball. The other half is blank, so the lines are only there when you want them to be. With that, if the technology works, it’s reasonable to question when it might be to the players’ benefit not to use it?

Triple Track Technology is based on Vernier Hyper Acuity, which allows the brain to operate beyond typical visual limitations. When our eyes are provided certain cues (such as lines of particular color, width, and spacing) a state of hyperacuity can be achieved, whereby the brain is more sensitive to minute differences and can discern straightness better, the net result is an enhanced ability to aim, which is why the technology is used for guns and to help pilots land on aircraft carriers. When trying to get a 1.68″ ball in a 4.25″ cup, minute differences in aim can certainly be the difference between a miss and make – at least that’s the theory. If success on the course is due, in part, to the elimination of as many variables as possible, visual technology which helps direct focus deserves some serious consideration.

We don’t often see technology trickle-up product lines as it’s typically the absence of said technology which helps separate models and, in part, justify price differences. But Callaway is now a solid #2 in the ball category and has shown zero hesitation to go down whichever path it feels might help it grab a bit more market share.

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With the emergence of Callaway’s Truvis, TaylorMade’s TP5 PIX, and now the Chrome Soft X with Triple Track Technology has visual technology become a factor into your ball purchasing decisions?

Availability and Pricing

Retail Availability for the Callaway Chrome Soft X Triple Track begins April 19th. Retail price is the same as the white and Truvis versions of the ball – $44.99/dozen

 



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Monday, April 1, 2019

10 Ways to Master Pacing in Writing and Keep Your Readers Riveted

Of all the tools writers use to keep their readers engaged and moving forward with the story, pacing in writing is perhaps the most ignored. Often, we don’t think about how we need to control the speed with which we deliver our story—we just get in there and go.

Pacing in Writing: 10 Ways to Master Pacing and Keep Your Readers Riveted

But if you’ve ever run a marathon, or a 10K, or even a 5K race, you know that pacing is important. If you pour it on at full speed right off the starting line and keep that up without variation, you’ll run out of steam and be unable to finish.

You do the same thing to your reader if you don’t vary the pace. Fast or slow, if you don’t provide some variety for your reader, they won’t finish either. So let’s take a closer look at pacing in writing and how it can help you create a better experience for your readers.

What Is Pacing in Writing?

Pacing in writing is simply the way you control the tempo at which your story unfolds. Those tempos can range from lightning fast to leisurely, but should never descend into plodding. And the important thing is to start strong and then use a judicious mix of delivery speeds to pull your reader through the scenes and chapters to the end of your story.

If you think of your story’s pacing like the graph of a good investment, you want to see peaks and valleys as the value of the stocks moves up and down, but overall, the progress should build to an ultimate, climactic summit. The difference is that with a financial investment, you want to see a continuing build, whereas with a story, after the climax, there must be a tension release and a little downtime before possibly ending on another (but lesser) high point.

Start Strong

There is no doubt that grabbing your reader’s interest right out of the gate is crucial. Your story’s opening must accomplish that. This doesn’t mean you have to start at breakneck speed, but it’s important that you select the right speed for your particular story. The opening lines will establish the tone and lay down the baseline for pacing.

The trick, after that, is to vary the speed of delivery at the proper times and in the proper places. Knowing where those proper times and places are largely comes down to the instinct we’ve developed as we’ve read and absorbed story throughout our lifetime. It depends a little, also, on a kind of magic that hovers just outside the scope of this article.

But read on to learn more about the techniques you can use to achieve the variety your readers seek.

5 Tricks to Speed Your Story Up

Even though most of us don’t read out loud and therefore don’t need to plan our inhalations around the words on the page, we still tend to breathe with the flow of the sentences. That being the case, pacing can actually affect the reader’s breathing, which in turn affects his emotional state.

Like I said, pacing in writing is a powerful tool.

When it’s time to pick up the pace, here are a few techniques you can rely on:

  1. Short sentences. Don’t be afraid to use fragments, even, to convey a sense of speed.
  2. Just the facts, ma’am. Stick to the bare facts and blur out the scenery as if you’re a movie director, focusing on the tense face and frantic concentration of your character, blocking out unnecessary bits of diversion.
  3. Keep dialogue to the point. This is not the time for long speeches or elaboration. Get in, get out, get it said.
  4. Use sensory detail. You want your reader to be inside that moment with your character, experiencing what they are experiencing.
  5. Read it aloud. As well as hearing how it sounds, this will help you see how it affects your breathing and how it makes you feel to absorb those words.

5 Tricks to Slow Your Story Down

Between your points of high action and fast-paced scenes, you will want some calmer moments that give your readers a chance to catch their breath. This is when your characters have time to talk with each other, reflect, think about the implications of what happened during those action moments, and maybe even go to their quiet place.

Even in the most fast-paced books, it’s essential to sometimes slow it down. Here are a few suggestions for making that happen:

  1. Longer sentences. This is where you can stretch out and spend a little time with more leisurely sentences. But be careful not to wax on too long. Using longer sentences can actually increase the tension and create suspense. The other danger, of course, is losing focus.
  2. More background and setting. These are often revelatory scenes, where you uncover plot points and give more background detail.
  3. Spend more time talking. Now is when your characters can indulge in a lengthy conversation, if called for.
  4. Engage the stage. In movies and plays, characters use “stage business” to add authenticity to their actions—painting their toenails, cooking a meal, or whatever their character would be logically doing under the circumstances. Giving your character an action also helps backstory go down better.
  5. Weave in a flashback. This can be a powerful way to slow your story down, but wield it carefully. Let’s take a look at the strengths—and dangers—of flashbacks.

Using the Flashback

If a flashback fits well in the scene, you can use it not only to broaden the pace but to reveal more about your character’s formative moments and set things up for future payoffs.

However, don’t use a flashback just for the sake of slowing. It has to be appropriate to the scene and justify its existence by accomplishing one or more of the following objectives:

  1. Tell the reader something important about the character.
  2. Clarify the circumstances of the story.
  3. Contribute to the story’s resolution by supplying a missing detail, a hidden motive, a vital clue, or some other critical piece of information.

The flashback doesn’t have to be long. Sometimes a paragraph, or even a single sentence, is all you need.

In the Words of Porky the Pig

That’s all folks. Almost. I just want to add a few more helpful hints about pacing in writing before you get down to practice.

  • Scene changes and POV switches are opportunities to move to a different pace.
  • The first sentence of each scene sets the tone, and tone and pace are fundamentally linked.
  • Shifts in tone and pace can be facilitated by diverting to a subplot scene.
  • Don’t fall into a pattern with pacing. Keep it unpredictable.
  • The purpose of chapters is to break up the story and provide pacing.
  • Exercise restraint and hold something in reserve for the fastest, most climactic scene.

And most importantly, be patient and stay focused on the finish line. With the skillful application of pacing in writing, you can give readers the variety they crave and keep them riveted in your story.

How about you? Are you aware of the variation in speed as you deliver your story? Do you see how useful this tool can be in writing a terrific story? Tell us about it in the comments.

PRACTICE

Remember that the first sentence of each scene sets the tone, and tone and pace are fundamentally linked. Write the opening paragraphs for two different scenes—one fast-paced and the other slow. Use your own characters and ideas or try one of the following prompts:

Duma and her lover steal a mini-spacecraft and escape a planet held hostage by the evil warlord.

A rattlesnake startles Lila’s horse and she is thrown to the desert floor as the horse gallops away.

Mike hates that his boss is forcing him to fire Janet. She’s the best accountant in the firm.

Remember to use the techniques discussed to achieve the different tones and paces. Write for fifteen minutes. When you are finished, post your work in the comments, and if you post, please leave feedback for your fellow writers!

The post 10 Ways to Master Pacing in Writing and Keep Your Readers Riveted appeared first on The Write Practice.



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First Look – Titleist TS4 Driver

Hitting both the USGA’s conforming clubs list and the PGA Tour today is a bit of a surprise from Titleist.

Here it is, the TS4 Driver.

Let’s start by answering what I assume will be the most frequently asked question. The TS4 is not a replacement for either the TS2 or the TS3 that were introduced last fall. It’s what golf companies call a line extension, and in this case, it’s about extending the fitting capabilities of the TS line to include golfers seeking ultra-low spin without sacrificing speed or distance.

As you’d expect, a good bit of TS4’s technology carries over from the original TS offerings. We won’t rerun through all of the particulars, just understand that the new model also features Titleist’s Speed Chassis which includes an ultra-thin titanium crown, and a thinner (and faster) Radial VFT (variable face thickness) face.

If you’re looking for a point of comparison with a previous Titleist model, your best bet is the 915 D4, which was part of Titleist’s MOTO (Made Only To Order) program. Unlike the D4, the TS4 will enjoy the full benefits of full retail release, which means instead of having to MOTO your way into the new model, you’ll be able to demo and purchase (if you choose) the TS4 at your local Titleist dealer.

Like the 915 D4, the TS4 will be the most compact offering in the Titleist driver lineup. At just 430ccs, not only is it compact by Titleist standards, it should prove to be the most compact driver on the market from any major OEM this season (TaylorMade offers a 440cc variant of the M5).

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Low/Forward CG

According to Titleist, the smaller footprint gets you a center of gravity location that’s 5mm more forward than that of the TS2 (note the forwardly placed SureFit Flatweight). For those who follow along with our annual CG charts (2019 update coming soon), the projection is a driver with a center of gravity location roughly 1.5mm above the neutral axis. What we’re talking about is a CG location that’s neither excessively forward (no need to Loft Up) nor excessively low, but has still been bumped enough to drop spin by +/- 300 RPM compared to the TS3.

Who is the TS4 designed for?

Designed to be a spin killer, the TS4 is for the guy looking to…you guessed it, cut spin. The conventional wisdom is that small, sub-460cc designs are for better players seeking enhanced workability. And while that’s certainly one category of potential TS4 player, it’s not the only one.

“We’re not going to pigeon-hole the TS4… Anyone with spin over 2800 RPM, depending on launch angle, could see not only increased distance, but more consistent distance” – Stephanie Luttrell, Director of Metalwood Development for Titleist

There you have it. If you generate more than 2800 RPM of spin with your driver, you might want to look at the TS4.

Titleist predicts only about 10% of PGA Tour Staff will move into TS4. And while TS4 isn’t intended for the meaty part of the fitting bell curve, the adoption rate is expected to be slightly higher among Web.com and college players. We’re talking about a segment of up-and-comers not radically different from PGA Tour bomber Cameron Champ. It’s a group of guys who generate a ton of head speed while hitting a degree or two down on the ball.

These guys aren’t distance challenged in the least, and so their coaches aren’t trying to change their swings to hit up on the ball and optimize for the launch monitor. For golfers in this category, the TS4 provides an option for cutting spin that doesn’t’ require changing impact conditions.

The final group of potential TS4 golfers is perhaps a bit more surprising, though perhaps not as much if you’ve followed along with Most Wanted Driver testing over the years. There is a group of golfers – and it’s not a small group – and it’s not necessarily a high-speed group either – that can get, for the lack of a more technical term, somewhere between a little and extremely swipey with their swings. I’m talking about guys who hit down and across the ball, and in doing so, generate an excessive amount of spin.

I know exactly this guy. His name is Hank, but I digress…

On the extreme end, we’ve seen golfers generate more than 4000 RPM…with a driver, and while I understand where the screams of “just take some lessons” come from, the reality is that some guys are plenty content to swing their swing and play their game. The TS4 might help that guy add a little bit of extra distance as well.

Isn’t Forward CG Less Forgiving?

Technically, yes. More forward centers of gravity result in lower MOI drivers. In this case, we’re talking about a 14% hit compared to the TS3, though it’s worth noting that the new model offers higher MOI than the 915 D4.

Here’s where things get interesting. Luttrell says that for higher spin players, spin itself is a more significant factor in distance, or more accurately, the lack of distance. Golfers in this category will often experience not only greater distance, but also more repeatable distance because of the lower spin rates offered by TS4.

I suspect some of you reading this might find that notion odd, but it’s similar to the story we heard from Callaway when the Epic Flash SZ launched, and it’s something we observed during Most Wanted testing as well. There were a few drivers, most notably the SZ, for which the correlation between ball speed consistency (an indicator of forgiveness) and distance consistency wasn’t what we would expect. Short story, the drivers were consistently long, despite greater than expected fluctuations in ball speed.

The larger point here is that while a spin killer like the TS4 isn’t for everyone – Titleist believes that the overwhelming majority of golfers will better fit into the TS2 or the TS3 – its potential to be a strong performer extends beyond the guy looking for more workability.

Specs, Pricing, and Availability

For high spin golfers seeking to trim a few hundred RPM, the TS4 will be worth a look when it hits retail in late June.

The TS4 includes Titleist’s SureFit hosel adjustability and will be offered in discrete lofts of 8.5°, 9.5°, and 10.5°. So sorrrry Canada, only the 9.5° available for left-handed golfers.

Officially the stock shaft lineup is unchanged (Project X Even Flow T1100 White 65 (Low launch and spin), HZRDUS Smoke Black 60 (Low/mid launch and spin), TENSEI AV Series Blue 55 (Mid launch and spin) and KURO KAGE Black Dual Core 50 (High launch and moderate spin), but there’s a chance (perhaps even a likelihood) that the shaft lineup will expand prior to launch.

Retail price is $500



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