Thoughts.

More often than not, I find myself completely agreeing with what she says, and there are some great gems in her bit on subbing:

Divide your handlers up into groups of those who generate offense with their throws (big breaks and/or big hucks) and those who generate offense with their legs (effectively get the disc up-the-line and are always open for resets). You’ll want some players from each category on every line.

Divide your downfielders into groups of those who can get open with jukes off of a stopped-disc and those who are great at getting open in flow with timing and filling spaces. Again, you’ll want some players from each category on every line.

The whole issue on subbing is a great opportunity to apply a new lens to yourself as a player: how would somebody in charge of subbing view your abilities? Gwen’s bit here touches on it the most explicitly, I think…what kind of player are you? Do you create offense or augment offense? Are you a big playmaker or a solid contributor? How versatile are you, offensively, defensively? What are some flaws that might lead to you getting less play time (e.g., lack of height/athleticism/conditioning, inconsistent throws in the wind, an inclination towards high-risk shots, etc)?

What kind of player do you want to be? If you’re a coach or a mentor for other players, what kind of player do you see them becoming/what kind of player would make them the most useful? The notion of subbing also harkens to making cuts and forming your team’s identity and strategy in the first place. Lot of good stuff to consider for anybody who fancies themself a team leader/decision maker.

Two.

The Huddle’s Andrew Fleming has a great analogy for this, in his article on being the deep defender when you hear the “Up!” Call:

Have you ever sat a stoplight and watched the light for the other direction turn from green to yellow to red? When your light finally turns green, it’s just a confirmation of what you already knew was about to happen. How much quicker are you off that line if you’re peeking at the other light versus waiting for yours to change? That’s the difference between reacting and anticipating on D. When I hear that “up” call, I want to already know what throw is coming and already be poised to jump on it.

He very succinctly summarizes the components of good, anticipatory D.

Anticipation means not only knowing the current situation and recognizing which throws are most likely, but also learning how to read people and recognizing opportunities to make the play.

General things you should be aware of as an anticipatory defender, as much as possible (in rough order of importance–feel free to dispute my rankings or add others in the comments)

1. The position of the disc on the field relative to you and your man
2. How long the disc has been in that position–is it in motion for a potential unmarked huck/throw? Is it stall 7 or 8, so you should really be heads-up for a swilly bail-out throw?
3. The capabilities of the thrower. Is it the stud thrower, who can not only jack it, but break the mark to do so? Is it somebody who’s only going to throw to under cuts?
4. The force (the person on the mark). Which side of the field should passes be going to? How likely is it that the mark will hold and not get broken?
5. The conditions. Is it rainy? Are you going upwind and can dictate out with more confidence? Is there a crosswind that would cause a throw to your expected side of the field to float or sink more than usual?
6. Your man’s preferences. Are they a relentless deep threat? Do they prefer to stick around the disc? Keep in mind they may still take what you give them, even if it’s not what they prefer.
7. What, if anything, has the other team as a whole been beating you with? If they’re exploiting the around break, be prepared to pounce on a somewhat floaty around throw (and adjust when you’re on the mark as well). If they love to jack it, start backing your man or otherwise make sure you’re always in a position to strike on the huck.

All of these bits of information, summed together, should allow you to make a few adjustments:

1. What cut you choose to defend primarily–what’s the biggest (and most viable) threat at this moment?
2. What cuts you choose to respect–if it’s really windy and the player with the disc does not look confident in her upwind forehand, you can give a cushion of at least a few steps when your woman goes deep (but beware the dump/swing to a more confident thrower in motion).
3. Where you expect the throw to go to. This is particularly important at high stalls, when a less-than-perfect throw might come suddenly and surprise you. If you expect to see a throw to the forehand side of the field, allow for the possibility of a stall-9 blade.
4. Whether or not you poach off of your man (!). If you’ve evaluated your man to be less of a threat in their current position than some other play–your man prefers to cut under, but their big thrower has the disc and you see somebody setting up the deep cut–you can sometimes get away with devoting less attention to your man and more attention to the play in action.

This is a lot of information to process at once on the field. It’s impossible (In my opinion) to consciously take in all of this information and still play at 100% intensity (you’ll be thinking too much). However, you can learn to intuit things, or give yourself reminders before the point. The disc’s position should eventually become a natural sense; for me, I can often discern where the frisbee is by the sound of a catch or reading my man and, if in a straight stack, the other men on offense (be wary of eye fakes). You can cultivate an internal stall clock to anticipate high-count situations (or perhaps your teammate will count loudly enough for you to know with certainty). Conditions and the force, you should be aware of before the point begins(or at least before the disc is tapped in on a stoppage). Strive to cultivate an intuitive sense of what space is threatened and in which space (and at what times) your opponent is not a threat to get the disc. I find it usually helps to remind myself of the force on D just before the pull goes up (if I’m starting on D or O), and to spend some time (doesn’t need to be more than 10 seconds or so) trying to visualize the wind vector and anticipating which throws will float or sink on D (and how to compensate with my own throws).

You can, of course, rehearse a lot of these situations through visualization. Cutting schematics can go a long way towards guiding you here–draw up novel situations, impose different conditions, and then try and picture yourself in them.

In addition to recognizing situations in terms of general expectancies, strive to learn the signs that a play is coming–learn to read throwers. You can do this on a team-by-team basis if their system is transparent; you can also learn to read individuals. Eventually, you will start to pick up on tells that are more across-the-board; players who are not skilled in showing fakes or making quick decisions in particular become easy reads with enough attention. There’s a certain look–not quite “Deer in the Headlights”, but a similar single-minded tunnel vision, when a thrower goes from “scanning/evaluating” mode to “preparing to throw” mode. Mid-level cutters get a similar look when they’re in the lane, if you’re trying to read their fakes.

Don’t think too much on the field; simply pay attention and make associations through experience. Eventually, you’ll develop an intuitive sense and good defense will become more automatic (it never becomes fully automatic–invariably there’s always some external condition you should be taking note of). Learn when you can afford to think on the ultimate field, and learn when you need to stop thinking and just make the play. Anticipation will put you in position, but you still have to execute.

Catching. Such an essential, fundamental component of ultimate, non? Jesus Christ, just think–250 thousand hits. Already! I hit 2,500 last month and thought I was doing well.

I almost always catch in stride on a small hop for “good” passes that hover from chest to head height for me to run onto. This prevents any ground-up turbulence (uneven fields, while not ideal, are not uncommon in this sport) from throwing off my catching motion, and generally allows me to continue at the speed I was already cruising at to make the catch. Sometimes you want to accelerate through the catch, but I have yet to find myself caught and D’d up because I catch this way. Perhaps I just need higher-level competition, though. Small, but significant when you consider the sheer volume of catches you make.

Almost all of the authors are very vague about how one actually improves footwork.

Finally, my two cents about footwork: you can compensate for a lot of errors in footwork/balance simply by being strong(er). I’ve gotten away with being off-balance (sometimes intentionally to bait the man I’m defending) by being strong enough to recover quickly. There’s more than one way to skin a cat. That said, you’re usually better off being strong AND having proper technique. Strive to be your best, rather than simply good enough–there’s ALWAYS room for improvement.